Conceived by: Dominic Champagne
At: United Center Parking Lot K, 1901 W. Madison
Phone: (800) 678-5440; $50-$70
Runs through: Aug. 31
The word, ‘Varekai’ means ‘wherever’ in the Romany language of the gypsies—the universal wanderers. The Chicago premiere of the Cirque’s latest offering pays tribute to the nomadic spirit, a spirit embodied by the circus.Creator Dominic Champagne riffs on the myth of Icarus in this outing, forming the surreal, mystical, and magical world of the Cirque around the tale of the winged mythological figure, who flew too close to the sun, burning his wings and tumbling from the sky. Champagne and his creative team have imagined a chaotic, sensual, and ethereal place for the suddenly gravity-bound Icarus to land.
But this production is no different from other Cirque outings: the storyline is secondary to the breathtaking visuals, acrobatic feats of nearly supernatural wonder, stirring music, and comedy.
The dreamlike visuals begin with the set, which is composed of a highly reflective surface around which are gathered a forest of bamboo-like golden rods, extended heavenward, making a perfect place for the strange and magnificent creatures that comprise this mystical world to caper, climb, and observe. A spindly catwalk extends from the floor crookedly—yet gracefully—to the top of the Grand Chapineau, calling to mind the spine of an immense bird. Set designer Stephane Ray says, ‘In circus, design … whether abstract or realistic—serves to create a mood.’
The backdrop is complimented by the costumes (more than 130!), which bring to life strange plants (many with epiphyte-like tendrils), animals, birds, and creatures beyond description. Costume designer Eiko Ishioka utilizes a palette of bright colors and unusual shapes and forms, at times exaggerating the musculature of the body, to create ‘costumes that … accentuate and even reinforce the visual and emotional impact of the risks taken by the artists.’
And what risks! The performers here often defy gravity and the limitations of the human body. Take, for example, the Icarian Games: a group of acrobats juggle each other, using their own bodies to become both catapult and catcher in an explosively choreographed display of strength and agility. The Russian Swings, large and pendulum-like, allow the acrobats to soar high into the air, flipping and turning, to land on huge canvases, each other’s outstretched arms, a small platform, and even the swings themselves, which never remain still. There’s more: body skating, triple trapeze, aerial straps, water meteors, and more left the opening night crowd cheering and, often, slack-jawed in amazement.
The Cirque would not be complete without a stirring, evocative score. Composer Violaine Corradi blends a universal sound from such diverse sources as Hawaiian ritual, troubadour music from southern France, gospel music, and Armenian melodies. Vocalists were Mathieu LaVoie and Zara Tellander. Finally, the clowns in this Cirque (Claudio Carneiro and Mooky Cornish) are hilarious, with flawless timing and a tireless spirit of play. Carneiro, particularly, elicited laughs with his impression of a French lounge singer (clad in powder blue tuxedo), singing ‘Je Ne Me Quitte Pas’ while attempting to coerce a reluctant spotlight to not leave him.
Cirque is a magical gift, well worth the cost of even the highest-end ticket. In a world where few things are certain, one can always rely on the superior artistry, mind-boggling athletics, and the peerless imagination of Cirque du Soleil.