“Impossibly beautiful, this show is a gift to our contemporary Australian culture. Pure and tragic, brutal and transcending!” Kate Ceberano
March 19, 2013 to March 24, 2013
Bookings are no longer available
A beautiful dedication to the strength of women from beloved vocalist Katie Noonan.
Collaborating with a special guest star circus troupe directed by Yaron Lifschitz and Ben Knapton, Katie Noonan has created Love-Song-Circus, a performance encompassing song cycle and circus vignettes to explore the incredible stories of the first female convicts in Australia.
Staged especially for the intimate surrounds of The Famous Spiegeltent, audiences will be immersed in these women’s worlds as their stories of bravery unfold. The four time ARIA winning and six time Platinum selling artist is backed by an exquisite string quartet, guitarist extraordinaire Ben Hauptmann and acclaimed double bass player Zoe Hauptmann as she masters modern acoustic and folk sounds, and delivers lyrics that delve into the fierce hearts of women. Love-Song-Circus also celebrates strength, femininity and friendship through physical performance, and is a truly unique and dramatic departure from traditional cabaret and circus styles
Tickets: from $60
Sunday 24 March, 7pm
Enhance your Spiegeltent experience with these additional booking options:
For an additional booking fee, you can jump the queue to receive priority entry into The Famous Spiegeltent, where a reserved seat awaits! Priority entry is strictly limited for each show and is subject to patrons’ punctual arrival 10 minutes before starting time.
Book an exclusive booth for 10 people when purchasing tickets
See a show in a premium booth in The Famous Spiegeltent reserved just for your party of 10. Your party will receive a delectable food and beverage package and priority table service. Hurry, there is only one booth available for booking at each show!
Booth bookings are available only via Box Office or phone, call 1300 182 183.
“Noonan’s songs give life to the courage and stoicism of young women otherwise lost as mere mentions in prison records and colonial archives… This is an accessible, highly accomplished new composition that deserves wide attention.” The Australian