The Star's critic MARIA DUARTE reviews Sebastian, Four Mothers, Restless, and The Most Precious of Cargoes
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Eloquent body language
Simon Parsons admires the ambition of a spectacular show that pits disabled performers against Nazis
circus
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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.
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