Stian Blipp’s first solo show is a cabaret like a circus. And impressively talented.
Stian Plebe – Cirque du Plebe
With: Stian Bleib, Nanette Hogan, William Poe and Nicholas Mayne
Director: Dagfinn Lyngbø
Showing at Forum Scene in Bergen from 16 September.
Later played in Oslo from January 12, 2022
“Tonight! Great experience Stian Blipp and company! Accompanied by charming and unique dancers from the Far East!” He’s on screens before Stian Blipp appears on stage in his first solo show.
Or mange, because it is circus The Former Sinkfield Presenter The type determines the performance for.
There is a reason for that.
Blipp combined all of his famous talents, such as Beatboxing (especially the flashy cover of Kanye’s “Black Skinhead”), singing and dancing in a tight and somewhat inexplicable performance. Of course combined with quick notes and warm timing, only director Dagfinn Lyngbø can match it.
Sometimes the points are so personal and hard to strike softly that one can, so easily confuse the tone with one’s eyes closed, imagine that it is precisely Lingbo who is standing there in the mines.
At least in a longer sequence to stand around ripening and finding oneself. Blipp offers childhood stories balanced with mischief but hysterically witty. About how life chances can still be arranged, despite the lack of education and daily turmoil before your first birthday celebration.
He himself admits that he can do nothing but joke, dance and beatboxing. Fortunately there is room for all this in the circus. That’s why he tried his hand at a magic number with inlaid cards and help from the audience.
Really impressive is the sequence halfway through the circus where the 32-year-old will confirm the venue He lives the offer. He pauses the song, receives genre suggestions from the audience, and then switches to the suggested genre. The impressive thing is that Blipp, dancers and solo orchestras must have trained in a lot of genres. The premiere included pop, hip-hop and old-fashioned rock.
I hope someone will suggest opera, death metal, or kpop while playing it.
In this audience interaction, which feels so eerily natural and direct, Blipp really shines. Perhaps this is partly because he is in his own city, but also because he makes the elegant rounds in the comments from the hall where only a Bergen resident with chronic attention deficit disorder can do so.
When he introduces himself, his private life as a father to young children and not least experiences an impressive interaction between stage and screen in a song about being a player at the end, the tent canvas of Blipp Circus lifts himself up.
There’s also where talent doesn’t quite take off. It sings clean and partly clear. But he’s not a great singer. The sound drowns out the soundscape and many spots disappear in this one or more person-run cabaret.
Too bad, because he masters most other things almost annoyingly. It is a perfect folk circus in every respect.
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