By Brett Shaw
As several aerialists in vibrant costumes glide over the heads of audience members and a strongwoman holds up a team of acrobats with one hand, the circus reminds viewers that anything is possible when people come together.
Through emphasizing diversity and the extraordinary aspects of the carnivalesque, Circus Oz, a touring group from Australia, brings a message of inclusion and empowerment to Iowa City, with a special focus on its LGBTQ+ community.
The troupe will deliver its message when it performs at Hancher at 7:30 p.m. Friday and at 2 p.m. Saturday.
Originating in Melbourne, Australia, in 1978, Circus Oz has showcased death-defying stunts, raucous humor, and themes of social justice around the world. Complete with a live musical score, the animal-free circus creates an eclectic experience for audiences of various tastes.
The company’s ensembles contain 11 to 13 performers, each of whom have spent a majority of their lives mastering their craft.
The contemporary circus has largely grown as an art form in Australia, complete with university programs specializing in circus performance. The high level of experience among members of Circus Oz enables the grace, power, and energy for which their performances are renowned.
The show unfolds as a series of isolated acts ranging from a routine in which firefighters spin down a length of rope to more conventional human trapeze dance numbers. When performers are risking their lives for our entertainment, it’s nice to break the tension with some comedy as well. Throughout the stunts and the juggling, the performers often take on humorous personas such as spiritual yoga gurus to add another level of enjoyment.
Live music plays a key role in Circus Oz’s presentation and provides the audience with an additional wonder that most modern circuses don’t provide. The diverse mix of music is performed by an extremely multitalented ensemble.
During the show, an acrobat could be falling from the ceiling at one moment and playing the saxophone at the next.
“When we perform our [acrobatic] skills, you might try to put a track over it and follow that,” performer Elke Uhd said. “But with live musicians, they can see what you are doing and anticipate where you are going to go with a high note. Or if you are going to make a big fall, they can hit it and really emphasize it so they can give a much bigger impact.”
In addition to performing shows at Hancher, the Circus Oz team visited the LGBTQIA+ Youth, Families, and Educators Summit in Iowa City to hold a panel discussion about minority representation in entertainment.
“We talked a lot about censorship in the arts, and where the line is drawn, and who makes that call,” said Matt Wilson, a performer and musician in Circus Oz. “The place of the arts in any kind of form is to challenge these ideas and present them in a way that gets people thinking differently.”
Both through the Summit and its performances, Circus Oz delivers a message to young people that there is a place for all minority individuals. Shape, size, gender, ethnicity, and sexuality have no restrictions when it comes to the circus. In fact, performers’ differences are necessary and celebrated. The rest of the world could take that lesson.
“It’s great to see a small community like Iowa having an event like the Summit. I don’t think you would find something like that in a small town in Australia,” show director Anni Davey said. “On one hand, we look at America and go, ‘What is going on?’ and on the other hand, there are really signs of support for minorities and alternative cultures.”
Feminism and gender expression are other focus areas among performers in Circus Oz. By displaying a variety of roles and body types, the show gives many perspectives and deconstructs expectations.
“For me, in the music scene, it is very male-oriented, but we have a show where … you are in a cast with other very strong women. The men don’t have to try to be the gutsy men,” said musician Jo Abbot. “We all get to be our individual selves.”
“I can be a stoner kangaroo,” said Luke Taylor, who was wearing his kangaroo costume.
The majority of social lessons contained in Circus Oz come across subversively through metaphors rather than polarizing explicit commentary.
“The circus contains a whole lot of messages without having to overtly say them,” Davey said. “The circus is about trust. It is about community. It is about diversity. It is about making the impossible possible.”
“There are definitely sections of the show that we hope people take home as a conversation starter, and for some people, they will see it as a skill act and there’s nothing more there,” performer April Dawson said. “It’s up to the viewer how they perceive that and what they can make out of it.”
More than simply preaching diversity and inclusion, Circus Oz takes action by raising funds and donating to those seeking refuge in Australia. It has collected more than $470,000 for asylum seekers through donations collected at performances. Similar to the situation in America, Circus Oz performers believe that the Australian government has not done enough to help refugees.
Australia has seen a flood of immigrants from areas such as Syria and other areas plagued with violence over the past few years. In response, the government passed strict policies that limit the options and rights of refugees. Unauthorized boats of immigrants are detained and held on an island criticized for its poor facilities and inhumane treatment. Even when entry is granted, policies for asylum seekers threaten to deny them access to health care and jobs. Money raised by Circus Oz will give these individuals resources and legal assistance to have their rights protected.
“The circus has always been a microcosm of the community of the world in a way,” Wilson said. “We like to think about our country and the world as a place to be shared with everybody.”
