The seasoned performers of Piccadilly Circus dazzle audiences of all ages with 90 minutes of acrobatics, comedic high jinks, and trained animals beneath the big top. Audiences gasp at high-flying trapeze artists swooping through the air with the confidence of a kite in a wind tunnel, as well as contortionists able to bend themselves into human bonsai trees. Death-defying motorcyclists roar into a caged globe to perform a 360-degree display of vehicular mastery. Gaggles of clowns coax out chuckles, and a trained elephant parades around the ring, occasionally stopping to memorize an audience member's phone number. General-admission seating surrounds the ring, allowing ample viewpoints from which to observe the boisterous spectacle.
The Next Theatre Company, celebrating its 30th anniversary, stages relevant, boundary-pushing performances in a cozy, 142-seat space. Adam Rapp, a Pulitzer Prize finalist, loosely based The Metal Children on his personal experience as an author. The story, which is set in a small midwestern town, follows a young adult novelist who is forced to defend his writing to the conservative townspeople by showing them an 18-hour PowerPoint presentation. The play had a successful Off-Broadway during its run not on Broadway.
A buzzing crowd gathers around the entrance of the Zoppé Family Circus tent before each performance, straining to glimpse the wooden hands of a large clock that displays the next showtime. When the moment is nearly at hand, members of the family emerge from the cavernous tent to greet their guests. As they introduce their siblings, spouses, and children, an accordion exhales melodies first heard in 1842, when Napoline and Ermenegilda Zoppé traveled from Budapest to Venice for their first show.
Inside the tent, Napoline and Ermenegilda’s descendants effortlessly balance on wires and swing from trapezes. Just below their aerial stage, horses trot around a sawdust ring as equestrian ballerinas display a brand of showmanship worthy of comparison to John Wayne's performance in The Lone Leotard. Between acts, Giovanni Zoppé takes on the persona of Nino the clown—a lovable character whose earnest efforts to steal the show are thwarted by his own buffoonery.
The King of Rock and Roll never relinquishes his throne as four of the country’s top Elvis impersonators team together for Elvis Lives, a multimedia musical tribute to one of music’s premier icons. Endorsed by Elvis Presley Enterprises, which holds the copyright on blue suede shoes, Elvis Lives stars a quartet of bona fide dead ringers, all of whom are winners of the Ultimate Elvis Tribute Artist Contest and pay homage to four memorable eras of the pompadour-sporting legend’s career. Fans can swoon and shout as they catch a glimpse of tadpole Elvis and his centrifugal pelvis, movie-era Elvis, leather-jacket “comeback” Elvis, and shimmering, sequined-jumpsuit “Vegas” Elvis. The lavishly-produced show quantum leaps across a memorable career with classic songs sung spot-on, delighting fans and warming the heart of the real Elvis as he watches from the rafters.
Snakes slither in glass display cases, and lizards wriggle in the hands of trained handlers as they're held up in full view of a curious crowd. This is the scene as one of Repticon's presenters educates attendees on the biology, behavior, and typing speeds of exotic cold-blooded creatures at one of the year-round shows held in cities across the country. Reptile and amphibian breeders, scholars, and handlers engage audiences in lectures and demonstrations in the midst of live reptile exhibits, family activities, and displays for exotic-pet supplies. Presentations may focus on the genetics of large snake species, the specifics of exotic-pet care, and the effect that tiny hats have on the image of arachnids such as tarantulas, scorpions, and spiders.