Since these last few weeks have seen so many rainy days, perhaps it’s not so thrilling to hear that Luzia, the latest Cirque du Soleil show to grace these parts, features a terrific rain effect.
But take it from a guy who has witnessed most, if not all, of the Cirque events to visit the New York area, not only is the rain effect a delight, but so is practically every moment of Luzia.
Fulfilling its Spanish title, which means “light,” this edition’s characteristic two-act blend of remarkable, multinational circus artists, whose feats are heightened by atmospheric music and visuals, delivers a wonderfully radiant time.
Presented in a 2,500-seat big top-type tent in a parking lot at Citi Field out in Queens, Luzia whisks viewers on a cheerful journey through sunny—well, mostly sunny—Mexico. Unlike some Cirque events, Luzia thankfully is not weighted down with any elaborate scenario or shadowed by eccentric themes.
The two-hour show begins as its silent comedian, one Fool Koller, a tall and lanky funnyman from The Netherlands, descends from the heavens in a comical slow-mo fall into a field of marigolds, where he is soon chased away by a handsome life-sized puppet of a silvery stallion (think War Horse) galloping along on a treadmill.
Koller intermittently returns amid the circus acts, of course, in his connective role as a stranger in a surreally magical Mexico, even as elegant animal puppets or performers clad in gorgeous animal-like costumes pop up among the acrobats and athletes.
Koller proves to be a droll fellow, particularly so during a Looney Tunes-y first act finale, when he’s desperate to fill his canteen even as the rain that’s falling all around him wickedly keeps leaving him dry. Not only does the rain splash down in strategic downpours that elude Koller as he madly dashes back and forth, but when it expands into a torrential curtain, somehow the water descends in a shimmering assortment of patterns ranging from flowers to whimsical creatures.
The rain effect is featured more than once: Most notably in a sequence that drenches Rosa Tyyska and Nora Zoller as they spin around on Cyr Wheels while Enya White, a trapeze artist, languorously undulates overhead; and during a misty oasis scene as a Tarzan-like Stephen Brine, all bare chest and long tresses, wraps straps around his arms to hoist himself through innumerable aerial swoops and dives above a pool of water where a jaguar (puppet) prowls.
Meanwhile, back on dry land: Dressed as a masked wrestler, Krzysztof Holowenko bravely zooms back and forth on a towering swing contraption that travels 360 degrees. Perhaps even more fearless is an 11-member troupe hailing from Ukraine, Belarus, and Russia whose “Swing-to-Swing” act sees them blithely somersaulting, tumbling, and flipping from one swing to the other during which they sometimes fly as high as 30 feet up in the air.
Contrasting acts are provided by two more Russian artists. Perched upon a lily pad platform, contortionist Aleksei Goloborodko sinuously realigns his torso and limbs into impossibly, frankly creepy, serpentine poses. A charmer, Evgeny Vasilenko performs a nifty slack wire routine that sees him casually doing splits, handstands, and teeterboard tricks to impress an admiring lady. A personable Frenchman, Cylios Pytlak offers whirlwind speed juggling of as many as seven pins.
If the remaining acts are not so memorable, they nevertheless present an assortment of expert turns that are enhanced by the bright colors of designer Giovanna Buzzi’s picturesque costumes and the drama of Martin Labrecque’s lighting design.
Daniele Finzi Pasca, who created and directs the show with Brigitte Poupart, smoothly and fluently stages a thoroughly happy event that gives audiences an especially fine view of the proceedings, thanks to the double revolving rings that spin the acts around upon a circular deck designed by Eugenio Caballero. A huge multicolored disc, representing the sun, moon, and Aztec calendar, is the glowing key visual element of Caballero’s décor.
Melding everything is composer Simon Carpentier’s tasty Latin American-flavored score, played by six musicians and sung by a smoky-voiced Majo Cornejo, which evokes the brassiness of the mariachi tradition sweetened by the sonority of guitars and accordion.
Toothsome as this show may be, let’s mention that the concessions prices are, well, pricey, with water and soft drinks going for $6 a pop and adult-type beverages for considerably more than that. Lingering too long with the little ones at the merch stand might seriously deplete their college funds. Still, a visit to Luzia is cheaper than a trip to Mexico and well worth the trek out to Queens to enjoy such a swell time.
Luzia opened May 7, 2019, at Citi Field and runs through June 9. Tickets and information: cirquedusoleil.com
