Review: Maybe It’s Only Us
Picture: A visual feast. Image credit: Creative Futures Photography
Created by Flipside Circus and The Good Room, Maybe It’s Only Us is an incredible new multilayered work that showcases the skills of the young Flipside Circus artists, and also celebrates the fabulous Brisbane Circus Centre. Promoted as ‘part survival story, part fever dream—a visceral journey through collapse and resilience,’ the show is envisaged as ‘the exploration of what happens in the immediate aftermath of a failed music festival.’
William Golding’s Lord of the Flies is often a set text, giving English literature teachers the opportunity to tease out the contrast between the thin veneer of civilisation and the underlying temptations of impulse and anarchy. Nathan Sibthorpe (co-writer, co-Director, co-Creator, and Video Designer), Amy Ingram (co-Writer/Creator), Bridget Boyle (co-Director/Creator) and Robert Kronk (Dramaturg/Creator) have together taken Golding’s text as the basis for creating an inspiring new work.
The result is an impressive piece of verbatim theatre (using the words of the performers), that draws on the circus skills of new and established Flipside artists, Sibthorpe’s videographic vision, and an incredible soundscape that includes a performance by a talented young drummer (Guy Webster, Sound Designer and Composer, with Andrew Oxford, Associate Sound Designer/Composer).
I don’t remember aliens featuring in Lord of the Flies, but there was certainly the manifestation of the fear of the stranded schoolboys as a ‘beast.’ My interpretation of the narrative arc of Maybe It’s Only Us is a journey from the joy and fun of a music festival, through to hearing the fears and worries of the young people, and to then celebrating their abilities and the ways in which they will all survive. Equally, this is a personal show that speaks of the nerves of the performers, when waiting in the wings, and their closing realisation that ‘then it’s all great.’
In this latest Flipside Circus show, the audience is presented with a visual feast that encompasses lifts, tumbles, jumps, aerial silk, and incredible high-wire, thanks to the talents of the 16 Performers/Creators (Aurora Bennett-Godde, Callum Cornish, Cristina Gambley, Ella Ronquest-Ross, Gabriella Cini, Jesse Davies, Jedda Bell, Isabelle Kennedy, Isla Fletcher, Luke Whitefield, Rose Downey, Rowan Hargrave, Stephanie McGrath, Sophie Saunders, Talea Cubela, and Willow Thomas).
Picture: Trust—up high. Credit: Creative Futures Photography.
Picture: Incredible high-wire skills (Image credit: Creative Futures Photography).
Picture: Metronome joy. Credit: Creative Futures Photography.
Picture: Video projections with talented Flipside artists climbing the walls of the Brisbane Circus Centre Image credit: Creative Futures Photography.
My favourite moments are spread across each of the three acts. The high-energy and skilful opening music festival act is fabulous—from the humour of the ‘guard’ trying to assert control, through to the fabulous ‘metronome’ work, powerful two- and three-high towers, jumps from the shipping container backdrop, and the segway to the abseiling up and across the walls of the main circus centre. Splitting the audience into ‘second act’ smaller groups allows for a very up-close look at the impressive ‘screen time’ acrobatics and strength, the opportunity to be wowed by the impressive Chinese pole work (I love the controlled drops of the full group of performers), and to enjoy the entertaining juggling number. And the literal highpoint of the smaller group performances has to be the ‘trust’ lifts and balances positioned very high above the entrance to the circus centre.
The closing act of the whole show is a visual feast. The high wire ‘fight’ and balancing is incredible. I’m not sure I have ever seen some of the moves that include lying down on the wire, stepping over a fellow performer who is sitting on the wire, and of course the powerful holds dangling from the wire. And, sorry if this is spoiler, but to be in a space where there are performers on each of 8 silks, 2 ropes, and 1 trapeze is breathtaking—where the falling petals are a beautiful way to represent the trickling away of any fear. The final leap and closing crash on the drums are a great way to end this very special celebration of the Brisbane Circus Centre space, of the talents of the Flipside students, of their trainers, and of their fellow (professional) creative collaborators.
Don’t let the promenade and outside/indoor nature of this show put you off; there are seats available if needed, there is a small amount of walking required inside and outside the building, and it’s sensible to wear closed in flat shoes. This is another must-see show from Flipside Circus, and you’ll regret missing it if it’s sold out. And, if you haven’t yet been to the Brisbane Circus Centre, this is the perfect show. The venue is just around the corner from Brisbane’s Eat Street, so I strongly suggest planning a date night, family festive treat, or just a treat for yourself. But be quick, as Maybe It’s Only Us closes on 7 December.
Picture: That moment of fear, with members of the cast of Maybe It’s Only Us. Image Credit: Creative Futures Photography
Audience information: Maybe It’s Only Us, Brisbane Circus Centre, 221 MacArthur Ave, Hamilton (28 November–7 December 2025). Tickets $35-$45 (plus transaction fee of $1.38). Recommended for ages 8+. 55-60 minutes with no interval. Bar available on arrival. Indoor and outdoor promenade performance (occasionally over uneven ground/grass), limited seating, some low lighting, and limited use of smoke/haze and flashing lights. Very occasional period of darkness and some confined spaces. The performance is accessible for wheelchairs users or patrons with mobility requirements. Performance proceeds in light rain, but in wet weather, the show may be postponed or truncated (make up performances available should any performance be postponed). Latecomers may not be admitted until there is a suitable break in the performance.
Additional credits: Jian Nie, Manelaya Kaydos-Nitis, Aurora Bennett-Godde, Luke Whitefield, Riley McDonald, Lucy Hunterland and Anabella Gregory (Trainers), plus Alex Weckes-Huck (Trainer/Rigging Designer/Creator), Adelaide Lukin (Production Designer), Christine Felmingham (Lighting Designer), Gabriela Gallardo (Production Manager), Kelsey Booth (Production Manager and Stage Manager), Freddy Komp (Technical Manager), Nic Taube (Front of House Coordinator), and Aaron Jeffrey (Reserve Show Operator).
The reviewer attended the premiere performance of Maybe It’s Only Us on Friday 28th November 2025 (7pm).