The Spiegeltent in Christchurch, Christchurch

23/01/2020 - 15/02/2020

World Buskers Festival 2020 | BREAD & CIRCUS

Production Details

The world-acclaimed circus-cabaret comes to Christchurch to pop your cork!

Come to the place where the champagne sparkles, eyes glimmer and the sensual and salacious combine.

Brought to you by the creative team behind worldwide smash hit LIMBO, BLANC de BLANC brings the finest cabaret and acrobatic talent from around the world, serving an intoxicating blend of vintage glamour, high-end spectacle and titillating acts to infatuate, illuminate and delight.

After triumphant seasons at Sydney Opera House and London’s West End, the show is now taking Las Vegas by storm. For an evening of breathless abandon in the glorious The Spiegeltent, you have found the right place!

The Spiegeltent
23 Jan – 15 Feb 2020
Tickets from $35
R18+, Adult themes, Nudity


A 1.5% payment processing fee applies to all purchases made by card.

Spiegeltent seating categories are general admission. You will be seated according to your section but all seats are unallocated.

Theatre , Circus , Cabaret ,

2 hrs incl. interval

Follow-up to Limbo show at Bread & Circus Buskers Festival lowers the bar

Review by Charlie Gates 30th Jan 2020

What is French for ‘oh dear’?

Last year, production company Strut & Fret brought the cabaret and circus show Limbo to Christchurch as the headline act of the freshly renamed Bread & Circus festival.  

It was a slick and sexy show packed with fire breathing, a live band and breathtaking aerial circus skills.

So, I went in with high expectations this year for their new show Blanc de Blanc, a French-themed cabaret show inspired by the many attractions of champagne. [More


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Extraordinary, dazzling and sometimes rather wearing

Review by Tony Ryan 25th Jan 2020

Running themes of champagne, high spirits and a hyped-up party atmosphere are the main content of this year’s Bread and Circus World Buskers Festival’s headline act Blanc de Blanc. Other than that, the content of this show strikes me as surprisingly thin. Even so, the well-‘oiled’ official opening night audience responds readily and enthusiastically to the party spirit and, after two hours, they leave the wonderful festival Spiegeltent clearly well-satisfied. 

It’s one of those shows that relies on very high-volume canned music to make its impact, but that impact is reflected only intermittently in the visual element and scripted content.  

For me, the antics of Spencer Novich, as the show’s comic ‘skinny white guy’, provide most of the real highlights with his own brand of lip sync; well, not so much ‘lip sync’ as extraordinarily virtuoso ‘whole-body sync’, performed to a kaleidoscopic collage of music and sound-effects, that’s truly breath-taking in its energy, invention and timing.  

But, although other performers generate moments of almost equal amazement, for example in a somewhat freaky contortion act and, later, in a dazzling routine with hula hoops, I begin to find the otherwise endless seductive posing and flirtatious dancing rather wearing – a whole song of scantily-clad bottoms waving at us outstays its entertainment value by a considerable margin. 

If the start of the second half with three completely naked performers on stage is designed to shock, it’s certainly nothing new to cabaret and fringe festival audiences around the world. A passing comment during the interval from an acquaintance that “it’s a welcome wake-up for conservative Christchurch” seems more like a wanna-be-rebel’s desire to buy into some erroneous mythology about twenty-first century Christchurch audiences, not to mention any real shock-value in stage nudity. We had that to much more comic and confrontational effect in last year’s festival’s Garry Starr Performs Everything, to cite just one example. Tonight, a suggestion by one of the actors that “I can see that some of you are frightened and some of you are horny” comes across as more hopeful than accurate. 

If comparisons are sometimes odious, I can’t help remembering last year’s headline act Limbo, with its comprehensive and diverse range of talent along with its exceptionally impressive integration of brilliantly played live music.

A glance at Blanc de Blanc’s website and social media pages suggests that the content of their show varies considerably, so perhaps the balance of cabaret vs. circus in the Christchurch season differs somewhat from what they often offer. 

As I say at the start of this review, tonight’s audience is very well-satisfied by the Blanc de Blanc experience and I have no doubt that the show will appeal equally to audiences during the reminder of the festival. 


Heiko Mueller-Cajar February 3rd, 2020

Been there on Saturday (1. February) in the evening. Arrived thirty minutes early (as per the request on the ticket) and had to queue up for 45 minutes with everybody else. Show started 30 minutes late - it looks like they booked too many events into the tent and couldn't get through them in time. Lucky the light rain outside didn't increase ...

None of the staff bothered to communicate with the waiting crowd other than keeping us in queue. Just missed the bull terriers ...

Bad planning, terrible organisation or just greed of the organisers who don't care for the audience?

In the tent - seats provide less space and legroom than an economy flight, they are however less comfortable than plane seats. By the way - premium seats are the same, just closer to the stage.

The program - well, typcial night club stuff served with lots of incredibly loud canned music. Actually - "deafening" would be a better description for the music. Don't bother anymore to wear your hearing protection for mowing the lawn, but bring it to the performance. Seriously - any employer would be sued for exposing staff and customers to these loudness levels without providing hearing protection. How OSH allows these people to get away with destroying peoples hearing is hard to fathom.

Some of the artists are not too bad, though nothing new. Not a bad hola hoop number, some artists swinging over a bubble bath and one or two robot numbers. For the group performances - some more practises probably would have improved the choreography.

The music? Well, I mentioned already the deafening volume. Apart from that - various Frensh classics (which would be fun if you could listen to them without worrying about your eardrums poping out of your head) and some less tasteful newer songs. Two random titles I still remember: "Too drunk to f*ck"and "put it into your motherf*cking mouth". Which leads us the the sexual content: while I realise that there is a continuum between tasteful and tasteless, I would put most of the acts into the latter category.

If you value your hearing and your time I'd propose you might want to have a nice evening with your partner somewhere else instead of coming to this show ...

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