On April 12, the acrobatic performers known as Circa presented their show Opus, thanks to Arizona Arts Live. The performance showcased the acrobats’ signature leaps and graceful twists through the air, all while being accompanied by France’s Debussy String Quartet, who played a composition by Dmitri Shostakovich.

The quartet was directly involved in the performance, playing the composition from memory and at times even blindfolded.

Executive Director and Curator Chad Herzog opened the performance by sharing some background information, including that the last time Circa performed at the UA was in February 2022. He reflected on how the pandemic had affected many lives, noting that Circa was the first troupe to grace the stage again after a long, challenging hiatus.

On paper, Circa: Opus may seem overwhelming. However, within its complexity lies the symbolism of simplicity. Shostakovich was a composer living during the era of the Soviet Union under Stalin’s reign. Like many great artists and composers of Russia at the time, he was commissioned by the government to create performances. However, the composition performed by the quartet was one that Shostakovich produced with his own funds, driven by his personal artistic expression.

Compared to the electric action at times, the costumes and set were shades of black, white and grey, intentionally lacking flair and glaring uniqueness. The look and feel of the performance were stylized after the Soviet Union under Stalin, drawing on many elements, including the Brutalist style of art and architecture for which the Soviet Union was known.

The performance itself was reminiscent of the expression beauty is pain. Acrobats almost violently hurled themselves to the stage floor, leapt into one another and stepped or rolled over their fellow performers. Yet, it was never chaotic. Bursts of motion from the acrobats were driven by the sharp bow strokes and plucks of the quartet, as if they were being tossed about by the music.

The show featured a diverse range of physical performances. There was plenty of ground movement, tumbles, human pyramids and even a striking display of hula hoop skills. Interspersed among these were spectacular solo acts, including aerial rope acrobatics and a form of pole dancing reminiscent of Mallakhamb. Altogether, the performance celebrated feats of strength, endurance and coordination.

Centennial Hall enforces a strict no-phone, no-flash photography policy during performances. Circa: Opus is one of those moments that ask, “Where were you when it happened,” and thanks to Arizona Arts Live, we get to experience more of those unforgettable events.