Echo Review | Cirque du Soleil rallies its troops

First real creation under a marquee since Voltain 2017, Echo, officially launched on Thursday evening, is a response to the (forced) silence of recent years. An ambitious, modern and unifying show, which relies on the strength of the group.




Expectations were still high. The Cirque has been working on this acrobatic piece for nearly four years. If he had to miss his target…

First strangely baptized Under the same sky, the argument summed up by creative director Chantal Tremblay in 2020 has nevertheless remained the same: “The adventure of a show under a big top. A show where we are all gathered under the same roof, in the same tent, connected to each other. »

The director of Somali origin Mukhtar Omar Sharif Mukhtar – who took over from the English choreographer Es Devlin along the way – had added during a meeting with the media: “It is a piece centered on this idea of connection, unity and collaboration. »

That’s what you need to remember about the “spirit” of this new Cirque du Soleil production.

For the rest of the narrative explained to yours truly over the past few months, our disconnection from the animal world, our threatened survival, our reconnection with nature, etc., let’s say that we are more in the inner dialogue. You will tell your own story, no one will judge you.

Everything starts from the cube

Echo therefore opens in a very pretty way with the appearance of a huge cube, which will be the main scenographic element of the room (designed by Es Devlin).


PHOTO CHARLES WILLIAM PELLETIER, SPECIAL COLLABORATION

The acrodance number on the moving cube opens the show Echo.

The four faces of the moving cube serve as projection surfaces while acrobats (wearing white paper clothes and animal heads) perform an acrodance number on it – suspended by harnesses.

A number that sets the tone. Cirque will not do in half measures, message received.

Note that about twenty minutes after the start of the show, a technical problem led to a five-minute interruption.

A little later, another group of acrobats will steal the show – Ethiopian artists.

First with a breathtaking number of Icarian games – a discipline very little practiced here (and very difficult!) where a carrier lying on his back throws a flyer into the air with his feet. This issue also received a well-deserved ovation. Then, with a number eleven of banquine, human frame and other ground-air acrobatics. With costumes in pastel colors that exude happiness!


PHOTO CHARLES WILLIAM PELLETIER, SPECIAL COLLABORATION

The group of Ethiopian artists perfectly conveys the theme of unity and collaboration explored in Echo.

The enthusiasm, energy and smile of these artists are undoubtedly what brings us closest to the collaborative spirit ofEcho, rhythmic to the sound of electroacoustic music by Jade Pybus and Andy Theakstone, who also sing in chorus.

Moreover, acts for two or in groups largely dominate this show of almost 2 hours 30 minutes (with intermission), and we are delighted with this consistency.

Flying mast number seven (wow!) is the same caliber, as is soft wire number two inside the burning cube (beautiful!) or capillary suspension number (ouch!).

Throughout the duration of the show, the cube will crack, open, empty, fill, close… A bit like the world in which we live.

Individual numbers that clash

This theme of the collective did not prevent the Cirque from presenting a few individual numbers such as a number of elastic straps (nice), where the Brazilian artist Lucas Coelho was first surrounded by the rest of the troupe (a simple idea, but effective ). Unfortunately, he found himself alone after a few minutes…


PHOTO CHARLES WILLIAM PELLETIER, SPECIAL COLLABORATION

The soft-wire duo features Ukrainian Taras Hoi and Guyanese Antino Pansa.

Same scenario during the Washington trapeze number (a motorized trapeze on which the French artist Louana Seclet performs headstands). When the troupe surrounds the trapeze artist, there is a tremendous energy that emerges from the stage towards the room.

There are 48 artists in this production, why not use it like the rest of the play?

Moreover, the contortion number (not necessary) appears to us as an error. Just like the diabolo number, even if well executed. These numbers are, in our humble opinion, derivatives ofEcho. We’ll get over it.


PHOTO CHARLES WILLIAM PELLETIER, SPECIAL COLLABORATION

The comic duo is formed by Frenchman Clément Malin and Italian Caio Sorana.

A word about the comedy duo of the evening: Double Trouble. The Franco-Italian pair essentially have fun stacking cardboard boxes. They are rather funny, and above all, their presence is well balanced.

The final number with (three!) seesaws – even if it is performed by nine artists – is impressive, we are of course in the prowess, but the disembodied prowess, which struggles to attach itself to the narrative ofEcho. This number could have been presented in any Cirque show, which is never a good observation.

Fortunately, there are still those small symbolic gestures that reinforce the theme of unity and connection, such as that of the main character, who climbs a giant at the end of the first part (we will not say more for not spoil the surprise), and which will place a small cube in the big one at the very end, revealing a thousand images of this strained nature.

A great way to end this abundant show under the marquee, which is certainly one of the most ambitious in recent years.

Echo

Echo

Presented in the Big Top at Quai Jacques-Cartier in the Old Port of Montreal Until August 20

8/10


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