A difficult start almost pushed him away, yet the effort persisted. The current premiere season in Alicante unfolds on September 6, with the final show, Requiem: The Last Symphony, closing the run. Alicante also hosts Juanjo Llorens, a four Max Award winner who earns praise from the Talia jury. He handles lighting for nearly every production of this intense, kinetic circus company, with the exception of the earliest performances: Asylum, Cursed Cabaret, Apocalypse, and Lament. He describes lighting as a wild blend of theatre craft and circus spectacle, still hooked on the discipline and comparing it to rock and roll.
Born in Alicante in 1967, Llorens joined Circus of Fear in 2012. His first collaboration is remembered as a struggle set in a mental hospital atmosphere that felt like a leap. He came from a deeply theatrical background, and moving into the circus scene was a shock. There was a moment when doubt crept in about his ability to deliver. During a late-night rehearsal, a teammate asked about his hours of sleep. He paused, slept for 24 hours, and then stayed with the company for eleven years. His colleagues, Silva and Manuel González of Productores de Sonrisas, trusted him, and he gratefully accepted the role.
Initially, he aimed for a theatrical light that would avoid distracting the audience, but tented spaces demand a different approach. Once the circus lighting code clicked, he understood the aim: each scene deserves its own light and its own moment of focus. A spotlight can unsettle the audience, yet a swift, purposeful cue can steer attention away from a performer’s face while preserving the show’s cohesion. A constant glare would bore viewers; every sequence requires a dedicated light cue and a pause to guide the eye elsewhere.
Requiem: The Final Symphony marks Suso Silva’s farewell as a stage performer, even as the shows evolve creatively. This is where Llorens helped forge the visual identity of the Horrors brand, seen as Silva’s personal signature. The company has captivated audiences with a stark, bloody aesthetic that sits alongside songs, dance, acrobatics, and humor. Critics and fans alike note the striking style that drew a broad following.
If a single color should define modern circus, Llorens favors illuminator-led palettes: reds, deep blues, and strong contrasts. Yet each production carries its own lighting language, benefiting from its unique storytelling. Earlier works leaned toward a colder, more theatrical light reminiscent of an old asylum, Cabaret was brighter and merrier, Apocalypse felt grander in scope, and Bacchanalia tipped toward a cabaret vibe. The goal is to tell the story through light and avoid monotony.
Versatility and Recognition
Llorens is widely regarded as one of the nation’s most respected stage lighting directors. He can illuminate a dance piece with a two-person setup or light a full musical like Noales Delicatessen. He has earned Max Awards for works including Death and Virgin, The Dog in the Night, Mice and Men, and Function to Be Performed. He has also designed lighting for large tours, such as Amaral’s stadium performances and major award show premieres. He notes that cinema is not his first draw, though he would consider it if offered.
Lighting work goes beyond visibility; it serves dramaturgy. It sets mood and focus as the curtain rises and sustains the show’s flow. Strong lighting supports actors on stage, not merely lighting them for aesthetics.
Llorens speaks warmly about the circus experience. The tent offers freedom and energy, a form of performance that feels more immediate than traditional theatre. Yet he also enjoys returning to theatre, finding fresh emotion in each form. Looking ahead, Llorens will continue with Lament and Circo—Rock Circus and Circular—before Christmas, a new show heading for China starting in Shanghai and moving to Madrid’s Teatro Español.
The bond between light and narrative remains central to his approach. He emphasizes varied lighting spaces, from intimate to expansive, and the need to adapt to different scenes rather than sticking to a single style. Lighting acts as a language that helps convey mood, pace, and intention on stage.
The journey through circus lighting is not merely technical; it is an artistic path blending theatre, dance, and spectacle with a distinctive visual voice. Llorens has become a defining figure in contemporary circus in Spain and beyond.
Juanjo Llorens values curiosity and flexibility in his craft. He notes that the circus environment demands a balance between precision and spontaneity, a balance that makes every performance a live conversation with the audience. His ongoing work promises to expand the formal language of the art form while honoring its roots in theatrical storytelling.