By Chenoah Eljan
Silvers Circus has set up its big top in the parking lot of Burvale Hotel, Nunawading. Billed as a modern circus with a ‘twist’, it’s a safe bet the modern part means that the animal cruelty has been replaced by acrobatics and the twist means… more acrobatics.
Entering the circus tent there are a couple-tired carnival games no one is playing, a jumping castle without children, show bags, and a couple of vendors selling popcorn and fairy floss that were made so long ago no trace of their smell lingers. It’s a circus without the scent, hustle and bustle and captivating chaos one might expect from years gone by. Still, despite the vacuum of ambiance the staff are friendly, attentive and energetic.
Seated in rows of red plastic chairs around the centre stage, the crowd is almost exclusively families with young children aged five and under. Silvers Circus claims to be perfect for ALL ages, but the matinee audience in school holidays is akin to a Wiggles show. Except, unlike a Wiggles show, there are more empty seats than full ones in the audience. It’s a big space for that many empty seats.
Walison Muh, who some may recognise from Australia’s Got Talent, takes on the role of Ringmaster. Muh is a clown by trade, an excellent clown. But a bizarre choice for Ringmaster. Traditionally, the commanding presence of the Ringmaster is juxtaposed to the bumbling antics of the clown. To roll these two roles into one changes the dynamics of the circus and not for the better. Lost is the force and majesty of the Ringmaster as well as the narrative structure they can provide.
The performance itself was a mix of acrobatics, juggling, and adorable dogs. The acrobatics were impressive, although nail-biting most of the time. There was a great mix of acrobatic feats: the roller-skating chemistry of Dua Stellare, Amanda Milleide on aerial hoop, the strength and flexibility of the Jratlou family, Dominik Gasser and Mewin Garcia on the Wheel of Steel, and the hula-hooping DJ-stylings of Gypsy Gomez.
There was no connecting theme, or narrative that wove these different and self-contained performances together. There was no storytelling element at all, which would have assisted to capture the audience’s imagination and attention. Additionally, it was not clear that any of these performances had given much consideration to who their audience was. Certainly, it may be that in catering for all the Silver Circus may not be exclusively catering to the under 5 crowd and their parents, as they were on this occasion. Nonetheless, some of the musical choices (particularly, but not only, Gomez’s blaring millennial rave tunes) did not feel inclusive or accessible to this audience. Likewise, the sexually charged chemistry of Dua Stellar in their bondage-themed attire felt misguided. In trying to be everything to everyone, the Silver Circus seems to have lost sight of the power of unity and theme and to be wholly unclear about who their audience really is.
In summary, Silvers Circus has so much to work with but still so much work to do. Business decisions to charge for jumping castle, photos with the stars, and premake the popcorn and fairyfloss detract heavily from the vibe. An ‘end to end’ experience would bring so much energy to this show, and perhaps with more energy and more offering the tent may be more full. The show itself would be vastly improved with storytelling – a Ringmaster who ties it together, juxtaposed to a clown who nearly tears it all down, and a bit more thematic unity and consideration for the acts.
