Cirque du Soleil "Amaluna" runs now through Nov. 30 at the Grand Chapiteau, Atlantic Station. (Note: Circular seating provided excellent views of the stage from almost anywhere.) 7:30 p.m., Tuesdays – Thursdays; 4:30 p.m. and 8 p.m., Fridays and Saturdays; 1:30 p.m. and 5 p.m., Sundays. Visit www.cirquedusoleil.com/amaluna for additional information.
If a bevy of balancing acts, colorful, oft-kitschy characters and high-flying acrobatics are prerequisites for love, then Cirque du Soleil's latest show, Amaluna, is the perfect tale. "Amaluna" which is located under the Grand Chapiteau at Atlantic Station, features several entertaining and dramatic scenes set on an enchanted island with a forest of bamboo-like branches, inhabited by goddesses and ruled by the powerful queen Prospera. After a storm, a group of shipwrecked young men land on the island and naturally, someone falls in love with one of them. That, of course, happens to be Miranda (performed by contortionist Iuliia Mykhailova), Prospera's daughter.
At its core, "Amaluna" is a renewal, ritual and coming-of-age love story between young Miranda and Romeo (Evgeny Kurkin) who endure demanding trials, fight off a jealous lizard-man with an extraordinary long, thick tail, share a tentative first-kiss and accomplish graceful water-bowl acts. After a notable, shirtless pole dance by Romeo, which is an epic display of strength, agility and precision— he slides from the top to the bottom in a heartbeat and stops mere inches from the floor—the pair eventually reunite.
Makes wooing seem easy, right?
The show opens with audience participation led by Deeda, Miranda’s childhood nurse and frivolity like popcorn throwing from Cali (Viktor Kee), the lizard-man, as he scales a beam. Things really get underway in the first scene, “Icarians and Water Meteors,” a fast-paced, dizzying routine filled with petite pink-clad acrobats whose perfectly-timed spins, tumbles and landings are simply glowing, thanks to the neon water meteors they twirl the entire time.
Quickly though, "Amaluna’s"misses are apparent, with a few subsequent scenes that border on being too long or downright dull, which is truly a loss for an otherwise decent show directed by Diane Paulus.
“Balance Goddess,” a rather lengthy equilibrium performance by Lara Jacobs which showcases her ever-so-carefully retrieving 13 various-sized palm leaf ribs with her toes then perfectly angle them without toppling the entire structure was excruciatingly slow, boring and vaguely reminiscent of a deliberate game Jenga. Supposedly, it is the beginning of strife for the couple, though it may be torture for the audience as well. This recipe for awkwardness falls somewhere between the folds of Deeda’s big, bright yellow pleated dress and Jeeves, Romeo’s mustachioed manservant, who “marry” each other sans ceremony, make really loud grunting noises that questionably simulate intimacy. The characters later appear giving birth to eight small footballs. At least Jeeves is a good catch. Figuratively.
Still, there are plenty of noteworthy performances, including the beautiful “Peacock Dance” performed by Amber J. Merrick who practically floats across the stage in a white bustier and skirt comprised of 65 yards of white tulle and 6,500 Swarovski crystals. Her routine is an enchanting and graceful vision of purity. Equally impressive and titillating is “Teeterboard,” performed by Tom Ammiratti, Joe McAdam, Elias Larsson, Olivier Sabourin and Danny Vrijsen. With the help of, well, a teeterboard, the group of young men execute a series of aerial twists, turns and flips (plus one surprise break-dance move) meticulously. Disregard what looks like the fun, they’re really trying to escape from prison.
Though "Amaluna" lands somewhere between satisfactory and good, and is filled with lots of girl power courtesy the 70 percent female cast and all-women musicians, who, by the way, were clad in rocker-like gothic costumes that channeled their inner Purple Rain (thanks, Prince) it does offer an evening of entertainment, especially for families. For others, take it as a long lesson in courtship with an expected happy-go-lucky, let’s-just-hug ending.
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