‘Kurios’ Delivers With A Treasure Trove Of Marvels
The title of a new show holds great significance in building interest for a production — it ideally provides some level of intrigue and a taste of what is to come. Cirque du Soleil’s show “Kurios: Cabinet of Curiosities” accomplishes just that with a magnificent delivery upon its promise to showcase a collection of marvels and wonders.
“Kurios” made its Los Angeles debut Wednesday, December 9 at Dodger Stadium to a highly enthusiastic, entirely mesmerized audience. Immediately upon viewing the stage, one feels transported through Stéphane Roy’s inventive set design to a mystical land of gadgets and gizmos through a highly effective fusion of the sentiment of Ariel’s undersea treasure cove with the aesthetic of Hugo Cabret’s Gare Montparnasse clock tower. One of the set’s most practical and beautiful attributes prevents the need for an orchestra pit by giving the show’s musicians a place to perform behind the gear-like central backdrop. In moments of transition, lighting designer Martin Labrecque allows the lights to come up behind the main backdrop to illuminate the show’s talented musicians and provide additional visual interest as the show crosses into the next act.
Michael Laprise’s direction reflects an emphasis in reinventing established circus traditions. Actor David-Alexandre Despres presents a more standard form of circus clown comedy through the first half’s ‘Invisible Circus’ act, in which a variety of rigged circus gear give the illusion that invisible performers are using them to accomplish magnificent feats, and the second half’s ‘Comic’ act, in which Despres receives the visit of a female guest (a chosen audience member from the crowd) and attempts to impress her through a variety of outlandish tactics. The ‘Comic’ act displays Despres’ impressive and hilarious ability to shift from human and animal characters alike. His particularly realistic impression of a playful, prideful cat with a proclivity for furballs struck a chord with the audience due to its sheer charm and guilelessness.
Other acts achieve a similar level of engrossment from the audience, such as ‘Upside Down Diner,’ which features a dinner party occurring on stage that is mirrored in almost perfect exactness with one suspended upside down from the ceiling. The act culminates in two acrobats, one from each dinner party, building a tower of chairs that allows them to meet in the middle and perform acts of balance and strength. Other acts of special interest include ‘Acronet,’ in which seven acrobats soar and leap on a large, trampoline-like net, and ‘Hand Theatre,’ in which actors showcase endearing moments of everyday life by using their hands to portray human and animal characters.
The design elements of the show are all executed in truly breathtaking ways. Most notably, Phillippe Guillotel’s costumes provide enthralling, seemingly impossible visuals while accommodating the necessary physicality of many of the acts. The shimmery, slippery, fish-like quality of the contortionist costumes significantly adds to the slinky, bendy movement of their performance. Another triumph presents itself through the character of Nico the Accordion Man, whose elaborate costume of light, folded fabric allows him to utilize gradual movements to yield an incredibly realistic illusion of the bend and stretch of an accordion.
Through the combined efforts of both the production team and the talented performers, “Kurios” offers a thoroughly entertaining show filled with jaw dropping feats and dazzling triumphs. Even a well-versed Cirque du Soleil attendee will be treated with many new spectacles while still beholding the circus experience beloved by generations of Cirque fans.
Contact contributor Rachel Mathieu at rmathieu@usc.edu.
