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Fans of John Gilkey, one of Cirque's most prolific artists as a
veteran of Quidam, Dralion and Varekai, will be delighted to see John
in his newest incarnation; a mad scientist character named Fogus
Punch. Fogus looks like a cross between La Vigie in Varekai and
Beakman from Beakman's World (for those who remember the zany kid's
science show). Fogus is our guide throughout the series, an
astronomer who serendipitously discovers life on the sun. A magical
solar life force has been beamed to Earth and personifies itself as a
series of recognizable Cirque du Soleil characters. A little bit
irritating though is the inane narration that permeates the episode.
Fogus' voice-over (which is not done by John) describes the happenings
in a banal, everyday manner, not poetically or inventively at all.
The narration adds nothing to the show and in fact detracts from it.
While the images speak vividly in Cirque's live shows; the narration
in Solstrom seems an unfit substitute for well thought-out images and
staging.
This episode of Solstrom, entitled "Rockin' Wind," features the
Baron character from Saltimbanco (originally created by renowned mime
René Bazinet, in Solstrom the character is played by Martin Boisvert).
The Baron descends upon an orchestra rehearsal where nothing is going
well. A look at the conductor and first violin gives a clue as to
why; they are played by Dralion clowns Gonzalo Munoz Ferrer and Colin
Wesley Gee respectively. Unfortunately, their antics are no less
tiresome here than in Dralion.
Gonzalo plays Maestro Von Pom Pom Pom (the "Poms" are set to the first
four notes of Beethoven's Fifth Symphony). He is the cantankerous and
temperamental tyrant of the orchestra. While desperately trying to
get his musicians in order a latecomer stumbles in chaotically and
disrupts the proceedings. The Maestro begins to chide him when the
Baron blows a puff of the magical Solstrom at the latecomer. The
latecomer is actually extreme contortionist and dislocation artist
Daniel Browning Smith. Smith contorts into unbelievable shapes. He
squeezes his flexible body through a tennis racket and inverts himself
in many impossible poses, often by dislocating his joints. The
performance is jaw dropping though slightly grotesque. For his finale
Smith contorts into a small ball and fits himself inside a 20" x 20" x
24" box where he stays for the remainder of the show, sometimes
popping up to watch the proceedings.
After the initial commotion the first violin (Colin Gee) is distracted
by an attractive female orchestra member. She approaches and kisses
him passionately on the lips. The Baron's puff of Solstrom transforms
her into a wild temptress dressed in red. The first of the acts
adapted from live Cirque du Soleil shows featured in the pilot episode
is Genviève Bessette's stunning solo aerial hoop number from Dralion.
Originally part of a trio of aerial hoop performers featured in
Quidam, Genviève refined a solo version of the act for incorporation
into Dralion as an act in rotation. When I saw this act last spring
(performed by another Quidam alumna, Marie-Eve Bisson) it was a
shining moment in an otherwise lackluster performance. The
breathtaking choreography, set to the Spanish flavoured song "Anima",
is full of passion and emotion, perfectly fitting the fire element
that it represents in Dralion. Although when taken in Solstrom's
context the emotional gravity is subdued, it is nonetheless a treat to
finally see a filmed version of this magnificent act.
No sooner has the orchestra been successfully called to order than
someones watch chimes and the musicians break for lunch. The
guitarist sits at his music stand and falls asleep. Fogus does a
"brain scan" and monitors his dream. The guitarist dreams of playing
rock chords on an electric guitar. He falls backward only to spring
right back up. The guitarist proceeds to execute flips on a
trampoline all the while playing his guitar. The performer is
actually Domenic Dagenais, a former Canadian trampoline champion.
Next, to the horror of the first violin, a spotlight burns out and he
realizes the Maestro will be furious unless someone fixes it. He
stops a stagehand but a puff of the solar wind transforms the
stagehand into a balance artist. Vladimir Dubovsky uses an array of
boards and aluminum pipes stacked precariously like a deck of cards in
a daring balancing act. Vladimir executes this act with a more than a
hint of Chaplin. His presentation and music are reminiscent of the
Vaudeville stage.
Before the Maestro can regain order he is stricken by a beautiful
prima donna who has entered the hall with her accompanist. She
prepares to sing but a puff of the Solstrom and we find her hanging in
the air supported by white silks. Our diva is Béo Da Silva and with a
sultry voice she belts out a sassy jazz song entitled "New Attitude"
written by former La Nouba singer Dessy Di Lauro. While singing live
she performs some beautiful aerial silk work. This unique combination
number has a slightly surreal Moulin Rouge feel and is one of the most
enjoyable of the episode.
When the dust settles there is still the matter of the burnt out
spotlight to attend to. A group of stagehands climb up a set of
scaffolds but the Baron works his magic and they become daredevil high
wire performers. The Navas Family (three brothers) scamper and dance
across a high wire before performing death-defying leaps and pyramids
all while remaining perfectly balanced on the thin wire.
Then we observe a metronome slowly ticking back and forth. The Baron
works his magic and the pendulum transforms into a trapeze artist.
The orchestra watches as Anja Wyttenbach perched on a Washington
trapeze, carefully balanced on her head while going through a series
of poses. This act, taken from "O" is performed to a piece of music
credited as "Debbie" but more commonly known as the Journey of Man
theme. The trapeze number is cut short. In "O" there is a static as
well as swinging portion but only the static is shown here.
Disappointing given the amount of time allotted to each episode, there
is no need to truncate such a beautiful and well-crafted act.
As if another interruption was needed, the rehearsal is invaded by
wacky Michel Lauzière who aims to play music of his own on bicycle
horns of different pitch strapped all over his body. He executes a
wild choreography to play the horns and serenades the orchestra with
his rendition of the Danube Waltz, The Four Seasons and other
classical selections.
Finally the Maestro gives in and the rehearsal descends into chaos as
the musicians, stagehands and house staff transform. If there were to
be one act I considered to be Cirque du Soleil's signature it would be
Banquine from Quidam. This act has been proudly showcased by the
company in a variety of different competitions, media projects and
special events including Journey of Man and the 2002 Oscar
performance. The first episode of Solstrom closes with the Banquine
troupe performing a number called "Tribute to Rock 'n Roll" Though
much of the choreography is the same as the routine from Quidam, the
troupe appears sans make-up and wearing different costumes; black
pants and coloured t-shirts for the guys, simple black dresses for the
ladies. This elite acrobatic group has only improved with age and now
performs some skills that are far more spectacular than the ones we've
previously seen on film. Among the new tricks is a super jump where
four performers are launched simultaneously, cross paths in mid-air
barely avoiding collision and are caught again by the able porters.
Though stripped of the dramatic intensity of the live show the
Banquine act still shines as an amazing acrobatic display.
Text written by Wayne Leung, as published in the “Fascination! Newsletter”.
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