As you enter the traditional big-top tent that houses touring productions of Cirque du Soleil, a mischievous mime-like character (known in the lingo of the show's producers as "the animation") makes his rounds, clowning, teasing and generally capturing everyone's attention, distracting you entirely from the otherwise plain chore of finding your seat. It's your first clue that you're in for a night of enthralling entertainment.
Next you notice the network of wires and platforms in the upper reaches of the tent. You fixate on the creases in the stage that betray something hidden. The glinting drum kit, horns and guitars in the bandstand catch your eye. This anticipatory look-see is reminiscent of listening to an orchestra tune up and trying to identify individual instruments among the strains.
Once the house lights go down, the animation moves to center stage, delighting in heightened antics and acting as a conductor, introducing the baroque, operatic elements of the show. The six-piece band hits the first notes of the overture. A blaze of stage lights reveals an elaborate set. Curious characters emerge from backstage in flamboyant costumes. Then a fast-paced, sleight-of-hand choreography ensues as the cast presents its dazzling acts, darting on and off stage with surprises waiting in the wings.
Although every Cirque du Soleil production shares a common philosophy of the circus arts, held by the company's founder and creative team, each of the nine active productions is unique in its artistic vision, themes and acts.
The second Cirque du Soleil production to visit the Bay area, Alegria, which means "jubilation" in Spanish, deals vaguely with the evolution of ancient monarchies into modern democracies, with such characters as kings' fools, minstrels, beggars and old aristocrats.
Alegria's nine acts include Russian Bars, acrobats who perform synchronized somersaults, launching one another from flexible bars held at shoulder height; Flying Man, a virtuoso gymnast who uses ropes tethered high above the stage and centrifugal force to spiral himself through the air; Fire Knife Dance, a Bali fire dancer twirling lit batons around his body to tribal rhythms; and Manipulation, a lovely Russian gymnast who combines contortion, ballet and juggling.
The action and the athleticism easily outshine the adhesive elements of the show: the loose plot, the costumes, the lighting, the French rock. But since there's no concrete message behind everything, you're free to enjoy what you will and leave the rest.
Alegria artistic director Pierre Parisien, who is in charge of preserving the creative concept of the show, likens each scene to a tableau or a painting, designed to evoke an emotion. "The audience will feel something," he says, "and that's more important than they know exactly what we're talking about. It's more important that audiences build or invent their own story."
Cirque du Soleil has followed this visionary way of structuring shows since its founder, Guy Laliberte, an accordion player, stiltwalker and fire-eater, formed the original troupe in Quebec in 1984, calling upon fellow street performers and kindred spirits. The ever-growing company officially debuted in Gaspe, Quebec, toured Canada through 1986 and then wowed the United States on an eight-city tour titled We Reinvent the Circus that ran until 1989. Nearly every year since, Cirque du Soleil has added a new production to its family. Notably, the company has four permanent productions: Mystere and "O" in Las Vegas, Zumanity in New York City and La Nouba at the Walt Disney World Resort in Orlando.
To mark the company's 10th anniversary, Cirque du Soleil formed Alegria in 1994 under renowned director Franco Dragone and promptly sent it on a tour of North America. Dragone, who came to the circus from a background in European theater, also directed the feature film Alegria (1999).
To keep the show from stagnating, Parisien constantly challenges the cast (who exercise and practice an average of two hours per day) to develop new ideas and acts. "The show evolves," he says. "Our shows are like big works in progress."
After the show, drifting back out to the parking lot amid a buzz of exuberant chatter, you can appreciate how easy the Cirque du Soleil artists make it all look. You know none of it — triple somersaults with a twist, balancing on one hand, landing a flip on a 6-inch-wide bar — is easy. And you're thankful to have seen it live, cause it wouldn't be half as intense on DVD.
Alegria takes place Feb. 19-March 7 beneath the Grand Chapiteau at Tropicana Field. Show times are 8 p.m. Tues.-Thurs., 4 and 8 p.m. Fri. and Sat., and 1 and 5 p.m. Sun. Tickets: $50-$70; $45-$63 for seniors; and $35-$49 for kids. Call 800-678-5440 or visit www.cirquedusoleil.com.
This article appears in Feb 12-18, 2004.