Craig F.
Yelp
When most people hear the word "Cirque," what overwhelmingly--and inarguably--follows is "Soleil." But there's another. Smaller and lesser-known, another Cirque--one that is choreographed for the theatre instead of the big top--thrives within the shadows of the behemoth that is Soleil. It's name: Cirque Éloize (sirk el-waz).
Yes, there are definite correllations between the two. In fact, it was because of their partnership--and Soleil's support--that I first realized Éloize and their upcoming "Cirkopolis" performance at the Barclay Theatre anyway. ("Totem" was breath-taking, by the way!) Nevertheless, both are Quebec-based, originating from Montreal; both share the acrobatic genius of Jeannot Painchaud (having first performed with Soleil, now Éloize's co-creator and artistic director); and both are no-holds-barred, nouveau circus troupes bent upon transporting audiences into the surreal and the dream-like.
A devoted fan of Soleil (in all facets and forms), I knew at the onset that I wasn't necessarily attending Éloize's "Cirkopolis" for its acrobatics. (Soleil, without shame or apology, monopolizes.) What had interested me was Cirkopolis' promotion: that which is derived from the "comic book world," that which promises visual tantalization of "imagery and illusion." Without doubt, Cirkopolis delivered.
The 3D projections--vivid, immense, and heavily inspired by the aesthetically industrial distopias of Lang's "Metropolis" and Gilliam's "Brazil"--were exceptionally beautiful. Oppressed by the monotony and by the dreariness of the giant gears and dark portals, Cirkopolis' citizens rebel, in hopes of finding individuality, finding poetry, finding themselves amidst a world that they had ultimately created and come to be enslaved by. For this--their design, their stage presentation, and their depiction of the human spirit rising up against adversity--I applaud Cirque Éloize. It was a visual feast.