The all-ages spectacular of Cirque du Soleil’s LUZIA promises an imaginary flight to Mexico. And from the moment our traveller clown (Eric Koller) parachutes falls to its marigold field Earth, it’s clear we are in for quite the impressive journey. From his first encounter with a colourful hummingbird to final high-flying acrobatics, the combination of fiesta and finesse, makes this show infectiously entertaining.
This Cirque is excellent, which actually makes it somewhat difficult to review in a way that is more than just a list of hyperbolic superlatives, even though all are entirely apt. The huge variety of circus tricks from its international ensemble of 44 artists from 15 countries, represents daring feats of strength, flexibility and grace, amplified by considered aesthetics in writer and director Daniele Finzi Pasca’s promise of an experience akin to a waking dream, where light quenches the spirit and rain soothes the soul.
The show’s talented performers are engaging from its outset as its running woman (Gold Coaster Helena Merten) spreads each of her 6-meter-wide butterfly wings in a tribute to the annual migratory journey of the monarch butterfly from Canada to Mexico, unveiling the wonders of LUZI” to the audience. As she speeds alongside a giant marionette horse of lifelike movement, we see the advancement of the company’s ‘90s vow to have every animal interpreted by human artists, however big that animal might be, and as things then move into eight hummingbirds doing hoop diving acrobatics on two giant treadmills, the agility, speed and expanded acrobatic vocabulary of the circus performers is simply awe inspiring.
“LUZIA” is a feast for the eyes, ears, wits and wonder, meaning audiences are spoiled for choice as to where to focus. A sophisticated attention to detail ensures that there is something going on in every nook and cranny of the Big Top space and the character of the clown works well not only to provide continuity and accessible humour, but effectively distract us as scenes are reset for needed quick location and timeline changes. Even without words, his audience interaction is engaging and fun, especially for those who speak whistle. … And, speaking of which, what would a show about Central America be without a football act in which two youthful freestylers bounce, roll and spin soccer balls around with astounding control given their use of more than just their feet.
The character of both classical and contemporary Mexico is woven within the fabric of the 100 min (+ 25 min intermission) show’s every aspect. A Lucha Libre defies gravity in giant 360-degree swing and a scuba diver encounters cacti under the sea as we are guided through the people and sounds of all range of locations. In doing so, the colourful, acrobatic representation of Mexico sometimes cements itself as more surreal art installation than circus, with specific colours assigned to each scene and costuming that intricately mixes contemporary patterns, techniques and designs with folkloric inspirations.
For all of the vibrant, joyful fun of high-speed juggling and a gravity-defying high, high, high hand-balancing act, however, LUZIA is also a mesmerising treat for the senses. Eugenio Caballero’s set design is one of grandeur, and both young and old audience members alike are in awe as, in a Cirque du Soleil first, water is added to an arid desert scene where cyr wheel artists spin and a trapeze aerialist twirls around agave plants as rain magically appears on stage. The combination of light and rain is just stunning! Water is also integral as aerial straps artist Jérome Sordillon appears as representation of the demigod of rain in encounter with a puppeteered jaguar in a cenote, “Life of Pi” style, in tribute to Mayan beliefs about cenotes being sacred gateways to the afterlife. The beliefs of the Central Mexican Aztecs are also included through an imposing disk that dominates much of the show’s aesthetic in show of the sun, the moon and the Aztec calendar, rotating and moving about in various transformations.
LUZIA is an illustration of how Cirque continues to reach new and innovative heights of artistry. Indeed, it is an extraordinary show unlike anything seen before from Cirque or alike, very appropriate for celebration of the 25th anniversary of Cirque du Soleil in Australia. And its realisation is such that each spectator has a good view of all of the acts, regardless of where they may be sitting under the Big Top. Every act is amazing, culminating in a Russian swing show of triple somersaults up to 10 meters in the air between swings, by performers who have perfected the art of timing and precision. With also on-point musicians (led by bandleader Sebastien Laurendeau) sharing composer Simon Carpentier’s lively, atmospheric score, the show’s aesthetics are simply stunning in their combination and journey through the places, faces and sounds of traditional and modern Mexico alike, making it a must-see, in its Big Top celebration under the Gateway Bridge.