Cirkus Cirkor – Inside Out

Given the success of circus, from the glam-slam of Cirque du Soleil to the rag-taggity charms of James Thiérrée, it’s no wonder that theatre managers are quick to book new acts for long runs. Circus, it seems, has endless appeal, with its mood-lifting acrobatics and occasionally effective story-telling.

Cirkus Cirkor is just such a troupe. The Swedish outfit made its UK debut at the weekend with some excellent performers. Juggler Jay Gilligan is able to keep what looks like dozens of balls and hundreds of hoops in the air at the time, spinning them high above the stage while he careers around. Acrobatic duo Mirja Jauhiainen and Sanna Kopra are equally able, with their suspended double act a smooth-flowing display of daring catches and multiple transitions.

Cirkus Cirkor has a look and style that is best described as traditional with a twist (trashy glitter, old red plush curtains, sparkly lights hinting at disreputable neon signs). There’s also a live band, Irya’s Playground, who are both very good and very stylish.

Story-wise, Inside Out bills itself as the story of two ordinary mortals whose lives are changed when they come into contact with a circus. This involves their appearing to be audience members who are plucked from the stalls and who show both emotional growth and remarkable circus skills once they’re on the stage.

The idea is not a problem, but it is realized with often naff effects. One example is the giant cross-section of a human heart, like a huge medical model, that acrobat Anna Lagerkvist drags around the stage. It looks silly and unconvincing, as does the scene when the cast dress up in red unitards and ‘flow’ about, as if they were blood cells coursing through veins.

You wonder whey they bother with these drippy antics when their tumbling and juggling is so good. The audience cheered the fast-paced moves until they were  hoarse.

- by Sarah Frater