“Feria-Attraction” hits the target
Flip Fabrique can bring its magic to new heights instead of Jean-Béliveau, a new electrifying playground. Under a capital of suspended lights, acrobatics and group movements galvanize, while the music of Greenland envelops everything.
The 2000 seating positions are arranged on both sides of the stage. Spectators were few on the first Tuesday, so we could stand close to the action, or even risk missing some acrobatics to move from one point of view to another. On cars (which magically move without smoke and noise) and bicycles, running or cascading, the performers lead us in a crazy race, a joyous round, dizzying and touching at the same time.
On cars and bikes, running or cascading, the performers lead us in a crazy race, a joyous round, dizzying and touching at the same time.
Over the numbers, memories of evenings at the Expo or the Round, climbing on playground modules in the parks at night and nights full of stars, on a trampoline wet with dew, we come back to mind.
With Feria – The attraction , Flip Fabrique offers us a dive into teenage skin and the dazzling friendships. The show opens when the merry band enters the track aboard a motley hearse, to the sound of the chorus of It that it was of the group Alaclair.
Tightrope walker Laurence Tremblay-Wu climbs into a control tower to open the lights of an abandoned amusement park, everything lights up, excitement rises. As we follow her controlled progress on the wire, the cosmic voice of Sabrina Halde pulls us up. The singer will be visible several moments of the show, a beautiful presence that watches over the band.
A trio of BMX daredevils with luminous wheels crisscrosses the space in one direction then in the other. The rest of the troop is never far away, lodged under the ramps or popping up with an accessory to increase the difficulty of the maneuvers.
The numbers of the archer Orissa Kelly and the charmer of the late Sonia Legault intertwine in a whirling choreography where characters with large bulls’ heads arise. Vladislav Zolotarev delivers an equilibrium number on chairs as vertiginous as poetic. He will then invite a spectator to tap on an anvil with a hammer (an accessory whose strength will have to be reviewed) to give the starting signal to the acrobats on a raised and mobile rocker.
Vladislav Zolotarev delivers an equilibrium number on chairs as vertiginous as poetic.
If you can worry, during the first minutes, not to have an overview, we realize pretty quickly that the acrobats are never far and that the games of symmetry, as in the issue of trampo-monster, allow us to miss nothing.
On the wheel of death, Yorman Garcia and Diego Gulateros have given us cold sweats with their apparent awkwardness (with which they can also hide missed gestures). Seeing one of them jump on the rope on the infernal device is certainly impressive, but the number detonates a bit of the rest by its lack of poetry. Even while performing amazing acrobatics, the other performers have a bright side and kid that these two have less well integrated.
On the wheel of death, Yorman Garcia and Diego Gulateros gave us cold sweats with their apparent awkwardness.
The scenography of Guillaume Lord transforms the place Jean-Béliveau into a magical space, completely isolated from the world. The staging of Martin Genest revolves around a perpetual movement that captures us and precious moments, fragile, that take our breath away.
Let’s hope that the other nights, the public square is full. It’s really exceptional to have such a free circus show in Quebec City.
From July 16th to September 1st , from Tuesday to Sunday. At 9pm until August 4th, then at 8:30 pm from August 6th.