2014–2015 Calendar of Events

What’s happening at Circus Center in 2014–2015? A lot! You may have already read about our addition of a session-option for class enrollment starting in the fall. But what else? Read on… Workshop Weeks In order to give students opportunities to work with new teachers and try new things, we will offer two Workshop Weeks in 2014–15:

  • January 5 – 11, 2015
  • June 1 – 7, 2015

Productions We will continue to increase the number and quality of performance opportunities for our students next year.

  • “Give Kids a Flying Chance”: this flying trapeze show is a benefit fundraiser for the Tamarindo community in El Salvador.
    • Tech: Saturday, November 15, 1:00 pm
    • Show: Sunday, November 16, 6:00 pm
  • Winter Showcase: an annual tradition, this all-school showcase will feature group acts from participants in our youth program, solo and small group acts by adult students, and probably a few clowns from the Clown Conservatory!
    • Tech: Saturday, December 6, 1:00 pm
    • Youth Tech: Sunday, December 7, 1:00 pm
    • Dress: Saturday, December 13, 1:00 pm
    • Shows: Saturday, December 13, 7:30 pm & Sunday, December 14, 3:00 pm (all performers strike immediately following Sunday show)
  • Youth Circus Show: the Youth Circus will build on the success of this spring’s “Secret Life of Polytechnic” with a new show, directed by youth program co-director Felicity Hesed.
    • Tech: Sunday, May 3, 1:00 pm & Friday, May 8, 4:00 pm
    • Dress: Saturday, May 9, 1:00 pm
    • Shows: Saturday, May 9, 7:30 pm & Sunday, May 10, 3:00 pm (all performers strike immediately following Sunday show)
  • Rising Stars Recital: Thursday, May 21, 5:00 pm
  • Spring Show: Circus Center will produce a show in the main gym in the spring, focused on our adult students and faculty, produced at a similar (or higher) level as Cabaret Metamorphoses. The show could be a “pure” circus show (traditional, nouveau, whatever), a circus-theater hybrid, or something else. We will take proposals from potential directors in the fall, and a committee of students, instructors, and Barry will select the director.
    • Director Proposals Due: October 15, 2014
    • Auditions: January 24, 2015
    • Tech: Saturday, May 23, 1:00 pm
    • Dress: Tuesday, May 26, 6:30 pm
    • Shows: Wednesday – Saturday, May 27 – 30, 7:30 pm
    • Strike: Sunday, May 31 (all performers participate)

Works-in-Progress Showings These went away over the summer, but they will return in the fall, providing students with opportunities to show work in development and get feedback from faculty and fellow students.

  • Saturday, October 11, 2014, 5:00 pm
  • Saturday, November 8, 2014, 5:00 pm
  • Saturday, January 10, 2015, 5:00 pm
  • Saturday, February 7, 2015, 5:00 pm
  • Saturday, March 14, 2015, 5:00 pm
  • Saturday, April 11, 2015, 5:00 pm

Clown Conservatory They’re back! Clown Conservatory will run three 5-week intensives this year, with a show in the Theater at the conclusion of each. Dates:

  • Intensive 1: November 2 – December 7 (Show December 4 – 7)
  • Intensive 2: January 12 – February 15 (Show February 12 – 15)
  • Intensive 3: February 23 – March 29 (Show March 26 – 29)

Camp Circus Center will offer a week of camp during SFUSD spring break and all summer long!

  • Spring Camp: March 30 – April 3, 2015
  • Summer Camp: June 8 – August 21, 2015

Still More… As you can see, we have a lot going on! Still, some things will get added to the schedule during the year. We hope to have one Resident Artist/Company per quarter, each of whom would offer a free community performance as part of their residency here. There’s talk of a recurring cabaret happening in the Theater starting in early 2015. And there may be other ideas that will emerge, so stay tuned! With the participation of the full community, 2014–2015 will be a great year for Circus Center.

It’s About to Get Bananas at Circus Center

by guest blogger and Circus Center Artist-in-Residence Ross Travis  Over the last five years I have been proud to call Circus Center my home. I came to the school after a year of studying physical theatre at Dell’Arte International in Blue Lake, California and I was in the first year of the Professional Acrobatics Program at Circus Center. Upon arrival I expected to learn everything immediately and to become an acrobatic phenomenon inside of a year. As I’m sure you can imagine, I was chagrined to find out that learning acrobatics takes much more time than that! During that first year I would often get extremely frustrated and stand in the corner of the gym or sit in the bleachers bemoaning my very existence. Don’t remind Master Lu Yi about this-he wouldn’t let me live it down for years, but hasn’t brought it up recently and I’d like to keep it that way. Perhaps the reason he hasn’t brought it up is because over the years since my first year at Circus Center I have learned to become more patient, controlled, focused, and dedicated. I have trained Chinese pole with Master Lu Yi for five years now and the school has become a haven where I have developed and refined my work. When I was invited to be an Artist-in-Residence at Circus Center, I was honored and ecstatic to take the school up on the offer. I had been accepted into the Edmonton and Vancouver Fringe Theatre Festivals a few months before, and I had started the development of a new one-man show that for the first time combined all of my disciplines of training and expertise into one piece. Over the last six years I have trained and studied an obscure form of grotesque satirical physical theatre called bouffon; I have also trained as a clown; and finally, I have trained as an acrobat. Never before now have I taken my favorite aspects of each of these disciplines and put them together. The result is The Greatest Monkey Show On Earth, the first production of my new performance company called Antic in a Drain. The show combines the provocative humor of bouffon, the vulnerability of clown, audience interaction, and spectacular feats of acrobatics to explore the themes of captivity versus freedom. The primary questions that the show sets out out explore are: What does captivity and objectification of animals do, not only to animals but to us as humans? And what are the repercussions and consequences of keeping (any) being captive? I recently did the first half of the show at the Fools Fury Factory Festival where this was said:
“The athleticism displayed in The Greatest Monkey Show on Earth is only matched by its insightful social commentary. Ross Travis uses human and animal relations to explore issues of imprisonment, agency, and coercion. The audience will laugh and scream with a smile, but as the lights go down they are left with haunting personal questions.” - Dillon Slagle, LMDA
Building this show is easily one of the most ambitious and overwhelming things I have ever done in my life. It has consumed me. I am working mostly by myself with lots of outside eyes, helping hands, and support along the way. From building the costume to marketing the show to writing the script and shopping for props, while in between finding moments to intensely research everything simian, this project is daunting but ultimately extremely fulfilling. It has been a true joy to have the support of Circus Center in making this dream a reality. I hope you’ll come and join me on August 2nd and 3rd at 8:00pm when I perform The Greatest Monkey Show On Earth at Circus Center. After that I will be leaving to perform the show in Canada at the Edmonton Fringe Festival (August 14th-24th) and the Vancouver Fringe Festival (September 4th – 14th.) In the meantime, I am also happy to be performing my Chinese pole act with Circus Bella in parks all across the Bay this summer. This is an act I developed at Circus Center this year and its been an incredible experience seeing the act grow and ripen under the rigor of performing in the open elements. I hope you’ll come see some circus in the park!Here’s the schedule. Thank you! Ross Travis, Artist in Residence, San Francisco Circus Center

Circus Center in the World

Congratulations are in order! Student Services team member Phoenix Paz has assembled the latest news about the professional triumphs of Circus Center community members, including Mikayla Dinsdale, Sylphie Currin, Haley Viloria, Dwoira Scheffer, and Katie Scarlett. Read on and celebrate their success with us!

Youth Circus performer Mikayla Dinsdale is moving to Brussels to attend the three year professional training bachelor’s program at Ecole Supérieure des Arts du Cirque (ESAC)! A dynamic young artist, armed with a brilliant smile and vivacious style, Mikayla, along with 68 other aspiring artists, auditioned for the program on July 1st through July 5th. In addition to showcasing their performance abilities through auditions, successful applicants also had to demonstrate academic superiority. Mikayla, who earned a 4.3 GPA in high school, will graduate ESAC with a combined professional and academic degree, sponsored by the Federation Wallonie Bruxelles of Belgium and the Commission Communautaire Francaise, both internationally renowned academic institutions. She plans to focus her studies in aerial performance. For more information about the program, please see the school website.

Circus Center instructors Dwoira Scheffer and Katie Scarlett are off to Europe for four months with Celebrity Cruises! Their ship will go to France, Spain, Italy, Greece, Turkey, and Croatia. Katie Scarlett, who performs Aerial Straps, Aerial Hoop, Contortion, Ballet and Contemporary Dance, is excited to visit the six different European countries. An aerialist and contortionist, Dwoira says that this cruise will be her first opportunity to visit Europe and she is looking forward to seeing the beautiful cities and eating French food. Finally, aerial contortionists Haley Viloria and Sylphie Currin, who train at Circus Center, have also been hired by Celebrity Cruises on the company’s Mediterranean line! For six months, these inspirational artists will awe international audiences with their strength, flexibility, balance, and sheer beauty. Haley performs straps, aerial hoop, and contortion with hand balancing.

Sylphie performs aerial hoop, and contortion, featuring hula hoops. Both artists have been featured in the film Bizarre, a documentary about Circus Center and the life of modern day circus performers. To find out more about the cruise line and other performance opportunities, see the cruise website at http://www.celebritycruises.com/home.

Staging Metamorphoses

There’s a lot of buzz around the building these days about our upcoming production of Cabaret Metamorphoses: Tales from Arachne’s Web. Almost two dozen of our students and faculty are involved as performers and members of the creative team, and members of our broader community are stepping up to help make the production a reality with a contribution to our Indiegogo campaign. If you are able to contribute to this unique circus-theatre-cabaret production, I know that when you see the show, you’ll be so proud to say, “I helped make that art happen.” Click here to donate (and earn some fab perks too!). As the training arm of the Pickle Family Circus, Circus Center started out at the vanguard of the American New Circus movement, and this project carries on that tradition of innovation by taking nouveau cirque fully into the realm of great storytelling, blending the sensory poetry of circus arts with the narrative power of the spoken word. Adapted from Ovid’s Metamorphoses, the show tells the story of Arachne – the weaver of Greco-Roman myth whose tapestries spoke truth to power. The nine myths in Cabaret Metamorphoses are Arachne’s tapestry – stories of love, desire, violence, and transformation unfolding in an amoral cosmos.  Blending lyricism, humor and the grotesque, this Circus-Theatre-Cabaret is a modern fairy tale for adults, mining ancient tales for truths about human experience – and weaving a story that finds redemption in the art of its telling. Ovid was Rome’s bad-boy poet – exiled to the furthest corner of the Roman Empire for his Amores, poems about desire and seduction.  Written during that exile, The Metamorphoses have a lot to say about art, truth, and power. So mark your calendars today for the Cabaret Metamorphoses performances at 9:00 pm on July 19 & 20, and if you are able, please consider making an investment in Circus Center as a community where innovative, exceptional art is created.

Summer Reading

Summer is here, which means it’s time to do a little summer reading, and what better thing to read about than circus? I asked Phoenix Paz, member of our Student Services Team and all-around smart cookie, to offer up a few recommendations.

Water for Elephants by Sara Gruen. This bestselling work of historical fiction came out a few years ago and has since been made into a feature film, but if you missed it, it’s a wonderful evocation of Depression-era circus life in America, and a romantic page-turner besides. If you’ve already enjoyed this one, you might pick up two of Gruen’s other books, Riding Lessons and Flying Changes. They’re not about circus, but they do turn on the same human-animal bonds that drive Water for Elephants.

Deconstructing Circus, a series of interviews with circus artists and directors, tied to specific scenes from contemporary performances. Taken together, they provide many insights into the artistic process of some of today’s most innovative circus creators.

The Ordinary Acrobat by Duncan Wall. Part memoir, part history, and part ethnography, The Ordinary Acrobat tells the story of how the author fell in love with circus and found himself accepted to the training program at France’s prestigious École Nationale des Arts du Cirque. A clear and compelling explanation of the state of contemporary circus in Europe and the US, and how it got that way.

The Night Circus by Erin Morgenstern. If you didn’t catch this amazing novel when it came out in 2012, you need to pick it up now! Great storytelling, romance, circus setting, what more could you ask for?

Immortal Circus, the first in a trilogy by A. R. Kahler. This young adult novel is a paranormal romance that turns on (oh dear) murdered contortionists! Imaginative, entertaining, circus-y fun.

Under the Big Top by Bruce Feiler. This memoir chronicles Feiler’s year performing as a clown with the Clyde Beatty-Cole Bros. Circus, which plays the South and Northeast. This is a controversial, love-it-or-hate-it book: some readers enjoyed Feiler’s writing and the glimpse into a sheltered world; others panned it for being unflattering and unfair to some of its subjects.

Bear in a Muddy Tutu, a truly weird and zany piece of political satire by Cole Alpaugh. A hapless cult leader, a dour newspaper reporter, plane rides in the Bermuda Triangle, and of course that eponymous runaway circus bear — this book has something for everyone, all tied together with a wacky plot that draws comparisons to the writing of Carl Hiassen.

Finally, I’ll put in a personal plug for Circopedia, curated by our own Dominique Jando. I spend a few hours every week poking around Circopedia, just for the serendipitous joy of discovering articles, photos, and videos about all kinds of circus acts, performers, and troupes. It is simply a priceless resource for our community.

Master Lu Yi Pursues One More Dream

After 23 years as Artistic Director of Circus Center, where he has trained a generation of acrobats who went on to perform in starring roles with elite circuses around the world, Master Lu Yi has announced he will retire from active teaching at the end of this summer. I am happy to say, however, that he will be staying in the circus world and the Circus Center family. Lu Yi came to San Francisco to bring Chinese acrobatics training to the United States, and now he is going to pursue another lifelong dream: founding a small, professional performance troupe that will raise the level of acrobatics in America. He is founding this troupe here in San Francisco, and inviting former students and members of his extended circus family to audition and be part of his dream. Circus Center and Lu Yi’s new troupe will work together in a close partnership. Circus Center will provide facility, equipment, training, and promotional support, starting with hosting the company’s first auditions in early September. Master Lu Yi says that training and performing are two halves of one whole, and both sides will be strengthened by this partnership: students who trained for years at Circus Center will now have an opportunity to perform onstage, and those performances will in turn inspire more people to discover the joy of circus training. Everyone here at Circus Center is incredibly grateful for Lu Yi’s long years of teaching and leadership, and we are proud to stand beside him as he pursues one more beautiful circus dream. We love Lu Yi, and if you do too, we invite you to share your message of love and gratitude for Lu Yi on our Twitter or Facebook pages. If you’re feeling hashtag-y, we’ll be using #circusislove and #thankyouluyi (and, of course, #circuscenter).

Devising Circus Theater

by guest blogger Jane George  In conjunction with her upcoming collaborative production, Cabaret METAMORPHOSES, Dr. Kathryn Syssoyeva (PhD Stanford, Theater and Interdiscipinary Studies in Humanities) offered a four-day master class intensive on Devising Circus Theater at Circus Center this March. For the past 18 years, Kathryn has explored the new places and directions circus can go as a theatrical form. More Fellini than Ringling, her focus lies at the border of circus and theater. The structure of circus theater derives from storytelling, action, and emotion, not from the more expected I step in the ring, do my act, and leave type of format. Circus theater goes beyond the incredible skill level required of circus performers and adds physical vocabulary to build a narrative that tells a story to the audience. Indeed, at times, physical limitations and lack of skill can be more interesting to the audience from an aesthetic point of view, a creative opportunity from which to build dramatic tension between performers. What does it mean to devise? A lot of devised theater arises out of improvisational play between performers, which then gets shaped by the director. Dr. Syssoyeva explained that devising breaks down divisions between form, skill sets, and methods of training and allows things to flow one into another in a way that works as a whole.  Elements of effective devising are:

  • Eye contact, keep a constant connection with your performance partner. How does one performer affect the other’s movement?
  • Mirror each other more intuitively, do not think about it – turn, spin, pull, and maintain the eye contact to make the action dramatic and watchable.
  • Make your partner move without touching them.
  • Each movement must live truthfully. Where does it go next?
  • It is the gesture that is compelling, not the trick.

When combining the spoken word with circus performance, think of how physical action becomes an extension of words and vice versa. Which is the overlay? Actors sometimes hold back their emotions, afraid of overwhelming their partner, but you must give them enough to work off of, provide a challenge. Circus theater connects the extraordinary skill level of circus gesture, connecting internal impulse to an external, compelling, watchable skill set. The future viability of circus tradition could well lie within the combined realms of circus and theater, providing an exciting and moving audience experience. Examples of circus theater recommended by Dr. Syssoyeva:

  • Circo El Grito
  • James Thiérrée
  • Choreographer Austin McCormick


Tales of Divinity, Desire, Violence and Transformation

a collaboratively devised evening of mythical-aerial Circus–Theatre–Cabaret

Directed by Kathryn Mederos Syssoyeva

Rehearsal and development: May 9-July 18

Produced by Circus Center

Production: July 19-20

To get involved, e-mail Kathryn at syssoyeva [AT] gmail [DOT] com.

Celebrate Lu Yi’s 75th Birthday

Everyone knows that, in Master Lu Yi, we have a living legend in our midst. But did you know that he is celebrating a major milestone this year? That’s right — on August 25, our beloved Master Lu Yi turns 75!

Lu Yi came to the US after 33 years with China’s celebrated Nanjing Acrobatic Troupe, with a dream of bringing this important part of his culture to American audiences. He joined Circus Center as Master Teacher and Artistic Director in 1990. Teaching has always been an important part of his career, which has also included performing, judging competitions, and directing performing companies. Nothing brings Lu Yi more joy than seeing his students perform, and we have been extremely fortunate that he chose Circus Center as the vehicle for imparting his experience and wisdom to the next generation of circus performers.

To honor this big birthday and his years of leadership in the global circus community, Circus Center is planning a 2-part international celebration:

  • Montreal: Labor Day Weekend 2014
  • San Francisco: Early September 2014

We are in the planning stages for both events right now, so keep on the lookout for more announcements. What we know for sure, though, is that both events will offer lots of opportunities for you to make your unique contribution to honoring this amazing man and his circus legacy: performances, volunteer help, donations, and more.

Keeping Our Promises

Recently, we made you, our students and our community, some promises. We promised to bring more performance opportunities to you. We promised to invest in the high-quality equipment that is essential to your training. And, perhaps most important of all, we promised to add sections of popular classes to meet growing student demand. My note today is about how we’re doing our best to make good on those commitments to you. Classes: by popular demand, we have already added or restored several classes to our schedule, including:

  • Rope 1 with Jeremy Sheets, Wednesdays 7:30 – 8:50 pm
  • Tissu 1 with Heidi Button, Fridays 6:00 – 7:20 pm
  • Hand to Hand 1 with Lu Yi, Mondays 12:00 – 1:20 pm
  • Stretching for Contortion with Catie Brier, Thursdays 10:00 – 11:20 am
  • Intro to Contortion with Catie Brier, Thursdays 6:15 – 8:00 pm
  • Contortion 1 with Catie Brier, Mondays 10:00 – 11:50 am
  • Trampoline 2 with Jim Donak, Tuesdays 6:00 – 7:20 pm
  • Mini-Trampoline with Jim Donak, Tuesdays 7:30 – 8:50 pm
  • Intro to Tissu & Rope with Kendell Evans, Fridays 2:00 – 3:20 pm
  • Acrobatic Contortion with Veronica Blair (subbing for Xia), Mondays & Fridays 2:30 – 4:00 pm
  • Handstand 1 with Jives (subbing for Xia), Tuesdays 2:30 – 3:50 pm
  • Aerial Conditioning with Elena Panova, Wednesdays 6:30 – 8:00 pm

We know that there is still more demand for some classes, and we’ll be announcing even more new classes in the days ahead. Keep an eye on the announcements board in the lobby and our website for more details. Equipment and rigging upgrades: you may have already noticed the new red rope hanging in the gym. This additional point expands our capacity for classes, private lessons, and space reservations for our individual users. We’ve also purchased new yoga blocks, stability balls, and tension bands. Other upgrades, like recovering our ropes or replacing safety lines, may be less noticeable, but are every bit as important to maintaining a safe, high-quality experience for our students. Finally, performance opportunities: I’ve said a lot about this in recent newsletters, so I’ll just make two quick observations. One, I was delighted to see how much interest there was in Dr. Kathryn Syssoyeva’s circus-theatre-cabaret production happening this summer. Many of our most talented students have signed on to the project, so I’m more excited than ever to watch it progress. Two, this Saturday is the first in our monthly series of work-in-progress showings. A few folks have signed up, but we have room for a few more — and I urge you to seize this opportunity. After all, Circus Center is investing in the quality of our programs — why not make the most of them?

Becoming More Responsive to You: New Rates Announced

Dear Circus Center Community,

As a non-profit organization, Circus Center exists for our community, especially for our students, and it’s become clear that we are not serving our students as well as we could or should. The primary problem is simple: students are unable to get into the classes that they want. When I put myself in your shoes, I can imagine how it feels: You can’t get your classes. You put yourself on countless waitlists, holding those times on your calendar in the hopes that you get in — and you often don’t. You have to stay up until midnight on the 15th of each month, when there is a “land rush” for classes, and if you miss it, you’re generally out of luck. When you can’t get a class at the appropriate level, you schedule a lower level class just to get some time on your apparatus, but your classroom experience is not as focused and productive as it could be. Frustration abounds.

People often ask me the obvious question: why don’t you just add more classes? The answer is that, while the Unlimited subscription model has some definite positives, its financial structure does not allow us to be as responsive to our students as we want to be. Under a subscription model, students pay one flat rate per month; if we add more classes, the amount that students are paying per class goes down, making our financial position worse. The unfortunate truth is that the Unlimited model is not only not working for students, but it also is not financially sustainable. If we didn’t fix it, Circus Center would eventually find itself on a road to financial peril that we’ve been down too many times before.

So, in order for Circus Center to be more responsive to the needs of our students, to make sure that you get the classes you need in order to meet your goals, to keep the Center alive but more than that, to keep it growing and improving the quality of our classes and the experiences of our students, we are announcing a new rate structure for our adult training program, effective April 1. The Rates page lays out the details, and this week the staff and I are reaching out personally to students to talk it through with you; here are the highlights:

  • We are moving away from a monthly subscription model to drop-ins, sold singly and in packs.
  • We are introducing lower drop-in and pack rates for all introductory and conditioning classes.
  • Advanced classes will continue to be priced at the same drop-in and pack rates already available.
  • Because it requires three instructors and a lot of gym space, beginning flying trapeze classes (Open Flying on the weekends and Flying 1) will have a slightly higher price point than our Advanced classes.
  • We’re also updating our cancellation policy, increasing the late cancel window to 24 hours before class time.

This new system will offer you quite a few advantages. First, you’ll be able to schedule classes as far in advance as Circus Center has posted its schedule — currently, that’s through August 31! No more uncertainty — you’ll have a guaranteed spot in the classes you need to achieve your goals. Plus, you’ll be able to schedule everything online — no more having to go through the Front Desk. Second, if a class is popular enough, we’ll be able to add a section of the class! This should reduce frustration with lack of availability.

Finally, as a non-profit, Circus Center’s finances are not driven by profits, but rather by reinvesting in our mission, in the quality of our classes and the experience of our students. This change will enable us to:

  • keep a low student-teacher ratio,
  • improve our curriculum,
  • provide personal guidance toward achieving your training goals,
  • furnish better equipment,
  • produce more performance opportunities, and
  • offer more of the classes that you want.

If you haven’t heard from us yet, you will soon. Meanwhile, if you have any questions about this change, I invite you to contact me directly — call me at Circus Center at 415-759-8123, e-mail me at barry@circuscenter.org, or just stop by my office. Like the whole of Circus Center, I am here to serve you, and to lead this organization into an ever greater ability to be responsive to your needs and goals.

Onwards and upwards,


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