REVIEW /// “O Brave New World… AMALUNA!”

“How beauteous mankind is! O brave new world
that has such people in’t.” (Miranda, “The Tempest”)

There’s nothing like a hometown crowd.

I’ve said it before and I’m sure I’ll say it again. It’s a clichéd old adage, but for a fan of Cirque du Soleil there’s simply no substitute for being in the Grand Chapiteau with a couple of thousand Québécois, clapping and stomping to the show’s beat – whether it be lounge-fusion, organ-fusion, Indian-fusion, insect-fusion, Native American-fusion or full-on rock-and-roll – and reveling in every single moment of it all. As an attendee of Cirque du Soleil touring show premieres for ten years, allowing one’s self to be swept up in the awesomeness of premiere excitement is nothing short of magical; it’s a euphoria you’ll find nowhere else but in Cirque’s hometown. I relish this feeling… especially with friends.

My first experience with this brand of euphoria came when witnessing Varekai’s birth in 2002. I knew from the moment I stepped foot on the cobblestoned streets of the venerable old port of Montréal this was how you celebrated a premiere and I wanted to be a part of it from then on.

Traveling to Montreal for premiere weekend has provided many indelible memories. I’ll never forget bouncing along outside the Grand Chapiteau on the third night of Varekai’s performances having just procured a stand-by ticket while the harmonies of the show’s opening overture played on; or watching “Mad Max” rip off his headdress and fly through the air between one Russian Swing to the other all the while twisting, turning and twirling about – the first time I ever seriously feared for an artist’s safety; or forget about touring the Cirque du Soleil Headquarters with 100 or so Passionates as part of CirqueCon 2005; or forget sitting on the edge of my seat along with everyone else during Koozå’s many thrilling acts; or meeting and speaking with David Shiner, Koozå’s Director, during intermission) occasionally there’s a miss-step.

Varekai and Koozå were well received by the hometown crowd (how about standing ovations DURING the performance?); OVO not so much. For me personally Corteo was not a particularly good premiere, especially after coming off that spectacular Russian Swings ending to Varekai three years before, but the crowd enjoyed it. OVO fared much, much worse by both me and the crowd I saw it with; in fact, the response was so tepid I was sure Cirque had its first bona-fide flop on its hands! (That honor would fall to BANANA SHPEEL.) TOTEM was much better but even it had a “WOW + WTF” combination that made it a little uneven at the start, to me at least.

Subsequent viewings of both Corteo and OVO a little more than a year after premiere turned my view point around (I’ll see TOTEM for the first time since premiere this coming October as it winds its way through Atlanta) so it seems the third time is the charm. However, it is best to go in with the understanding that when you come to a premiere you’re seeing a show that’s not yet ready, that may have had only two or three full-run performances in front of the public… and that’s it!

So with all that in mind how does AMALUNA fare?

I AM IN LOVE WITH THIS SHOW!

MEETING FRIENDS ///

“Welcome to Montreal, sir!”
“Thank you!”
“Oh, there’s a message here for you…”

Who could that be from? I said to myself, as the clerk went back behind the counter to check on the note.

I had just walked into the Spring Hill Suites du Vieux Port after spending more than an hour in customs/immigration and another in rush-hour traffic; I was late. I had expected to arrive at my hotel before 5:00pm, which would have allowed plenty of time to collect myself before heading off again, but clearly that was not to be. It was 5:45pm and someone was in search of me.

Although I’ve not missed a premiere since 2002’s VAREKAI, following my experience with 2005’s CORTEO I thought perhaps seeing shows later in the run would be better. I contemplated Toronto for 2007’s Koozå but fortuitous events intervened (Cirque pushed Montréal previews up one week) and it seemed destiny called – I had to go! It was a good thing I went or else I would have missed out on meeting David Shiner during intermission right there in the Grand Chapiteau. I learned my lesson and came to Montreal for 2009’s OVO, but I was sorely disappointed with the show. I would not have come up for 2010’s TOTEM had I not heard some amazing things about the show prior to its premiere (and its close proximity to New York City, where I was catching a performance of BANANA SHPEEL as part of CIRQUECON 2010). The decent experience I had with TOTEM lead to an understanding that perhaps coming to Montreal was not such a bad thing after all, even if I had “been there, done that” five times now.

So when AMALUNA was announced I did not hesitate to plan a trip up, but as April drew closer it seemed anything and everything was trying to keep me from going. A recent move to Atlanta from Orlando squeezed my wallet, plans to repeat a trip to New York City with a drive to Montreal and back fell apart, and high airfare to Montreal from Atlanta didn’t help matters. Eventually throwing caution to the wind I bought tickets to the show, scoped out airfare from nearby airports (selecting a much cheaper round-trip from Charlotte, NC – a four-hour drive from Atlanta), renewed my passport and reserved a hotel in the old port of Montreal. I was going come hell or high water!

Could the message be Steve Long, from Connecticut? He’d messaged me earlier in the month that he’d decided to come up on a whim, suggesting he might be dropping by my hotel prior to the show. Could it be Mark Wyrick, from California? He and I met in Montreal somewhat by chance in 2002. Mark overheard my friends and me discussing Varekai at L’Aventure, a restaurant on Jacques Cartier Square, and joined us. We’ve been friends ever since. Could it be Lorraine Peck, also from California? She was the first Passionate I knew of who’d be making the trek up. She was staying at her favorite hotel – Auburge du Vieux Port – just down the block from mine, and we’d discussed meeting up and hanging out during the weekend since she’d be here alone.

So just who could it be?!

The clerk behind the counter returned a few moments later: it was Anne & Tim Brydon, from California! We’d also been in contact throughout the weeks leading up to AMALUNA’s premiere, expressing hope that we could meet up before attending our first performance. Her note was quick and simple: “Tim and I will be going to this restaurant (attached card: the L’usine de Spaghetti, 273 rue St-Paul E) at 5:30pm – it’s just down the street, turn left, and not far! Hope to see you soon!”

With an invitation like that who could refuse? This is what I came to Montreal for – to be with friends and fellow Cirque du Soleil Passionates. So what if I had just arrived? Drop everything and go. And I did! Within moments I was in my room, hopping online to search for the exact location of the restaurant (it wasn’t far), messaging friends and loved ones that I had finally made it (and would see some of them at the Big Top that night), changing into some appropriate Cirque du Soleil attire (although no one would see it – brrrr, it was cold in Montreal!) and flying out the door. I met Anne and Tim down at the restaurant a few moments later, et viola – instant magic!

I later ran into Steve Long and Lorraine Peck down at the Grand Chapiteau, Bill and Terri Preece during intermission and Mark Wyrick the following day – in the rain! (It rained all day!) – before our 4:00pm performance. I had such a fantastic weekend with these friends it pained me to part from them, even if it did snow the last day.

But what about the show?

AMALUNA ///

Theme
—–

For the first time in Cirque du Soleil’s history, over 70% of the cast is female (and with an all-female band), as a result Amaluna features strong women characters plucked from history and literature alike, from the Amazons of Greek Mythology to the wily pages of Shakespeare (both “Romeo and Juliet” and “The Tempest” were inspirations). “Amaluna is a tribute to the work and voice of women,” explained Director of Creation Fernand Rainville at the press conference. “The show is a reflection on balance from a woman’s perspective,” he added. Show Director Diane Paulus says: “Amaluna is less about feminism and more about reconnecting to our world in a different way.”

In AMALUNA, we’re invited to a mysterious island governed by Goddesses and guided by the cycles of the moon. Their queen, Prospera (played by Cellist-Saxophonist Julie McInnes; she also sings!), directs her daughter’s coming-of-age ceremony in a rite that honors femininity, renewal, rebirth and balance that marks the passing of these insights and values from one generation to the next. The show’s name draws its inspiration from the fusion of the words “ama”, which refers to “mother” in many languages, and “luna”, which refers to the “moon”. It is at once both a symbol of femininity that evokes the mother-daughter relationship between Prospera and Miranda and the idea of a goddess and protector of the planet.

“In the wake of a storm caused by Prospera,” Cirque du Soleil explains, “a group of young men land on the island, triggering an epic, emotional story of love between Prospera’s daughter Miranda (played by Water-bowl/Hand-balancing artist Iulia Mykhailova), who is on the brink of womanhood, and a brave young suitor, Romeo (played by Chinese Pole artist Édouard Doye). But theirs is a love that will be put to the test as jealous Cali (a pet, played by juggler Viktor Kee) attempts to thwart their union. The couple must face numerous demanding trials and overcome daunting setbacks before they can achieve mutual trust, faith and harmony.

The Site
——–

The AMALUNA Grand Chapiteau is set up on the Jacques Cartier Pier in the Vieux Port of Montreal, where Cirque du Soleil has staked its shows since the dawn of its recorded time (expect for 1999’s Dralion, which was set up on the lawn of their headquarters building in the city). Surrounded on three sides by water and history, the striped big top (doesn’t Cirque do swirled tents anymore? Yes, but fleetingly now) called out. Although there were a number of banners about, advertising the show, Tapis Rouge (of course), Cirque’s sponsors and the upcoming Montréal Complètement Cirque (an international Circus Arts Festival running from July 7-24 in which Cirque du Soleil is a participant), we wondered: where is the box office? Actually inside the merchandise tent!

It’s almost hard to remember that Cirque du Soleil used to have two merchandise/concession tents for patrons based on their ticketed seat, so coming upon a Cirque Grand Chapiteau with a linked merchandise/concession tent construct isn’t new; however, one with the box office INSIDE the merchandise tent is. I wondered if this is going to become a trend (I rather like it) or if it was tried because of the unpredictable weather Montreal is known to have in April. Either way, standing inside and speaking to someone face-to-face for tickets is much better and more welcoming than standing outside, shaking and shimmying to keep warm while speaking through a small speaker to someone behind a plexi-glass window.

Otherwise the concessions offered at AMALUNA were the usual: sodas, bottled water, popcorn, hotdogs and regular confections. Of course we hit the merchandise stands and found the normal costume balls (from Totem), Cirque du Soleil t-shirts (with a couple of AMALUNA logo shirts for men and women alike), magnets, key-chains and the pre-requisite masks, CDs and DVD area. An Amaluna Pre-program was available as was the GAIA book – Guy Laliberté’s pictures from Space, but most interesting was that Cirque du Soleil was selling the DELIRIUM show CD in a special combination with the AMALUNA pre-program (and a bag). With a recent (but very much unfounded) rumor that Cirque du Soleil was in talks to revive DELIRUM for installment in New York City we found this rather interesting.

The Set & Stage
—————

Entering a Grand Chapiteau is always a treat; when you step foot inside the big top the first time, for a brand new show, expectations run rampant, which only serves to heighten the excitement even more. When the flimsy doors of Amaluna’s big top parted, my eyes were immediately drawn to Scott Pask’s set, a “mysterious, verdant, enchanted island” set amongst a tangle of bamboo-like branches. Taking his cues from the natural world, especially from forests and plant life, Pask has created an environment that is both immersive and open, with plenty of space for dramatic rituals and ceremonies as well as acrobatic performances.

The “trees” thrust upward from the circumference of the stage and the Big Top’s tent poles to form an airy canopy. Upstage, the vegetation grows closer to the ground, forming a tunnel-like grotto. (There are 174 branches in 534 sections – 90 in the canopy and 84 upstage – making a total of 1.7 km or 1.05 miles.) Although meant to invoke the outline of a peacock feather, the set also evokes the various curves, lines, swoops and folds of the female sex – an anatomically correct outline I might add – which, coupled with the two side wings of the set, (that bare a close resemblance to fallopian tubes) helps bring the audience into this female-dominated world.

The peacock feather decoration that occupies much of the middle of the Amaluna stage is a significant emblematic motif that is echoed in some of Mérédith Caron’s iridescent costumes. The peacock images in the show are inspired by the magnificent bird that accompanies Hera, the Greek goddess of women, marriage and fertility. Legend tells us that the protective “eyes” in its tail watch over women in all the stages of their lives.

And amongst these trappings sits the water-bowl, a soothing pale-blue.

The stage is set. All we can do now is sit and wait with anticipation…

What follows is a review of AMALUNA in its current, pre-“fixated” form, as presented under the Grand Chapiteau on Friday, April 20th and Saturday, April 21st 2012.

Music
—–

Composers by Bob & Bill (Guy Dubuc (Gee Doo-BOOK) and Marc Lessard (Mark Less-ARD)) are known for their ability to blur the lines between genres and styles to create an intricately woven visual style (think Koozå). Their mission here was to create a “unique, raw sound; to surprise by means of the unexpected” and they’ve done just that. Guitars are very present and the overall sound is resolutely contemporary. Bass, drums, cello, vocals, keyboards, and percussion support the guitars in delivering the music directly without embellishment. “We wanted to unleash the power in the raw state that artists and musicians bring to the stage,” explain Bob & Bill. The musicians share the stage with acrobats at times, which combines perfectly with the energy of the score. Amaluna is the first Cirque du Soleil show with an all-female group of musicians. “We wanted to reflect the guts and intense attitude of these musicians through the music itself,” they add. Although their choice in accompaniments might be polarizing (the all-female band gives the music that Joan Jet “rock on!” feeling, which is just fine with me), the comparison at times to “game music” might be a turn-off to some.

The Show
——–

ANIMATION:

Animation, or pre-show, can take the form of characters milling through the crowd crying over their dead friend (a la Corteo), a delivery man in search of his charge (as in Koozå), mysterious characters guarding their mystifying void (as in KÀ), bugs from the microcosm swarming the big top (OVO), or clowns pointing unwitting attendees to their seats (as in Mystère, La Nouba, and a variety of other shows). For AMALUNA, while the percussionist and guitarist strum and pound a tribal beat, a number of plumed peacocks, leathered-hide lizards and various warriors of the island make their appearance and slink, strut and sashay about: There is Deeda, a clown dressed in yellow (she’s Miranda’s Nurse, played by Pepa Plana from Spain), who runs about wondering why people aren’t taking their seats. Another, lizard-bound Cali, meanders his way through the crowd, flicking his tail here and there before climbing a mast and proceeding to dump popcorn on select guests beneath him. Other androgynous Peacock characters strut about tickling unsuspecting guests with their feathers in hand.

Suddenly Deeda walks on stage; all eyes are drawn to her as she welcomes us to the show – “Ladies à ladies, mesdames et mesdames, senoritas y senoras” – then takes us through the rules of the house: should there be a “petit problème”? “NO PANIC!” Should there be a bigger problem… well, whatever! Also “no foto, no texto, no facebook, no youtube, no, no, no, no, no!” (You know the drill). When a cell phone rings out in the audience, Deeda frowns and taps her foot, then goes to fetch it. After Deeda answers the call and speaks to the caller, she places the confiscated phone in a plastic bag then stuffs the entire kit-and-caboodle in a pouch along her waist. We’ve been warned!

The lights dim…

MAGIC PAGEANT (OPENING):

As the first few chords of electric guitar ring out, the lights gently rise and wash over a “shimmering, ethereal cloud of diaphanous red gossamer” as it dances in the air at Prospera’s command. Prospera, the island’s matriarch, comes toward the diaphanous filament as it glides and twirls before us like an expectant flame filled with desire, allowing its fingers to caress her, spill over her, and envelop her with its warmth. Prospera accepts its gifts readily, wrapping the ethereal flame about her as those in her charge – Amazonians, Peacocks, Fairies, and Valkyries – encircle her and move about in a slow ritualistic tribal dance; then come alive as Miranda, Prospera’s daughter, joins them. This pageant is Prospera’s gift to Miranda, to mark her passage into womanhood. The peacocks strut their stuff, fanning their magnificent feathers for all the world to see; the Amazonians flex their muscles, holding up their spears in defiance ready to attack; the Water Fairies flit about, ready to play; the Valkryes fly in, prepared to defend the island from outsiders, and the Moon Goddess (played by Marie-Michelle Faber) descends from her crescent throne from above, ready to bless the ceremony to come.

The peacock costumes are made up of 14 layers of heat-pleated materials trimmed in leather and stretch metallic fabric, according to materials provided by Cirque. The tails open out to a “fan” of eight feet with hydraulic pistons that compensate for their weight. Made in the same proportion to the performers’ bodies as the bird’s fans have to theirs, the tails are attached to the artists with belts that hide the mechanisms under embroidered feathers. The skeleton and leaves of the fans are made of the same Fiberglass material used in the manufacture of fishing rods, and screen-printed metallic paper is glued to the leaves to recreate the iridescent look of peacock plumage, which shimmers in the spotlights. Prospera’s flame is created with nothing more than strategically placed fans – one built into the center of the stage floor and others placed around it – to create a swirling vortex of wind that keeps the scarf floating without effort (most of the time). It is one of the quietest, but most poignant openings I’ve seen in a long time and I love it.

UNICYCLES:

Fast and furiously two young Arielles from Japan (Satomi and Yuka Sakaino) peddle their way across the stage in quick form, weaving in and out of each other’s paths like the wind as they joyfully pirouette, dance and thrill the pageant participants. Their infectious smiles and quick-on-their-seat movements continue the energy of the show’s opening, not to mention a number of fast-paced spins, walks and rubberized twists that make watching this duo spin about the stage a pleasure. The costumes of the two unicyclists are fitted with cages that hide their legs, in a reference to the aesthetics of the Spanish Golden Age. The cages (with a diameter of five feet and a height of two-and-a-half feet) are made of perforated material (which includes Kevlar – a thermoplastic polymer – and gold leaf) to allow the artists to see the unicycle seats. However, for better visual reference, the cages are like the hoop skirt of Alegría’s White Singer. During their act the cages break into two pieces, announcing the start of the storm after which the budding love between Miranda and her suitor will be tested.

WATER METEOR & ICARIAN GAMES:

Combine the cuteness of Varekai’s Water Meteor trio with the acrobatic dedication of the same show’s Icarian Games troupe and you get this amazing number. Here the female body becomes catapult and catcher in an elaborate, explosive and highly choreographed presentation of strength, balance and agility, all while keeping their water meteors (not filled with water, sadly) whirling through the air with impressive agility. Towers? No problem. Leaping from porter to porter? No problem. Taking off from platforms of upturned feet? No problem. How about leaping through someone else’s legs? Sure! It all comes to a surreal close as the lights dim and the water meteors glow!

THE STORM / AERIAL STRAPS:

While Miranda plays catch with Cali (who later steals her ball and transforms it into a red balloon that floats away), Prospera begins directing the heavens around her. She’s about to summon the storm that will bring men to her island from lands far away; ascending the heavens via the Moon Goddesses crescent throne to do so. As the storm rages around us, the God and Goddess of the Wind perform an intense midair ballet on straps, “coming together and parting, intertwining their bodies and gliding through space in vigorous, frenetic movements.” Shades of blue and green mix with shades of sky and sea to compose a soothing palette of sophistication belling the harshness to come, as their muscular bodies crash together in an erotic clash of raw power and sexuality. As the storm subsides, Prospera and Deeda (Miranda’s nurse), look over the gaggle of men who – captured by a net – wash ashore. At first the two chuckle as the men bumble and fumble over one another in a futile attempt to extricate themselves from their imprisonment; however, when one particularly striking young man (Romeo) catches the eye of Miranda, time seems to stand still; Prospera’s enigmatic expression betrays little and Miranda is whisked away…

SUSPENDED POLES / PAON DANCE:

Undaunted by the turn of events, Romeo leaves his clan in search of Miranda. His path becomes treacherous as he enters an enchanted forest of strangely shaped trees (poles), some of which seem to descend from the heavens without form. As creatures of various dimension twist and twirl on these Chinese-pole inspired apparatuses, Romeo attempts to push through. Just when he thinks all hope is lost he comes upon the white Peacock Goddess (Amy McClendon), dancing gracefully in her dazzling white dress. For a moment Romeo stands mesmerized and though he is tempted by her seductive dance, he turns and leaves… his heart yearning for another.

JEEVES AND DEEDA:

Jeeves, the Captain of the rag-tag crew of men (although according to Cirque he’s Romeo’s “manservant”), pushes through a clearing in search of Romeo but finds little clue of him. In the process he runs into a small band of creatures that scare him, but are equally curious of the newcomer; they follow him wherever he goes. Frightened, he attempts to escape by climbing a nearby tree but can barely muster the strength to pull up his girth. The forest creatures help him, but this only elicits a yelp of surprise – which attracts the attention of Deeda, who just so happened to be walking nearby. She spots the Sea-Captain and attempts to help. When he cries out at her and she tells him “NO PANIC” the two regard one another honestly for the first time. Deeda is enamored as Jeeves introduces himself and the two become lost in a tickle-fest (fantasy sex scene), which ends rather hilariously when Jeeves falls asleep.

HOOPS / WATERBOWL:

As shooting stars rain down from above, the Waterbowl is pushed to center-stage and the Moon Goddess – clinging to a simple steel hoop – descends from above. The Waterbowl resembles a giant, clear gemstone set in a ring of stylized organic shapes that evokes a vortex captured in time. As it interacts with the lighting, this “jewel” changes its appearance and aura, much like a precious stone. As the Moon Goddess sings to Miranda, who is watching from the cover of darkness (bestowing her blessing with her haunting song), she soars around the water bowl in this fantastic Aerial Hoop number. Later, as she tires, the Goddess calls for Miranda to join her and the two rise into the heavens as one, before Miranda drops into the water bowl in a gleeful splash of happiness. She cavorts about the waters cheerfully, rising to the surface to balance herself on the bowl’s edge (and on specially designed canes) in a fantastic display of strength, flexibility, equilibrium and sensuality. Her energetic and joy-filled display of sinuous sexuality catches Romeo’s eye. And later when he joins her in the water, she kisses him and the two seemingly become one.

UNEVEN BARS:

Cali, who is jealous of this new suitor, has seen their tentative kiss and slinks away to plot Romeo’s downfall. Meanwhile, the men are now found to be the captives of the island’s native Amazons, who pounce around and shout battle cries to ward off any who might interfere (or attempt to attack). Although the men think they’re in heaven – and will show up the girls with their skills – these fighters are preparing the ultimate display of agility, skill and flair through the use of Uneven Bars. As they fly about their encumbered home, the men get their come-uppance and find they aren’t the strongest creatures on this island. Inspired by Asia Minor, the corseted costumes of the Amazon warriors (High Bars) are augmented with ponytails and high-heeled black leather boots in a look that is more fantasy than historical reality, although they don’t perform with their tails on.

INTERMISSION.

TEETERBOARD:

The boys, in their Renaissance-style denim doublets, find themselves fenced in and launch themselves high into the air, twisting and turning in a playful high-speed attempt to escape. Starting out like a traditional Korean Plank number, these boys fly, flip, twist and turn head-over-heels before landing on the wooden plank beneath them. However, as their desperation to be free grows, so do the risks they take – such as landing in a handstand on another performer’s upturned palms, leaping onto a nearby platform set askew, and onto the shoulders of their peers through this showcase of power and energy. Truly an action packed and highly skilled act presented as never before!

MANIPULATION:

In “Sanddorn Balance” (sand and thorn), a truly breathtaking experience unfolds. Lara Jacobs Rigolo, Balance Goddess, uses thirteen palm leaf ribs to build a fragile, giant mobile – a sculpture consisting of a number of rods, from which weighted objects or further rods hang. The objects hanging from these ribs demonstrate the Greek mathematical Principle of the Lever, balancing each other so that the rods remain more or less horizontal, but never falling (or so we hope!) Presented in a slow, suspenseful build, we can only sit and watch in awe as Lara grabs each rib with her toes and gently balances her growing sculpture upon it, her head, and later a stand above her head! (Her mobile serves as inspiration for the hanging lamps throughout the big top). An ode to balance, her movements are slow, deliberate and almost meditative as she concentrates all her attention on this literally breathtaking structure. And when she removes the smallest piece everything disintegrates and the young couple’s trials begin: will Romeo fight for Miranda?

THOUSAND ARMS / CHINESE POLE:

While Prospera retires following the intense balancing act, Miranda stays with Romeo; however, the island works hard to keep the two apart by forming a highly impenetrable wall of moving bodies. Inspired by an Indonesian ritual dance, an ominous company of dancers dressed in black and silver performs a choreography that creates an indelible image of one woman with a thousand arms. Through much perseverance, the two unite. But their moment is short-lived as The Peacock Goddess reappears in an ominous guise and steals Miranda away, sending her into the skies while a forest of sticks inspired by Vietnamese circus tradition springs up to create a portal to the Underworld through which Romeo must pass.

Undaunted, but tiring of the chase, Romeo climbs upward (using a single Chinese Pole) in a continuing search for his love. Édouard Doye’s single pole act is half dance, half traditional Chinese Pole; he cavorts around the pole seductively, using his strength and agility to climb after his beloved. After a number of setbacks (precariously falling to the stage before stopping himself mere centimeters from the stage floor), he escapes.

JEEVES AND DEEDA DEUX:

When we were last graced with their presence, Jeeves was attempting to woo Deeda with his relatively poor singing and instrument playing abilities. Although she showed him up with a little Spanish flair, Jeeves succeeded to court Deeda. Here she shows up happy and pregnant! When her time to deliver comes – “Ay! … Ay!Ay!” – they become giddy. So happy in fact they celebrate with a belly bump that serves to break Deeda’s water (which they simulate rather humorously). With the baby now on the way hilarity ensues: Jeeves rushes off simulating the cries of an ambulance in transit and brings a gurney upon which to carry Deeda. And after putting up rubbery legs (to help simulate stirrups but not taking the reality of the process too far), out pops the child – an American football with a little clown nose. The two, happy with their new progeny, begin to play… tossing her into the air and back and forth to each other… getting further and further away until the baby falls to the stage; but she’s okay. Then – “Ay! … Ay!Ay!” – Deeda goes back into labor and another baby pops out, this one with a long stylized moustache like his father. Before the new parents can enjoy their second child Deeda’s labor continues on and on and on! Now overwhelmed by a crying hoard of children, the clown pair take to the audience in an attempt to elicit their assistance with keeping them quiet (by singing “Rock-a-bye baby” to them)! It doesn’t work…

TIGHTWIRE:

Returning to the action, we find four artists representing lost lovers in Purgatory. These fil-de-fer specialists take action and walk across their precarious ropes with comfort and ease. In what appears to be homage to the roaring twenties, two men and two women take to the ropes displaying an escalating array of balancing and maneuvering skills: some flips, some leaps, bounces and even walking the ropes in high heels and en-pointe in ballet shoes! By the end of the performance both Romeo and Miranda find one another, but on opposite sides of the mountain top. They attempt to reach each other by crossing a rope but Cali, who is waiting in the wings, grabs Romeo and sends him back down to Earth!

JUGGLING:

Miranda’s pool once again takes center stage, becoming both Romeo’s watery prison and Cali’s stage upon which he will celebrate his victory over his rival by displaying his manipulation prowess. Cali also shows us to what lengths he will go to keep Miranda for himself: he transforms into a human by ripping off his tail and shedding his reptilian-like hide! Here Viktor Kee juggles his charges with amazing speed and skill, showcasing a variety of imaginative ways in which to juggle any number of balls. Although Kee re-uses a number of moves from his act as it appeared in 1999’s Dralion, there are a number of new manipulations and twists upon older maneuvers that will simply mesmerize you. (How about juggling a fireball? YES!)

By the end of this awesome display Cali is sure he has succeeded in thwarting his rival, as Romeo has found his way out of the waterbowl, lying lifeless before it. But Miranda does not accept this fate. She uses the power of the gemstone the Moon Goddess had given her and revives her suitor, while taking the will and power away from Cali at the same time.

AERIAL STRAPS:

With Cali now under Romeo’s restraint, a quartet of Valkyries fly in and take Cali away, leaping and flying through the air with glee. Keeping in tight formation, these women show us not only how hard it is to soar through the big top without a care in the world, but equally how easy it is to do so… if we only tried. With all trials and tribulations passed, Prospera welcomes the union of Romeo and Miranda with open arms, blesses their wedding, and allows all the personages of the island (and the audience) to celebrate right along with them.

AMALUNA!

As soon as the celebration settles and the lights softly rise our attention is once again drawn to Prospera, standing alone at the center of the stage where we first found her and the dancing flame. She steps into a swirling vortex of wind that at first gently raises the scarf about her, then more forcefully until it becomes parted from her. Prospera steps back, allowing the scarf to once again flit its mesmerizing dance before her…

The lights dim… THE END.

IN CONCLUSION ///

I had an amazing experience with AMALUNA, more amazing than any touring show premiere that had come before. Whereas with Varekai (my prior high point) I came away thinking, “I really like this show” (and still do), I came out of AMALUNA thinking, “I LOVE this show!”

And I shocked my friends too, because I didn’t really like the show the first night. Sure, I enjoyed it and some of its acrobatic elements, but overall Amaluna didn’t “speak” to me, nor seem to hold a candle to some of Cirque’s more sophisticated offerings, such as Quidam, Alegria, Mystere, “O” or ZED. Then something strange and amazing happened: as we assembled for the performance the following afternoon, I grew more and more excited about seeing it again. Then as I sat, allowing the opening moments of the show to wash over me, something clicked. I don’t know why and I don’t think I could ever explain it succinctly beyond: I “got” it. I got the show, what it was attempting to say, how the music was used, and all the visionary elements the creators stirred into it. And then I fell in love with the whole kit-and-caboodle, grinning like a slack-jawed idiot.

It’s uncanny, and welcome. I feel enlightened, invigorated and hungry for more.

I revel in the energy of the Uneven Bars and Teeterboard numbers, find myself on the edge of my seat during Manipulation, loved watching Miranda playfully splashing about in her pool, and awed at the raw power clashing in the first aerial straps piece. There’s very little that I dislike about the show. However, that being said, I’m not very fond of the Suspended Poles / Paeon dance piece, as I think it brings the energy of the show down (the dance itself is beautiful, but following a rather non-existent acrobatic number – the suspended poles – leaves the audience wanting, in my opinion). Otherwise, the acts featured in the show are top-notch and innovative – especially the energy and skill of the Korean Plank/Teeterboard number and the relatively new-to-Cirque discipline of Uneven Bars (although similar to Tournik from Corteo and Carpace/Bars from TOTEM). The one thing this show does lack (and thankfully so) is technology: there’s very little tech in the set or on the stage. Where you’ll find it, though, is above your head in the “carousel”, which brings in the “quirky” poles in the suspended pole number and the strap artists. Otherwise AMALUNA is classic set design in the strictest sense: less is more.

This review of AMALUNA is by no means comprehensive. I’ve focused mainly upon the show’s theme, some of its costuming, and a little on its music (which I absolutely loved). With Cirque stumbling in the last few years from its grand successes of the past – with mediocre show concept and over-expansion, Iris, Totem and now Amaluna mark a welcome trend. As such I urge you to see the show in Montréal or other cities on its tour (currently including Quebec City, Toronto and Vancouver) if you can – you won’t regret it!