Review: CIRCUS OF THE SELF at Spooky Action Theater

It’s hard to miss Lucy Eden when she bursts onto the intimate playing space at Spooky Action’s basement theatre for its production of CIRCUS OF THE SELF. It’s certainly not because of Eden’s height - she doesn’t appear much taller than me at a respectful 5’6”. Nor is it because of the 7-foot unicycle, though she would make good use of that later in the evening.

It’s hard to miss Lucy Eden because she is boisterous, full of life, and admittedly makes difficult juggling tricks look simple. And I will admit, perhaps her entrance on a unicycle (this one smaller than 7-feet) did have at least something to do with it as well. 

Single-wheeled contraptions aside, it’s clear from the jump that Lucy Eden knows how to work a crowd in her one-person show, CIRCUS OF THE SELF. This is no accident either, as Lucy explains early, “they don’t usually let me do this inside.” Traditionally, Lucy juggles (also the name of her website lucyjuggles.com and Instagram handle @LucyJuggles, by the way) on the streets of San Francisco these days, so she’s used to grabbing an audience’s attention. To echo Lucy, thank you to the Unitarians who host Spooky Action at DC’s Universalist National Memorial Church for allowing this all to happen indoors. 

As Lucy dives into her one-person show exploring themes of queer joy, juggling, and identity, it’s a bit disorienting. We see a performer clad in a modified, harlequin-like black and red outfit unicycling around the stage to welcome us. There’s a small, half of a log with three sharp knives stuck in, a 7-foot unicycle that’s impossible to miss, and a large, Commedia dell’arte style banner with “Lucy Juggles” written on it in the signature light pink and baby blue colors of the transgender flag. The playing area is as full of mysteries as the performer we’ve just met, and it’s hard not to lean forward a bit to find out more.

Eden quickly jumps into what can only be described as a street circus act. It’s unquestionably impressive that Lucy is juggling three very sharp knives - and sometimes without her feet on the ground. What’s even more impressive, however, is that Lucy is blisteringly funny. She has charisma, a quick wit, and an excellent sense of humor. She captures the attention of the audience from the jump and knows how to read the vibe of the room. And, perhaps a nod to her time on the street competing with other buskers, she’s an expert at bantering with the audience. 

Lucy pulls off remarkable trick after remarkable trick throughout the tight 75-minute performance. In the first half of the show, there’s an abundance of small tricks that increase in difficulty with some delightful audience participation as well (shoutout toTroy and Wesley who were great sports the evening I attended). However, what elevates this production beyond a recycled, indoor street performance is the show’s surprising intimacy from the show’s star. 

Eden’s juggling and stunts, combined with her comedy in the show’s first half, seem to serve two purposes. First, it serves to entertain, plain and simple. Lucy is a performer, after all, and she’s quite good at that. Additionally, it seems to serve the purpose of breaking down a barrier. As a transgender performer whose very existence has been and still is considered a crime in some parts of the country, it can be difficult to have an audience focus on something other than her gender identity. The comedy and the juggling shortcut that. They offer audiences a chance to see the performer for their abilities first and foremost. 

By the time Lucy guides us into the second half of the show, a much less energetic but more nuanced and intimate affair, she’s established a trust and rapport with the audience. She’s invited us in so that we might be able to hear some of the more difficult realities of what it means to move through this world as a trans entertainer and, more importantly, a trans person. There are still tricks and impressive stunts - some of the night’s most impressive, in fact - but it becomes a conversation that holds a magnifying glass to the issues at hand for the trans community. 

For instance, Lucy grew up in the rural American South as an outcast, unsure of who she was and about her identity in general. She took solace in the scenic woods of the area where she found community with the queer community and even took up juggling. She lets us in on her adulthood as well, including her journey to her self-discovery and even working a summer job in Stone Mountain, GA, in front of audiences that most likely disagree with her very existence. 

Then there’s the cold, stark realities that are sobering. Eden points out that at her age, a youthful 40, she’s already outlived the average trans female. It’s a population that has historically dealt with self-harm, suicide, and being victims of violence. Amongst all the tricks, the impressive feats, and the humor, it’s actually this sincerity and vulnerability that Eden brings to the piece that stands out the most. 

It’s incredibly difficult to discuss transgender issues with care and nuance at any time. It’s even more difficult at this moment in this country, where even appearing in public as a trans person could be considered a crime in some places. However, Eden does this and creates a welcoming environment for audiences to listen without feeling lectured at or scolded. 

She expertly draws parallels between the trans experience and juggling - neither gets any easier, as she says. However, the piece leaves you with a positive message and hope. As she says, the trans experience has a lot of sorrow, but it is still somehow also brimming with joy. Eden’s masterful handling of the nuance of this issue is superb and a joy to experience.

Though Lucy Eden is the show’s creator and performer, she’s partnered with Spooky Action’s Artistic Director, Elizabeth Dinkova, to bring the production to life in DC this summer. Dinkova’s credited in the program with “[exploring] alternative realities at the intersection of theater, film, and music in pursuit of communal transformation.” This production certainly fits that description. As Dinkova said during the pre-show curtain speech, Spooky Action’s season is focused on radical, new work. It makes sense, then, that this production is part of their season. 

A special shoutout goes to Barrett Doyle, credited with the floor logo design, a whimsical, black and white work of art with true Cirque du Soleil vibes. Additional members of the creative team include Navi (Sound Design), Sage Green (Lighting Design), Maria Mills (Production Stage Manager), Jasper Weymouth (Asst. Stage Manager), Gillian Drake (Associate Producer), and Lauren Janoschka (Production Manager). 

Audiences should be aware that there is a content transparency note in the program stating the piece “contains frank discussions of transphobia & mental health; short scene with upper body nudity.”

CIRCUS OF THE SELF is a nuanced look into transgender rights and visibility that draws a unique parallel with juggling and street performance. Lucy Eden’s one-person show is a great kick-off to Pride Month, beginning on June 1. 

CIRCUS OF THE SELF will be running from now until June 6 at DC’s Spooky Action Theater. The show runs approximately 75 minutes with no intermission. 

To post a comment, you must register and login.