The roots of director and creator Bence Vagi’s most recent Cirque Danse creations are clear in Paris de Nuit, the circus evocation of 1930s decadence, first performed in Budapest in 2014.
Underpinning the whole show with its Cabaret-style basques and fishnets, strutting and posing and lascivious flirtations between Zsanett Veress and her audience, is Vagi’s smouldering choreography.
Even when the trapeze duet between Gabor Zsiros and Illes Renato reaches peak fetish – with six-inch porn-star stilettos standing on upturned naked feet as they hang from the trapeze high above the stage – the routine’s impact is emphasised by pulling the pace right back to a graceful, slow-mo dance.
Which is not to say that Vagi eschews the quick-fire thrills of gravity defying leaps from Veress when she takes to the tightwire, or Julia Horanyi’s skilful use of centripetal forces as she turns at seemingly impossible speeds in the aerial hoop. He has a choreographer’s ability to use pace to emphasise the skills involved.
The whole tightly worked package is given a framework by Horanyi, whose vocals run through the whole production, helping provide a feeling of continuity and that this is more than a collection of disparate acts.