Waldo’s Circus of Magic and Terror
Bristol Old Vic

WITH elements of Cabaret and The Greatest Show on Earth this musical, set in 1933 Germany, explores the responses of a circus troupe to the rise of the Nazis. Largely made up of social outcasts with many disabled performers, the circus is a prime target for Hitler’s programme of eugenic cleansing.

Devised and co-written by Hattie Naylor this is a hugely ambitious production with a large cast of diversely abled performers who create a vibrant, co-dependent world under Ti Green’s magnificent big top set, and  accompanied by Charles Hazlewood’s dynamic, musical composition. 

With the assistance of Extraordinary Bodies (a charity championing diversity and equity in the performing arts) the aerial routines are truly breathtaking and the range of physicality on display impressive.

This varied blend of talents and performance styles incorporated into a historical and socially significant period should make for a powerful and significant theatrical experience, but the show struggles with this complexity, lacking cohesion and with an over simplistic script. This may be overcome as the production matures but some of the dialogue denies the actors any depth to their roles. 

Garry Robson is the pragmatic, dour ringmaster hiding from the encroaching world behind an alliteratively bombastic MC persona, and Abbie Purvis’ strong-willed role as the circus’s princess generates much of the show’s emotional impact.

Brooklyn Melvin and Raphaella Julien as a pair of clowns and Mirabelle Gremaud as a contortionist fill the stage with dance-like movement as does the expressive signing of Max Marchewicz.

The trio of directors have made a range of imaginative decisions, playing the Brown Shirts as another form of circus. When Tilly Lee-Kronick performs an aerial swastika, this shocking imagery contrasts with the harmonious synchronisation of her earlier routine with Jonny Leitch. 

The live music, catchy songs and constant sense of physical activity creates a buoyant atmosphere and with frequent memorable circus routines, this is a production that keeps the audience alert and engaged. But when the final, inevitable roll call detailing the performers’ fates is called, performance issues have diluted its emotional impact.

Runs until April 1, then on tour. Box office: bristololdvic.org.uk