A Hanky and a T-T-T-Top Hat

“A Hanky and a T-T-T-Top Hat”
Buy Live Sea Monkeys or Become a Magician?

Written and Performed by
Bobby Torkova
Directed by Gene Santarelli

An autobiographical solo show from Award Winning Magician Bobby Torkova, about a little boy who stutters and dreams of becoming a magician.

While this is not your traditional magic show, it does feature magic performances to illustrate the story

November 13th & 15th – 7:00pm

Theatre 54 at Shetler Studios
244 W. 54th St.
(Broadway & 8th Ave)
New York, N.Y.

Tickets $10


Reservations: ANDReserve@aol.com



LAVA presents A Goddessy

Our friends at LAVA present A Goddessey, a feminist survival story that journeys through landscapes emotional and geologic carrying a transmuting traveler from a bleak and blurry patriarchal present into a rainbow colored feminist future with the help of ancestors geologic and otherwise. A Goddessey is the synthesis, culmination, and explosion of 15 years of earth-moving feminist acrobatic dance by LAVA.

Created and performed by Efe Alibo, Hilary Melcher Chapman, Molly Chanoff, Lex Garnett, Sarah Dey Hirshan, Sarah East Johnson, Lollo Romanski with special guest Ana Carolina

Conceived and Directed by Sarah East Johnson
Music by DJ Tikka Masala
Costumes by Claudia Brown
Lighting Design by Alison May
Additional music by Lee Free and Toshi Reagon

November 30 – December 10
Tickets $15
Special Guests Magma, our junior company, on December 3 & 10

For tickets and more information:  https://ci.ovationtix.com/14/production/981544

Seeking Youth Circus Workshop Leaders!

Photo by Alex Huang

Bindlestiff Family Cirkus produces the American Youth Circus Organization’s yearly NYC Regional Festival, this year on November 18 at Circus Warehouse in Long Island City. We’re looking for

dedicated, professional artists like yourselves to lead workshops for youth of varying levels of skill attainment. You can choose whom you’d like to work with — beginner, advanced, intermediate, pre-professional, and adaptive. Let us know your ideas.

We are committed to creating a festival that provides something for everyone, regardless of age and skill level. We encourage creative workshop concepts that incorporate circus in any way, from stage makeup to choreography, from yoga to arts and crafts — in addition to traditional circus skills. Presenters will be welcome to distribute information and promotional materials about their other circus teaching and activities.

Space is limited, and there’s no time like the present!


8th Annual NYC Unicycle Festival A Success!

The 8th annual NYC Unicycle Festival took place from Thursday, August 31 – Sunday, September 3, 2017:  Four days of one-wheel action, and only one wet one.

Approximately 850 people took part in this year’s four-day festival, and over 2000 people witnessed unicycles in action around NYC.

Here’s a closer look at this year’s records: 

The first ride of the festival featured 14 unicycle riders rolling from Battery Park to Central Park and through Times Square.

Brooklyn Unicycle Day featured 48 unicycle riders crossing the Brooklyn Bridge. 51 unicycle riders participated in the Brooklyn Unicycle Day ride from the Brooklyn Bridge to Coney Island.











More than 400 individuals attempted to ride a unicycle in the learn-to-ride area on Governors Island.

Along with the usual (unicycle basketball, demonstrations, workshops, games, piñatas…), this year’s festival included our first unicycle ultimate frisbee game, an artistic group unicycle workshop lead by Fred Johnson, and electric vs. manual unicycle matches in the sumo ring.

ETHEL performs “Circus: Wandering City” at Hudson Hall

Our friends ETHEL, the contemporary string quartet, performs “Circus: Wandering City” at Hudson Hall on Sept 15-17.

Live crowd sounds from a Bindlestiff show are woven into the soundscape of this amazing audio and visual journey. 


ETHEL | CIRCUS – WANDERING CITY | September 15, 16 & 17

Happy Birthday Hovey Burgess!!

Today, Bindlestiff Family Cirkus Board Chair Hovey Burgess celebrates his 77th Birthday!!


We honor Hovey’s contributions to the circus community through a lifetime of performing, teaching, research and support of the arts of circus, vaudeville, variety, clowning, and burlesque. Happy birthday, Hovey!

First of May Award Winner Kyle Driggs

First of May Award winner Kyle Driggs and partner Andrea Murillo rehearse new work with director Mark Lonergan (Parallel Exit; Big Apple Circus) in residence at Arts on Site. The working title is “Same Picture, Different Poses” 

Stephanie Monseu on the NEA Podcast

“It’s America’s most popular illegitimate art form.” – Stephanie Monseu.

Check out our ringmistress and co-founder talking about circus (and Cirkus) on the National Endowment for the Arts podcast! This interview came out of Bindlestiff’s recent participation in the Smithsonian Folklife Festival in Washington, DC and we’re honored to get this kind of platform to talk about the work we’re so passionate about. With music by Peter Bufano‘s Cirkestra. Photo by Maike Schulz.

Listen here: https://www.arts.gov/audio/stephanie-monseu

Celebrating the Art of Circus at the NEA

Earlier this month, the 50th Annual Smithsonian Folklife Festival on the National Mall welcomed dozens of circus organizations and set the stage for an historic opportunity to bring together circus arts professionals from across the country. On July 5th (P.T. Barnum’s birthday coincidentally), the National Endowment for the Arts welcomed close to 200 circus arts performers, leaders, scholars, historians, administrators, presenters, and funders to our offices for a conversation on the state of the field. Why circus arts? Why the National Endowment for the Arts? Why now?

Circus continues to blend various traditional art form features—such as dance, music, theater, athleticism, daredevilry, staging, choreography, and costuming—into a clearly defined performance art. It blurs the lines between theater and exhibition, artistry and craftsmanship, old and new, outsider and insider, and though there have been periods of ebb and flow, we are seeing an extraordinary revival. This is significant, because it underscores circus arts as a burgeoning grassroots movement—and the art form’s increase in mainstream popularity. In 2015, aerialist Dolly Jacobs was selected as a National Endowment for the Arts’ National Heritage Fellow, the first ever circus performer to be so honored.

People are excited about the new artistic experimentation they’re seeing and moved by the impact the circus arts are having in communities. Contemporary circuses have taken on projects such as providing clowns—and training doctors and nurses in clown arts—to interact with patients and hospital staff to relieve sadness, anxiety, isolation, and even pain. Circus groups have helped to rebuild city parks in Chicago, and they have changed lives in St. Louis by teaching young people circus arts and finding careers for them in the industry.

I strongly believe that one of the key roles of our agency, and for me as a director, is to recognize and support creative advancements happening throughout our country. And in my five-year tenure with the National Endowment for the Arts, we have certainly witnessed substantial lateral growth within the nonprofit circus community—not so much as a commercial endeavor but absolutely as performance art, as a grassroots movement, and as an agent for positive social change, whether it be expanding accessibility, inclusion, education, or health. It has been incredibly exciting to watch, witness, and learn.

We designed a jam-packed agenda for the NEA’s Circus Town Hall and while it would be impossible to provide an exact summary of the day’s proceedings, here are some principal observations (in no particular order of importance) that were discussed:

  • *Circus performances are affordable and reach extremely diverse audiences both globally and across the United States.
  • *Public and private funders need to recognize circus arts as a distinct discipline and invest in its future.
  • *Circus arts have the potential to fulfill both physical education and arts education in schools throughout the United States.
  • *Unification is imperative. Circus should be recognized in all of its forms including education, training, big top, proscenium, cabaret, and street performance.
  • *Circus groups in the United States have the potential and capacity to create work at the same level as international companies but are lacking the support.
  • *Circus performers/companies are great ambassadors for the United States and should participate in international arts exchanges.
  • *Circus arts can contribute in the national conversation about the importance of supporting the arts.
  • *U.S.-based presenters and producers have to play a bigger role by including circus arts programming in their venue and festival programming.
  • *Circus arts possess the ability to heal trauma, build community, improve individual character, and address social challenges.
  • *The circus community is in need of a national service organization that is representative of all its characteristics, genres, and forms.

There is clearly a thirst within the circus community to advance the art form and further enthusiasm for growth, innovation, and interpretation. To quote P.T. Barnum, “The noblest art is that of making others happy,” and there is no doubt in my mind that the circus arts are doing just that. It is our job, collectively, to see that this unique art form receives the requisite attention and unconditional support it so deserves.

by Michael Orlove, National Endowment for the Arts