Circus 1903 (Regent) – theatre review

A year ago I was totally captivated by The Illusionists 1903 and now the producers of that magic show have teamed up with the award-winning puppeteers from War Horse for Circus 1903. Again we are transported back in time, this time to the golden age of circus, and the sets, settings and costumes reflect that for this world premiere production, featuring 25 performers drawn from all points of the compass.

A first-rate, hilarious emcee, ringmaster Willy Whipsnade (American David Williamson) brings much mirth and merriment to this family event that has plenty of razzle-dazzle and a few flatter patches. Circus 1903 starts with real punch and flair, with a number of performers pushing the limits of their respective specialties, accompanied by pulsating, invigorating music (the composer and musical director is Evan Jolly). Having seen a great deal of circus in my time it takes a lot to impress me, but impress me this did.

Not all the acts, mind you, have the “wow” factor that leaves you incredulous (I dare say first timers will think otherwise). A number I considered more regulation or routine, skillful though they were. A noteworthy exception was the opening act, the highflying Finnish trio of Arthur Ivankovich, AJ Saltalamacchia and Petter Linsky. Their skills on a see-saw (in the program termed a “teeterboard”), from which they are catapulted into the air, set a high water mark. Next up a balancing act for the ages from Russian Mikhail Sozonov, known as The Sensational Sozonov for good reason. Perched on a round silver table, he is able to stand tall and pivot 360 degrees on a small board, under which are a series of moving objects.

I have never seen a cyclist like German Florian Blummel, the wizard of the wheel, who can make a pushbike “sing”. In his keeping, the two-wheeler becomes a play thing extraordinaire. Ethiopian Senayet Assefa Amara has a lithe and limber body the likes of which make her appear superhuman. The Elastic Dislocationist, as she is billed, is a contortionist of such prowess that before this is over she is literally running rings around herself. Mexican Alfonso Lopez throws sharp knifes at his brave (or foolhardy) assistant, Maria Jose Dominguez Pontigo. Ukrainians Yevgeniy Dashkivskyy and Yefrem Bitkine take centre stage with their comedic acrobatics. Then is the turn of another Ukranian, Elena Gatilova, to display her balletic capabilities, her strength and flexibility in a single ring high above the stage. The first half ends on a high with the appearance of carefully and painstakingly constructed pachyderms, the life size (3.2 metre high) Queenie and her baby calf Karanga (which is Swahili translates to “Peanut”). They were designed and constructed in the UK over a year by Significant Objects. For all intents and purposes, they move just like they were flesh and blood, but without accusations of cruelty to animals that dogged circus for years.

After a 20-minute interval, Canadian strong man Andrei Kalesnikau dines out by tossing the acrobatic Anny Laplante around before Mikhail Sozonov and his assistant Ievgeniia Fetkulova artfully balance spinning balls. One of the night’s high points is the Great Gaston, the Juggling Juggernaut, Frenchman Francois Borie, who whips the audience into a frenzy. Fast, furious and dexterous, his hand to eye coordination is something to behold as he throws as many as seven batons into the air and catches them without missing a beat. “Body tossers being rag dolled” (an expression I have created), are not new to circus, but Spaniards Alejandro and Ricardo Rossi rule the roost in Circus 1903 with their mid air somersaults. The momentum is created by the other’s feet.

Throughout the performances, Willie Whipsnade reappears, introducing a number of acts and talking them up. He has his time to shine before the show proper gets underway and, again, ahead of the last act, when he calls a number of littlies up on stage.  On opening night he had some real fun with five deliriously cute kids, all aged from four to eight. Suffice to say, some of his shtick crossed over into beautifully timed black humour and the audience was in raptures. Before curtain call comes the daring do of the diminutive Lopez trio from Mexico, whose high wire act includes riding bicycles in tandem 10 metres off the ground.

So, at a tad under two hours, excluding interval, Circus 1903, directed by Neil Dorward, is good-humoured, good-natured entertainment for all ages with no shortage of thrills. It is playing at The Regent Theatre until 14th January.

Alex First