From the second the lights hit the canvas, LASSÙ announces itself as something different. Ashton Legacy Productions doesn’t just roll out another circus cabaret; they detonate one under the big top at Victoria Park.
Featuring a dynamite cast who don’t know the meaning of the word impossible, LASSÙ oozes grit, fire, and out-of-this-world circus acts. It thrives on raw talent and split-level precision, completely re-establishing the heart of what circus is about.
LASSÙ doesn’t lean into spectacle for spectacle’s sake, like other circuses. Instead, it looks inwards and reminds you why the circus still matters: because when it’s this good, you can’t look away.
The first real curveball of the night comes from Liam Papanicolaou, a clown who manages to be both ridiculous and completely relatable at the same time. Slapstick can so easily miss the mark, but Liam lands it every single time. He is goofy, loveable, and flat-out hilarious – the kind of funny that has you snorting before you even realise it.
Within minutes, he has the crowd wrapped around his finger, and honestly, I’d put him up there as one of the funniest clowns I’ve ever seen.
On the other end of the spectrum is aerialist Zoe Marshall, whose opening act brings a wave of awe crashing down across the tent. Suspended only by her hair, Marshall takes to the skies, while the jaws of the audience hit the floor. It is powerful, it is beautiful, and it will go down as one of the key moments of the show that people will talk about on the drive home.
Then comes the danger. Knife thrower and crossbow artist Jesse Daley takes to the stage with dancer Rachel Nikolovski as his target. Blades slice the air, landing terrifyingly close, each throw so precise it leaves the crowd holding its breath. It is pure terror and thrill rolled into one – the essence of circus – and Daley nails it.
On the flip side of fear is pure, unfiltered comedy. Jessie Grant’s balloon routine is, without exaggeration, one of the funniest things I have ever seen in a theatre. It is silly, it is clever, it is shocking in the best way, and it has the audience howling. It’s rare to see something that manages to surprise every single person in a room, but Grant does it.
The night isn’t without its displays of raw power, either. Ian Richardson and Merrik Ashton take to the stage in a balancing act that is as impressive as it is easy on the eye. Their strength and control are matched only by the grin-inducing reactions from the female section of the audience, who clearly enjoyed the eye candy on offer. It is circus at its strongest… literally.
While impressive as part of a duo, Merrik Ashton delivers his most memorable performances as a solo artist. Taking to a slackline – a rare, but delightful, circus apparatus, Ashton defies logic and gravity with his alien-like balance and poise.
Merrik pours himself a bowl of risk and eats it for breakfast. Every step feels like it could be the one where he’d slip, but of course, he doesn’t. Instead, he makes the impossible look effortless, and just when you thought he couldn’t possibly take any bigger risks, he does.
Threading all of these wild, contrasting acts together is Maddison Ashton’s voice. Her vocals float through the tent, sometimes gentle, sometimes powerful, but always anchoring the chaos around her. Without her, the show could have felt disjointed. With her, it became a whole.
And what’s a circus cabaret without fire? Nat Oakes storms the stage with torches blazing, whipping flames through the air and cranking the heat to unbearable levels. It is bold, dangerous, and has the whole tent feeling like it might just ignite.
Backing so much of the spectacle are dancers Nicole Aspinall, and the ever-versatile Rachel Nikolovski. Their routines are seductive, sharp, and magnetic, giving the show its cabaret edge. They aren’t just background; they are vital to LASSÙ’s personality, bringing a sultry, stylish undercurrent that elevates the whole night.
By the final opening night bow, the tent was on its feet. People cheering, clapping, even whistling. The kind of energy that doesn’t happen unless a show really connects. LASSÙ isn’t about pyrotechnics or massive set pieces. It’s about what circus has always been: human beings doing extraordinary things and making us laugh, gasp, and squirm in our seats while they do it.
LASSÙ doesn’t deal in smoke and mirrors or Cirque du Soleil–style pageantry. This is a different beast entirely. It’s a steely, space-cowboy kind of circus that rides on strength, balance, comedy, and daring precision. It’s got grit, it’s got soul, and once the lights hit the ring, you’re strapped in whether you like it or not.
LASSÙ Cosmic Cabaret runs to 27 September at Victoria Park, Spring Hill Qld 4000.
It then travels to the Central Coast, NSW from 3 – 26 October, and the Gold Coast from end October.
Tickets: https://www.lassutheshow.com.au/purchase-tickets
Website: https://www.lassutheshow.com.au/
Socials: https://www.instagram.com/lassutheshow/
Hero image photo credit: Sean Breadsell
Note: this show is for over 18s only.
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Lassù Cosmic Cabaret – When Cirque du Soleil Got Lost at Southport and Found a Bar Tab
If you thought your Saturday night couldn’t get any spicier than a Gold Coast sunset and a seafood platter, think again — Lassù Cosmic Cabaret has pitched its massive circus tent right on Fisherman’s Waterfront Park, Marine Parade, Southport, and it’s impossible to miss. It looks like the mothership landed, unpacked its sequins, and decided to put on a show.
We went on Saturday, 1 November, and were welcomed by a dancer so graceful she could’ve floated us to our seats without touching the ground. There waiting was a bottle of sparkling wine — sitting proudly in a bucket of fully melted ice. So essentially, a sauna bath for grapes. Warm bubbly has the same charm as flat beer at a cricket match — best advice: pretend it’s “room temperature Champagne” and sip bravely.
Our seats were right on the edge of the stage — an up-close-and-personal position that made us feel part of the action. Unfortunately, “part of the action” meant craning our necks skyward for two hours like a family of curious pelicans. If chiropractors ever need new clients, they should just hand out cards at this show. Tiered seating would go a long way — otherwise, audiences might leave applauding with their hands but cursing softly with their C6 vertebrae.
Now let’s talk about heat. The tent was hotter than a Bikram yoga studio during a blackout. Within ten minutes, everyone was glistening like we’d just run a marathon in sequins. I half expected a lifeguard to wander in and remind us to hydrate. At one point, I was tempted to flap the program just to create a personal wind system. Honestly, I reckon the fire performer could’ve skipped her act — the whole tent was already aflame with humidity.
That said — the opening number was absolutely electric. A powerful chorus of dancers and a solo vocalist set the tone for what was to come — a kaleidoscope of circus brilliance and sheer physical insanity. We’re talking:
• Knife throwing and crossbow artistry sharp enough to make you flinch.
• Slackline and balance acts that defied gravity and reason.
• Fire performances that singed eyebrows two rows deep.
• Acrobatics and aerial chains that made us gasp (and pray they had insurance).
• And that hair-hanging act — because apparently gravity is just a suggestion in this show.
The lineup was jaw-dropping, but every good circus needs a clown — and Rusty the Rodeo Clown certainly made himself known. At first, his energy was infectious. Then it became… well, chronic. Predictable gags and excessive screen time left us wishing he’d find the golden “Lassù” he was searching for and lasso himself a seat in the audience.
The showstopper, however, was pure comic brilliance — a short performer in a period costume who somehow disappeared into a giant balloon. Without spoiling too much (because honestly, you’ve got to see it to believe it), let’s just say the balloon has its own personality — and when it pops, so will your jaw.
Final Thoughts and Prescription for Improvement
Merrik Ashton, the show’s mastermind and a seventh-generation circus performer, clearly knows his craft. The choreography, acrobatics, and sheer physical artistry were world-class — Cirque du Soleil with an Aussie sense of humour and a dash of naughtiness. But, and it’s a big one — if guests are paying $150 a ticket, the details matter:
• Keep the wine icy cold, even if it’s budget fizz — no one wants their bubbles lukewarm.
• Fix the airflow — no one should need a snorkel and a towel to watch a show.
• Tier the seating — audiences deserve to enjoy the spectacle without developing a pinched nerve.
Because if Cirque du Soleil is the gold standard, Lassù Cosmic Cabaret could absolutely shine with a few tweaks.
Our score: 6 out of 10.
The performances were sizzling, but so was the audience — and not always in a good way. In the Gold Coast climate, “hot show” shouldn’t be taken literally.
Still, if you’re after a wild night of glitter, gasps, and gravity-defying antics — grab a ticket. Just maybe bring your own fan, a cold drink, and a neck brace for safety.