For over fifty years, David Larible has been a professional entertainer, engaging with the audience by playing on their emotions. The artist is convinced that the clown is the most popular figure in the circus. The more I look at David’s work on different projects in various cities, the more convinced I become that, if this statement is true for any clowns, it is certainly true for him! Our fellow nationals’ growing interest and love for the work of the famous Italian is perhaps why his visits are so well-received.
Entrance scene
Larible’s one-year contract with the Russian State Circus Company, under which he worked on the innovative WOW show, ended in early 2025. This is the first time in our circus’s history that robots have become full participants in the performance. When the project was first announced, I was particularly interested to see how David would fit in with it because the artist always works in a classic way, playing the role of a mischievous yet lyrical hero. Here, however, the emphasis was not so much on feelings as on technological progress. There were 12 full-size service robots, a digital arena and robodogs.
I managed to watch all the versions of this project featuring the Italian clown, including the production directed by Ruslan Ganeev and Daria Purchinskaya, and the New Year’s version created by Timofei Pendik together with Elena Petrikova, the principal director of the the Russian State Circus Company and Honoured Artist of the Russian Federation. After finishing in Saint Petersburg, the show toured other Russian cities with a different clown lineup: the duo of the Averyushkin brothers. Then it changed its name, and today the robots participate in the “How the Clowns Went for Cake” programme. But that’s a completely different story…
The Russian State Circus Company certainly did not lose by signing a contract with the Clown of Clowns. The Italian artist presented three completely different characters in the arena with masterful skill.
First scene
In addition to the customary image, the audience witnessed a clown tamer of robodogs in the “WOW” by Ruslan Ganeev. Through the comic situations that the hero got into while trying to force the robodog to perform tricks with the help of a lunging whip, he eventually abandoned harsh methods and agreed with his ward. The clown thus demonstrated the fundamental principle of modern circus animal training: respect for our smaller brethren.
Within the context of this production, Larible succeeded in talking about humane training and confessing his love to the Russian audience. With the help of the “piano keys” on the digital arena, the clown “walked through” “Moscow Nights”, a song famous in our country.
In my opinion, the first version of the performance was a symbiosis of youth, innovative technologies and the soulfulness of a traditional circus, brought to life by David Larible and the trainers with their four-legged friends.
Second scene
Daria Purchinskaya transformed the circus arena into a veritable Land of Sweets, complete with a lollipop arena entrance castle and a confectionery wonderland for the performers and props – cakes, chocolate, doughnuts, marshmallows and popcorn – all the treats dear to a sweet tooth’s heart, gathered under the big top. The show’s initial appearance suggests that it is intended for a young female audience and children. However, the philosophy of the world’s most highly awarded clown, his exciting tricks and the use of modern technology made the programme interesting for viewers of all ages.
Despite the light-hearted nature of the sweet kingdom-state, clowning around there prompted thoughts about important topics such as human relationships and the search for one’s place in society. I would like to note that David is an artist whose work is always worth reading between the lines. Then you can fully appreciate the powerful influence of the clown on the human mind and heart. During a conversation with journalists, Larible said: “Unlike European clowning, Russian clowning makes the audience laugh and think”. David always adheres to this principle in his work, so the Clown of Clowns can safely be put on a par with his idols: Andrei Nikolaev, Oleg Popov and Leonid Engibarov. You can also see Russian features in the artistic portrait of the Italian. Daria Purchinskaya incorporated additional meanings into the reprise of “My Way”, in which all of the clown’s musical instruments are taken away. Despite the obstacles he faces, he continues to sing, symbolising his journey through life. In the finale, after the clown’s showdown with the ringmaster, Yuri Antonovich Lysenko, we saw them embrace strongly.
Yuri Antonovich has been a jester in the circus for many years, and today he is a good contriver in the arena and behind the scenes at the renowned Saint Petersburg Circus. The hugs and shared vision of his fellow artists embody a friendship and mutual understanding that transcend today’s political situation. Incidentally, it’s not just David’s characters who experience and demonstrate warm feelings for Russia – the artist himself does too. He says with all sincerity that he loves our country and performing here. Moscow has also become one of his homes. David is very attentive to his fans. He regularly keeps in touch with his Russian fan club, and he is always happy to interact with the audience after the show. In return, the lead representatives of the Russian circus and its audience reciprocate: the former conclude long-term contracts and invite to significant industry events, such as the International Circus Festivals in Moscow and Saint Petersburg, as well as the Professional Priznaniye [Recognition] Award. The latter buy tickets to any event featuring their favourite clown, be it a performance, solo act, lecture or masterclass.
The “sweet story” ends with our kind clown finding people in tune with his soul in this vast world. For several months, this fit into a magical 13 metres. You might say that I’m overly emotional and impressionable, but when you see a clown walking down the aisle with a sad smile and a bright balloon while a melancholy melody plays, you realise that the scene is intended not only to create a strong ending, but also to show that behind the fun lies the loneliness of a vulnerable soul. The balloon symbolises the idea that there is always something wonderful ahead, but it must be earned through perseverance, hard work and a love of life. David’s hero was worthy of it, and he saw how all the WOW participants were waiting for him in the arena, each holding a colourful ball. A happy clown meeting like-minded people and receiving applause from the audience. Lo and behold, the balls of hope have already soared under the dome, promising us all a happy tomorrow.
Third scene
Russian New Year shows are rarely original – they’re usually variations of “Ded Moroz gets kidnapped by Baba Yaga/Kikimora/Leshy, the squirrels-and-bunnies rescue him, everyone scolds the villain, a festive tree “magically grows”, and then they all go home”. Elena Petrikova and Timofei Pendik delivered a memorable performance that captured the atmosphere and flavour of New Year’s Petersburg.
Thanks to the efforts of the talented directors, David Larible transformed from a naughty clown into a time-keeping wizard. It was interesting to observe the changes that took place in the master of clowning. In the prologue, I noticed that the sparkles in the laughing clown’s eyes had disappeared. They had been replaced by wisdom. Even David’s gait and posture had changed; they now reflected the power of a magician. The magician’s maroon frock coat, elegant waistcoat and top hat looked luxurious and expensive without being flashy. Their owner wore this splendour nobly and modestly. By the time the reprise came around, the artist had become well known to the Russian audience as an open and funny man. Such transformations deserve the highest acting award.
While working on this show, Larible played the role of Santa Claus, presenting his fans with Christmas gifts. He sang a verse of the world-famous song “Jingle Bells”, performed a reprise of “Orchestra”, which is rare for our viewers, and collaborated with the artists Ekaterina Shustova and Nikita Danilov, as well as the jugglers under the direction of Elena Drogaleva. The action takes place in a noisy tavern. What makes the act original is that it combines three genres: knife throwing, clowning and juggling. David Larible injected a touch of humour into the perilous situation, allowing the impressionable audience to observe the weapon gliding past him with composure.
In conclusion, I would like to be somewhat indiscreet and say that the “WOW” show holds a record for me in terms of the amount of material written about it – this article is my fourth piece on the subject. I have pondered the reasons why I find myself returning to this idea on occasion. I believe the answer is straightforward – the most talented clown of our era participated in it, showcasing his diverse abilities in various forms.
The Russian State Circus Company has given me the chance to experience the exquisite artistry of a truly unparalleled master once more, for which I am immensely grateful. Like many of my fellow nationals, I am looking forward to seeing David Larible’s new projects in our country, because art, friendship and love know no boundaries!
Text: Nata Tsirkanutaya
Photo: Elena Blednykh
This article was written on 8 June 2025 for the “13 Meters” competition organised by the Russian State Circus Company.
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