A thrilling mix of theatre and circus, balancing sharp satire, comedy and the spectacle of live tv – for the whole family!
Showdown is a sharp, spectacular circus show that grabs hold of its audience and doesn’t let go. From the moment the MC declared that there can be “only one” winner, the audience charged to echo it, the tone was set for a slick, satirical ride through the world of circus reframed through competitive reality TV. The goal to find the “new face” of circus, the show comedically challenging tokenism, capped diversity and power, with audience response determining the acrobats’ success or failure. The house was full, the ages mixed, and the excitement palpable for this UK debut at The Albany ahead of the production’s wider tour.
Co-Produced by Chamäleon Theatre Berlin and Upswing, directed and developed with global majority creatives by Upswing’s Artistic Director Vicki Dela Amedume, the show transforms familiar tropes of live TV shows into something far more thoughtful and exhilarating. The six performers navigate a series of increasingly absurd challenges. There’s real tension built through liveness, driven by audience reaction, cheers and choice, egged on by the expert comedic stylings of the MC/Ringmaster Rhys Hollis. There’s always a twist. Games shift mid-way, rules are invented then broken. At one point, a final round requires solving a Rubik’s cube – mental gymnastics on top of physical gymnastics. It’s funny and delightfully chaotic. Both spontaneous feeling while slickly choreographed.
Written by stand-up comedian Athena Kugblenu, the satire lands cleanly. She manages to balance humour with deeper critique, letting the audience enjoy the show’s format while gently pulling the rug from under it. We’re drawn into the guilty pleasure of judging, picking favourites, and “influencing” outcomes even as the show questions and unravels that very impulse, facilitated by the upbeat, catty, and sometimes sinister wit of Hollis. Our complicity with the show is gradually transformed into a collective revolt in favour of the acrobats, liberated from the dogged pursuit of winning, instead powerfully working together as a team.
The production design captures the glitter and emptiness of televised spectacle. Lights flash, colours pulse, sound excites – designed with precision by Kieran Lucas and Somin Griffin-Dave, lighting designer Hansjorg Schmidt, and set designer Lulu Tam. The atmosphere is big – the heart-races – but what cuts through all of that is the music. Olushola Ajose, also known as Afrikan Boy, has created a soundtrack that is honestly stunning – a mix of Hip Hop, Grime and Afrobeat. His music does more than accompany the action. It pushes back against the shallow gloss of the contest, revealing inner rhythms, emotions and calls that feel like the performers’ true voices breaking through, underscoring the personal uniqueness of their acts.
There’s a clear sense of character among the cast – each defined by one colour of the rainbow. Each has a narrative that echoes reality TV archetypes. Red’s mother is in the audience. Orange is over 30 – this is her “last chance”. Green has a girlfriend, and he thinks that makes him special. These stories become part of the strategy and identity in the competition but also allow for individual moments to break through and shine – if sanctioned by the hidden Circus Authority. A standout moment was a gorgeous cyr wheel routine by Purple to Underwaterfalls by Bearcubs – an unexpected, mesmerising shift in energy. Another key moment saw Orange and Blue, former rivals, come together for a duet on pole aerial. Their sequence was tender, fluid and quietly powerful – supporting one another. A turning point, away from the competition and towards something more collaborative, the heart of the piece.
The physicality throughout was brilliant. Acrobatics, aerials, teeterboard – always with intention and emotion, never just for show. The dynamics between the competitors were gripping, the tensions, risk and high-stakes ambition believable. The show exposed the pressure performers are under to be everything at once – strong, stand-out, best; subject to the whim-driven demands of gatekeepers and industry.
Cohesively built and beautifully executed, Showdown is fun, layered, and full of heart. The satire never loses its warmth. It implicates the audience, empowers them, and celebrates the performers’ individuality even as it questions the system that requires them to be the “only one”. It was cool circus, enriched by storytelling, and vice versa. I left feeling alive and genuinely excited, and I definitely wasn’t the only one. Go see it!