LES ENFANTS DU PARADIS - REVIEW

Touring since 2002, Giffords Circus stands as one of the most unique cultural events in the UK. The circus returns this summer, ready for audiences to immerse themselves in two hours of chaotic fun, extraordinary talent, and pure joy! Located at the stunning Chiswick House, the gardens have been decorated with large white tents and red caravans, serving refreshments and merchandise.

The circus kicked off with Tweedy the Clown, who played an audience participation game involving bells and Lidl sellotape?! While slapstick comedy isn’t my usual go-to, I couldn’t help but enjoy Tweedy’s ability to engage with the crowd; both young and older members of the audience were captivated by his antics and it was a great way to introduce the famous Giffords Circus. Be cautious during “sweetie time” – you might find yourself unexpectedly showered with lollipops as Tweedy and friends enthusiastically chuck sweets into the audience.

This year’s show, directed by Cal McCrystal, is named Les Enfants du Paradis which they openly admitted has nothing to do with the romantic French film of the same name, but is set in the period of 19th century France. However, I feel this theme isn’t consistently clear throughout, and the acts lacked a cohesive theme to tie everything together. While Hugo Victor and Clair de Lune (Michael Fletcher and Nell O’Hara) may have worn vintage Parisian attire, the other performers and even the band seemed to be dressed in contrasting styles.

Giffords Circus hosts an amazing ensemble of performers, who showcase their unique skills. From ethereal acrobats gracefully soaring through the air to the exciting Ethio-Salem pole troupe, each act showcased their incredible talents. The roller-skating sibling duo, ‘The Skating Medinis’ wowed the audience with their tricks, while Sergi Buka’s shadow play was ironically peaceful to watch amongst all the circus chaos. One act that stood out was Antony Cesar’s mesmerizing aerial strap performance. I was in awe by their effortless acrobatic moves, while suspended in the air. What made their act even more amazing was the seamless integration of contemporary dance moves, making the overall performance an absolute beauty!

The band, dressed in angelic white, had impressive vocals and acted as a whimsical chorus, providing sound effects for the comedic moments. takis, world renowned opera designer, designed the dilapidated theatre set for the circus. The staging is simple, with the centre stage naturally commanding attention. I couldn’t help but notice the candlelit right side of the stage remained largely unused. It appeared more like a holding area for performers during the acts.

One aspect of the show that left me feeling uncomfortable was the use of animals. It seemed unnecessary and, in my opinion, shouldn’t have been included at all. Reading through the programme and seeing the overall visual design around the circus, it’s evident horses play a big part in the Giffords legacy. Unfortunately, I didn’t enjoy this part of the show and I found myself eagerly waiting for it to end.

Even with this setback, it is clear Giffords Circus remains a fun family show, that has been captivating audiences for over two decades. The finale was so joyful and heartwarming, as the audience sang and danced in the middle of the stage. The atmosphere alone lets you know that Gifford Circus is a traditional event, loved by all.

Giffords Circus is on in Chiswick until the 19th of June – you can find info on more dates and tickets here!

{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}

A PISSEDMAS CAROL – REVIEW – LEICESTER SQUARE
by Amy Rye
The infamous Sh!t Faced Showtime are back in London with a festive edition, they have taken Dickens’ classic and put a drunken spin on it. The formula is the same as other iterations of the Shi!t Faced shows, one member of the cast has been boozing, and this time it is John Milton who plays Scrooge. Before the show, half a bottle of Jim Beam, some wine, and beer have been consumed in the previous 4 hours. The rest of the cast, try to keep the show on track, also aided by James Murfitt as the compere, Charles Dickens. The … More A PISSEDMAS CAROL – REVIEW – LEICESTER SQUARE
A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
by Ellie Preston
Spine-tingling yet heart-warming, Mark Gatiss’s retelling of A Christmas Carol truly encapsulates the haunting atmosphere of a Victorian ghost story, balanced out with enough humour so as to capture the festive season. Led by Keith Allen as Scrooge, with Peter Forbes as Marley, this show is perfect for Christmas viewing. The set design by Paul Wills is instantly captivating, containing stacks of metal cabinets towering over the theatre, moveable by the cast to allow space for other central props like doors, beds and tables. In addition to this, the puppetry design by Matthew Forbes is incredibly clever, adding creepy elements to the show such … More A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
by Tom Carrao
The title of this winner of Theatre 503’s 2023 International Playwriting Award by Roxy Cook may seem like the set-up to a joke, but the narrative that unspools is instead an affectionate, gently barbed and at base quite sobering portrait of three ordinary souls (and one restless feline) adrift in modern Moscow. There is much affable, satirical back-and-forth commentary on the accepted myths & stereotypes of the Russian spirit & soul. Beset by the indignities of age, opportunism, graft, fatigue, the characters orbit one another, doomed to play out their roles in an unjust, predatory and saturnine universe. The play opens … More A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
by Amy Rye
Peter Pan Goes Wrong first premiered in London at the Pleasance Theatre in 2013, and earlier this year the show made its Broadway debut. Now the production is back in the West End for the Christmas season. Following on from The Play That Goes Wrong, in this production, J.M. Barrie’s Peter Pan is staged by the fictitious Cornley Polytechnic Drama Society and goes awry, disastrously so. The meta-comedy is filled with slapstick comedy, sometimes the humour may be predictable and silly, but it’s universally funny throughout – there is something for everyone here, and the laughs come thick and fast … More PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE
by George Rennie
Drawing heavily from the classic canon of the British supernatural, HighTide’s trio of contemporary Gothic narratives uses traditional storytelling formats to address contemporary themes. Directed by Elayce Ismail, reverent musical interludes accompany tales of apparitions and nighttime conjurings that speak of women from the East of England. Unfortunately, the effect is less chilling and more lightweight, with conventional structures, predictable plot twists and an over-reliance on external forces to drive narrative shoring up some of the less relatable aspects of the genre. Nicola Werenowska’s The Beach House, perhaps the cleanest of the three tales, tells of a mother and daughter’s … More GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE