New York Review: “42FT – A Menagerie of Mechanical Marvels” by Cirque Mechanics at The New Victory Theater
Natalie Rine, Associate New York Critic
High-flying and adored right in time for the holidays, now playing at the New Victory Theater is Cirque Mechanics’ latest colorful circus concoction, “42FT – A Menagerie of Mechanical Marvels.” Their doubly titular emphasis on the mechanical is embedded into the very DNA of the whirlingly fun 105-minute piece, derived from the technical, iron-wrought centerpiece circus arch that shepherds us into the world of the show. In lieu of a traditional big top, we find ourselves in a standard proscenium theater, not exactly the ginormous glamour other modern circuses may invoke. However, a vagabond meanderer, star-struck by the chance to join in the circus (a delightful Justin Therrien), ushers us into this arch and world with him, literally drawing the curtain back for us to explore through his eyes as he beholds the unfurling magic in the acts to come.
The arch comes down attached to a revolving ring, creating a sort-of carousel of set changes for the revolving acts wherein the cast physically turns the behemoth structure 180 degrees to reveal new mechanical equipment for each section, making the real star of the show the set design by Sean Riley. Whereas Broadway theatergoers may gawk at the relative glacial pace of the hand-pushed labor as opposed to turntables and other automated stagetricks we’ve become accustomed to in this age of instantaneous pacing, the Cirque Mechanics never miss a beat, keeping the audience visually and emotionally engaged at every moment, even in these liminal scenes. This is due in large part to the stamina and sincerity of Therrien’s clowning, mime protagonist who leads us through this new world with unmatched awe and tomfoolery.
Engaging this proscenium-style theater is no small feat for him, wherein the production at times plays like a shrunken, Broadway mime, entreating us across the singular fourth wall to believe in the wonder. Regrettably, they have no live band to excite alongside them, opting for a canned soundtrack that, while aiding the time ambiguity of the setting, furthers the audience from true, rabid engagement with this flexible, hybrid piece. It is after all playing next to the tried-and-true Broadway mega-wonders of Harry Potter and Aladdin, so for an audience amalgamation of tourists and families, the expectation for marvel is high on 42nd Street these days. Thankfully, what the Cirque Mechanics do deliver is a diversified theatrical experience, showcasing unparalleled athleticism over glamour, machinal innovation over concealed sleight of hand.
There is still something sexy about the thought of running away to the circus, and we can’t help but root for Therrien’s clown on his own journey to join their intimidating ranks. The stellar cast-- just as true mechanics do-- fix, improve, and extend the technical work of their scene partner machines, wrapping, contorting, and linking their bodies in a man-machine tango; whereas other stage spectacles become slaves and accessories to stage apparatuses, the Cirque Mechanics breathe life into them with every “hup,” inhale, and exhale, fusing human and machine in act after act of American ingenuity. Amongst the circus equipment, they play, pounce, and promenade with such pomp and circumstance that one wants to jump out of their seat and follow alongside them; lucky for one audience member, audience participation does allow for this in one riotous sequence. Since the fourth wall is absent from the entire show, the audience is encouraged to ooh and ahh, cheer and wince, as our stomachs drop and eyes bulge at the spectacles presented before us.
There are acts involving a plethora of stage machines: a rotating ladder, an aerodynamic sleigh, a mechanical horse, a slack wire. Even Mongolian strongman Battulga Battogtokh’s act features a different lens to see this man vs. machine battle, wherein he juggles medicine balls as if they were ping pong balls. As if that wasn’t enough mastery of the elements, he arrives in act two hauling a wooden log the likes of which Paul Bunyan would envy. This almost mythical athleticism is found throughout the cast, with act after act eliciting the same awe in the six-year-olds around me as my Equinox loyalist boyfriend next to me. A questionable exception is the lion-less lion tamer, leaving a puzzling whip act lacking the mechanical element so integral to the story’s through line.
As we move into this new decade, I have no doubt the intimacy between man and mechanical will continue to blur, and the Cirque Mechanics prove here that they have the guts, vision, and innovation to deliver a raw realism to the circus and theatrical worlds. Ultimately, “42FT – A Menagerie of Mechanical Marvels” delivers fresh, innovative staging fit for the whole family, and you’d be amiss not to swing by.
42FT – A MENAGERIE OF MECHANICAL MARVELS by Cirque Mechanics
Creative Direction by Chris Lashua, Co-Direction and Choreography by Aloysia Gavre, Set Design by Sean Riley, Lighting Design by Anthony Powers and Joe D’Emilio, Costume Design by Caroline Rogers, Poster and Headpiece Design by Nata Ibragimov. Co-Produced by Aida Lashua. Production Direction by Janeen Johnson. Music composed by Michael Picton. Writing by Steven Ragatz. Mike Brown is the company’s bullwhip trainer. The cast includes Battulga Battogtokh, Brysen Bishop, Austin Bradley, Drew Fouarge, Wes Hatfield, Esther De Monteflores, Brooke Neilson, Elijah Newton, Michael Rubino, Taylor Stevens, Justin Therrien, Nikki Unwin and Tatiana Vasilenko. The run time is 1 hour and 45 minutes including one intermission and is recommended for ages 5 and up.
“42FT – A MENAGERIE OF MECHANICAL MARVELS” runs through January 5th at the New Victory Theater. Full-price tickets start at $22. Tickets are available online (http://www.newvictory.org/visitor-info) and by phone (646.223.3010). To purchase tickets in person, the New Victory box office is located at 209 West 42nd Street (between 7th / 8th Avenues). Box office hours are Sunday & Monday from 11am-5pm and Tuesday through Saturday from 12pm-7pm.
Photo by Maike Schulz