Writer and Director: Daniele Finzi Pasca
Cirque du Soleil’s Corteo invites us into a dream-like journey through the mind of Mauro, a clown envisioning his own funeral. Guided by ethereal angels, the performance weaves a parade of surreal vignettes, blending acrobatics, comedy, and theatricality in an enchanting spectacle.
Opening with four women dangling from chandeliers, the clown Mauro appreciates the beauty of his former lovers. The reimagining of chandeliers as a more complex and captivating structure for the aerial hoop marries the elegance of the moving body.
From this graceful opening, Corteo pivots to a playful scene featuring childlike characters bouncing on oversized beds. These trampoline-enhanced mattresses capture the innocence and joy of childhood, though one can’t help but wonder if the performers could reach even greater heights.
Some parts which are less clear narratively are explained away with vague metaphors such as the use of the Cyr wheel being ‘a living symbol of the never-ending journey of life’. Nevertheless, the endless spins in sync remain mesmerising to watch. The narrative explained in voiceovers is occasionally muffled by loud music. However, the richness of images uses a myriad of characters to make sure that there is always a lot happening on the sidelines.
The acrobatics are interspersed with comedic sketches, such as a giant attempting to hit a moving golf ball. These more humorous scenes provide fun for the family audience but occasionally feel disconnected from the supposed narrative as well as feeling outdated.
Certain performers stand out for their sheer physical artistry. Stephanie Waltman dazzles with her flamenco-inspired pole routine, while Roman Munin’s effortless ascent of a free-standing vertical ladder showcases remarkable balance. However, the highlight is the duo of Hitomi Kinokuniya and Oleksandr Kunytiskyi, whose breathtaking aerial duet on straps exudes both technical mastery and emotional depth.
Stealing the show, however, is Valentyna Paylevanyan, whose charm lights up the production. Whether floating above the audience and engaging them to keep her aloft or delivering a heartfelt Juliet in a play-within-the-show, her presence is magnetic.
Despite Corteo’s enchanting moments, it falls short of delivering the jaw-dropping feats one might expect from Cirque du Soleil’s reputation. That said, its gravity-defying acrobatics remain awe-inspiring.
The design elements from Jean Rabasse’s set and Dominique Lemieux’s costume add theatricality to the feast of rich imagery. The choice to use incense instead of a mist machine is just one example of many of how detail adds to the atmosphere of the dream-like world.
Corteo may not be the company’s most daring or cohesive production, but it remains a spectacular spectacle and a fun family outing for all.
Runs until 2 March 2025