Reviews/Circus

From ruin to renewed hope: CircusWA premieres Eclipse 

9 July 2026

CircusWA’s Eclipse blends circus, physical theatre and live music in an urgent, imaginative journey from destruction towards hope.

Cover image: CircusWA show Eclipse set under a vast patchwork tent in The Studio Underground at the State Theatre Centre of WA. Image by Edwin Sitt.

Friday 3 July 2026 

Eclipse, CircusWA 

The State Theatre Centre

A vast patchwork tent is suspended in The Studio Underground at the State Theatre Centre of WA. Flashlights peer out with cautious suspicion, converging into chaotic formations and at times retreating to reveal silhouettes of reaching hands and inverted legs. Accompanied by Louis Frere-Harvey’s buzz of static and distorted voices, the opening creates an atmosphere of eerie mystery. 

As the tent rises, CircusWA’s troupe emerges, scampering across the stage with a predatory slink. Clad in worn, patched garments, the mix of 11 professional and youth artists balance, bounce and swing on a tightrope. A sense of isolation permeates this anthropogenic world. In a powerful opening sequence, gang-like aggression and struggles for authority lead to the tent’s collapse. Drawn to the rear of the stage, the tent reveals itself to be made up of several small tents. A large moon is suspended as the centrepiece as Eclipse carries us through to a hopeful message about our future. 

CircusWA’s ensemble showcases an impressive range of circus skills. Image by Edwin Sitt.

Following three years of collaboration with Melbourne’s National Institute of Circus Arts (NICA) and the South Australian Circus Centre, CircusWA presents the full realisation of Eclipse. First devised by local theatre-maker Sally Richardson and directed by Meredith Kitchen, the production explores questions of environmental and social responsibility through a blend of circus, physical theatre and contemporary dance. 

The ensemble showcases an impressive range of circus skills, from diabolo and a variety of aerial apparatus to Chinese pole and partnered acrobatics. The cast’s physical versatility is compelling, transforming from scampering quadrupedal creatures into dynamic duets showcasing a range of lifts and tumbles. The performers’ physical range and presence guide us through the work’s impactful storytelling. A beautiful dance solo performed within a diagonal corridor of light offers a glimpse of hope amid the production’s desaturated world. 

The performers’ physical range and presence guide us through the work’s impactful storytelling. Image by Edwin Sitt.

Eloise Kent and Angelica Rush’s costumes and stage design create a utilitarian aesthetic infused with eerie fantasy. Weathered fabrics, spiked helmets and backpacks of collaged scavenged objects suggest remnants of a broken society. Surrealist details include performers occasionally wearing sheep masks or illuminated lampshades over their heads, and a performer puppeteering silver ducting with a flashlight eye. The recycled materials and post-apocalyptic imagery recall Mad Max, while the dreamlike strangeness echoes Return to Oz. This desaturated and eerie atmosphere is later contrasted with the performers’ colourful casual clothing. The colours of both the costumes and the suspended patchwork tent are illuminated in Jolene Whibley’s lighting design. 

Excerpts from speeches made by Swedish environmental activist Greta Thunberg reinforce the work’s political and environmental themes. Live spoken word and singing by Maia Harcourt are a delight, her voice harmonising with Ayuba SOQS and underscoring a core theme: the need for human connection. 

Eclipse reminds us for the need for human connection. Image by Edwin Sitt.

Visually striking and emotionally resonant, Eclipse combines athletic circus performance with thoughtful storytelling. Unsettling, hopeful and imaginative, Eclipse showcases CircusWA’s established and youth artists while expressing an urgent message for social and political change. 

Visit CircusWA website for more details.

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Author —
Sarah Chaffey

Sarah Chaffey is an independent performance practitioner based in Boorloo, Perth. She was awarded ECU's Higher Degree by Research scholarship for her Masters by Research project, Voice in Motion (2021) which explored the integration of voice and acting fundamentals into independent contemporary dance practice. Her dance practice has since expanded vertically by fusing pole dancing with contemporary dance.

Past Articles

  • High-flying and fearless: Circa’s Duck Pond

    Circa makes ripples in a comedic virtuosic production, that is visually lush and technically stunning. Sarah Chaffey reviews: DUCK POND

  • Cercles binds a community together

    STRUT’s Perth Moves brings people together to celebrate dance and community in the free public spectacle Cercles, making it a highlight of Perth Festival. Sarah Chaffey was there to see it.

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