Circus Amok is thriving in its eighth year of reinventing the circus form, borrowing drag fabulousness from Charles Ludlam’s Theater of the Ridiculous, large scale transformation using whole-body masks from Bread and Puppet Theater, and the outdoor bally and verbal rhythm and repertoire from the sideshow, as well as movement vocabulary from post-modern dance. The troupe balances danger with laughter, slipping its critique between the pies in the face and the surreal, scary, and sometimes gender-bent characters of the charivari.  –Mark Sussman, in Disturbing the Peace: 20th Century Radical Street Performance, 2001

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