Stage: Turn of the century

I time-travelled back to the beginning of the 20th century twice over the weekend - first for the atmospheric thriller Wickies at the Park Theatre and then for the lavish on-stage extravaganza Circus 1903 at the Apollo Hammersmith. Very different experiences, set only a couple of years apart...

Wickies: The Vanishing Men of Eilean Mor
by Paul Morrissey
dir Shilpa T-Hyland
with Graeme Dalling, Jamie Quinn, Ewan Stewart
music Niall Bailey
set/costumes Zoe Hurwitz
lighting Bethany Gupwell
illusions John Bulleid
Park Theatre, Finsbury Park, London • 30.Nov-31.Dec.22

Based on a true mystery that has never been solved, this wonderfully creepy dramatic thriller is set at the isolated Flannan Isles lighthouse far off the coast of Scotland in 1900. The script is a wonderful mix of island lore and interpersonal clashes, as three very different men have their own reactions to being cut off from the world in a foggy limbo that's haunted by myths and a possible curse. It's beautifully directed and designed to evoke a feeling of separation from the rest of society, and to embrace the things that can never quite be understood.

A weteran wickie, aka lighthouse keeper, James (Stewart) was involved in building this particular lighthouse on Eilean Mor a year earlier. Far from his family, has now chosen to be stationed here alongside hot-tempered Donald (Dalling), who ignores the no-alcohol rule. They are joined by rookie Thomas (Quinn), whose wide-eyed curiosity raises memories of past events the other men are trying to forget. From the fuzzy ancient history of the island's abandoned chapel to a series of unexplained deaths in recent years, these men have no idea that they're headed toward their own inexplicable fate. 

Along the way, the actors occasionally shift roles to play investigators looking in to the disappearance of these three men during a season in which the fog was so thick that the lighthouse couldn't be seen by passing ships. These kinds of details combine wonderfully with the tactile staging, visceral underscore and superbly subtle special effects work. So there are continual moments of emotional intensity and chilling nastiness.

All of which elevates the even more intriguing ideas about belief, notably expressed in the contrasting layers of masculinity between these men, which is impeccably underplayed by the actors. And since it's so involving, we don't worry about the fact that nobody knows what happened to these men. The various possible explanations are far less engaging than letting our minds embrace something that can't be answered. So the show feels like the bracing slap of an ice-cold wave.

For information, visit PARK THEATRE > 

photos by Pamela Raith • 17.Dec.22

Circus 1903

dir Neil Dorward

creative producer Simon Painter

with David Williamson, Sabrina Aganier, Noel Aguilar, Keniel Rodríguez Mesa, Mikiale Gebrekidan, Temesegene Geberetnsaa, Senayet Asefa Amare, Tymofii Chemko, David Schnabel, Yani Stoyanov, Valeri Tsvetkov

set Todd Edward Invins

costumes Angela Aaron

lighting Paul Smith

Hammersmith Apollo, London • 25.Dec.22-1.Jan.23

Mimicking the look and feel of a vintage travelling circus, while peppering the show with modern-day wit, this production centres mainly around astonishing physicality. This makes it feel more grounded than flashier circus shows, especially with so many genuinely jaw-dropping displays of sheer skill. In between these, there's plenty of goofy humour and audience participation, which strains the attention spans of the kids in the audience. And the involvement of two full-size puppet elephants adds a hint of spectacle.

The show is hosted by Ringmaster Willy Whipsnade (Williamson), a slightly smarmy prankster who spins stories and pokes fun at himself while introducing the acts. Occasionally getting children from the audience involved, he also fills the role of the clown who annoyingly pads out time between the performances. Thankfully, each act is properly impressive. The show opens with a lively teeterboard routine featuring four beefy high-flying men who look like they're having a lot of fun.

Highlights along the way include snappy juggler Aguilar, who throws a ridiculous number of spinning objects into the air and catches most of them adeptly. He's so engaging and ambitious that no one minds when something falls. Stunning balancing act Rodriguez (and his assistant Roxy) piles so many rolling elements on top of each other that it's a bit worrying. And aerial artist Aganier bends herself impossibly as she dangles from a ring far above the stage.

The company encircles each of the acts, cheering on their fellow artists to offer a terrific sense of community. And there's some surprising pathos in the appearance of the elephants, a towering mother and her cheeky son, brought to uncanny life by a crew of puppeteers. Oddly, the show never builds to a crescendo, remaining grounded and earthy right to the final performance of two acrobats (Gebrekidan and Geberetnsaa) who offer an amazing display of power and balance. It's goosebump-inducing, but not quite the grand finale we expect.

Along the way, the international makeup of the cast offers additional textures, with performers coming from across North and South America, Africa and Europe. All of them are the very best at what they do, and it's wonderful to see them live on-stage as part of such a superbly varied ensemble. And with its mix of sophistication and silliness, it will keep the entire family entertained.

For information, visit CIRCUS 1903 >

17.Dec.22