Hartford, Connecticut, U.S.A. – I knew almost nothing about the 1944 Hartford circus fire when I walked into the theater.
But by the performance of Circus Fire at TheaterWorks ended, I felt as though I had a deeper understanding of the fire and the lasting effect it has had on the community.
Listen to the author read this review:
The fire is described in the play as “the worst tragedy in Hartford history.” Because of this, one of the memorable aspects of the production was how effectively it created an immersive and emotional experience out of an unfamiliar event.
The show, by Connecticut playwright Jacques Lamarre, did not feel like a history lesson, rather an emotional retelling of a tragic event and all those it affected.
The special off-site production at the historic First Company Governor’s Foot Guard in Hartford is the world premiere of Circus Fire and part of TheaterWorks’ 40th season.
The staging played a major role. Because the production was performed on a circular stage, actors constantly moved through the aisles, creating a sense of immersion and making the fire seem scarily close.
The use of projection was strong and effective, as at the climax of the play, flames spread across the walls and ceiling of the auditorium, making it feel as though the entire theater was engulfed in flames.
Combined with frantic movement, overlapping voices, heavy breathing, and chaotic music, the audience was forced to confront the mass terror and panic caused by the fire.
Silence was used just as effectively as noise. One of the most memorable scenes was in the middle of the chaos, when a clown sat motionless in the center of the stage crying while slow, melancholy music played in the background.
The stillness of that moment juxtaposed with the mayhem of the fire forced the audience to sit with the reality of all the lives lost and the weight of the “happiest” person there crying.
The play treated the victims with a lot of respect. Instead of using graphic imagery, the play used shoes to represent the bodies.
One powerful scene showed families walking through the armory-turned-morgue searching through rows of shoes, categorized by men, women, and children, trying to identify whether or not their loved ones had died.
This choice felt deeply intentional and emotional, respecting those who died while also showing that death has no bounds and claims all kinds.
The play also investigated the negligence behind the disaster, including the discovery during an interview between a detective and a circus worker that the circus tent had been waterproofed using wax and gasoline.
When this was revealed, a heavy silence filled the auditorium, and those involved in this particular interview paused for a moment, making the air feel tense and heavy.
The shifts between scenes during the fire and later interviews with circus workers and investigators highlighted both the emotional devastation and the failures that caused it.
While I thought the play was very successful overall, the constant time jumping occasionally became confusing. At times, these shifts interrupted the emotional momentum the production had so effectively built.
Circus Fire, which opened April 16, runs through May 31.
Still, Circus Fire succeeded as both a memorial and a theatrical production, honoring the victims while forcing the audience to confront the human cost of negligence and tragedy.
Tate Simpson is a Junior Reporter with Youth Journalism International.
