News & Reviews
The Melba Spiegeltent - TheatreAlive; Monday Musings with Nathan Kell
30th November 2014
A graduate of the prestigious NICA, Nathan Kell has been working in physical theatre for 10 years.
He's worked with the likes of Legs On the Wall, Stalker Theatre, Lunar Circus and Backyard Theatre, and most recently with Global Creatures in their world renowned musical King Kong.
We chatted with him in the lead-up to the latest Circus Oz offering at The Melba Spiegeltent.
"Close to the Bone will feature a new mixture of collaboration between the Circus Oz ensemble as they conceal and reveal the complexities of being “close to the bone” through an acrobatic lens, complimented by the effusive musical virtuosity of Ania Reynolds and Ben Hendry."
The new season sounds fascinating, tell us a bit about the show? What’s your role within the piece?
The show is built for The Melba Spiegeltent, a venue that harkens to the halcyon days of European cabaret.
It's inspired, in part, by some of the truly unique and amazing elements these closely crowded venues saw, while drawing from the spear tip of current physical theatre and cabaret culture.
My role is in the capacity of physical performer, I will be precariously balanced and precisely tumbling within a breath of audience members holding full champagne glasses, and hopefully full hearts!
It’s referred to as a “Boutique Show” from Circus Oz – why is that?
It's accurately described as a boutique show because it's designed for a specific audience, in an exclusive capacity. Put simply, it's built for adults in a intimate venue, unconstrained by delicate sensibilities, and close enough to feel the floor boom when an acrobat lands on their mark.
What are you hoping audiences will take away from the show?
A sense of excitement, some intangible threads of thought or feelings that tease to be followed, a good time.
You’ve worked for many years in this industry with some very impressive companies, what advice would you give young artists looking to follow a similar career path?
Be proactive; don't wait for people to call you and don't be afraid to drop someone an email and let them know that you’re interested in their work, and that you’re around.
A lot of the time your skills are less important than you being a decent human to be around, and that your onstage and offstage decisions help the whole over the individual.
Ask yourself "Is what I'm about to do going to make the show better, or make me look better to the detriment of the show?"
And lastly, remember that directors have the same artistic and human insecurities as you. You may look up to them or think of them as "The Boss", but they need your support as much as you need theirs.
Who inspires you, and why?
My fiancé, because she is patient, kind and generous of spirit, while being driven, successful and self sufficient.
A rare and amazing combination of attributes, which I wish I could balance half so well.
Photographer: Rob Blackburn