French aerial artist Arnaud Caizergues, whose career spans elite gymnastics, two stints with Cirque du Soleil, the creation of dozens of original acts and a highly acclaimed selection at the Festival Mondial du Cirque de Demain, presents his latest creation, a daring cube act, in Craig Hryhorec’s Zerial, which opens next week in Adelaide and the following week in Melbourne – a show renowned for its bespoke apparatus and its seamless fusion of acrobatics, singing and dance. We chat with Arnaud.
Arnaud, to start with, where are you from and where are you based?
Well, I’m originally from the south of France, from Montpellier, but I’ve been living in Paris for 20 years.
You had a career as a top-level gymnast in France before turning to the circus. When did you start gymnastics?
I started gymnastics when I was eight years old. And I worked my way up through all the levels. By the time I was in the Espoirs and juniors, I was in the national squad and at the National Gymnastics Centre. Then I stopped because I’d had a bit of enough of it – it was tough, and so on. So, I did 20 years of gymnastics at a high level. Next year, it’ll be 20 years since I started working as an acrobat.
So 20 years of gymnastics and 20 years of acrobatics, and those 20 years of gymnastics began when you were eight.
Yes, from the age of eight to 28. That’s about it, really. There was a bit of an overlap. I started my career as an acrobat at the age of 25. For a few years, I did both at the same time.
And what led you towards aerial arts/acrobatics?
As with gymnastics, it was a bit of a coincidence. I ended up in a gym without meaning to. And actually, with the circus, it was a bit the same. I never dreamt of being an acrobat or a circus performer.
And actually, straight after I finished my studies, I didn’t know what to do. I went to an audition for Cirque du Soleil just to have a go. I wanted to give it a go; I was curious. And actually, when you go to an audition for Cirque du Soleil, you start off as 100 people and end up as two, and the two of us who are left are put into a database.
If you make it through the audition and are one of the last two, they might call you the following month or the following year – or never. So, in fact, you leave with no promises. And actually, they called me back two weeks later with an offer for a contract in Las Vegas. So that was quite a big shift and change. And so, as a result, I found myself in Las Vegas, in the world of show business. That’s where I discovered that world, really
And was that for the show Love The Beatles?
Yes, it was for Love The Beatles at the Mirage.
And what memories do you have of that first major experience in the world of the circus?
Well, it was an incredible experience, really. At first, it was quite daunting because you find yourself performing alongside the best in the world, in front of 2,000 people every night as part of the huge machine that is Cirque du Soleil. So at the start, it was a bit daunting. And then there was having to speak English when we don’t speak it very well. So at the start, it did scare me a bit, of course, but well, I got used to it.
You get used to it quickly because there are people there to help you, of course. And it turned out to be a good experience; I have very fond memories of it, and that’s what really got me started – in other words, it was that experience that made me want to carry on. I went there without really knowing what to expect. I thought I’d stay there. Well, I hadn’t really given my career much thought, you see. In any case, it was one of the cornerstones that sparked my passion. That’s it.
And you then went on to work with Dragon, Disney, Les Farfadais and, of course, you returned to Cirque du Soleil, notably on the North American tour of Kurios.
I went on tour, but I was also involved in the creation of Kurios.
Sorry, I didn’t know that.
Not at all. I was part of the creative team for Kurios and the North American tour during two and a half years.
It must be so difficult to perform the same show for such a long time.
Well, there are people for whom that’s exactly what they’re looking for: comfort, security, and so on and so forth. Whereas for me, it’s exactly as you say – every time I left the circus – from both shows – I left because, as an artist, doing the same routine every single day just didn’t suit me. So that’s it; every time, it was me who left. But then there are people who like it. In any case, that’s not me.
I loved the show, I loved it all because Cirque du Soleil really is quite an exceptional company – it offers us a lot of great things – but that wasn’t enough for me as an artist. I needed to explore new things and create new things, basically.
So then, you went on to create things yourself?
Yes. Then I left and created a hoop act, with which I was selected for the Festival Mondial du Cirque de Demain in 2017. That was the first act I’d ever created. Since then, I’ve added dozens of acts to my repertoire. And I’ve also helped other people to create their own.
So there you go, that’s what I love. I really love creating new acts, doing research, and so on and so forth. And that’s it.
In any case, that festival led me into the second part of my career, where I did lots and lots and lots of different things, with different shows and different people. The second part of my career has been really fulfilling. The first part was too, but in the first part I was more just going with the flow of whatever was offered to me. Whereas in the second part, it was more a case of me driving things forward, so to speak.
I’ve heard about the Festival Mondial du Cirque de Demain. What did this festival mean to you at that stage? Was it really the step towards the next stage?
Yes, it was a step towards the next stage. I don’t know what I wanted to do, but my coach didn’t really force my hand – just a little bit. Personally, I’m not too keen on the whole idea of competition. Comparing someone who juggles hoops to a clown or someone doing acrobatics – I’m not really into that sort of thing.
But it does give you visibility as an artist and credibility too, because so few people are selected that simply being chosen lends you credibility, and people immediately recognise the artist’s calibre. So in that respect, it’s something extraordinary. I think it’s the second-biggest circus festival in the world after Monaco.
I didn’t know that Monaco was the biggest or the most important.
I don’t know if it’s the biggest, but in any case it’s the most prestigious. After Monaco, it’s the Cirque de Demain.
Is that where you met the team behind Zerial?
Actually, no, not at all. I met Craig, the founder of Zerial, whilst on a contract in Abu Dhabi – I might be wrong, but I think it was 2011–2012. I can’t remember the exact date. We’d been working on a show for two months and he was still an acrobat at the time. We stayed in touch from 2012 onwards. Then, in 2019, he asked me to come and work on his show in Australia.
And that was the show also called Zerial tjat was at Adelaide Fringe in 2020.
Before it was Le Aerial and now it’s called Zerial. He changed the name and the show he’s changed it a little. There are some new numbers.
Actually, I was going to ask that: what’s changed either in your routines or the show as a whole?
Well, I can’t tell you exactly what’s changed, because I only arrived the day before yesterday and haven’t had time to rehearse; we haven’t rehearsed with everyone yet. I don’t know all the new acts, but I do know that, for now, I’m bringing a new cube act.
Yes, I saw that on YouTube – it’s impressive.
Thank you. So there you go – for now, that’s what I’m bringing. And then, as I don’t think there was time to make all the changes he wanted, but I reckon that in future years I’ll be bringing, in addition to the cube, another act involving some apparatus – I’m not sure which yet. And the acts I performed in previous editions will be phased out a bit to make way for the new ones. So for now, it’s the cube.
So you met in 2012 or thereabouts. Did youwork on a show in Australia after that, before the one in 2020?
No. I only worked with him in Abu Dhabi in 2012. But we’d kept in touch on social media, of course, and he’d been looking at my work, and so on.
So this is your second time in Adelaide?
It’s my third time. With this particular group, I think this is the fifth or sixth time I’ve come to Australia to perform. I’ve performed in Perth. I’ve performed twice in Sydney at the Opera House. And I’ve already performed in the Perth Fringe and Adelaide Fringe. So I’m a regular with Zerial.
And why should people come to see Zerial?
So I’m a regular at Zerial.
And why should the public come and see Zerial?
Because I know that Craig and the girls are putting together acts that haven’t been seen before, using apparatus that hasn’t been seen before. There’s also this blend of singers and dancers who bring something that’s definitely never been seen before – at least not at this level in Australia. And ultimately, I think people will have a really good time. And then we also bring quality – physical quality, artistic quality and originality in quite a few acts. And, there’s no downtime; there are always people on stage singing, dancing or performing acrobatics. A touch of mystery too, so I think it’s a show that’s well worth seeing.
Yes, it certainly sounds like it! But the other times you’ve been to Australia with them, it was mainly for festivals. Is this normally a show that’s performed during festivals? This time it’s a show scheduled outside of the festivals
Yes, it was Craig who decided he no longer wanted to be part of the Fringe. I also think that, over time, he’s gained the expertise to sell his show himself. I know I loved being part of the Fringe because it’s an incredible experience. But even without the Fringe, I’m still having just as much fun because the group – the people I’m in the cast with – doesn’t change very often, so we know each other really well. So whether it’s in Fringe or not in the Fringe, for me it’s just as good.
How many make up the troupe?
Well, if I’m not mistaken, I think there are eight of us. There are two singers, two dancers, and four acrobats.
Is there anything else you’d like to tell us?
What else could I tell you? Honestly, I think the show is increasingly becoming more original. What I can tell you is that we’re focusing on that – on originality to set ourselves apart – where you see apparatus that you don’t often see elsewhere, which has been invented specifically for the show. Or like mine – I didn’t invent the cube myself, but it’s still an original act. I think the show is specialising in putting on performances with acts that are out of the ordinary.
I can’t wait to see it next Wednesday! Thank you, Arnaud.
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We thank Arnaud Caizergues for this interview and cannot wait to see Zerial in Adelaide next week!
KEY INFO FOR ZERIAL IN ADELAIDE
WHAT: Zerial
WHEN: From 9 to 13 September
- 9 – 11 September at 7pm
- 12 September at 4pm
- 13 September at 1pm
WHERE; Space Theatre, Festival Centre, ADELAIDE
HOW : Buy your tickets via this link
HOW MUCH :Ticket prices range from $59 to $119 depending on the seats selected.
KEY INFO FOR ZERIAL IN MELBOURNE
WHAT: Zerial
WHEN: from 16 to 20 September
- 16 – 18 September 7pm
- 19 September 3pm and 7pm
- 20 September 1pm
WHERE: Arts Centre MELBOURNE
HOW : Buy your tickets via this link
HOW MUCH: Ticket prices range from $59 to $99.
Have you seen Zerial or Le Aerial before?
