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REVIEW: Cirque du Soleil’s ‘Luzia’ celebrates Mexican culture

Photo: Cirque du Soleil’s Luzia features a running woman at the top of the show, welcoming audiences to a celebration of Mexican culture. Photo courtesy of Matt Beard / Provided by official site.


NEW YORK — Cirque du Soleil has bounced around New York City over the years. This reviewer has caught them under the big top in the parking lot of Citi Field, at the Theater at Madison Square Garden and even on Broadway. One of the best experiences in the Big Apple is when the Canadian company sets up its circus tent on Randall’s Island, right on the banks of the East River.

That’s where one can find Cirque du Soleil right now, and the show they have brought to the city is a winner. Luzia is a celebration of Mexican culture, with a nod toward the country’s wondrous flora and fauna, its unique musical culture, its love of wrestling and soccer, and its vibrant communities.

Luzia, which runs through April 27, features many of the staples of a solid Cirque du Soleil production. There’s a clown who displays his antics in between the high-flying, death-defying acts. This clown is particularly enjoyable as he traipses around the thrust stage in search of water. In fact, water becomes a dominant theme throughout the piece, with torrents splashing down like a waterfall (no worries, the audience doesn’t get too wet). The only other Cirque show that uses more water is O in Las Vegas.

Of the many acts that descend upon the stage and ascend the heights of the big top, a bicycle routine stands out. It’s not the most unbelievable sequence on display, but there’s something about the everyday ordinariness of riding a bike and how it’s elevated by the performer that make it particularly magical on the circus stage. This bicycle looks like something from decades ago, with curved handlebars and skinny wheels, but the performer is able to balance himself on the frame with such seeming ease that the act feels impossible. It’s a highlight, for sure.

Another sequence features a Russian swing act, which on the afternoon this reviewer saw the show went off without any problems or injuries. Phew. The performers fly through the air, bouncing back and forth between these two enormous pendulum swings. One false misstep could be dangerous. It’s no wonder that Cirque du Soleil often places a swing act of some type in the prime spot of the finale; it’s cringe-inducing entertainment of the highest order.

A contortionist named Aleksei Goloborodko also steals the attention of the crowd. This flexible performer is able to maneuver his body in such a way that he’s able to look back on himself from all directions. His legs are tucked under his body in a manner that looks so uncomfortable, but he doesn’t bat an eye or wince in pain. He then swivels around into a different position, bending his body in the opposite direction. His spine is pushed to a limit that doesn’t seem humanly impossible, which is exactly the reason he fits so well in the show. He’s offering a view of how humans have endless possibilities and movements.

Like other Cirque shows, there’s atmospheric singing that heightens the drama and sets the scene. There are some stellar juggling acts, including from the resident clown. One unique sequence features the balancing of a soccer ball, another theme that offers a nod to Mexican culture.

Luzia, co-written and directed by Daniele Finzi Pasca, is a flagship property of this dedicated and driven circus company. It’s hard to imagine a better offering of Cirque du Soleil’s artistic vision, especially amongst shows beneath the big top. Seeing a Cirque show in Las Vegas is great fun in between the gambling and gourmet eating, and some of the arena shows earn their required oohs and aahs. But a circus feels most appropriate beneath a tent, where the outside world can be closed off, and only the spectacle of human achievement is on view.

By John Soltes / Publisher / John@HollywoodSoapbox.com

Cirque du Soleil’s Luzia continues through April 27 under the big top at Randall’s Island in New York City. Click here for more information and tickets.

John Soltes

John Soltes is an award-winning journalist. His writing has appeared in The New York Times, Earth Island Journal, The Hollywood Reporter, New Jersey Monthly and at Time.com, among other publications. E-mail him at john@hollywoodsoapbox.com

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