Barbu

When Cirque Alfonse first rolled up on the Southbank in 2013, it was with the fresh, simplistic and yet highly entertaining Timber, inspired by the antics of North American woodsmen. The company returns this year with its 2015 Edinburgh hit Barbu, an exploration of the evolution of circus from its uncomplicated roots – tumbling, juggling and clowning – to something rawer and more sexualised.

Barbu is, for the most part, a fluid and entertaining journey through the history of circus but the roller-skating, acrobatics and cod-mentalism provide a sluggish start. The production soon warms up though, thanks in no small part to the snappy soundtrack created by composers Andre Gangne and David Simard. The Gallic folk/fusion score punctuates the action in the ring and builds to an electric crescendo as the acts become more risque.

The company retains its lumberjack chic and its use of burly bearded men in their pants has become something of a trademark. There is little willowy or elegant about Barbu. It’s all core strength combined with showmanship and more than a touch of comedy. The cyr wheel is given a disco spin, a kettle bell workout is heightened by using a beer barrel and pole dancing routine culminates in what can only be described as a man-kebab.

Entertaining as all this is, the division of the sexes is something of a sticking point. At an egalitarian level, aerialist Genevieve Gauthier and acrobat Genevieve Morin, accomplished as they are, seem relegated to support roles throughout.