Toronto Circus Riot is a riot of fun
6 June 2019

by Drew Rowsome -

Categorizing Toronto Circus Riot is difficult so I'll just go with Lookup Theatre's descriptor of an "immersive circus theatrical." Describing Toronto Circus Riot without providing surprise-ruining spoilers is also difficult so, suffice it to say, that there was not a second during this exuberant production that wasn't a joyful good time.

From the moment one arrives on the circus lot, complete with an actual big top, the fun begins. There is a spectacular menagerie to interact with as one walks the red carpet to the circus tent proper. The puppets by Kelsey Carriere are as whimsical as they are works of art, and who can resist petting a rhino, narrowly escaping a giraffe lick, or feeding a giant pelican? 

The first act is a performance by the "S.B. Howes Circus" with the "Myers and Madigan's Equestrian Troupe." The time is 1855 and the acts are pitched between actual circus, parody and comedy. A little more death-defying flavour would have given a sharper edge, but when the equestrian act flies around the tent, true magic is achieved. The sardonic circus orchestra, Matthew Reid who is a master of sarcastic sound effects and raised eyebrows, interacts and interjects to great comic effect. If that had been the evening, I would have been quite satisfied.

But then the audience is drawn into a recreation of the actual circus riot (a story worth googling or, if you're lucky enough, getting Mysterion to recount). The clowns are "horny as a rhino" and can't resist an invitation to madame Maryann's brothel. Neither can the audience. So we troop through the night with the bumbling clowns and visit the glamorous brothel, where a silk act builds to a literal triple climax. This is the cleverest part of Toronto Circus Riot, where the circus acts, and homages to circus and clown acts, are integrated into the storyline. When the first confrontation between the clowns and the Orangemen firemen occurs, it operates on multiple layers: slapstick comedy, exposition, political satire, and a hilariously sweet salute to a timeless clown performance staple. 

If the brothel is interactive, and it is very interactive (amazing how provocative and sensual the touch of a 19th century prostitute is), the audience then joins a mob, is in the midst of the riot and the resulting escape of the menagerie, and then attends the resulting trial. In the second act the performers really hit their stride. A mix of Second City veterans, circus performers and recognizable from appearances on every Canadian film or television production, they handle improv, comedy, the occasional wink at the fourth wall, and actual circus acts with an ease that smooths what could be an awkward hybrid into an appealing blend of panto, theatre, circus and clowning, all within a loosely historical drama.

Because I attended a dress rehearsal/preview, I don't have names to match to all the performers (or have photos that convey the visual brilliance or the environs or the sexiness of the cast) so, in true circus fashion, will salute them as an ensemble who selflessly take on many roles while still gleefully revelling in their moments in the spotlight. Lara Ebata (Bears), Chris Gibbs, Natalie Fullerton, Myque Franz, Reid Janisse (Snow White, The Little Mermaid, Cinderella) who is also credited with the script, Zita Nyarady, Bekka Rose, Jerry Schaefer, Kris Siddiqi, Christopher Taylor, Holly Treddenick, and Allan Turner, all meld into a ragtag slick circus troupe out to entertain.

Toronto Circus Riot is a fascinating and wildly entertaining endeavour that director and producer Angola Murdoch has conjured into existence. There are many moments that deserve mention and recognition but they will be more fun for an audience to discover for themselves. While billed as family friendly, there is a lot of gently ribald humour in the panto tradition (it does take place partially in a brothel), and one explosion of expletives that are jarring in a very welcome way. Toronto Circus Riot is less about historical documentation and more about comedy and exploring that delicious line that a circus and clowns walk, where violence and eroticism simmer under candy colours and feats of athleticism. Seating, and walking, is, sadly, extremely limited with many performances are already sold out, so act fast, this intimate extravaganza won't be in town for long.