THE ARTS ETC

_______________________________________________________

 

CIRQUE DU SOLEIL -- QUIDAM

OPENING NIGHT AT THE MULLINS CENTER

UMASS AT AMHERST MA

October 5 - 9, 2011

www.mulinscenter.com

 

REVIEWED BY DEBRA TINKHAM

Cirque du soleil - Quidam is magnificent!

A big thank you to Paul Dionne, Director of Marketing, at the Mullins Center, who treated us to perfect seats for this faultless performance.  Dionne spent time explaining the workings of this talented group.  Most acts arrive with 4 – 5 large trucks; the Cirque troupe arrived with 16 large trucks.  There are over 50 performers and 50 support staff in this team that works harmoniously, like a fine team of Clydesdales. 

 

Every act demonstrated precision. There was much activity above, beyond and around most of the acts.  If you blinked, you were sure to miss something.  The fact that the stage moved also contributed to the mystique of the performance. 

 

By arriving somewhat early, we could observe the on site preparation for this opening night gala.  Technicians, for lack of a better description, climbed hanging ladders to the ceiling and remained there throughout the entire show.  Their purpose?  I’m sure it was important because of all the high wire ropes, chairs, figures and clothes descending from the big top's roof..

 

Dionne gave us a brief description of the acts as well as a few bios of the performers. No matter how descriptive a writer might be, words can not capture the electrifying talent displayed in tonight’s performance.  Performing now through October 9th, including two performances on Saturday and Sunday, it's a shame not everyone can enjoy the outstanding quality of this spectacular performance..  From beginning to end, act after act, scene changes magically materialized for the next act.

 

The story, Quidam, pronounced “kee’-dahm”, is about Zoe (Alessandra Gonzalez), “an average little girl.  She is bored yet curious, and she longs for the fun and excitement she believes lies just beyond her reach.”  Father (Patrick McGuire), “lost behind his newspaper, ensconced in his den, will eventually open his eyes to find himself among his family and loved ones once again.”  Mother, (Denise Wal) “will soon rediscover the intense feeling of being alive through pain and courage, play and love.”  Mother and father are submissively walking, dancing, or flying throughout much of the performance.

 

So many activities were going on as we evolved into Cory Sylvester’s German wheel, “a gymnastic exercise…which is taken to a whole new level.  The artist becomes a human spoke as he spins, turns, twists and maneuvers the wheel, performing gravit-defying somersaults and acrobatics.”  We were certain at some point he would break every bone in his face or chip his coccyx.

 

Further activity transitioned into the “Diabolos.”  “The diabolo, or Chinese yo-yo, is a child’s game that the Chinese have transformed into an art form.  Four very talented, young, female performers – Mengyi Wang, Shengnan Pan, Yaxuan Xu, Lu Zhou – “…each holding two sticks linked by a string on which a (large) wooden spool is juggled, tossed and balanced, trying to outdo each other in this stunning game of dexterity and ingenuity.”  Again, words cannot possibly paint the appropriate picture of the multi-faceted talent that presented itself individually and as a group.

 

More colorful characters, augmented by lighting and music transitioned into an aerial contortion of silk.  “Intensity, power and grace combined as a young woman, Tanya Burka, becomes one with the column of red fabric which supports and cradles her.  Set to haunting music, contortionist and cloth intertwine, separate and embrace again.  The translucent fabric occasionally hugs the body of the performer, creating a stunning effect.”

 

A quick and clever transition into three aerial hoops by hoopsters Danila Bim, Lisa Skinner and Meaghan Wegg, “…pivoted and twirled through the air, at times solo and at times in unison, performed stunning feats of grace and dexterity.”

 

“Breaking with tradition, Quidam presents the Spanish web as a group act.  Artists Mireille Goyette, Guilherme Fortes, Grace Maura, Rafael Munhoz and Jean-Philippe Viens fly over the stage attached to a specially designed conveyer called the telepherique.  Suddenly, time stands still as the acrobats, in turn or as a group, drop into the void, stopped only by the ropes looped around their waists or ankles.”  This all happened so quickly that many were heard to give a loud, “Ohhh.”

 

Again, action, music, movement and lighting transformed us into Patrick McGuire’s manipulation juggling.  In his character role as father, he utilizes “several objects that are symbolic to the storyline of Quidam.  Using a bowler hat, umbrella, briefcase and red balls, the juggler strings together impressive feats of balance and dexterity.”

 

Without missing a beat, the mood drastically changes to a desperately quiet and eerie appearance of the “Statue.”  “Never losing contact, Laetitia Bodin and Remi Chal-Debeauvais, two strong, flexible, perfectly chiseled bodies move almost imperceptibly, assuming positions impossible without an impeccable sense of balance.”  Who knew two human bodies were capable of such poses! “The statue called on sensitivity and power of concentration,” impacted by the powerfully sensitive music, “in their quest for perfect harmony.  Their act is testimony to the natural beauty of the human body.”  The center was so quiet you could have heard a pin drop.

 

Christy Shelper utilized her trapeze and Spanish web “technique combined in the unique and daring Cloud Swing.  She launched herself into a series of spectacular acrobatics that sent her diving and twisting high above the stage.”  She just kept swinging higher and higher and merged her rope swing with her ankles, waist, arms and body.

 

Finally, the finale of Banquine.   “The Banquine act showcases the amazing agility of the human body.”  This continued the reoccurring theme.  “Fifteen artists (named at the end of this program) performed spectacular sequences of acrobatics and human pyramids, astound the audience with their perfectly synchronized movements.  Banquine is an Italian acrobatic tradition, with origins that date back to the Middle Ages.  This breathtaking act won a Golden Clown at the International Monte Carlo Circus Festival in 1999.”  During this dramatic pyramid building dance, there were three little girls who were tossed about like a ball.  The finale was a pyramid three men high and then one of the little girls was tossed up on top of it all.  She was the cherry on top.

 

Father, mother and Zoe circled throughout and about, symbolizing healing and unity.  Other cast members joined here, there and everywhere.  The closing credits were the entire staff holding hands in a circle, suggesting respect and love.

 

Banquine artists were Andrey Bilozar, Andrii Bondarenko, Oleksandr Bondarenko, Anastasia Chistyakova, Ekaterina Evdokimova, Anastasia Gorbatyuk, Ivan Korshunov, Andrey Litvak, Viktor Levoshuk, Andrii Lytvak, Alexander Maslenikov, Viktor Ossolodkov, Alexey Rybakov, Kirill Tyurganov, Roman Urazbakiyev, Igor Zabiiaka and Sergey Zabiyaka.

 

Due to the length and complexity of this venue, no mention was made of several acts, however, there was the Clown Cinema by artist Toto Castineiras (hilarious); The Target, by Ardee Dionisio; Boum Boum, by Rafael Munhoz;  and The Aviator, by Ivan Korshunov.   The band, was very effective but out of the spotlight: band leader, Jim Bevan; guitarist, Olaf Grote; Saxophonist, Ben Harrison; singers, Alessandra Gonzalez (Zoe) and Jamieson Lindenburg; Violinist, Alicia Enstrom; Cellist, Peter Sachon and Drummer, Andre Boyd.