As a disabled person, loving this industry is something of a double edged sword: I love it for all the ways it has enriched my life, and yet I consistently struggle with the lack of representation, both onstage and off for others like myself. Enter Extraordinary Bodies, who in a co production with Bristol Old Vic and The Theatre Royal Plymouth present Waldo’s Circus of Magic and Terror.

Brandenburg, 1933. The Nazi regime is gathering pace, and now its shadow is looming large across the big top where Waldo’s troupe of performers make their living, and their home. As Waldo insists “the show must go on”, what unfolds is a story about courage, loyalty and resistance blending together circus techniques, music and spoken and signed dialogue.

Inspired by the experiences of real performers, the writing is a collaboration between Hattie Naylor and Jamie Beddard and is something of a curious beast. There’s welcome bursts of warmth and humour (particularly in act one) that do well to balance amidst the darkness of the subject matter, which was also refreshing when you consider too that the company is comprised of deaf and other disabled performers. Too often, it feels like our stories are framed in a particular way, and with the aim of eliciting particular feelings, and it can sometimes feel like we are reduced to the most rudimentary of plot devices, so to see writing and characters feel fleshed out beyond that gives the piece as a whole a distinction that feels exciting and joyful.

However,  it can sometimes feel like it’s trying to pack too much in, and thus certain narrative threads that I really enjoyed (the troubled relationship between Waldo and his son Peter, and Mish’s relationship with a Jewish circus owner) feel under-developed, and the tension so beautifully established throughout the first act rightly ramps up in the second but feels like it loses its momentum suddenly, so that the finale that includes a magic act that facilitates a daring escape (and that we learn ultimately saved lives) doesn’t have as powerful an impact as it could have.

Though it doesn’t quite make that smooth walk across the tightrope of writing, the real strength of this piece comes from the circus work: there’s aerial, rope and silk and acrobatics at play and they quite take the breath away: especially in the scene between Renée (Jonny Leitch) and Peter (Tilly Lee- Kronick). Extraordinary Bodies’ mission encompasses the idea that circus should be open to all: and it was so wonderful to see that given such prominence and poignancy in this tender moment between two characters: Jonny’s upper body strength had me in awe, and the audience were rapt from beginning to end.

With the circus skills in such bold, inventive form, what you need is a cast to breathe further life into the story and setting: and they fizz with energy and personality here. Abbie Purves shines as star of the show Krista, fiercely confident in herself and her worth. The relationship Krista develops with Gerhard (a charming turn by Lawrence Swaddle as a would be pharmacist who is captivated by the circus) is endearing, but it’s Krista’s spirit that made the lasting impression.

Garry Robson’s Waldo cuts a rather menacing and unsettling presence, which was an interesting dynamic to watch play out: as the Ringmaster, he is in charge, and you’re drawn to him as the entertainer and showman, but you’re never allowed to forget it’s show business.

Raphaella Julien and Brooklyn Melvin revel in their comedic moments as Mish and Mosh; their use of BSL integrated seamlessly within the show. It is Raphaella as Mish that also gets my most powerful moment from the piece: a hauntingly captivating song called The Disappeared first done in BSL, then sung through by the company. It’s a spin on the quote from German pastor Martin Niemöller: “First They Came…” and stopped me in my tracks. It’s testament to the power and spirt of the piece that amidst the trappings of theatre and circus skill, you are reminded of the wider social commentary and what’s important.

Speaking of the trappings of theatre, the costumes (by Ti Green) are full of fun , as is the set design that focuses on the structure of the circus tent. There’s a sense of intimacy and compelling energy about it, complimented by Charles Hazlewood’s eclectic and atmospheric score, which was more memorable for me than the lyrics, sweet and fun though most of them are.

Bold, bright and brimming with heart, Waldo’s Circus of Magic and Terror gave me hope for the drive and passion to champion greater accessibility within the industry, and it’s a journey I’m fully on board with, and I hope audiences beyond Bristol embrace it with open arms and minds.

Waldo’s Circus of Magic and Terror runs at Bristol Old Vic 1 April, then continues to tour