GIFFORDS CIRCUS: LAGUNA BAY

Chiswick House and Gardens

★★★★★

“The drizzle is still hanging in the air, but the sunshine created by this extraordinary circus show is still blazing in our hearts”

Giffords Circus is as old as the Millennium. Which makes it sound old, until you remember that this millennium is actually quite young. Still, young or old, the circus – founded in 2000 by Nell and Toti Gifford – has become part of our heritage as it tours the Cotswolds and Southern England each summer, come rain or come shine (this is England – so more often the former). For its twenty-fifth anniversary director Cal McCrystal, who has been with Giffords since 2012, has avoided the fireworks and grand gestures of a landmark celebration, and instead opted for ‘business as usual’. That business being jaw-dropping acts combined with chaotic humour and dazzling live music. Like every other year, the circus adopts a theme. This year we are swept back to the buoyant, sun-soaked era of 1950’s America with “Laguna Bay”. A world that shimmers with promise and optimism. Black clouds may be hovering over West London but under the big top the sun is beating its heart out.

And Tweedy is back. The clown went AWOL last year but now he’s back with a vengeance. It could almost be dubbed ‘The Tweedy Show’ as he bombs, hijacks, infiltrates, interrupts and hilariously joins in most of the routines (important note: do not try this yourself – despite the anarchic appearance it has of course been meticulously rehearsed down to the tiniest tee). Tweedy plays the role of the bellboy at Sal’s Motel with his trademark slapstick and irreverence, but he rapidly sheds the restraints of his character (and his costume) before mounting his mutiny on the management. The kids love him; the adults love him more.

More so than previous years, the show has a real ensemble, almost family, feel. When not displaying their breathtaking skills, the performers are singing, acting and joining in the party in numerous other guises. Bandleader Mikey Fletcher mingles with the acrobats while lead singer Nell O’Hara is literally swept off her feet, up to the top of the big top, while still belting out pitch-perfect melodies. All the while the live band, the wonderful ‘Semi-tones’, are underscoring and overscoring the action with the feelgood, fifties soundtrack of the West Coast; as though The Beachboys have wandered onto the set of ‘That’ll be the Day’.

McCrystal has brought together the customary matchless cast. A mix of new faces and past masters, but each styling their performance to fit the concept of the show. Pablo and Vikki Garcia circle the tent in their American Airforce monoplane, shedding the laws of gravity (and shedding underwear!) while putting out an engine fire, and hanging from the undercarriage by the skin of their teeth (and that is not a metaphor). Both hilarious and heart-stopping. Their two sons Antonio and Connor – aka the Garcia Brothers – astound with their handstands, redefining the body’s centre of gravity and reinventing the body’s abilities. Daniela and Noémi make our hair stand on end while they use theirs to hang from the rafters, and spin, float and dance in the air with perfect synchronisation. Up there too is Randy Forgione with his remarkable strap act. But down on the ground the Ethio-Salem Troupe boggle our minds with, first their juggling, and then later their hoop diving act. Emma Tytherleigh brings a few moments of relative serenity with her four-legged friends; the loveable ponies and her dancing dog, Cowboy. It is all quite magical. And, of course, a touch of real magic is thrown into the mix by Maxi, whose personality plays tricks on our hearts while his conjuring plays with our minds. At one point he (how does he do it?) makes Tweedy disappear.

But there is no holding Tweedy back. He returns. And returns. The Rivelinos (clown duo Dany and Sito) are often by his side, not so much comic sidekicks as the ones kicking him into shape. The show culminates in a full-on ice cream fight – a dream for the audience but a nightmare for the stage managers. The entire troupe follow this with song and dance and a bit more mayhem. The audience are pulled into the ring. All of a sudden, the performers have disappeared, but the crowd continues to bop-a-long to the hop. As the lights fade, we wander back into the night. The drizzle is still hanging in the air, but the sunshine created by this extraordinary circus show is still blazing in our hearts. Giffords Circus lets us step into another world and forget everyday life with its mix of thrills and skills, romance, comedy, magic and mayhem. Glorious escapism at its best.

GIFFORDS CIRCUS: LAGUNA BAY

Chiswick House and Gardens then tour continues – click on Giffords logo below for dates and venues

Reviewed on 5th June 2024

by Jonathan Evans

Photography by Spencer McPherson

Previously reviewed at this venue:

GIFFORDS CIRCUS – AVALON | ★★★★ | June 2024

GIFFORDS CIRCUS – THE HOOLEY | ★★★★★ | June 2021

LAGUNA BAY

★★★★

“a powerful play with a satisfying, if unrealistic, ending”

Katori Hall’s award winning play The Mountaintop is a timely revival at Edinburgh’s Lyceum Theatre, as the United States once again faces, in King’s words, “the urgency of the moment.” Directed by Rikki Henry, with Caleb Roberts as Dr Martin Luther King Jr., and Shannon Hayes as Camae, this production delivers a theatrical examination of King’s last night alive in the Lorraine Motel in Memphis, Tennessee on April 3rd, 1968. If you’re thinking this will be a naturalistic drama about a charismatic civil rights leader and the forthright maid he encounters when he orders room service, prepare to be surprised.

We encounter Dr King on a night when he is at his physical lowest. He is coughing incessantly, smoking cigarettes that only make things worse, and is increasingly paranoid (with good reason) about the covert surveillance of the FBI on his political activities. Paradoxically, his achievements as a civil rights leader have never been greater. He is a winner of the Nobel Peace Prize. He has already delivered his most iconic speeches, and is in Memphis having delivered yet another historic speech in support of striking sanitation workers. It is in reference to this speech that playwright Katori Hall takes her title The Mountaintop.

The beginning of the drama is naturalistic enough. We see Dr King go through the motions of anyone who finds himself in a motel room, after midnight, with an exhausting work day behind him. Hall presents us with Martin Luther King, Jr. the man, not the legend. A man trying to find a cigarette, and to reach his wife and children with a telephone call. Outside the Lorraine Motel a typical Southern thunderstorm is battering Memphis, to King’s evident discomfort, and even fear. Hall has chosen to present King as vulnerable, afraid, and desperately in need of that cigarette, and a cup of coffee. Salvation arrives in the form of Camae, a pretty and beguilingly outspoken young woman who rescues King with both. From that point on, The Mountaintop is really Camae’s play, as she alternatively flirts, shocks, comforts and drives King into the arms of his eventual destiny. The play parts company with naturalism when, in a totally unexpected jog into surrealism, it transpires that Camae is not just a maid with room service, but an angel of death, preparing King for what awaits him the following day.

In this production, set designer Hyemi Shin has prepared the way for the surrealistic jog. The set is set at an angle, with the boundaries of the room sketched in. There’s something surrealistic about the television set as well—as though it were broadcasting images not of this world. Actors Shannon Hayes and Caleb Roberts have plenty of space to burst through the boundaries of the motel room when the moment arrives, and director Rikki Henry encourages them to be bold in their use of it. The show may begin in a motel room in Memphis, but it ends at an apocalyptic moment in American history, and Hyemi Shin’s costume designs are up to the challenge as well. With powerful composition and sound design by Pippa Murphy, and lighting design by Benny Goodman, we are free to focus on the performances by Hayes and Roberts. Shannon Hayes makes the most of the role of Camae. She is strong, confident and not afraid to challenge Roberts at every turn in the drama. This is essential since though there are surprises throughout the drama, there’s not much that could be called suspenseful. Caleb Roberts is a good foil as Martin Luther King, Jr. He shows the range of the man, with a sensitive performance that includes weaknesses for tobacco and women, and King’s fear of meeting a violent fate before his work in the Civil Rights Movement is complete. While the dramaturgy is uneven at times, it is still a powerful play with a satisfying, if unrealistic, ending.

The Lyceum’s revival is well worth attending. Spend a little time reminding yourself of the history of the Civil Rights Movement in the United States in the 1960s, and the life and writing of Dr Martin Luther King Jr. before you go. It will make your visit all the more meaningful. Recommended.

Tag Archives: Recommended Show

GIFFORDS CIRCUS: LAGUNA BAY

★★★★★

UK Tour

GIFFORDS CIRCUS: LAGUNA BAY

Chiswick House and Gardens

★★★★★

“The drizzle is still hanging in the air, but the sunshine created by this extraordinary circus show is still blazing in our hearts”

GIFFORDS CIRCUS: LAGUNA BAY