Te Auaha’s Tapere Nui stage is resplendent in bunting, a colourfully adorned washing line and festive portals to a circus caravan and a circus tent. Set Designer Erin Belcher and Gogo Amy have done a great job considering the Fringe requires sets in shared venues to be installed and struck in about 15 minutes.

The auditorium is full and humming in anticipation. I spy thick rope is at the ready above (we are yet to discover a hoop and harness are also slung aloft) and I assume we’ll be seeing some circus acts tenuously linked with a simple story line. But playwright Rachel Winter Hase delivers more than that.

The story of the fabled Fabelinsky family is rooted in 1890s New Zealand where, despite being the first country in the world to give women the vote, but not the right to stand for parliament, the patriarchy prevails. Papa Fabelinsky has died leaving his wife and daughters in debt, and their boss, the unseen Mr Harkness, turns out to be toxic toad of the kind we still know today.

Not that grieving Mama (Edith) Fabelinsky is a tower of strength. Played with a comic sensibility and impressive accents by Rachel Winter Hase, she has a wealth of excuses to justify her no longer performing and resorting to drink. Yet there’s more to her than even her daughters know.  

Laura Oakley’s Annie seems most likely to hold what’s left of the family together. She loves circus life and is good it. Her ‘Anya of the Hoops’ act, building from spinning one to six while balancing at all angles, is genuinely fabulous. Climbing that rope, however, eludes her (psst: it’s a metaphor). When the Fabelinsky fortunes plummet to crisis level, the question arises as to who will sacrifice what to keep the family together?

Maisie, the younger daughter, is written for Booth the Clown – a ubiquitous presence in our performing arts scene – and is a triumph of heartfelt emotions and full-on commitment to whatever comes their way. While highly resistant to gender stereotyping, they are drawn to the idea of a career-change to grave-digging, having slogged away at their father’s final resting place.

Booth’s comedic skills are off the chart – but always contribute to the bigger story being told. For instance, Maisie comedically sabotages Annie’s splendid hanging hoop act in a brilliant display of mutual co-ordination. As they confront their escalating dilemmas, the sisterly relationship is well grounded, not least when they discover secrets hidden in an old trunk.

The way the action segues seamlessly from family drama to circus acts has been astutely directed by Jen McArthur (laid low by Covid in the final week of rehearsal). A team of Rowdy Roustabouts – Gogo Amy, Nathaniel Smith, Erin Belcher, Izzy Christie and Mikayla Heasman – ensures the space is set and cleared as required for each scene. And a Fiddler, Show Pony, adds to the ambience at key moments.

We have come to care deeply about these women when the challenge and sacrifice, mentioned above, comes to the fore. One particular costume design (by Gogo Amy), as worn by Maisie, brings comic relief to a ghastly situation. While dealing with the shock of it, we have to recognise this was the reality back in the day (and remain ever-vigilant to repel any resurgence of such non-values).

Resilience and determination bring The Fabulous Fabelinskys to a resolution that (spoiler alert) sees Edith reclaim her real name and a long-forgotten circus skill, Annie scale the rope in spectacular fashion, and Maisie eschew gravedigging for the life of a circus clown. The whole troupe assembles vibrantly to convince us their reinvention will be a significant milestone in NZ circus history.

Word is The Fabulous Fabelinskys would like to evolve and expand its horizons, funding permitting. Good luck to that. Meanwhile this iteration lives up to its name in unexpected ways, both comically and dramatically. Recommended.

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