To begin at the end before circling back to the ultimate beginning nearly 30 years ago …. last night’s show (as indeed I expect most Circus Oz shows are) was dedicated to the principles of tolerance, diversity and human kindness. Clapping rhythmically and cheering wildly the audience slowly came to the realisation that the show was really over, this was no false ending, nor would there be the standard encore theatre goers seem to have to come to expect by right (and interestingly enough, given the recent Theatreview forum regarding the now standard Toi Whakaari waiata, this was also absent).

I found it all extremely refreshing, and my fellow audience members accepted the realisation graciously and without fuss. We got it! Circus Oz has remained over the years true to its original aspirations as an entertainment troupe with a very large social conscience.

As a final statement the dedication had me considering the intense acts of selflessness shown by rescuers and communities of myriad disasters occurring right now around the globe, so I was grateful to have my 10 year old companion bring me back to our corner of the world with the simple critique – "That was awesome". So on with the show …

A circus without a big top? There is something disconcerting about entering the theatre instead of a tent but it is well worth arriving early and soaking up the pre-show antics of several performers doing very silly things. Kimmy, the show off schoolgirl, gets good laughs at the absurdity of her ‘tricks’ especially when at the same time the less vocal (at this stage) Stuntman is causing himself pain with pegs. The art here is to tickle the audience into the right frame of mind to completely enjoy the show. Having relaxed us and made the requisite show-time introduction, the breathtaking opening act sends our hearts racing while giving new meaning to pole dancing. These gravity defiers synchronise movements of immense strength, daring and control to finish with seven performers on the one pole stretched out horizontally. Crikey!

From there the experience careers into wonderfully wacky slapstick, stylish acrobatics and dubious one liners all in the name of having a ball (or seven when you are the juggler). The attention to controlled detail is formidable even in the less heart-stopping acts. Many circus standards are turned on their head. The juggler juggled downwards with bouncing balls, at one time onto a sound plate creating her own musical accompaniment. The trapeze was total hilarity with its schoolyard frolic instead of a showcase of nerve wracking aerial tricks. And I am beginning to understand the hula hoop renaissance – incredible.

My favourite act was the wheel artist’s bikini parade, both political and irreverent while proving the body beautiful image has nothing to do with grace, strength and flexibility. With that in mind beauty is also the juxtaposition of a black singleted bogan in a tiny tutu gracefully manipulating his shiny crystal balls with total nonchalance and needs a special mention. This performer also gained Master Ten’s admiration during the BMX bullfight. Not once did his feet touch the stage as he drew an awed " I wish I could do that".

Of course this is a team troupe and no act is performed in isolation. The ensemble support each other on stage and have the bonus of a live band which provides the ubiquitous mood notes along with a general musical platform and at times joins in on the act as well.

With only one season previously performed in AotearoaNZ 17 years ago in Wellington, it is worth the effort to get out on a winter’s night to see Circus Oz laughing at gravity. Don’t count on the troupe returning soon simply because they are close neighbours. And don’t let the absence of the tent put you off – it is still winter after all.

Copyright © in the review belongs to the reviewer