{Translated from French via Google Translate}
Expectations were great for this third installment of the Cirque du Soleil Hommage series at the Cogeco Amphitheater in Trois-Rivières, with Stone. At the height of the work of Luc Plamondon, the show will have largely met expectations.
The audience was invited to a magnificent electro-classical-modern ball, bursting, or even “trash”, Wednesday night in Trois-Rivières. What the production described as a punk-rock baroque opera did not disappoint the audience, confirming at the same time that the Cirque du Soleil team is getting more and more comfortable at the Cogeco Amphitheater and feels more Than ever as at home.
The narrative plot of the Stone show is not only interesting to follow, it transports us in a whirlwind of emotions, going from laughter to tears and passing by the unavoidable breath that only these acrobats can reserve us, on earth or in high-flying.
The musical plot, for its part, is still worth this year alone the detour to the Amphitheater, with the interpretation reworked by the musical director Jean-Phi Goncalves, which only confirms its status as a genius of music.
Works by Plamondon such as SOS of a distressed earthman interpreted by Ariane Moffatt, or the electrifying Oxygène by Betty Bonifassi are extraordinary, as is Parc Belmont and the rich voice of Martha Wainwright, or the blues of the businessman who Takes on a completely new color with the deep and touching interpretation of Safia Nolin.
Visually, one feels the concern of the team to completely occupy the space, even when a single acrobat to the hoop will come to make its number. There is no idle time in this 75-minute show.
The imposing decoration representing this carousel which seems to be disused and which will accompany until the last note the quest of an eccentric maestro and his automated muse occupies masterfully space to accompany the elaborate and clearly well-honed.
The number one in the world is stone completely overturns the public, with the superb interpretation of Beyries , and a duet of acrobats with straps of a grace both poetic and sensual that comes to draw us the tears Until the very end, when a shower of brilliant brilliantly ends this adaptation that inspired the title of the show.
Visually, numbers like Monopolis , Oxygen and undocumented migrants are particularly powerful, both in music and the interpretation of acrobats who have clearly worked with great precision intentions in acting and comedy.
You can feel it especially in a number like ” I dance in my head” , where the duo of men with the Korean board comes to look for the public in humor in its complicity with the maestro, who tries somehow to slip through this number Acrobatic that does not succeed at all.
These few points of humor will come alleviate the narrative frame that one feels sometimes heavier and black, without it being disturbing.
We also had a breath of breath in Lili wanted to go dancing , or in Tiens-toi ben, I come , with the acrobats in the discipline of icarians games, with acrobatics that leave us simply speechless.
Let’s also bet that Plamondon himself had the tear in his eye for this one song he had demanded in this show, My mother was still singing . The audience, initially invited to sing the song in chorus, will later be transported in a classical and touching waltz that serves well this great classic, beautifully performed by Marie-Pierre Arthur.
The quest for the automaton muse, although it crosses dark and sometimes black paintings, will culminate in light with the hymn to the beauty of the world , for the occasion taken up by Diane Dufresne, as if it were necessary at the end of The story that the true muse of Plamondon also regained its true voice at the end of this journey.
There was only Diane Dufresne to symbolically close this show.
