They are a family. A nation. A circus world unto themselves.
What moved me the most while watching their recent International Circus Circus Festival of Italy on You Tube, was how much they mean to each other, and how much the circus means to them. They have suffered and lost and grieved and cried, and hung on through a devastating pandemic.
Streamed live from Latina on October 19, given the current situation, only they could perform. But perform they did, serving up a heart-warming array of world class acts. Acts that gave me pause to consider Italy’s key role in world circus history. And to recall some of its greatest stars who have entertained me down through the years, such as slyly chilling Josephine Berosini on the high wire, the Zoppe riders with Cucciolo, zany big cage satirist Tarzan Zerbini, suave foot juggler Ugo Garrido, slap stick hurricane Fumagalli, and the marvelous Canestrellis on the trampoline with that dynamite little spinning firecracker of a kid. He once nearly brought Ed Sullivan to tears of joy. And how can I not thank Edmondo Zacchini, for his human cannon invention -- a great big wow to a child's eyes.
Italian Showmanship Foreshadowed the Russian Circus Empire
To also recall, while researching for my book Circus Rings Around Russia, writing about circus impresario from Milan, Gaetano Ciniselli. In the 1870s he won favor with the Russian Czars to present shows in St. Petersburg. His eclectic showmanship earned him European fame and would inspire a new school of Russia artists when they took over, following the 1917 revolution.
But back to Now: I have already covered the first two hours of the festival. Here are some highlights from the last two.
Dashing wire dancing: Shannon Orfei, whose unusually intricate foot work and flair won me over, called to mind the flashing creativity of Con Colleano of yore. And I wish she had taken this even further, following the example of Mark Piazza. Instead, she slowed down into a pair of ballet shoes, crossing the silver strand in lovely perfection. This diva has many tricks up her sleeve.
Simply Sensational
Mark Piazza took my breath way on the webs, powerfully twisting and twirling in ways I have never before witnessed. Like fireworks going off in every which direction, each diving thrust -- up or down or sideways -- a thrill. And then he flung himself through a series of one arm rollovers, but, with a vertical twisting, as to seemingly invent virtually a new act. His driving force alone is riveting. Pure gold. Monte Carlo, send it to him now! This is circus. Not theater. Not ballet. Not Self Esteem Workshop for the Jaded Rich, 101. No, Circus – get it? By the way, most of the music throughout was relevant and strong. The dramatic scoring for Piazza's act is a pounding work of art. Bravo, maestro!
One-man juggling jamboree: Vastly diversified Darwin Pelegrinni came close to looking more like a group jugging act, he had that much going on. How does he stack up against his competition? I only know that he won me over with his tremendous control.
Other notables (I should note that I missed a few of the acts): The young Gabriel Dell’Acova-Canestrelli, hand walking with upside down contortions revealed remarkable mastery and poise for so young an age. Nicholas Errani executing head stands on a single trap that went not just back and forth, but in a circular direction.
We all, don’t we, go to the circus looking for such things as what I have just described? Looking for what John Ringling North once told me he looked for: “Something I haven’t seen before.”
Tearful Encores
The last half hour was not quite like anything I had seen before. Awards were handed out, I wanted to leave, but could not. Wanted to call it a show, but could not. Had to stay, wanted to stay out of respect for what these wonderful performers had lived through during one of Corona’s most brutal attacks, having to watch family and friends die, one after the other. To watch them now, kissing and hugging each other at the end — you could feel their love — and for the passion they so brilliantly serve. Indeed, they are a family.
Let the show go on! They did, and they will.
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END RINGERS: My one personal connection to the Cristianis: One hot summer day in Cleveland Ohio, when Wallace Bros. Circus ringmaster Bob Mitchell took me into the house trailer to meet “Papa” Cristiani for a work interview. Papa looked me over with a smile, we exchanged a few harmless words, and I was hired! – to work as an usher for zero compensation but free room and board. In a few weeks, they made me to clown, at $25 per week.
Every morning I awoke to usually find Pete Cristiani (think Robert Mitchum) , out in the middle of a big top yet to rise, its canvas sections being laid out and Pete pushing the crews to lace them up and get the thing back in the air. During the show, I always tried to catch Cosetta Cristini’s snappy, sassy high kicking strut on the back of a cantering horse. In their prime, the Critianis might have been the best group riding act ever.
Thanks to Don Covington for bringing the festival to my attention, and for his valuable input. I've tried to freeze and snap action photos off You Tube, but it just doesn't work.
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