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CIRCUS

The Circus is a movable feast: it arrives at venues for one night only, which it has done on a mere three occasions since September.  But people are already remembering the pre-perfected cuts of Cajun, Cowboy, African and South American music spliced together with favourite pop tunes and film scores to form a liberal interpretation of - ''what's disco''.  The secret is in the mix.  Apart from contending with unfamiliar sounds from different cultures placed alongside each other, you can be dancing away when the tape cuts suddenly into a track so quiet that it's difficult - but not impossible - to continue.  You're being challenged t find rhythm in the silence before returning to the groove ten seconds later.  Some people can't handle it.  ''But if you're going to feel stupid,  don't come to the Circus,  insists Richard Breslaw,  a foermer DJ at Club For Heroes and Planets.  He's part  of the trio responsible, along with his friend Jeremy Healy who was at the controls both in the Sterling Club and at a couple of infamous parties held by the third man, his flat-mate Soloman.  After the first night, at the Valbonne,  Jeremy was invite to DJ their tapes during an hour slot of Billy Stoane's show for Radio Clyde. Since then, all three have been inundated with requests for copies of their C60 tapes. The Circus takes music people have never heard before and mixes favourites you've never tired dancing to.  There's a spaghetti guitar section where Ennio Morricone cuts into Bow Wow Wow into 'The Hop' by Theatre of Hate.  ''The point about the Circus is,  like any travelling show, its 'success' depends not only on the performers but on the extent of audience participation.   ( Helen Roberts - The Face, February 1983 ) NIGHT CLUBS MENU

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