Cirque du Soleil's OVO

I've been to a couple of Cirque du Soleil's shows (the last one I saw was Corteo, I think), and the spectacle is always exciting: I like the synthesis of light, sound, and movement. So when Cirque du Soleil came to town this time with their new offering OVO I decided to see the show. I bought tickets via Goldstar (it's a nice service, they offer discounted tickets to many performances), my friends James and Ken joined me, and we drove to the the National Harbor where the Cirque put up its Grand Chapiteau. The show was good but I felt the story line was not as cohesive as in the previous Cirque's programs I've seen. Nevertheless, the skill and artistry of the performers was astonishing. I especially liked Power Track.

You may worry that with “Ovo” the great Cirque du Soleil has finally scraped bottom. Performers in alarmingly bright, extremely silly rubbery suits make nonsense sounds and dance like they've just infested a third-rate nightclub. They are meant to be insects. But never fear. Once the troupe's world-class acts begin their dazzling tricks, it really doesn't matter what they're wearing or what the gimmick is. The title is Portuguese for “egg,” and indeed the design features a large glowing egg that fascinates director Deborah Colker's bizarre colony of characters. The action is full of becoming and emerging: A chrysalis that slowly emerges from the floor is marvelous, and so is the aerial dance on a swinging rope that follows between a pair of butterflies. Magnificence is the standard for Cirque du Soleil, and “Ovo” is not consistently glorious. It's awfully good, though, thanks to some brilliant, highly disciplined people who excel at turning stunts into art.

(Washington Post, Friday, October 8, 2010; WE21)