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By Miranda Stück
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Published on June 9, 2026
Cast of "The Circuit"; Photo:(c)Rebecca J Michelson
Co-Director & Choreographer: Josh Zacher
Co-Director: John Kroft
Written by: Connor Wentworth
Composer & Sound Designer: Jacob Ryan Smith
Associate Choreographer: Bobby Davis
Associate Sound Designer: Anna Tobin
Dance Captain: Anna Nader
Performers: Manatsu Aminaga, Danielle Louise Bowen, Luke Swaller, Tessa Fungo, Shiloh Goodin, Fabricio Seraphin, Kory Ryan, Katie Baik, Macy Deppe, Kaitwan Jackson, Arzu Salman
Opening night: May 21, DUMBO, Brooklyn
The Circuit runs through June 29, 2026
TICKETS & INFO: Visit Fever
DIGITAL RUSH & LOTTERY TICKETS: Visit TodayTix
Header photo: Macy Deppe, Fabricio Seraphin, Shiloh Goodin and Kaitwan Jackson Photo © Rebecca J. Michelson
Imagine wandering through DUMBO, Brooklyn, on a summer night wearing wireless headphones, immersed in a world where nightlife, EDM music, and concert dance converge into an interactive experience. Created by Josh Zacher and John Kroft, The Circuit transforms the city into a stage, turning an ordinary night out into an imaginative, artistic voyage.
Inspired by La Ronde, an 1897 satirical play by Arthur Schnitzler that explored the ways desire and sex shaped relationships across society, The Circuit blends monologues, an original sound score, and choreography with a modern, queer perspective.
In The Circuit, there is little privacy between dancers and the audience. Yet despite taking place in an open, highly public environment, the experience feels remarkably intimate. With traditional theatrical boundaries dissolved, a personal set of headphones immediately connects us to the performers.
Beginning at the iconic Dumbo Archway, the first performers emerge as the 45-minute soundtrack begins. The movement, choreographed by Zacher, jumps right into impressive athleticism, fully utilizing all types of public landscapes. The dancers jump, pivot and hang off the areas’ ledges, rocks, railings, and benches.
The first scene unfolds between Manatsu Aminaga and Luke Swaller, who establish a flirtatious physical and verbal exchange. The choreography reflects Aminaga’s internal dialogue, and voiceover narration opens a window into her personal thoughts as she moves. “Don’t be weird,” the voice repeats, speaking over a backdrop of electronic piano music. As Swaller eventually leans towards her, Aminaga’s internal monologue races ahead. “This is a kiss. This is a kiss coming…okay, don’t be weird, please.”
During the duet and beyond, the concrete floor and gym shoes do not stop any of the dancers from partnering in ways usually reserved for the studio. Soaring lifts, spinning turns, and sweeping promenades whirl across the sidewalk as if it were a stage. As a dancer, it is admittedly nerve-wracking to watch the performers execute such demanding partnering on the edge of curbs or while balancing on staircase ramps and other precarious surfaces.
The most exciting aspect of The Circuit lies in its sense of mystery. Once a scene ends or pauses, the audience, unsure of where to walk next, is guided by people with glowing light sticks towards their next location. It takes a moment to spot the performers because they blend so seamlessly with the flow of pedestrians.
The transitory walk is accompanied by Jacob Ryan Smith’s musical composition, driven by high-tempo beats and a bright, summery techno saxophone line. The track evokes the atmosphere of a sunset beach party — warm, energetic, and slightly euphoric, as if the music itself is moving with the crowd.
As the dancers pulse through the city, reenacting numerous affairs and love scenes, sharing moments of gentle intimacy and expansive movement, it becomes clear that this work is, in effect, three experiences in one: a performance, a party, and a walking tour of the neighborhood. DUMBO becomes the dancers’ playground, and the line between spectator and participant blurs. It’s almost impossible to resist joining in.
Over the course of the hour, audiences encounter duets, synchronized group sequences, and solos set among some of the area’s most astounding landmarks, including streets overlooking the Brooklyn Bridge, Jane’s Carousel, various gardens, and the glistening waterfront.
“Sometimes the general public around us start cheering us on, dancing with us, or [become] just as invested as the audience members, even though they can’t hear the score,” says dancer Kaitwan Jackson. “The whole community becomes a part of the experience, and because of it, the excitement never wanes.”
Following club-like scenes on grassy hills and lustful duets on park tables, the audience is led to a row of benches along the East River where they can finally take a seat. The journey comes to a close with a solo performed by Aminaga in front of the water, as cruise boats and ships drift peacefully behind her. In one final, dramatic gesture, she removes her headphones and lifts them into the air. The image, symbolic and memorable, signals the performance’s end.
An homage to La Ronde and a love letter to New York City, The Circuit draws you in and leaves a lasting impression.
