There are endless storytelling possibilities in physical and musical theatre - something that has never been so starkly presented as by Extraordinary Bodies. The non-traditional circus company celebrates storytelling through all art forms, rounding off a decade of expertise through a spectacular new production co-produced with Bristol Old Vic and Theatre Royal Plymouth.
Waldo’s Circus of Magic & Terror honours the talent of d/deaf, disabled, and non-disabled artists through an amalgamation of theatre, musical and circus performance. The story follows a travelling circus troupe in 1933 in Nazi Germany, an original story from Hattie Naylor and co-written by Jamie Beddard that is so rarely told about that particular epoch.
Co-directed by Claire Hodgson and Billy Alwen, the story is informed by historical research and the experiences of real Jewish circus artists who were often forced to perform at Nazi rallies. In the first act, you feel safe and secure alongside the outcasts, aerialists and acrobats confined in the Big Top tent, an incredible detachable set designed by Ti Green. Before the interval, the threat of the Nazi Party is shown mostly through Joseph Benowitz (Jack Reitman), a Jewish man who begs Waldo, the cruel circus manager, to hide him in his troupe.
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Waldo (Garry Robson) is portrayed as a Jack the Lad type (in one of the songs, Robson reminded me of singer Ian Dury) whose motivations are complex. He’s driven primarily by money but will ultimately do anything to save his circus from collapse, leading him to many questionable decisions.
This historical context makes for uncomfortable viewing at times and is heightened in the second half when the audience is confronted with the horrific tactics used by the Nazi Party to eradicate anyone who didn’t fit their ideal. It’s also a powerful allegory for how fascism dehumanises minority groups and poisons contemporary society.
Admittedly, the history paired with attempts to intricately explore each character left the narrative confused in parts, creating a complicated web of protagonists to follow throughout both acts. The familial rift between Waldo and Peter (Tilly Lee-Kronick) appeared to be one of the prevailing plot lines but wasn’t fully formed, with Waldo’s hateful treatment of his son ultimately driving him away from the troupe into the arms of the Third Reich - albeit a possible attempt to warn his son of a degenerative genetic condition affecting his movement.
There were also several romantic entanglements to follow, including the will-they-won’t-they romance between Krista (Abbie Purvis), the troupe’s star who falls in love with newcomer Gerhard (Lawrence Swaddle) after he abandons his family and the Nazi Party to become a performer.
Peter and Renee (performed by the incredible Jonny Leitch, who also played the band’s drums) stole the show in the first act with an intimate aerialist scene. Confined in the Big Top tent, the aerialists are free to be themselves and explore their relationship, becoming more restricted in the second half as the Nazi Party aims to stifle homosexuality.
Both the writers and choreographer (Vicki Igbokwe-Ozoagu) succeeded in spotlighting each performer throughout the show. The storytelling thrived through movement in beautifully choreographed sequences, including Dora’s (JoAnne Haines) and Darragh Finnegan's (Ryan Murphy) brilliant physical comedy and Queenie's (Mirabelle Gremaud) effortless acrobatics and contortion.
The loveable double act of Mosh (Brooklyn Melvin) and Mish (Raphaella Julien), who communicated through British Sign Language, had one of the strongest on-stage relationships. Mish’s heartfelt solo performance of ‘The Disappeared’, a contemporary retelling of a real poem by Pastor Martin Niemöller, was incredibly moving at one of the most devastating points in the story.
Musically, the compositional elements throughout were deliberately incongruous (Charles Hazelwood) - darting from New Romanticism to steampunk to classical - but lyrically clunky in parts. It did, however, help to reveal the motivations of each character.
Waldo’s Circus of Magic & Terror is unlike anything seen before on stage, signposting a major necessary shift of accessibility in programming. But this was no detraction from the prevailing message of love and resistance that shines a light on the underrepresented through the underrepresented.
The UK tour production is BSL interpreted (Max Marchewicz), captioned and audio described as well as being chilled, meaning audience members are free to move around and have time away from the auditorium if needed.
Waldo’s Circus of Magic & Terror by Extraordinary Bodies is at Bristol Old Vic until April 1. Suitable for those aged 12 and over. For more information and to purchase tickets, visit www.bristololdvic.org.uk.
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