Defying gravity, death, and the normal range of motion for the human spine, Cirque du Soleil’s incredible stunts have been leaving audiences across the globe gobsmacked for the best part of 40 years. KURIOS, the latest show to arrive at their London home, is no exception.
In this delightfully whimsical, steampunk-infused production, a mad scientist’s laboratory becomes a gateway to an alternate dimension filled with deep-sea creatures, aviators, and anthropomorphic inventions.
The Royal Albert Hall is no big top, but there could hardly be a more fitting venue, or a more fitting ending to its 150th anniversary celebrations.
An homage to the industrial revolution, gramophones, flying machines and radios all get their moment in KURIOS, but the greatest celebration of technological innovation is in the high-tech contraptions that Cirque du Soleil’s crew have designed and installed at the RAH to make unbelievable feats of balance and contortionism possible.
There’s something of the sci-fi movies of fin-de-siècle filmmaker Georges Méliès in the eccentric set and design and costume, and the quirky mix of Victoriana and futurism seamlessly blends traditional circus elements with ground-breaking acrobatics.
This is where Cirque does what it does best. A nail-biting balancing act takes dinner party conversation to new heights, with a topsy turvy twist that pulls a gasp from an audience too stunned to remember to clap.
For Acro Net, the stage is transformed into a giant fisherman’s trap, with scale-covered performers soaring 30ft in the air, while a highlight of Act II sees brothers Roman and Vitali Tomanov swirl and swoop in a mind-boggling double trapeze act that requires serious bravery to watch, let alone accomplish.
Clowning provides moments of humorous respite (and a chance to loosen your grip on your seat) — an ‘invisible’ circus is a concoction of gleeful silliness, flexing even more stage effects, while an intricate hand ballet (performed atop a 15ft-long mechanical hand, no less) is a clever delight.
Any lull is merely designed to catch you off guard; the second your attention slips the next climax immediately reveals itself. And once you’re well and truly dumbstruck, they’ll find a way to dazzle you some more. As with all things curious, this is show that must be seen to be believed.
Cirque du Soleil KURIOUS is showing at the Royal Albert Hall until March 5
Away with the circus
Metro went behind the scenes at the Royal Albert Hall to see how KURIOS comes to life.
Big tricks
One of the highlights is the Acro Net, where trampolinists soar through the air on a gigantic net stretched 10ft above the stage. ‘It looks like the world’s biggest trampoline,’ explains creative director Rachel Lancaster, ‘but it doesn’t behave like a trampoline. If you try and jump on your own you’d be lucky to get a metre. With a team of six taking tension on the net we can throw someone up to 30ft in the air.’
Practice makes perfect
When Cirque du Soleil is in town, the corridor that encircles the very top of the Royal Albert Hall is transformed into a 100m long practice ring studded with gym mats and apparatus including, most curiously, a hanging bicycle. Here aerialist Anne Weissbecker warms up in preparation for her daring act — a dizzying bike ride far above the heads of the open-mouthed audience.
Around the world
With 23 different nationalities represented amongst the 122-strong cast and crew, the kitchens have to cater for many different cultural needs as well as providing special diet plans needed for the performers’ demanding physical routines.
Into the wardrobe
A marvel of organisation, the show’s wardrobe is brimming with artfully styled wigs, entire walls of carefully labelled make-up, and even a 6ft-tall sewing kit. Treasures on the costume racks include shimmering fishtails trimmed with iridescent Crystellette fins, a pair of enormous pleated pants worn by the Nico the accordion man (a seamstress spent an entire week stitching inside the trousers), and Mr Microcosmos’ round belly, which took the props team 250 hours to create.
The work doesn’t stop once the costumes are ready. Everything that touches an artist’s skin must be washed before the next performance, which can mean up to three times a day. That’s a lot of laundry!
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