Established in 1977,Circus Oz is known for work that is political,irreverent and boundary pushing.A pioneer of contemporary circus locally and globally,it is also collectively owned by its membership. TheFebruary statement named an entirely new board,made up of Hill,Bryce Menzies and John Paxinos,and Chad Albinger,who occupies a position as a company member. It spelled out the company’s commitment to “a new phase for Circus Oz”.
Circus Oz had been on “fair notice” with the Australia Council for the Arts since 2018 due to ongoing concerns over its financial position,governance and declining attendance. Hill says Circus Oz no longer receives operational funding from the Australia Council or Creative Victoria.
The upcoming Melbourne season has been supported by the City of Melbourne and the Melbourne International Comedy Festival. “Circus Oz has adopted an entrepreneurial model in line with its creative strategy,investing in creative work and making smart use of company assets,” she says. “Circus Oz is in its 45th year. We’re going back to our roots to some extent entrepreneurially.”
The company assets she refers to include equipment,big top tents and its Spiegeltent,which it will use to support its creative activity and generate income.
“The new board and company members look forward to working together to find the right place for Circus Oz as an organisation which holds such a significant position in our cultural landscape,” the February statement read.
“The company continues to have a strong commitment to the agency of its people,the creation of original work that connects with the broadest possible audience,equity and social justice in the Australian and international community and to the wider circus sector.”
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Under its constitution,the company is member-owned – currently including about 90 people – made up of anyone who has worked for Circus Oz for three years or more.
A spokesperson for the Victorian government said that together with the Australia Council for the Arts,Creative Victoria was working closely with the new board of Circus Oz to understand their plans for the future and to ensure the building they currently use remains available to Victoria’s creative community.
“Creative Victoria has a lease with Circus Oz for this building and is in discussions about ensuring that Circus Oz and other creative organisations can access the building,helping to get more utilisation of this public asset,” they said. Rent for the building is significantly subsidised and assistance is provided to maintain the premises.
A lawyer and consultant,Hill says Circus Oz continues as an ensemble group committed to innovation and collaboration,underpinned by its trademark larrikinism.
In December last year,the company appointed Mexican-born and raisedAlonso Pineda as general manager. A theatre director and producer who moved to Melbourne in 2019,he is the first Latin American graduate of the VCA’s master of directing for performance and describes himself as “interested in brave contemporary stories”.
Wilks and Stephen Burton are joint artistic co-ordinators of the company,both long-term members of Circus Oz. The new show is devised and performed by Debra Batton,Jarred Dewey,Sharon Gruenert,Spenser Inwood,Flip Kammerer,Chris Lewis,Leo Pentland,Carl Polke and Olivia Porter,with Susie Dee as creative consultant.
Wilks says it’s a special show,especially for long-term fans. “We’re bringing back a very,very old act,which the fans of early years of Circus Oz will remember –the Special Robert,but this time,it’s going to be the Special Roberta becauseDeb Batton,who’s in her 60s,is going to fly from one side of the stage to the other.”
Having started her career inthe Flying Fruit Fly Circus,Wilks says circus in its traditional sense was for the masses – and that remains true. “I also think it embraces diversity,and embraces diversity in bodies,in the human body,and what the human body can do and what you think it can’t do.”
Circus Oz isat the Forum from April 7-23 as part of the Melbourne International Comedy Festival.The Ageis a festival partner.
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