Alice’s Night Circus Walks the Tightrope between Theatre and Pop

Come forth, and cup your ears! Draped behind the curtains that blur the lines between obscurity and grandeur, you may begin to hear something emanating from the shadows. Stumble further and you may find your soul drawn deeper into the world of the mesmeric and magnificent, as you’re standing in attendance for the matinee of Alice’s Night Circus.

Julia Scott first announced her presence under the Alice pseudonym at the world’s largest and longest running Steampunk festival called The Asylum in Lincoln, where she now resides. From here she looks to flourish and encapsulate all that’s operatic and engaging. Furthermore, she’ll appear as herself and Alice as part of Gary Nicholls’ Imaginarium trilogy – an extravagant photography project centred on all things Steampunk.

Every note has been draped delicately around the show’s undoubted centrepiece, which are the vocals themselves. Having received classical training as child, Alice’s style encompasses all that exceptionally grand in its engaging performance.  Personifying its inspiration for the theatrical, a haunting echo hypnotises your attention towards levels of heightened captivation.

While a crooked waltz rhythm leads your hand down a darker path, it’s easy to draw perverted comparisons with Kate Bush and Florence and the Machine, but, unignorably, only while being handed candyfloss by an upside-down clown.  The traditional circus ambience of the sonic experience is one that is as equally compelling to imagine visually.

One can only assume a suitable accompaniment being a snow cone drizzled in Absinthe and dry ice – a little number to take the edge off.