In as much as society’s relentless pursuit of perfection drives many, there has always been a deep fascination with the bizarre and the freakish simmering just beneath. SideShow, staged by The Sandbox Collective, explored the human cost at the center of that obsession.

Let me preface this by saying that going into the musical, I knew close to nothing about it — save for the little bit of research I had done on the Hilton sisters and a few casual conversations with the Sandbox Collective’s outgoing artistic director and the show’s director, Toff de Venecia. Phrases like “an immersive experience” and “a show within a show” were tossed around, promising audiences full engagement with the story and setting — a traveling circus circa the 1920s. And sure enough, when the actors walked on stage and the lights dimmed, we were swept into a fantastical world where we were invited to “come look at the freaks.”

The biggest flaw of SideShow lies not in the staging — which was spectacular — but in the story itself. It doesn’t build toward a complete resolution. There is no neat bow that ties everything together as the curtain falls. From an audience perspective, it is difficult to know what to feel about the characters’ fates, which are left unresolved. It almost begs for a disclaimer urging viewers to read more about the Hilton sisters afterward, if only to decide who they are truly rooting for.

That said, De Venecia made the most of the material, pulling us into the imaginative world he had dreamed up for the stage. His decision to seat audiences on either side of the performance recreated the sensation of being inside a circus tent, waiting for Jon Santos’ commanding ringmaster, The Boss, to summon the “freaks” — which he did with much aplomb. The use of hanging cloth panels as screens heightened the immersive quality, while moments when the actors shed their freak show personas and became “regular people” transported us to a liminal space where only the story and music remained. De Venecia’s direction was thoughtful and intentional, and his cast followed suit. Each performer brought precision and purpose, with the leads giving more heart than expected. As De Venecia’s directorial swan song before leaving for further studies abroad, SideShow felt like a personal love letter to the craft that has shaped his life.

To be candid, not every song in SideShow is remarkable. But a few numbers cut to the heart of the musical, exploring the tension between public adulation and personal longing for the Hilton sisters. “Tunnel of Love” is a standout. In this scene, Daisy (Krystal Kane) and Violet (Molly Langley) are paired with Buddy (Vien King) and Terry (CJ Navato) for a romantic boat ride, where the characters wrestle with the possibilities — and impossibilities — of love under these extraordinary circumstances. The lyrics are filled with inner turmoil, confusion, passion, and desire, a push and pull of emotions that feels painfully real.

This theme carries into “Private Conversation” and “You Should Be Loved,” though from opposite perspectives. In the former, Navato’s Terry confesses his love for Daisy but struggles with the reality it entails, singing with raw vulnerability. In contrast, the latter shows complete acceptance: Jake, a fellow “freak” who leaves the circus with the twins, declares his love for Violet. Joshua Cabiladas was a revelation in the role, pouring every ounce of emotion into his performance. The musical ends poignantly with Kane and Langley’s duet, “I Will Never Leave You,” a haunting affirmation of the sisters’ unbreakable bond in a world of uncertainty.