The show must go on. The old show business truism never fades, and the old promise is as much a cry of resilience as it is an affirmation of the status quo. From the performer gritting their teeth and riding through the pain, to the notion that the traditions of circus must live on, a quiet note of defiance holds across both. In the documentary Circus Dynasty we see this truism first-hand, and are allowed to witness the tireless momentum which carries these performers forward in life, despite the many trials they face in their chosen profession.
At the heart of the doc we find the young couple of Patrick Berdino and Merrylu Casseley, the oldest children of two respected circus families working out of Denmark. While Patrick is being lined up to inherit the ringmaster role from his grandfather, Merrylu has made a name for herself as a spectacularly agile animal acrobat. Together they have devised a spectacular act, where Patrick throws Merrylu around himself, while riding on the back of two harnessed horses. The film showcases such staggering acts, and despite their breath-taking qualities, it’s the human drama which shines above all else. Like watching spinning plates in a shooting gallery, as the circus patriarchs admire their love-bird prodigies perform in the ring, beaming at the box-office potential, you just feel the weight of the crash that’s coming. With their families futures unrealistically put on the shoulders of two 19 year olds, you don’t have to be a fortune-teller to know the relationship cannot last.
While the split happens off camera, countless sparks fly between the two youngsters, and the parents stand by glum faced as the rift slowly starts to pull the families apart. But the show must go on, and so it does. Despite kicks from horses, despite awkward falls off grown elephants, the tears are always held behind the scenes, and ringside they always put on their firmest smiles and their best performances. Only once do the cameras capture the facade crumbling, when in a moment of jealous fury Patrick calmly walks up to Merrylu and starts sniping at her as she sells programmes to the audience. The scene is caught in medium shot, in the hub-bub of the audience, but far away enough to not be caught by the mics. In this closed and mute drama the tensions of their unresolved relationship play out, unguarded and illcitly performed in the sacred space of the ringside. This riveting scene is the death of all lingering romantic notions still held onto by their parents, and marks the start of the film’s final act as the families professionally break from each other.
The drama sails extremely close to the winds of soap opera, but as the filmmaker himself stated in the Q&A after the screening, he did everything he could to downplay the story’s melodrama. His care in this regards is thankfully evident in the finished product, as the film avoids caricaturing either villains or victims. The story ends on a departure, and an emotional note for love lost and familial ties broken. The romance the film holds for its young couple, for the history of the circus, and for the future troupe that could have been persists throughout, yet its strength ultimately lies in the emotion it chooses it temper rather than the story it might have chosen to exploit.