#hula-hooper

Australian circus artist Jessica Connell trained at the National Institute of Circus Arts in Melbourne, having formerly been a member of the Flying Fruit Fly Circus in the twin cities of Albury-Wodonga, where she spent most of her childhood. She has performed all over Australia, and in 2009 contributed to A4 circus ensemble’s first production, Downpour. Two years later she joined leading Australian circus company Circa and undertook an eight-month season of Wunderkammer at the Chamäleon Theatre in Berlin, and a three-month tour of the Helpmann Award-winning show, Circa.

Her first new creation for the company was ‘S’ at the Brisbane Festival in September 2012, and she has since appeared in – and helped create – many of the company’s productions, including Opus and Il Ritorno. Now Jess returns to London – having performed in a season of Opus at the Barbican – to appear in the European premiere of Peepshow. It runs during the Underbelly Festival at the Southbank Centre in London from 27 June – 18 August. She chats to Liz Arratoon.

The Widow Stanton: How old were you when you started at the Flying Fruit Fly Circus? Jessica Connell: I started at around 13 or 14 in their professional training group. Before that I’d just dabbled in a few weekend classes and done a bit of dance, a bit of tennis, a bit of martial arts.

What made you choose to go there; were you sporty? I was always probably more creative than sporty. I had a big family and we were home-schooled for a little bit but my parents were quite art orientated. We did a lot of plays and a lot of art at home, which was really lovely. My sister pursued ballet and I got into that for a little bit and I did a little bit of gymnastics but I think I really missed the artistic side of ballet and things I’d been doing in my youth. So my father suggested trying out the circus because he’d had an affiliation with them when he was younger. So it was kind of the mesh of two worlds that I’d been playing with since I was quite young.

Is anyone else in your family a performer; your sister? No, my sister became the mother of four beautiful children. Much to my dismay no one has yet followed me. [Laughs] It’s always been my dream for one of my sisters to come onstage with me but my youngest sister, who’s still in high school, is pursuing music at the minute. She’s been in some young productions so maybe there’s still hope. 

When did you graduate from NICA? I actually didn’t graduate. I went there for a year. Kind of before going to NICA I had introduced myself to Circa and about halfway through, Yaron [Lifschitz, Circa’s artistic director] just got in contact with me and offered me some short contracts, but it wasn’t until he offered me a full-time contract that I left at the end of that first year.

Impressive, Jess! Circus-school dropout is what I call myself. [Laughs]

Not at all. Wonderful to be so good that you’re spirited away! But which aerial disciplines did you do there? Primarily swinging trapeze, but since joining Circa I’ve done static trapeze and I’ve slowly moved into the world of single point as well. I don’t do trapeze in Peepshow; we have another stunning trapeze artist.

How useful has it been to have an aerial and a ground-based discipline? It’s been really good. It definitely made me more versatile, which was fantastic. Hoops was something I kind of came into later and it was probably the key that made me more versatile as a performer, so in a show if an aerial can’t be rigged I have another skill to draw on. And as I get a little bit older, it’s also incredibly interesting how to use, not just the physical skill, but perhaps the performance skill or the physical exploration and try to translate them from one to the other. Hoops has this beautiful flow, as does a dance trapeze. However, to try and disrupt that flow both on a trapeze and a hula hoop has always been something that was really fun and interesting.  So they definitely made me more versatile but they also challenged me mentally as to how to approach those two disciplines.

And to keep both skills at the required level is quite something. Definitely.

So what had first attracted you to Circa? It’s different for everybody but coming from an artistic background – and while I absolutely love the physical side of circus – circus was such an exciting world for me, because I had started what I thought was a little bit late. The Flying Fruit Fly takes kids as young as eight and most of my friends had been there since they were that age, so starting at 14… they even made a note of: “You’re pretty old to be starting but you have the right mentality so come on in.” So coming into this world of people who can be physical within their own… means, like, I wasn’t forced to be flexible or forced to be strong or forced to be tiny; I was accepted for who I was and asked to explore that.

So that got me into circus and then in my first year I went to see Circa’s The Space Between in Melbourne – we would go on excursions to see other shows – and for me what I loved about the circus was amplified by Circa. I saw these three individuals on stage with unique and interesting, not just bodies, but mentalities and personalities and it really shone through to me, so, yeah, it just amplified what I was finding I already loved about circus and it really brought it to life. It expressed it on stage in a way I’d never seen; that honesty and beauty is what just drove my desire to work for them.

So, you approached them; what advice would you offer to someone wanting to get into the company? Definitely making yourself known and expressing an interest in why you like it. In all honestly I can’t even remember what I said to Yaron [laughs] but maybe I told him why I wanted to work for the company from definitely a young age, because I knew that one day I wanted to work for Circa or a similar company. The idea of working for a home company was pretty exciting. But I also  channelled my creative energy and what I trained in so my disciplines were honed in on that world, and even then I pursued swinging trapeze less and got more into static trapeze because I knew that Circa was a smaller touring company.

Let’s jump ahead a bit, how did you cope with doing the same thing every night for eight months in Berlin? And we’re about to do it again! There’s something really exciting about doing the same show for eight months, and what I’m most excited about and how I coped the first time was… there’s a level of precision and exploration that you can get into when you do the same thing every night that I could never get touring a show or doing multiple shows like we normally do. For a whole week I could experiment onstage with breath, or timing, or just micro things like eyeline, and those sorts of things that really make an act unique and precise.

Because in circus you have so much freedom, we do a trick roughly in this musical timing together, and then we get from A to B however we want. That freedom is incredibly liberating but I don’t think you always get that. In Circa we’re quite lucky and we do get that freedom, which keeps things alive and interesting and rich.

Circa’s schedule can be relentless. How do you protect yourself from injury? Making sure I’m physically ready before we go on tour is really important. I just try to be as strong and healthy as I can be and, when we’re on tour, relentlessly doing physio programmes and those sorts of things, ensuring that the parts of your body that are weaker – because everybody has weaknesses – are always being maintained or in check. And then massage and lots of saunas and swimming if possible. And also kind of being smart, like it is a big tour, be sensible.  

There are so many new Aussie circus companies coming up; is circus regarded as a new sport option for young people there now? Australia is obviously quite a young country and I’ve been watching circus change and develop there since I was little. We have influences from all around the world, like in Fruit Fly we had Chinese, French, Russian in the skills we learnt but I also think now especially I’m seeing Australia have its own voice in the circus world. We still draw from those inspirations but I feel in the last decade Australia is starting to find its own voice.

I think that’s drawing people in. It’s becoming more known, because it’s more ours. And because we’re touring Australia more and more as well, it’s just the awareness of circus as an option, and the more circuses pop up, the more they offer workshops or classes, or even just shows to spread the awareness. Even Circa, when I first joined, we toured very little in Australia. We’d have a small tour every year, but as the company’s grown I’ve spent more and more time in community outreach and Australian tours and I think other companies are using that too and it’s spreading the word.

What can you tell us about Peepshow? Peepshow is our new little baby, and has been pretty exciting and wonderful. It’s still very new and fresh trying to find the right words to describe it, but ultimately it’s about showing and about looking and about being looked at. For some people the name might make them think of something quite sexual, which it can be but it’s also about having the freedom to show and be looked at and take your own emotions or stories… as often in our work, we’re not really telling a story or even trying to tell anybody what to think, we’re merely showing them something and hoping that they will take their own story from that.

Which of your skills will you be using? Mostly I do group acrobatics and hula hoops. Interestingly, when I first joined the company, I was more of a middle and base, but now I’ve moved a little bit more into the flying world, so that’s really new and fun and fresh for me to evolve through the world of acrobatics. I’m also involved in a few kind of quirky less-physical acts, which is really fun.

I’ve seen Libby McDonnell’s wonderful sequinned costumes for Peepshow! Yes [laughs]. As well as doing the costumes, Libby is also assistant director so she’s been a powerhouse woman as always. What do you like about creating a show as an ensemble with Yaron? I often think we’re quite lucky. Sometimes Yaron does come in with a really strong idea but he allows that to form and grow depending on who is expressing his idea. That’s really wonderful for a physical performer, and then at the same time, he sometimes says: “Has anybody got any ideas?” And we have the freedom to try to bring something on to the stage.  It’s incredibly rewarding. And what’s really lovely is how the shows at Circa can influence one another, like I see so much of ’S’ in other shows but a better, stronger more developed version of the ideas we came up with when we made the show.

Do you enjoy travelling and life on the road? Yeah I do, definitely. There are always moments when you get a bit nostalgic, you miss home, Australia. And my family don’t travel very much so to see them it’s usually me flying home. So there are those parts of it but I’ve been doing it for so long, it’s very much a way of life. I have my suitcase and I do enjoy it. I love exploring and taking photos; travelling and photography and circus, I guess, really go hand in hand. At the minute I still really love the lifestyle. 

Is photography one of your hobbies away from circus? Yes, definitely. My friends used to call me The Hobby Queen, because I can’t sit still. I also sketch, which I did when I was younger with my family. I’m trying to learn guitar but I’m pretty terrible. I love cooking. I’m definitely Jack-of-all-trades. I don’t really specialise in anything else. Circus is probably my main drive.

Can you pick out the best bit of your career so far? There are probably a million amazing things but last year we went to a small circus community and maybe, having grown up in a circus community, it really resonated with me. We spent a week with these kids from Yak Yak Yak and Cycas Circus making a quick pop-up show for the festival they were in and yeah, it was in Cairns, so regional Australia, and circus kids making a show. I don’t know how, but this show came together. I’d probably only known the kids for a week, but I had not felt this sense of pride in a really long time. It kind of reminded me about why I love the circus and how it helped me as a young child. Probably that is my most recent wonderful experience I’ve had at work. It’s still sitting with me and still makes me really proud and happy to do what I do. 

Do you have any particular ambitions for the future? I’m not sure. I’m quite happy where I am; I really do love photography at the moment but I couldn’t see myself leaving the world I’m in now to just do photography. It’s so hard. As long as I’m in this world I’m happy and excited and I’m hoping the future will unfold… I’ll find myself becoming a circus photographer and director if I have the right skills, if I keep pushing myself and growing in this world, my next path will reveal itself to me.

Jess appears in Circa’s Peepshow during the Underbelly Festival at the Southbank Centre in London from 27 June – 18 August 2018.

Picture credits: Pedro Greig; Kurt Petersen; Chris Herzfeld For Peepshow tickets, click here Twitter: @CircaPresents @UnderbellyFest @southbankcentre