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| NoFit State Circus | |
|---|---|
| Name | NoFit State Circus |
| Formation | 1986 |
| Founder | Mark Browning; Ceri Easton |
| Type | Contemporary circus company |
| Location | Cardiff, Wales |
NoFit State Circus is a contemporary circus company based in Cardiff, Wales, known for producing large-scale site-specific productions that combine acrobatics, aerial performance, theatre and live music. The company emerged from the British alternative circus movement and developed a touring model using custom-built tents and converted theatres, collaborating with international artists, composers and choreographers. Over decades it has contributed to the revival of circus arts across the United Kingdom and Europe while engaging with festivals, civic venues and arts institutions.
Founded in the late 20th century by practitioners with backgrounds in street performance and physical theatre, the company developed alongside organizations such as Cirque du Soleil, Circus Oz, Les Arts Sauts and Pickle Family Circus. Early associations linked it to the alternative circus renaissance that included Joli Vyann, Giffords Circus, Great British Circus and festival networks like Edinburgh Festival Fringe, Glastonbury Festival and Latitude Festival. The troupe’s evolution intersected with regional arts agencies such as Arts Council of Wales, national touring schemes like Arts Council England initiatives and venue partnerships with Wales Millennium Centre, Royal Festival Hall and municipal authorities in Cardiff Bay. Key creative figures collaborated with European companies including Compagnie XY, Cirque Éloize and contemporary dance companies like DV8 Physical Theatre and Rambert, reflecting cross-disciplinary influences from theatre-makers such as Samuel Beckett-inspired physical directors and scenographers who had worked at National Theatre and Royal Shakespeare Company productions.
Artistic directors drew on traditions established by innovators such as Philip Astley-inspired equestrian showmanship, the twentieth‑century physicality of Jacques Lecoq, and the spectacle lineage of Barnum and Bailey Circus. Productions combined apparatus work akin to Russian Circus techniques, aerial disciplines similar to those in Cirque du Soleil shows, and dramaturgy found in Complicite and Punchdrunk site-specific theatre. Shows often featured live composers and musicians from ensembles associated with BBC National Orchestra of Wales, indie labels connected to Rough Trade Records and folk musicians who performed at Green Man Festival. Designers and choreographers previously employed by institutions like Royal Opera House, Sadler's Wells Theatre and Barbican Centre contributed to ambitious visual language, integrating lighting design approaches used at Edinburgh International Festival and multimedia techniques practiced by companies such as Troika Ranch.
Touring strategies mirrored models used by Cirque du Soleil and European companies that employ custom rigs and tents, enabling performances in urban centres, rural festivals and converted industrial spaces such as warehouses repurposed like Tate Modern-adjacent sites. The company appeared at international festivals including Edinburgh Festival Fringe, Montreal Fringe Festival, Avignon Festival and toured through circuits involving venues like Sadler's Wells, National Theatre Wales-partnered stages, and municipal arts centres in Birmingham, Manchester and Bristol. Logistical partnerships invoked best practices from touring companies such as Royal Shakespeare Company and dance tours coordinated by Dancers' Touring Company, working with freight and production teams experienced with large-scale outdoor events like Notting Hill Carnival and London 2012 cultural programmes.
The organisation ran training programmes, outreach initiatives and youth workshops in collaboration with education providers including Trinity Laban Conservatoire of Music and Dance, Royal Welsh College of Music & Drama and local authority youth services in Cardiff Council. Community projects reflected models used by Cirque du Soleil Outreach and circus schools such as National Centre for Circus Arts and Lido School of Circus Arts, offering apprenticeships, vocational training and CPD workshops. Partnerships with arts education funders like Arts Council Wales and higher education institutions promoted pathways for performers into companies akin to Cirque Éloize and theatrical training used by ensembles such as Frantic Assembly.
The company operated as a charitable, social enterprise-style organisation combining earned income from ticket sales and bar services with grants from public funders such as Arts Council of Wales, project funding mechanisms similar to those administered by European Union cultural programmes and philanthropic support paralleling models used by Paul Hamlyn Foundation and trusts like Heritage Lottery Fund-backed arts initiatives. Governance drew on non-profit precedent in UK arts, with boards using expertise from arts management professionals who previously served on boards of Royal Welsh College of Music & Drama, Wales Millennium Centre and regional development agencies. Production budgets required coordination with commercial partners, venue sponsors and international co-producers experienced in touring finance for companies such as Graeae Theatre Company and Clean Break.
Past performers, directors and designers moved between this company and major contemporary circus and theatre outfits including Cirque du Soleil, Compagnie XY, Circus Oz, DV8 Physical Theatre and Frantic Assembly. Collaborators encompassed composers, choreographers and dramaturgs who have worked with BBC National Orchestra of Wales, Royal Opera House, Sadler's Wells Theatre and independent labels linked to Rough Trade Records. Guest artists included aerialists and riggers trained at National Centre for Circus Arts and movement directors with histories at Royal Shakespeare Company and National Theatre.
Productions received critical attention in media outlets that review performing arts, earning nominations and awards within festivals such as Edinburgh Festival Fringe and touring accolades comparable to honours given by organisations like Laurence Olivier Awards panels and regional arts prize juries. Recognition included invitations to cultural programmes in cities represented by institutions like Wales Millennium Centre and selection for international showcases similar to those organised by British Council and UK/France Season cultural exchanges.
Category:Contemporary circus companies Category:Arts organisations based in Cardiff