The DaSilva Circus Troupe

by Noisy Oyster
Seen at Watermans Arts Centre, Brentford, London
Reviewed by Chris Abbott November 2008

Seeing old puppets trapped in glass cases in museums can be a dispiriting business, with all the life gone from them and little to show for their performing past. How much better it is then, to give them a second lease of life by creating a new show in tune with present-day needs. And that is what Noisy Oyster has done by offering a new version of the classic DaSilva circus marionette show.

Using the original puppets, which date from the 1960s and 1970s, Noisy Oyster’s Nik Palmer and Sarah Rowland-Barker have created a show which celebrates the past but engages present-day audiences.
Having written a recent published history of the DaSilva Company, I was delighted to have the opportunity to see the puppets in action. Ray and Joan DaSilva – Nik’s parents – must be delighted to see their figures brought back to life.
I caught up with the show at Watermans Art Centre in Brentford, West London. The usual weekend Arts Centre audience of little girls in fairy outfits, reluctant dads and beaming grannies surrounded by small children were greeted by Nik who was busily sweeping the theatre. The excited children slowly took in their surroundings and began to notice this man sweeping the aisles, soon joined by a second person doing the same.
The costumes matched the excellent set, as was noted with delight by one little girl sitting near to me. As the two performers moved towards the stage, the audience were drawn in to what was happening, and by the time Nik balanced his brush on end, the audience were hooked and attentive: an excellent example of the way to calm down an audience without actually telling them to be quiet!
The show then proceeded with a mixture of traditional marionettes and circus skills by the human performers. The running story about the escaping lion and the ringmaster was perhaps a little slow but most of the audience followed it with interest. All enjoyed, however, the different circus acts, particularly, the trapeze artist which was very impressive.
The after-show question session, often a trial at weekend shows compared to school visits, worked very well on this occasion. Nik handled the questions with great care and seriousness, paying tribute to his parents and telling one young questioner that it was his mum who mends the puppets’ clothes.
Questions were quite varied and all got answers – even the little boy who asked with great concern “Where’s your house?”
It’s quite unusual these days to see a marionette show, especially one as well-manipulated as this one, touring to small arts centres; and it’s all the more welcome when it’s a return to performing life for a group of historic and well-travelled puppets.