But Wait… There’s More – Circus Oz

Overview

This review was written about the June 2014 run of this production in Melbourne.

There's nothing quite like the big top. Entering that hallowed striped tent always feels like a form of transportation. No longer concerned with your workaday life, you're in a place where anything's possible — it's a snug little haven that promises hot cinnamon donuts, escapism and wonder. While Circus Oz definitely delivered on the donuts and the wonder, its brand of escapism strangely enough depends on your personal politics.

For those not familiar with Circus Oz, social justice plays a big role in their performance. As much as they're out to surprise and entertain you, they're also concerned with imbuing each act with a specific political resonance. As such, But Wait... There's More gathers its story lines through political fodder. In the two-and-a-half hour performance, they cover indigenous rights, consumerism, commercialism, feminism, and 'infobesity'. It's a noble pursuit that is executed with mixed success — while you do feel more fulfilled by the experience, at times you can't help but crave the light-hearted frivolity of the circus you remember from your childhood.

Outside of ideology, all the elements of the conventional circus are intact. On unicycles, hoops, and the trapeze, each member of the Circuz Oz ensemble brings an incredibly diverse set of skills to the table. Technically impressive feats are pulled off with an exciting amount of showmanship, and even a reluctant audience member will find themselves clapping and cheering.

Particularly memorable moments include a delicate acrobatic dance played out on the unicycle by April Dawson and Kyle Raferty; a vivacious performance from Lilikoi Kaos with what must be close to 50 hula hoops; and an endearingly meek clown from Olivia Porter. Thankfully Circus Oz is an animal-free circus so, while your childhood memories may be tinged with lions and elephants, you'll have to make do with a particularly knowing gag with a BMX and a whip.

As with all circus acts, it's not just the performers that deliver the show, and significant praise should also be directed towards the design and sound crew. The jazzy on-stage band provided a diverse and lively soundtrack to the evening, and in one impressive act we saw a performer battle mesmerising smoke rings through the darkness.

Of course, it's all wildly entertaining — it's the circus, how could it not be? But in the tug-of-war between performance and plot, sometimes the blunt truths of the show take centre stage. While this works at times, for instance in the beautifully earnest Welcome to Country, at others it feels a little at odds with the performance.

After all, the circus is a place of excess. It's hard to give yourself over to the joy of a finale spectacular while it's insistent on drilling home its critique of commercialism — particularly with your donuts and $10 program in hand.

Photo credit: Rob Blackburn.