The circus is in town (not that you could really miss it – Cirque du Soleil are nothing if not masters of promotion), and despite the soaring expectations you inevitably bring along to troupes of such renown, you won’t leave disappointed.
At first glance the stage seemed to be mostly composed of a giant clam, or perhaps a deflated air balloon. Having seen the various uses of this ultimately insectile structure, I am still uncertain just what it was supposed to represent. But then, comprehension isn’t really called for here. Like most magic, the less your audience understands, the more likely they are to be charmed, and boy, were we ever charmed. The physicality of these performers notwithstanding (the incredible strength they must possess; the great exertion on their bodies), the Cirque du Soleil players deliver a show that found me literally agape.
Of course, for every act that leaves you amazed, there will be one who suffers for not quite reaching the same dazzling heights. A quartet of unicyclists juggling bowls on their head was the highlight of the evening, and a Native American couple’s roller-dancing courtship was enthralling (a second pair of Native American hoop dancers were also outstanding performers). But subsequently, some of the more traditional (which is to say, anticipated) acts appear less impressive. This has entirely more to do with the temperament of an audience than it does the skill of the performer, but skilful as aerial and balancing contortions may be, they don’t excite in quite the same way.
If there is a theme to Totem, it has been rendered so universal it is indistinguishable. No surprise given the number of countries this show must entertain, but for a company that takes great pride in the strength of its story and tone, Totem feels cobbled together, a miscellany of visually stunning entertainment that didn’t fit anywhere else.
But my oh my, what entertainment it is.
Totem is playing at The Showring, Entertainment Quarter until Sunday January 4.
