By Mary Campbell
Bright lights fill the tent, fog creeps its way across the ground, and an audience holds its breath in anticipation — Circus Vazquez brings suspense and comedy in equal measure as performers earn gasps of terror and screams of delight alike.
Circus Vazquez was founded in 1969 in Mexico City, beginning as a small-scale production and expanding to include an increasing number of acts. As the circus added variety, it also increased its geographical range with its U.S. performance in 1993. Today, it contains a plethora of acts by performers hailing from around the globe, united by their unique athleticism and showmanship, together forming a lively and exhilarating performance.
Representatives of the titular family itself, Alexa and Valentina Vazquez, each stun with their own solo acts. Alexa Vazquez opens the circus with a hula hoop routine that showcases her dexterity and rhythm as she spins hoops around not only her waist, but also her wrists, feet, ankles, and even neck, all while maintaining musicality throughout. Valentina Vazquez traipses the low wire with confidence, racing against time as she balances eight spinning plates distributed at either end of the wire while sustaining her poised perch on the thin surface.
Perhaps the most eccentric performer is Chistirrin, a kooky clown who both teases the audience and pokes fun at his own clumsy antics. In his acts, his versatile skill set is flaunted comedically as he jokes his way through juggling routines and stumbles into a one-man musical performance incorporating the trumpet, trombone, bass drum, and cymbals, all at the same time. Chistirrin remains busy throughout the entire show as he entertains between acts, distracting from the transitions in the main performance space as he interacts with audience members, none of whom are safe from his teasing bits.
Throughout the circus, the performers continually and repeatedly demonstrate their teamwork. The Triple Breath team, led by Kristina Vorobeva, performed their high-wire routine with absolute trust, each member playing an integral role as they balance together, trading the center of attention smoothly. The routine, while clearly polished and well-practiced, inundates the audience with suspense, focusing on the performers’ ability to collaboratively navigate the high wire’s danger.
Similarly, Dimitri and Nancy Stauberti’s balancing act, consisting of increasingly difficult stunts, requires the pair to work in synchronization. Brothers James and Dylan Nocolodi’s performance of the Icarian Games, where one performer flips and spins using the other’s feet as a trampoline-like base, is a daring feat of coordination. Lorenzo Ringenbach and Sacha Cort’s diabolo routine of mind-boggling speed also proved the collaboration and synchronization the circus requires. Altogether, the circus’ collaboration is evident throughout the show, each act showing a different group’s teamwork.
This teamwork is demonstrated not only by the performers themselves, but also by the circus’ support staff. With efficient and rehearsed ease, these staff members handed off props mid-routine to the performers, seamlessly allowing the show to continue without distracting from the performance itself. Between acts, staff members and performers quickly removed apparatus and set up for the next performer, operating together to present a streamlined and concise transition.
The majority of the circus’ acts are underscored by the Circus Vazquez Band, a seven-piece ensemble that performs a repertoire of upbeat compositions, enhancing the lively atmosphere. As performers land tricks and brandish props, the band expertly layers dramatic musical flourishes, highlighting the visible spectacle. Additionally, the band is joined by two vocalists from the Bingo Troupe performing renditions of modern hits including “Golden” from KPop Demon Hunters and “Beautiful Things” by Benson Boone. The vocalists blend smoothly, creating a cohesive soundtrack that keeps the focus on the circus performers.
From daring performances to uproarious tricks, thrilling flips to successful landings, the Circus Vazquez is sure to keep audiences of all ages entertained, with variety enough to interest the comedy-lover, adrenaline-seeker, and music-enthusiast alike.
Running Time: Around two hours including intermission.
Circus Vazquez plays through August 31. 2026, in Lerner Town Square at Tysons II, 8025 Galleria Drive, Tysons, VA. Tickets, ranging from $22.88–$84.97, are available online.
Mary Campbell is a student at Northeastern University, studying American Sign Language/English Interpreting. She is a recent graduate of Westfield High School and recipient of the Bill and Jane Strauss Graduating Critic award. She hopes to continue participating in and enjoying theater in the future.
