Music: Charles Hazlewood
Book: Hattie Naylor & Jamie Beddard
Director: Claire Hodgson, Billy Alwen & Jenny Davies
If ever there was a textbook example of a show that needs to go straight back into development and reworked, Waldo’s Circus of Magic & Terror would have to live high up on the list of eligible productions.
It’s the 1930’s the Nazi regime is building in power, and they are already persecuting the Jews, now the Nazi’s are setting their sights upon other minority groups including free-roaming circuses where members of the community clearly didn’t fit the ideals and perfections of the Aryan race. With tensions already high between Waldo (Garry Robson) and his performers, things get even harder when persecution comes knocking from within their own community and the hapless troupe must find a way to support and help each other through the darkest of days.
On paper this co-production between Extraordinary Bodies (a collaboration between Diverse City and Cirque Bijou), The Bristol Old Vic and Theatre Royal Plymouth has everything, circus, music, inclusivity and diversity and a gripping premise for a plot – in practise it lacks energy, pace, the storyline is pummelled by a weak script (especially in the first half) and the shows selling point of it being a new musical is ripped apart by the heartbreakingly weak musical numbers it presents.
The old proverb of “Too many cooks” really springs to mind – three directors for one piece (four if you include a circus director as well) seems a little overkill and without any nod to what each contributed to the production in the programme it’s hard to see where the fault lies, however, it’s clear that three directors really isn’t better than one – with a lack of coherency between the circus-based skills, musical numbers and scripted scenes being evident from the off. That said, the circus skills of the cast are brilliant and strong aerial work from Jonny Leitch and Tilly Lee-Kronick proves where the skills of the cast firmly lie and it’s encouraging to see so many of these moments incorporated into the show. Strong and touching performances come from Abbie Purvis as Krista and Joanna Haines as Dora. It’s also brilliant to see BSL incorporated throughout by an engaging performance from Max Marchewicz.
The set designed by Ti Green sets the circus scene brilliantly and lit with a real understanding of light and shade by Katy Morison but sadly while individual elements shine strong – as an overall piece of theatre it misses the mark on so many levels which is a shame as there is clearly a strong story to tell here and the format should work brilliantly, but in its current shape and form it’s pretty hard not to want to consign this production as quickly as possible into the history books.
Runs until 22 April 2022 and continues on tour until 7 June
The Reviews Hub Score
Needs work
