Review: CIRCUS IN A TEACUP by Vulcana Circus

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Last night I went to the opening night of Vulcana Circus's Circus in a Teacup, a show which came about as a result of a collaboration between Vulcana Circus, Brisbane Domestic Violence Service and Micah Projects. The cast features both circus members and survivors of gender-based abuse to tell their stories and share their resilience against their oppressors.

Lastly, I grew up in a domestic violence household. My Dad would oppress my Mum - emotionally, physically and mentally and I would always, without fail stand up for her and in turn, I would be oppressed. Am I writing this in a review for you to feel pity for me? Absolutely not and this isn't the platform for me to share that particular story.

I'm telling you this because I went into this show with the feeling of being hyped that I was going to see stories akin to my mother and of my own represented on stage. In my head, I was thinking about how I could buy two tickets after the show finished for Mum and I to the closing night performance and have a mother-daughter bond over finally being represented and emerged in a community that understands that we lived through. But I didn't feel represented, I didn't feel head and I didn't feel seen. I didn't know what to think or feel. There were moments when I thought I did, but the moments were soon outweighed but the moments where I didn't

Ten minutes into the show, it became apparent that the show didn't have a clear form. There was a tug at war game in place between a solo show vs ensemble work. There were gorgeous moments when each performer was on stage doing unified and still movements while there was a performer in the spotlight. However, these moments were rare, with most solo performances taking place on an empty stage. This directorial choice juxtaposed with the themes of community and connection with the show was trying to create. Which is a shame as the chaotic ensemble moments and chair choreography were so divine and I thought, really encaptured the life that Vulcana was trying to breathe into the work.

One of my favourite ensemble images was the scene from which books fell from the ceiling around the central performer which was shortly followed by words from legislature and various legal terms being scribbled on the projector, appearing at a rapid pace which was complimented by the performers static movements on stage. Another sublime image was when the ensemble were standing on the table, watching a performer do an aerial routine who was embraced by the ensemble afterwards.

I admired the show's inclusion of non-actors to tell their own stories. It added a layer of authenticity that likely would not have been the case if it was the reverse. Videographer Paris Owen added such gorgeous imagery and projections to compliment the content of each story, with it's noir esque nature popping against the performer's brightly coloured costumes.

Whilst I applaud the creatives for valuing authenticity, the casting choice resulted in the audience being jarred from the show at regular intervals as a result of performers fidgeting and their eyes and minds visibly wondering. This resulted in the production value sitting in the space between polished vs unpolished.

Circus In a Teacup has potential, as do all new works, but it needs a dramaturgical eye to refine the work so that it can achieve what it hopes to achieve.

Photography credit to Jade Ellis.

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