And then there are the wheels, both Cyr and German. The former is a single ring with a performer splayed inside it, moving it around the stage. In this case, two performers maneuver it, in a romantic sequence which offsets Cirkopolis’ more somber scenes. The German wheel is two large rings connected by a track, so the performer can roll inside. In Cirkopolis, six men take turns, and sometimes there are as many as four of them inside it.
“Throughout the show, you’re on a journey with the main character [an office worker],” Painchaud reflected. “This idea of making a decision of becoming yourself — that’s what I want to share. Too many people are too much afraid of being themselves. Sometimes you can decide at 20, sometimes at 50 — most never make that decision.
“It’s still a happy show, with much humor,” he hastened to add. “I’d like viewers of Cirkopolis to let it all go and be transported by hope. Hope is, for me, most important.”