Giffords Circus: Waterfield – Chiswick House and Gardens and Touring

Picture: Jeff Moore

Giffords Circus: Waterfield was reviewed at Chiswick House and Gardens, London. The tour continues until 27 September 2027.

Star rating: five stars ★ ★ ★ ★ ★

“Wow!” “How beautiful.” “Lyrical.” “Pure joy.”

Not my words alone, but overheard as we glided out of the circus tent – and truly, nothing could capture it better. The theatricality is magical. A kaleidoscope of lighting magnificence. Waterfield is far more than circus; it is a living, breathing storybook, unfolding with grace, charm and astonishing artistry. A proudly British production, rooted in the waterways and wild fields of the Cotswolds, rich with heritage and imagination.

The lighting, all thanks to Ian Scott, designed with magnetic brilliance, moves from dappled serenity to glitzy, glamorous bursts, creating a world that feels at once pastoral and enchanted. Costumes, created by Sian Clare and takis, are exquisitely beautiful and elaborate – handcrafted, intricate and steeped in tradition – elevating every act into something painterly and poetic.

The visual language alone is enough to captivate, but under the brilliant mastery of director Cal McCrystal, the show builds in both pace and power, drawing the audience ever deeper into its world.

There is a thrilling rise throughout – a careful crescendo that reaches new heights of fear and danger as the Wheel of Death explodes into life, performed by the Flyers Valencia. This is edge-of-your-seat theatre – fearless, precise and utterly jaw-dropping.

Alongside them, the familiar and fantastic artists, the Addis Ababa Troupe, deliver breathtaking acrobatics: human pyramids, tumbling and electrifying movement that push the body to its limits. Their presence is exhilarating, their talent undeniable. Kate Smyth’s choreography is superb.

James Keay’s score hits every spot – toe-tapping, uplifting and seamless in its storytelling. The music threads the entire show together with ease, while the singer is simply superb. Sublime and perfect, her sound floats above the action, adding depth and emotional resonance throughout.

At the heart of it all is Raf Shah – the indispensable thread that binds the prose and dynamic display. His warmth and connection guide the audience gently between acts, while the compere offers calmer interludes, soothing the tempo with storytelling and humour.

The artistry continues with the precision of Elena and Giacomo Jasters in a knife and crossbow performance, the joyful chaos of Olivia and Stefan (cheeky giggles all the way) and the aerial elegance of the Cienna Sisters. Each act is distinctive, yet seamlessly woven into the storytelling tapestry. Moments of whimsy abound – Maizie the Shire horse, tiny Tinkerbell the pony, and the ever-timely comedy of Brian the Goose bring delight across generations and a reminder of how Giffords started out.

Throughout, mesmerising hints of poetry are threaded delicately into the performance – Laurie Lee, Beatrix Potter – gentle nods to English literary gems that deepen the sense of place and are gloriously drawn in Beatrix Eden’s set. Waterfield is a love letter to countryside, to wildlife, to storytelling, and to tradition itself.

This is a celebration of legacy, of family, and of craft. Touring across the south of England until 27 September, Waterfield marks a return to the spirit that first set Giffords Circus in motion – handcrafted, heartfelt and joyfully alive.

And as the audience drifts away, one phrase lingers in the air: “pure joy.”

Well done for creating something so richly layered, so beautifully realised, and so completely enchanting.

Laura-Jane Wareing