‘Passengers’ at the junction of circus and theater

The 7 Fingers, a modern physical-theater ensemble, presents “Passengers” at the American Repertory Theater this month. In this refined dialogue, Diane Paulus, the Terrie and Bradley Bloom Artistic Director of A.R.T., converses with 7 Fingers co-founders Gypsy Snider (circus choreographer of “Pippin”) and Shana Carroll (writer, director, and choreographer of “Passengers”) regarding the human essence of contemporary circus, its connection to theater, and the troupe’s unique bond with audiences in the Boston area.

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Could you share a bit about how your contemporary circus collective The 7 Fingers came into existence?

Carroll: I began in theater and encountered circus, unlike Gypsy, who started in circus and then discovered a passion for theater over time. Our journeys intersected during years of touring in Europe, Canada, and the United States. In 2001, we decided, “Now is the perfect opportunity to build our own venture together.”

Snider: That marked the inception of The 7 Fingers. We are seven co-founders, and the organization truly emerged because we were at a stage where we wanted to transition from being performers to becoming creators. When we began in 2002, we were drawn to new forms that inspired us, such as Blue Man Group or De La Guarda—productions that were hard to categorize, yet profoundly human and vigorous, seamlessly blending genres.

We had a somewhat rebellious spirit, turning away from grand spectacles, elaborate costumes, and fantastical elements. We wished to return to something fundamentally human. Currently, we function as a creative collective and production company that tours globally with our original shows and various collaborative works.

The 7 Fingers operates at the intersection of circus and theater. Can you elaborate on that combination of forms?

Carroll: We strive, as much as we can, to achieve this hybrid blend of circus and theater, merging all of our passions back into one space.

I didn’t have a fondness for circus in my youth. I always thought that Ringling Bros. and the massive circuses felt so unrecognizable, I couldn’t perceive the human element within it. It was so surreal that I failed to see the real people performing remarkable feats. I lacked any emotional connection to the artists involved. Witnessing it up close allowed me to appreciate its beauty, metaphor, and possibilities.

Snider: The legacy of circus and modern circus in the United States is intricate. In many ways, “circus” has become somewhat of a stigmatized term, viewed as an art form that exists outside societal norms. This was evident when “The Greatest Showman” was released, showcasing a circus sideshow regarded as lower-class, yet yearning to be esteemed alongside opera or ballet.

This art form has always experienced tension in the States. Is it street performance? Is it merely base entertainment? Is it solely about tricks? Yet, historically, from early Chinese and Russian traditions to Eastern, European, and African cultures, circus has always been grounded in the notion of mastering a skill and presenting or sharing that skill with the audience without a fourth wall. Circus has also forever hinted at storytelling or the creation of character and narrative. In contemporary circus, which emerged in the late ‘60s and early ‘70s, narrative, interpretation, movement, and image-based artistry began to impact the form more significantly.

In a 7 Fingers performance, we aim to craft storytelling that resonates emotionally with the audience, but without necessarily adhering to a narrative that follows a traditional beginning, middle, and end. While we sometimes do that, our primary focus is utilizing images that are inherent to the physical intensity of circus, just as music and dance might propel a narrative forward in a musical; acrobatics must play a similar role.

When we reflect on how remarkable circus can be, one of our central tenets is to acknowledge how vulnerable we are within that extraordinary performance. That human fragility has become the essence of our storytelling at The 7 Fingers. Vulnerability and humanity are what fuel all of our endeavors. “Passengers” is Shana’s passion project, a piece that bursts with incredible movement to convey genuine and profound vulnerability.

Shana, can you share how “Passengers” was conceived?

Carroll: The small spark was ignited during my childhood in Berkeley, California. There was a train that ran 10-15 miles away, and I always recalled how we’d hear its whistle. I noticed we would cease hearing other urban noises, such as the constantly passing buses, yet the train never faded from sound. On one hand, trains evoke nostalgia, representing remnants of a bygone era, yet they also signify a promise of the future, of unexplored territories. To me, trains encapsulate both the past and future simultaneously.

I aimed to create a piece with a cast of characters, each searching for something, yearning for fulfillment, and departing for various reasons. In a moment of suspended reality aboard the train, where time and lives pause, unexpected and fateful events unfold.

Just before embarking on the creation of “Passengers,” a dear friend passed away unexpectedly at a young age. It was an incredibly tragic experience. I was engulfed in grief, feeling as though I had to enter rehearsals for this show, unsure of how I would manage. I felt that nothing made sense. One day, I was unable to rise from bed and said to my husband that I wanted to return to a world where magical occurrences transpire, rather than a reality where beloved young men pass away. He replied, it’s both. When he said, it’s both, that notion became the guiding principle of the show. You observe the twin rails of the tracks as parallel pathways; it’s joyful and celebratory, beautiful and fun, yet also tragic, as lives are lost too soon. We journey through these dual realities concurrently.

A.R.T. patrons are acquainted with 7 Fingers’ artistry through Gypsy’s astounding circus choreography for our rendition of “Pippin.” How does it feel to return with “Passengers”?

Snider: I could nearly weep at the thought. “Pippin” was among the most pivotal creative experiences of my career. I gained invaluable insights from that production. To return with The 7 Fingers’ artistry to A.R.T. is truly one of the greatest honors. I can’t express sufficiently how thrilled we are.

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“Passengers” runs until Sept. 26 at the A.R.T.’s Loeb Drama Center. For ticket details, visit the website.