CIRKOPOLIS by Cirque Eloize (Cirque Eloize/Canadian Stage/Sony Centre). At the Bluma Appel (27 Front East). Runs to March 12. $39-$99. canadianstage.com. See listing. Rating: NN
Dont believe the hype judging from Cirkopolis, Cirque Eloize isnt Cirque du Soleils hipper, sexier cousin. Its Cirque du Soleils health goth/steampunk cousin who saw Metropolis one time.
Cirkopolis explores the daily grind in a dystopian industrial city, a rather dark theme for a high-flying circus and acrobatics show. The performers nail some very impressive stunts, but the genius of their obvious aesthetic influences, like Terry Gilliams classic bureaucratic nightmare, Brazil, gets lost in the shuffle, and the whole city-as-brutal-machine conceit feels like a superficial vehicle for a series of feats and tricks.
The action there is no discernible plot alternates between big plenary numbers (think lots of businessy dudes with fedoras and briefcases walking really fast to dark techno and strobes) to much better solo and duo routines involving flips, lifts and spinning inside giant metal rings. One stunning moment that elicited gasps of genuine of concern from the audience had performers free-falling headfirst from high up on a giant pole, stopping themselves only inches above the stage.
Generally, though, its hit-and-miss: a human staircase creates a cool visual, but a solo diabolo juggling bit late in the show feels like sad filler.
The original score drifts from thumping, machinelike industrial to mercifully forgettable electro-swing ballads that, compared to the aerial choreography, fall flat. A dynamic CGI video backdrop creates the effect of a continuously moving cityscape. Transitions between different settings in the factory-and-office hell-scape are accomplished via flying through the stylized city, which would be a neat effect were it not for the cheesy design.
