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Circus portfolio

My circus career truly took off with my DYCP in April 2022. Scroll down to find out more about my circus projects





I run weekly discovery classes with CircusMASH every Wednesday. I explore ground skills circus with children between the ages of 5 and 16.


The Tempest


In March 2022 I worked with CircusMASH and The Shakespeare Trust to create a performance with primary aged children. We created a circus performance around The Tempest, and they then performed it at the Library of Birmingham.


Warwick Castle


In the summer of 2022 I worked in Warwick Castle as a jester during their summer programme. I would do a performance before the arrival of the ‘queen’, and would then do walkabout workshops throughout the day.


Corporate and schools workshops


I work with corporate groups, community groups and schools through MASH. This often revolves around team building and communication, but can often be just a fun activity!

CircusMASH: Circus Training & Arts - Birmingham | CircusMASH

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In April 2022 I was awarded Arts Council DYCP funding to develop my circus/theatre practice. I wanted to create a practice which used equipment-based circus (juggling, diabolo…) to tell stories in an exciting and innovative ways. Most importantly, the practice could be engaged with by anyone. The circus involved is adaptable and accessible, and the performances and work created would be high-level regardless of initial circus skill. It is about community and collaboration, as well as exposure to an art form that many people previously haven’t had exposure to.


My DYCP project was hugely successful and exceeded my expectations of what could be developed and achieved. I forged strong connections with both Birmingham-based circus organisations, CircusMASH and RoguePlay, and have now consequently been hired by both organisations to run workshops using my emerging practice. CircusMASH in particular has me on as a class teacher, and we are currently developing the continuation of my practice.


I have created a bank of patterns and games which were developed in a space with new artists. Interestingly, pieces of performance and original workshop designs were unintentionally developed, and this has become a foundation for the practice. These patterns, games and theories have been tested in workshop settings. I have run approximately thirty workshops around my practice as a result of my DYCP. 


One of the artists I worked with has become invested in the work so we have begun trialling the theories of the practice in performance. We performed a piece of new work at a RoguePlay’s Tilt Festival scratch night. Additionally, I have networked and brought my practice to the RSC, Seven Fingers, Gazebo Theatre Company, ACE Dance and Music, Performers College, Warwick Castle, and several organisations in Brazil.


I have had illuminating mentoring sessions with LouDeemy and RoguePlay and trial workshops with a wide range of demographics. These workshops were evaluated with my mentors and then developed. I was also aided in my research by books, podcasts and websites, and have compiled a list of UK-based circus organisations who approach contemporary theatre/circus in similar ways. I have also attended circus conventions and performances. 


I financially invested in resources and equipment that were both useful in the research for this project, but also have a long-term impact on my practice. I have realised what equipment is necessary for accessible circus and have been able to take risks with new workshops and ideas because of it.


Key Aims:

  • Create a novel multidisciplinary practice using ground circus skills and immersive storytelling.

  • Building trust and bringing together communities through collaborative circus skills

  • Visually exciting and thought-provoking storytelling

  • Accessible circus

  • Popularising ground skills circus in Birmingham


Key Features:

  • Themed workshop (mad hatter, hercules…) plans to explore verbal and non-verbal circus through storytelling

  • Making ground skills accessible and exciting

  • Making “failure” comfortable and using it as a tool for storytelling

  • Giving a space to novices to create high quality circus work

  • Highlighting the value of the practice and discipline

  • Group cohesion aspect- relationships as important as the skill

  • Fun and silliness

  • Meaningful contribution without having to do years of expensive training


This practice is still in development, and is yet to be given a name. I’m due to perform a commission using my practice on February 9th. 


If you would like to use my practice and book a workshop, or develop a project, then please get in touch!

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Sandwell Young Offenders


In the Summer of 2021 I worked with Gazebo on a project for Sandwell Young Offenders. Over the course of three weeks the young people were introduced to different arts, and then got to choose what kind of output they wanted to create. The co-creation project got them an arts qualification, as well as a chance to engage in the artform they wanted to. The group decided to create a horror/thriller film using masks they created.


During this project I introduced the group to circus skills. One of the shyer participants really took to the diablo and this helped them get more engaged in the group project. This inspired me to develop my circus practice.

Mad Hatter Performance


In the summer of 2022, I was brought in by Gazebo to choreograph a circus sequence for their Alice in Wonderland Show. It was the Mad Hatter’s tea party, and I worked with the group to tell their story through movement. Each character moved in a certain way with different pieces of circus equipment, and then they engaged with each other through group patterns.

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