Riotous Australian circus troupe meets cabaret act Rouge once again return to the Edinburgh Festival Fringe. This year the group of acrobats, musicians, and burlesque stars take residence in George Street’s Assembly Rooms to deliver a racy, humorous and often daring smorgasbord of circus spectacle.
Blending circus acts with comedy, burlesque, dance, music and opera, Rouge presents some impressive feats which help assert the troupe as Edinburgh Festival Fringe mainstays.
Opened by Paul Westbrook, our enthusiastic MC, who encourages the audience to holler and whoop when they see like what they see, the racy and raunchy vibes of Rouge are felt from the onset. The game audience do not need much persuasion, with energy levels amongst the packed 2 for 1 crowd predominantly high.
Christine Ibrahim delivers musical numbers from a powerful take on Serge Lama number Je Suis Malade (popularised by chanteuse Dalida). Her impressive vocals are one of the main stars of Rouge and thankfully the audience get to hear them multiple times on numbers such as Jace Everett’s Bad Things (many will know as the theme to True Blood) and a grandiose comedic opera number.
Adrenaline levels are kept high with daredevil antics including an impressive sword-swallowing and fire-breathing routine, whilst a later number with a whip and muzzled up dancers provides some titillating danger and high stakes. The physical acrobatics of Rouge are delivered with an impressive gusto and skill, seen in the formation of a three person human tower created by the show’s acrobatics team.
Rouge is not afraid to get a little silly amidst the raunch and raucous, including a performance in which a member of the cast wears a lamp shade (and little else) and performs a fiery hula-hooping number. Neon lights flashing and dance music pumping. Westbrook, the show’s MC, also provides some moments of well-pitched humour – even managing to find silliness in the act of sitting on a chair on stage. The star is charismatic and a welcome presence, but could benefit from introducing the acts to create more of a narrative flow to show.
The venue presents the troupe with a large space, ideal when it comes to acts such as gymnasts using the Cyr wheel. Yet this space feels underutilised and somewhat empty for much of the show, lacking in any real decoration or stylistic flair. The potential imagery of Rouge and its racy cabaret connotations allows for vast potential, yet this emptiness can leave the impact and awe-inspiring performances of the acts feeling a little limp.
Rouge delivers a racy, humorous, and daring experience at the Edinburgh Festival Fringe, blending impressive acrobatics, striking music, and well-timed humour. While the underutilized venue and lack of narrative flow slightly diminish the impact, the show remains an entertaining and energetic night of escapist adult circus.
For tickets to Rouge, click here.
Photo: Alison-Catseye-Productions