Claudia Barilla

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SPOTLIGHT ON CIRQUE DU SOLEIL

WeÕve had a lot to say about Cirque du Soleil over the years. HereÕs a look back at comments from the Las Vegas Sun and its sister publication, In Business Las Vegas (now VEGAS INC), about Cirque du Soleil:

Spectaculars first: ÒMystereÓ (Treasure Island) is by far the best production show in LV history. ... WeÕve seen them all, going back to ÒLido de ParisÓ in 1958.

Cirque du Soleil was a wonderful entertainment experience at the Mirage, but ÒMystereÕsÓ marriage of production values, performance, showroom and live music gives the latter edition a big edge, over Siegfried & Roy (Mirage) as well, although their show is another case of combining show and showroom for maximum effect.— Joe Delaney, June 3, 1994¥ ¥ ¥Cirque du SoleilÕs ÒMystereÓ is the most innovative and exciting entertainment to play Las Vegas — or anywhere else. We wrote words to this effect when it had its premiere at Treasure Island in December 1993. It was even more enjoyable at the 7:30 p.m. performance Thursday. Ask anyone present in the capacity crowd, a most demonstrative assemblage, and they will verify our opening statement.

What makes ÒMystereÓ so special is the totality of its presentation: lights, sound, staging and choreography, performers, singers, musicians and a state-of-the-art theater. There are 72 performers from 18 countries. Many of the performers double and also act as onstage and backstage support. The result is overwhelming, aurally, visually and technically.— Joe Delaney, Aug. 2, 1996¥ ¥ ¥Described by one critic as being in a Salvador Dali painting come to life, ÒOÓ must be enjoyed for what it is: a visual orgy. Those who try to understand it are doomed to be tormented, advised another. Meaning is arbitrary anyway — you see whatever you want to see in it, one theatergoer said. You must understand ÒOÓ is not: brain food.

The only annoyance is when Cirque forgets that and tries to find deeper significance, offering up platitudes and psychobabble, such as the Hallmark-worthy comment offered up by Cirque designer Franco Dragone, who describes ÒOÓ as Òan homage to the theater, the place where we try to entertain all of humanity. For it is in the theater where humanity tries to understand itself.Ó

(Frankly, Franco, if youÕre looking to learn something about humanity from the theater, taking in a play by Arthur Miller or Anton Chekhov will do you more good than watching bodies flip in midair though hoops, but to each his own.)— Melissa Schorr, Oct. 21, 1998¥ ¥ ¥After almost four years the production by Cirque du Soleil at Bellagio continues to draw huge crowds who are mesmerized by the Fellini-esque circus setting.

Trying to describe the 90-minute show is difficult. It is abstract expressionism brought to life.

For comparison: Norman Rockwell, one of the nationÕs most notable realistic artists, painted several circus pictures during his illustrious career. ÒOÓ is more similar to a painting by Jackson Pollock, an icon of abstract expressionism who was noted for his dripping and splashing of colorful oils on canvas.

And this visually striking production, much of which takes place in water, is filled with dripping and splashing.— Jerry Fink, June 14, 2002¥ ¥ ¥Cirque du Soleil unveiled its new $135 million theater and gave a peek at its $30 million production, ÒKA,Ó at the MGM Grand Wednesday.

The $165 million price tag eclipses the $66 million, adult-themed ÒZumanityÓ across the Strip at New York-New York, which opened a year ago.

The magnificent theater also surpasses the $95 million cost of the Colosseum at Caesars Palace, home to Celine DionÕs ÒA New Day ...Ó

ÒIf you compare that to the entire cost of all Broadway shows in 2003, which was $135 million, ours exceeds all of them,Ó MGM Grand President Gamal Aziz said. ÒBut we have proven with ÔOÕ and ÔMystereÕ that these shows can be quite profitable for us.

ÒSo we are quite comfortable with our investment.Ó— Jerry Fink, Sept. 16, 2004¥ ¥ ¥There is still a long way to go before ÒZumanityÓ is in the same league as ÒOÓ and ÒMystere.Ó

Perhaps, because of its somewhat limited appeal — erotica is not a turn-on for everyone — the production will never be competitive with the shows down the boulevard at Bellagio and Treasure Island.

On the other hand, maybe it shouldnÕt be competitive. ItÕs like comparing apples and oranges.

ÒZumanityÓ is being billed as ÒAnother Side of Cirque du SoleilÓ — in this case itÕs the backside.

And itÕs bare breasts, sexual aids, fake pubic hair, simulated sex, orgies and a contortionist who is brilliant but a misfit on this stage.— Jerry Fink, Sept. 26, 2004¥ ¥ ¥Magic has returned to the former Siegfried &Roy Theatre at the Mirage — in the form of a Magical Mystery Tour.

Cirque du Soleil and Apple Corps Ltd. have joined forces to create an enchanting evening of entertainment featuring the music, words and imagery of the Beatles.

Gone are the dragons, levitations and illusions of two of Las VegasÕ most beloved entertainers, whose careers were cut short when Roy Horn was injured by a tiger during a performance in 2003.

Instead, the new $120 million showroom features a magical journey through the lives of the Fab Four — John Lennon, Paul McCartney, George

Harrison and Ringo Starr.

Although the production could benefit from some tightening, with a couple of scenes needing to be either shortened, reworked or cut, the 90 minutes are filled with eye-catching costumes and scenery, CirqueÕs trademark breathtaking acrobatics — and music.— Jerry Fink, July 4, 2006¥ ¥ ¥No wonder.

That — among its many, more obvious failings — is the fatal flaw at the heart of ÒCriss Angel:

Believe.ÓThereÕs just no wonder in it.In fact, thereÕs shockingly little magic to be seen in this much-anticipated Cirque du Soleil spectacle constructed around a celebrity magician. No shock, no awe, precious little surprise, even.

For a reported $100 million, Cirque has bought itself its first bona fide bomb.— Joe Brown, Nov. 1, 2008¥ ¥ ¥ÒOÓ is a panoply of the life aquatic. Playing with the elements, mostly fire and rain, it brings forth a fluid sequence of vignettes, populated by humans and chimeras, uncorking a flood of dream-logic associations.

Put another way, ÒOÓ is a sensory hot tub. Stop making sense: just let yourself sink into it and go with the flow. É At the best Cirque shows — and ÒOÓ is one of the very best — you can truly forget where you are, brought back at the end waves of applause, which sound like a sudden shower, or the surf.

After 10 years in the pool, it would be understandable if ÒOÓ suffers some sogginess or pruning, or displays at least a bit of bathtub ring. But the crown jewel of Las Vegas still sparkles and surprises.— Joe Brown, Dec. 8, 2008¥ ¥ ¥Like CirqueÕs ÒThe Beatles LoveÓ at the Mirage, ÒViva ElvisÓ is a Cirque show focusing not on acrobatics and special effects, but on music that is both historic and relevant.

ÒViva ElvisÓ is an important show that has opened at a time when Las Vegas more than ever appreciates businesses stepping up to make such multimillion-dollar investments.— In Business Las Vegas editorial, March 5, 2010