A couple of years ago while in Las Vegas, my husband tried to convince me to attend Cirque's “LOVE,” based on the music of The Beatles. In response, I attempted to stand my ground. “Are there French Canadian clowns? Are there mimes?” I asked. “Are they going to infuse the Beatles stuff with creepy Cirque music?” He told me he had no idea and then, in an act of uncharacteristic decisiveness brought about by his love of the Beatles, bought the tickets.
I LOVED it. The plot loosely tracks the Beatles' biography from the London Blitz in the 1940's through the group's formation, rocket ship ascension to stardom, and breakup. Fictional characters from the Beatles' lyrics bring the show to life: Lady Madonna and Lucy in the Sky with Diamonds were two of my favorites. “Drive My Car” features a vintage VW Beetle stuffed with floppy-haired young men. “Blackbird” is danced by a bevy of beautiful and graceful ballerinas. There is a bit more dance than acrobatics and an even mixture of comedy and tragedy, all of which seem perfectly matched to each tune. I was high-fived by a performer on his way off-stage. I chatted it up with an usher while leaving. “Wasn't it great to take a stroll down Penny Lane?” he asked. “All you need is love,” I answered.
On the way out of the theater, I was surprised to overhear a few comments regarding the authenticity of the piece. No live music. (The Beatles' music had been remixed by George Martin for this performance.) Not enough acrobatics; what was with all that ballet? Not in the usual tradition of Cirque, some said. I didn't pay much attention at that time; I had nothing to compare it to. As soon as we arrived home, I ordered the LOVE soundtrack.
So, I thought, maybe I was wrong about the Cirque. Fast forward to present day. A few weeks ago, my younger son and I were in Quebec City, home of Cirque du Soleil. We were traveling with 2 other families, all of whom are Cirque fans and when one of the other parents suggested we purchase tickets to the Cirque du Soleil performance in town during our stay, I said sure.
The semi-circular seating in the audience surrounded a turtle shell shaped stage. I was seated in the second to last seat near the stage on the right, behind a huge pole holding wires and clamps and acrobatic paraphernalia. As the evening crawled on, I thanked the fake stars in the fake sky above for my obstructed view.
The lights dimmed, and voila! There is a succession of performers dressed as: frogs, Native Americans, alien beings, fishermen, mad scientists, archeologists, monkeys, and surfer dudes. The characters who creep around, like the frogs and aliens, are accompanied by that creepy Cirque du Soleil music. Two of the Native American characters, in roller skates, spin around on a small trampoline. For kicks, there is a slimy Italian gigolo as the clown character, I guess. He isn't funny. And what's this? Four Asian girls balance stacks of plates while on unicycles.
Yeah, I kind of get it. Kind of: Totem. Evolution and Legend. Science and Custom. The meshing of various views of the universe. And I even appreciate the athleticism and the grace required of these performers. I really do. But, c'mon..
The music is annoying in that whiny way that I had always associated with Cirque. The different scenes have no connection to each other. First there are frogs, then there are surfer dudes? Really? What's with all the Eastern European guys balancing on the sticks? Aliens in unitards? I kept pulling out my cell phone to check the time.
As we were trooping out at the end, I caught the eye of my son who had a seat at the other end of our row. He rolled his eyes back and shook his head. We were in the minority so we kept quiet (for us); as we stood waiting for others in our group to fetch souvenirs, he grinned. “At least I only fell asleep once.”
Lesson learned. No more Cirque du Soleil for us, unless it involves The Beatles.
