Fans Review Cirque du Soleil!

The following is is Special Collection of Reviews by Cirque Fans, giving us their opinions on Zumanity (Sean Zaremba), Luzia (Katherine Bull), Toruk (Aidan Lam), and Crystal (Josh Sobiecki).

“New Fauna in the Human Zoo”
by Sean Zaremba

I recently saw Zumanity on October 13 and 15th. Reports said that the show changed about 30% in February 2015, and I think that’s a fair assessment. Most of the show is still reminiscent of the original routine. Here’s an outline of the show:

The pre-show still consists of Li and Lu handing out strawberries and pushing their way through the audience. Jonas Woolverton from Cyr Wheel is a new character called the Casanova, who is very much like Antonio Drija’s Gigolo, as he hits on the ladies. Dick and Izzy also come out. Izzy tries to find a boyfriend from the audience and her husband pulls out pink and blue dildos and starts a “sword fight” with them. The Molinier comes on stage for flare. Several of the artists come out about 10 minutes before the show starts (same time the pre-show starts) to wander through the lobby.

Eventually, Eliot Douglas, Cassiopée Lapierre, Corinne Zarzour and Alan Jones Silva make their way on stage for Warnings. There is a completely new tune for the rules of the house, but the lyrics stay the same. Alan’s new “bad boy” character shows as he starts to smoke a cigarette on stage and gets yelled at by the singers. Also, Cassie doesn’t wear the R&B singer outfit but something quite rocker/punk.

Then we have the Welcome. The gorgeous Edie comes out dressed to the nines to greet and question the audience. Marie-Anouck Margueritte and Casanova also come on stage.

“As the winds blow in from the east, I summon the spirits of lust, passion and ecstasy. Allow them to arouse and awaken your deepest fantasies.” The Wind act now has three spirits: Arnaud Boursain, Monteece Taylor and Ashley Galvan. The music now has a much more Arabian flare. Makeda Crayton arrives as Afrique for the second part of the act.

“Do you remember your first hint of something delicious and strange, like your very first wet kiss, or like a glass of champagne? Do you remember how in one magical moment everything changed?” The classic Waterbowl act is much the same as it always was, featuring Ulziibayar Chimed, Balormaa Zorigtkhuyag and Estefania Laurino experiencing their love for the first time, surrounded by adoring Zumans. Jill Crook walks around the back of the stage in her latex dress and a bouquet of roses. This is my current favorite song for Corinne.

“Innocence, so fleeting so fragile. One moment you’re a sweet young thing, and the next thing you know you’re smoking hot and naked in a hotel room in Vegas! Sound familiar? Now I know you’ve been looking at all these gorgeous, sexy women. But you know what I’m craving? I’m craving a hot, hunky, horny… Oh, I should have been more specific. What I really want is a tall, masculine man to drop in and… oh! Ask and you shall receive!” It opens like the old Hoops act, but this is Chains with Brandon Pereyda. This is a super loud and fast-paced act. I loved it. Brandon flies over the stage in every direction dangling by his feet. The song is the CD’s “Into Me.”
“Look out, ladies, cuz here comes Magnum. He’s an undercover agent and it’s no secret he’s on a mission. Who’s gonna share that special bond, is it you? Catch him if you can! Hurry up, Magnum, before that big gadget explodes!” Rose Boy got a haircut ( :'( ). He now comes out of a porthole in the stage dressed in a scuba suit, which he strips off to reveal a formal suit, much like our beloved James Bond would do. Even the opening music sequence sounds James Bond. Changed, but he still tosses out the roses to the audience.

Scotch baggies! Our first clown act features Izzy pouring Scotch (or tea rather) into sandwich baggies and having her new boyfriend from the audience tape them on. Then she sticks in a straw and drinks them down to perfect size. “So if you’re interested in my tits, call 1-800-BAGGIES, I’ll sell you a pair! Cuz let’s face it, you are not gonna see this over at the Celine Dion show.”

Cyr wheel was in on the 15th. It’s a great act where Jonas spins super fast around the stage, although he no longer appears as Comet.

Now the Dance on TV music starts to play, but surprise, it’s Elena Lev doing her hoops act! It’s very reminiscent of her Alegría act though much more sensual. School Girl is at it again! Yes, we “remember you!” <3

“You know what I like? I like the illicit tingle of skin on skin, the taste of sweat, and that pungent scent of passion. How ‘bout you? Are there parts of your lover’s body you’ve left unexplored, untasted, untouched? I guess my only question is, ‘What are you waiting for?’ Sex is beautiful, isn’t it? Well it is if you have a partner, or two, or three, or seven…” It opens like Hand2Hand but now’s Dislocation with Araz Hamzayev. It’s still just as amazing as ever before, as Araz does remarkable tricks with his body in front of the Vixens and Li and Lu.

“Now it’s no secret that within all of us is male and female energy. One is strong, the other even stronger. Let me and my incredible dancers entice you, to unlock and unleash your inner diva.” Another new act, Perfect Jam. This one features Arnaud Boursain, Ashley Galvan, Marie-Anouck Margueritte, Brianna McKee, Kaitlyn Reese Davin, Leah Sykes-Hodgson and Monteece Taylor dancing, with Corinne, Cassie, Melle Vasquez, Geneviève Dubé and Mariko Muranaka rocking out on stage behind them (a lot like Amaluna’s musician jam). This is by far the loudest act of the night. The dancing is on point. This is also my favorite song for Cassie. “If you call me, I’ll be at the show tonight!”

“Half way around the world, his loved one is away. It’s raining and descending in his thoughts are the warmth of their love, the softness of their lips, the caress of their touch. It’s late, he’s restless and alone again tonight, and not knowing when they’ll be together again sends his emotions flying.” This act is Trapeze with Arthur Morel van Hyfte. It’s been in since April and will be leaving in December (so go see it!). It’s a beautiful act where Arthur takes to the skies in a dance with the heavens. In the end, he descends onto a bed where Brianna McKee waits for him. They embrace each other very roughly in what hints at an opening to very lustful sex. The music still uses the country-twang “Libera me” that Corinne sings so wonderfully.

Lite is a new clown act where Izzy and Dick bring an audience member on stage to rave out with him. Edie then joins them and Izzy and Dick take off all their clothes to reveal the old Pompoms fake sex organs. 😛

Dima Shine’s Hand-Balancing is next, with a new pole! He ascends higher and higher into the air balancing and dancing on the pole to “Mio bello, bello amore.”

“Are you still hiding from monsters under your bed, skeletons in your closet? Follow me to a place where rules are broken and pleasure dances with pain.” First Antonio Moore, the Faun, break dances in the Expressions act. This moves into Inferno, where Wes Scarpias appears on stage with a whip, and Edie invites us to experience the Straps act. This is my absolute favorite act, so I could say quite a bit about how poetic and beautiful it is. I’ll keep it short and say that it hasn’t changed. Jill still is surrounded by candles and silence. Whispering in French, she asphyxiates herself with the straps in masochistic pleasure. Geneviève plays on stage behind her (and always makes me cry) until she descends with a sigh into the stage. It’s gorgeous.

Now we have our last Izzy and Dick clown act, Vegas Hookup. They select a man and a woman from the audience. They’re taught by the Sexperts how to quickly progress to the point of sex during a date. Then a bed appears on stage where they’re told to mount and ride each other. They descend into the stage and a bunch of silly string squirts up into the air simulating you-know-what. 😉

The last acrobatic act of the night opens with a gorgeous piano, violin and cello medley of “Wind” and “Mio bello, bello amore.” Alan appears to woo Mariko into loving him with his beautiful maneuvers on silks. Eventually the music takes a turn into the hardcore with a rave-like sequence, and Alan becomes his bad boy self again, flying roughly through the air.

“You can’t keep love locked up in the bedroom. Tonight, let your imagination have free reign. Let your fantasies take you to unexpected places.” The classic Midnight Bath act is still in, where Monteece Taylor, Marie-Anouck Margueritte and Chaun Williams foreplay in a tub. This leads into the Lazy Susan of Sex, which is still just as hilarious as it ever was. The entire cast drifts half naked onto the stage for a gentle orgy. Edie brings a man and a woman on stage to be played with and humped. She also goes around and once again questions and jokes around the audience about their love lives.

As the night comes to a close, the entire cast reunites in their best costumes for the Extravaganza. They do a few final dances and the show ends.

Hand2Hand was out because of an injury Wayne Skivington sustained, but both he and Ekaterina Bazarova are back in the show now. Also, Wes Scarpias and Sebastian Castellanos will be performing 2Men starting tomorrow. Michael McNamara and Marina Tomanova will be back in Aerial Dream in January.

On a few final notes, I did enjoy the show very much. I will always prefer the original routine, but the refresh is just a different side of the world that is Zumanity, and just as wonderful. As a Cirque music lover, I do miss Corinne’s rock Libera me and Dance on TV, which I thought were her best songs besides Waterbowl. I also miss her old rock goddess outfit. My other complaint would be that they seem to have done away with a lot of the characterization, as well as many of the themed costumes. So many of the cast just mainly wear underwear now throughout most of the show. The acts also do not have as much of a story behind them like they did before. Other than that, it’s a beautiful show. I can’t wait to see it again. Lastly, a shout out to Edie to thank her once again for taking me backstage, and a thank you to the members of the cast who met with me and let me take photos with
them. <3

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“LUZIA Wows Chicago!”
By: Katherine Bull

I saw Luzia in Chicago on Sunday, September 2, 2017. This is my review…

My expectations for Luzia were very high. I was totally disinterested when it was first announced and became even less so as details about its development emerged, but since then come to look forward to Luzia more than any new show to date. I’ve also known more going in than I have for any new show in my experience, which in retrospect may have been a tiny mistake. I knew the show front to back before I even saw it live, so while I knew exactly where to look and what to appreciate at every single moment, it took away a bit of the wow factor. I’m going to try not to engage quite so deeply in the future just to preserve a little more of the magic.

Luzia is the most human Cirque du Soleil show I’ve ever seen. For once we aren’t strangers in a strange world, we’re visitors in a wondrous one, and it’s such a refreshing take that I didn’t know I needed. Luzia doesn’t shy away from showing us the curtain from which artists enter and exit, it’s not afraid to clear a stage of set pieces right in front of the audience, and at times it even celebrates both. The props are simple and often huge and visibly held by the artists. It has the occasional effect of a high school play, but in such an honest, welcoming way that makes you love it all the more: this world is real because they make it real for you. The rest is created by lluvia y luz, just like the music promises, and the rain curtain and sun disk are two of the most extraordinary and effective feats I’ve seen in a touring show. My face hurt by the end of the show because I spent every second smiling.

Pre-show animation: The most involved I’ve ever seen! They go far beyond the usual characters milling around and messing with the audience. Hummingbirds stretch their wings and preen, musicians strum a calming melody right at the center of the stage, and dancers share a brief waltz, all in a huge field of marigolds with the sun disk dark and blinking with fireflies in the background. The show starts long before the opening and I encourage anyone seeing Luzia to take their seats at least twenty minutes in advance. It’s so tender and immersive.

Opening: My immediate reaction is that this is a show to be admired from every angle. Right from the get-go the stage rotates so everyone can enjoy the Running Woman’s magnificent wings and the horse behind her. I didn’t have Shelli Epstein as the Running Woman, and while I don’t know who it was, she had a pretty different affect – she was more aloof and I think it affected the initial “welcome” into the show, but she turned up with a bigger role in Russian swings than I expected too. I love love love this opening.

Hoop diving: They were having so much fun! The energy was incredible! Oddly though, we had at least three major misses and only one trick was attempted a second time. The act turned out to be a bit chaotic as a result and maybe the music doesn’t support extra attempts, but the show was off to a bit of a rocky start because of it. The treadmill is such an exceptional set piece that I’m surprised we don’t get to see it again after this act. Maybe it’s tough to roll out again once they start getting serious with the water, but I feel like it could have been utilized more in a perfect world.

Adagio: As emotional as I expected, and the control shared by this quartet is remarkable. Every toss, every trick was so smooth and so collected. All we got was confidence, emotion, and calmness. It was beautiful. The stage did feel a bit cluttered at times because there are so many other artists in the background, though the silver animals they’re wearing are beautiful (especially the iguana). “Tiembla la tierra” is a work of art and I can’t even really go into it because I will talk about Majo later and also because I don’t have words to describe it. It’s a beautiful song delivered beautifully to accompany a beautiful act.

Cyr wheel/trapeze: We only had one cyr wheel artist that night, which I do feel like threw off the balance of the act a bit but I doubt I would have thought that unless I knew there were supposed to be two of them. (I hear they’re training up a male replacement for the second artist, which I don’t personally care for, but who knows, I’m sure it’ll still be good.) The set in particular is beautiful in this act: the yellow-orange sun blazes behind sparse, spindly trees, and you really do feel like you’re in a desert. The Running Woman kneels down, checks the ground, and finding it dry, calls down the rain to the wonder and delight of audience and artists alike. I can’t imagine what it must be like to perform trapeze or cyr wheel while soaking wet, but you’d never think it made a difference watching them. The cyr wheel dress held its spin beautifully, and the fact that I noticed this detail at all is really something – they really thought of everything in this show.

Handbalancing: I didn’t expect to love this act but it was so much fun! Ugo is a wonderfully expressive actor, the seagulls lowering the equipment was an adorable touch, and the rest of the casts’ involvement as extras was so camp and fun. The mirror costumes are a delight! They were exactly the kind of thing that made me skeptical of Luzia in development but they really are great. This act was a big crowd favorite.

Freestyle football: Is anyone in the cast having as much fun as Abou? I honestly don’t think so. His enthusiasm was so infectious. Laura had a drop and maybe this wasn’t her best day, because their interactions didn’t feel much like a competition or one-upsmanship. I wondered if this act might be stronger as a solo. The teammates in the background looked like they might jump in but they never really did. That said, nothing prepares you for the intensity of “Pambolero” live! It was incredible.

Cierra los ojos: This scene delivers on every possible level. The way Majo’s dress blooms is splendid, and I’ll have to take another look at the DVD to see if the rain curtain reviews the acts we’ve seen and previews the ones to come because I suspect it does in subtle ways. The reminder of the key got a gasp of recognition from the audience, which I really loved. I wonder if the change in the Running Woman’s participation here was a good one: she used to be lowered from the top of the tent while running, then lift away again, but now she wanders out on foot, then spins upwards with her hand in a Spanish web loop. It’s beautiful, but I’m not sure it reinforces her transience as a migratory character as well as the original version did. Regardless, the curtain behind the sun disk opening up to reveal the entire cast emerging from the bright fog is beautiful and powerful. This is probably my favorite transition to intermission ever, or at least a strong contender for Quidam. The band isn’t shown often, but how can you forget they’re there when they’re featured so wonderfully in moments like this? This scene was as great a highlight as I hoped.

Poles: We’re back! And suddenly we’re in a jungle! And it’s beautiful! I think this act might have been stronger as a purely pole dancing act rather than including Chinese poles – I know they’re already there as part of the 360 swing setup, but with so much going on it was a little hard to see and appreciate the real star artist of this act.

360 swing: Adorable character moments, especially for Majo! I loved her little interaction with the organ grinder, and her enthusiasm for the act overall was just so cute. The crowd went nuts for this small interim act.

Aerial straps: This was my favorite act of the night and the perfect example of this show creating so much from some little. Show me eight vines, two straps, one pool of water, and one jaguar puppet and I’ll show you an act that feels mystical, voyeuristic, and intimate all at once. I slept on “Tlaloc” for far too long; it’s one of the most beautiful songs in the entire show. Aerial straps has long been a good standby act for Cirque (much like cyr wheel) but this one screams stand-out rather than standby. Beautiful in every way.

Juggling: Out for my show! I don’t really care much about juggling, but I was excited to see how fast he could spin them. And the song is supposed to be great! I wanted to see those crocodile heads on the marimba players! Oh well, next time.

Contortion: I have never seen a man that thin and that bendy in my life and I feel like I probably never will again. Every time I see a Cirque contortion act I think “okay, that’s the best one I’ve ever seen.” Alegria had calm beauty, Kooza has magic, Kurios has frenetic energy, O has grace, but Luzia’s is the most extreme. I didn’t even know what I was looking at at some points. It felt like a true treat to see him perform.

Russian swings: Wonderful finale act. I loved the Running Woman’s strong involvement and I loved the way the sun disk illuminated to punctuate every landing. It was a huge crowd pleaser and as high as the energy is, you do get the sense that the show is winding down. Day has turned to night, the sun has become a moon. This act is really unforgettable.

Finale: The water finally does what the tourist wants!! He remembers he’s just a visitor but can take his memories with him!! THEY’RE A FAMILY I’m so emotional. What a wonderful show.

Clowns: None! A dream come true! The humor is built right into the acts and characters but none of the momentum has to slow down for traditional clowning. The tourist is definitely a clown character, but he’s never once annoying or over the top. The cactuses are cute, unobtrusive, and I’d like to see practically every Cirque show take a leaf or two from Luzia’s book in this respect going forward.

Music: Ugh. I just. Jesus Christ. It was everything I had hoped. Majo’s sincerity and passion resonate through the entire tent and you feel so present with her. Usually there’s one song I don’t care for in every show, but I feel like every single one of them was great in their own way. I didn’t care much for the Indian Singer but now that he’s gone, I love it all across the board.

Sun disk: This is up there with the telepherique and sand cliff deck for best CdS set pieces for me. The way it looks like paint smears over it in adagio is the perfect example of the emotion and dynamism this piece brings to the show: it’s so elegant and essential, you hardly need anything more to create a scene. And on top of that it moves! it turns! it moves upstage and downstage!! Are you kidding me?? I thought it just sat there! This thing is a work of art.

Overall: I loved Luzia. My only regret is that I went in a little too informed. There was so much to love there, I wish I had been just a tad more surprised. I have no idea when it’ll turn up in my home city so I’m very glad I went out of my way to see it now. Can’t wait to see how things develop down the road!

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“TORUK Down Under”
By: Aidan Lam

So here comes my long delayed review. I can’t stress enough that the criteria I am reviewing the show is based on a generic live show NOT by the typical criteria I look for in a cirque show. Toruk wasn’t designed to be a conventional circus show but instead a live Avatar story. I understand why this would annoy/disappoint some people, but by going in without any expectation for cirque I enjoyed myself 10x more and so that is what I’m basing my review off.

Before I start, here’s a few things I noticed from my trip: This is the first cirque show to use mini GPS in the costumes that link to autospots (I assume this is also used in Crystal). I’ve seen footage of when the technology was first used in Disney on Ice and the lights were jagged and delayed in movement, thankfully, it has been fixed and is just as smooth as a human directed light. Also excitingly, Toruk is getting a new, modified Toruk puppet which is being integrated this month. Also, I heard from some friends that Cirque is changing direction towards another mass production period, and we can expect a burst of more portable, arena type shows in the next decade.

Opening: Slightly less energetic than I was expecting. The projections were ok, but the fact that the stage was empty was very evident. 6/10

Omaticaya Clan/Hometree: This scene was so immersive and really captured the essence of an extra-terrestrial world. I am a sucker for percussion, and having the artists fly up was very exciting. The ball game they play was also thrilling to watch, yet short enough that it didn’t get too repetitive. 9/10

Initiation/Cadre: Disappointing. Maybe its because I wasn’t stage-side but the Mother Loom was fairly small in terms of the whole scale and none of the tricks were particularly impressive. The initiation dragged on and was a bit confusing. I get that Entu dropped the seed, but then he still received the bow and then snapped it in anger… Umm what? I thought he failed the test… 5.5/10

Shaman’s Vision: Love the use of the blowing cloth over the flower. Very well conveyed artistically, but dragged on a bit much. 7/10

Aerial Strap: I love how they used the straps to show the way in which Entu interacts with the Tree of Voices, but acrobatically lacking and just a bit boring. 6/10

Tawakami Clan/Aerial Silk: I love the floral theme and the giant flower petal costume. The silks were again well used in terms of artistically conveying the stem of the flower, however again it wasn’t terribly strong acrobatically. 7.5/10

Contortion/Skeleton Balancing: Highlight of the show, I love the concept of the aparatus and especially how they turn it to into something reminscent of the Toruk. Baskaa was amazing as always, but I feel her skills weren’t highlighted to their potential. The porjections were very well used to make the skeleton seem like it was on a planet floating through space! 9/10

Chinese Poles: Ok act, but just leaves me wanting a decent Saltimbanco-esque chinese poles. No standout tricks, but I did like the dynamic element to the act. 6/10

Kekunan Tribe/Boomerang/Kites: Visually very beautiful, kites were manipulated very well and really did look like flying birds. Boomerang had such potential based on the trick shot video posted on here a while ago, but instead ends up more as a juggling act using boomerangs (instead of balls) which gets repetitive and lackluster. It is too insignificant on the grand scale of the stage and doesn’t make an impact. 8/10

Floating Mountains/Toruk: The puppet is awesome in both scale and vibrancy, the bridge looks very precarious and I loved the use of fog to make it seem like they were suspended high up. But unfortunately a floating boulder blocked my view for a lot of this scene. 7/10

Flooding Hometree/Flooding: The projections really came to life and the interactive element of the dam wall is great, only problem is it drags on for too long. Just hurry up and tear down the wall!! Finale is beautiful and I LOVE the music. Talking about the music, hats off to the Sequencing sound tech, GSM and singer, they coordinated it really well (considering there’s no band). 7.5/10

Overall: Beautiful show, but very lacking in wow moments acrobatically. I know that wasn’t their foucs, but cutting some of the narrative elements and adding more circus elements will benefit the show. Plot went on a little long, but it isn’t a terrible show. I enjoyed it, as an avatar show but not a circus show. 7/10

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“Fabulous Like a CRYSTAL”
By: Josh Sobiecki

So, now that I have time. I will take this time to rate and review how I felt about Cirque du Soleil’s Crystal.

First, overall the stage was absolutely beautiful. The detail that was out into the stage was just phenomenal. I will post pictures later, but on top of the portal (as my love calls them) there is a lot town / city. And it is so detailed you could even see the shingles in the roof. Then, the lighting and the effects of the stage were even better. It was such a beautiful piece. And the doors that they had were very well hidden for the most part. Just one was obviously visible. And the blues and pinks that used on the stage more was fabulous like a crystal would be. It was huge. Not like most of the other portals that I have seen.

Second, the music. Oh so heavenly! Had the electric violin which, I feel produces an amazing sound. The few songs that they did use by other artists actually fit the story line of the show. I will admit I was worried about it at first. But, they blended them really well. And, I like the show it had its dramatic changes. Which made it even better. Not to mention the softness that was part of the closing. What was to me a more up beat and faster passed song it was gentle like the closing was.

Third, the acts. Unlike most of Cirques’ other shows were the banquine is at the end, they opened with it. It was amazing and dramatic. Then, came juggling which I did not like. The ice is too slippery of a surface for them to use. They should have performed on sliding platforms instead. I got distracted by the balls that they were dropping. After, was the solo trapeze with the first non-cirque song. Which the act was astonishing. Then, came the extreme skating or the pinball machine as i like to call it. The fast passed Irish music fit really well with the amazement of the skating. And the smooth transition from the icy stage floor to the synthetic ice ramps was flawless. Then, we had a 20 minute intermission.

After, the intermission they opened with a weird dance as the stage was covered with these fold-able glass panels that they moved around. It was interesting. Later, they did the suspended poles which was cool. They did some unique tricks, and the non-cirque song that they used for that act was good. I found myself to focused on the act and did not pay attention to the lyrics to the actual song. The aerial straps act that they had which had the third non-cirque song was absolutely breath-taking. Halo actual mixed so fluently with the act. The duo trapeze act that they performed later was also great. Tossing the main character from the stage floor to the guy on the trapeze bar. It was beautiful. Then, there were two acts that I did not really care for. They had these three couples doing some paired skating, but it was lacking in unison and skill. They seemed to be afraid to do a lot. But those same three couples came out during the finale and did some more risky tricks. Almost as though they stored their energy until the last minute. Aside from that act was this weird skating trio that skated around and as they slide to stops you could hear the sounds of the ice scrapping in the stereo system. It was not very good. Finally, the closing of the show brought the last non-cirque song. I really liked it the tricks and stuff that they did during that performance was good.

Finally to finish my review of the show. The story line. It had a seemingly similar story line as that of Quidam. It tells how Crystal has a problem with doing the simple tasks she is given as she elaborates them and brings them into her own world. And, the story begins there as she tries to escape the pressure. She goes to skate on the ice. And sees the girl she wishes she could be, but the world is trying to prevent her from being. And as she sees this girl the ice begins to break and she begins to sink, and that is when the show transforms from her actual life to seeing what is going through Crystal’s head. And at the end she accepts that she has to abide by the rules of the world in order to make in through. And we switch back to real time as she fights to swim to the surface and break through the ice. It is very obvious to see parts of the story line, but some are more difficult.

Overall, I have had three shows that stood out for me and have been my favorite. Number One was Kurios, La Nouba, and Varekai. But, now I have to admit this blew Varekai out of the water and below the ice as Crystal has taken the place as my third favorite Cirque Du Soleil show. Now, I just have to wait for the dvd and cd for the show. Then, I can enjoy the show more without having to travel to it. Because I do not have the money to travel all over. And, hopefully it will come back to Florida again very soon after its premiere. I will see it. Jacksonville, Tampa, Orlando, Miami, which ever one takes it.