(From the Aug. 16-31 issue of The Fortnightly)
By Oliver M. Pulumbarit
Cirque du Soleil’s dreamlike “Saltimbanco” mostly mesmerizes with its fluid aerial manoeuvres, its distinctly abstract world populated by vibrantly clad acrobats that effortlessly fling themselves across the stage, as well as goofy characters that perform less athletic comedic numbers.
The clownish figures start the show with some interactivity, persuading audience members to participate in the opening gags. Soon enough, the more dexterous denizens of “Saltimbanco” are introduced, giddily prancing and bouncing around to a fusion of rock and world music.
“Saltimbanco” (“street performer”) opened to enthusiastic reception at the Asiaworld Arena in Hong Kong last month, and is currently in the country for shows at the Mall of Asia Arena until Aug. 19. Cirque du Soleil’s longest-running production first unleashed its bevy of colorful characters in 1992.
“Saltimbanco” is a light, awe-inspiring showcase of acrobatic artistry, with funny, non-verbal sketches between more gymnastic-oriented sets. Over 20 performers are part of the stunning Chinese Poles sequence, where most of them climb and spin on four bamboo-looking, resin-coated poles.
Other tightly choreographed acts include the Russian Swing, which involves members of the troupe flying off a huge swing set and flipping onto various landing spots.
The busier numbers are especially impressive; some stunts are performed simultaneously with attention-grabbing dance routines.
Also providing welcome breathers between the feats of agility and balance are juggling, miming, and poi-twirling performers--more generic circus fare, perhaps, but they’re nonetheless effective.
Bursting with bright colors and Seuss-like characters and imagery, “Saltimbanco” is an elegant collage of escapist acts, easily appreciable by viewers who are young and young at heart. This dazzling spectacle astonishes as much as it intrigues, a dreamscape you’ll easily and delightfully get lost in.
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