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Cirque’s new ‘Alegria’ rejoices with joy, magic

By Daily Bruin Staff

Oct. 12, 1994 9:00 p.m.

Cirque’s new ‘Alegria’ rejoices with joy, magic

By Jennifer Richmond

Daily Bruin Staff

A clown servant runs among audience members trying to find a
place for himself to sit. On-lookers familiar with Cirque du
Soleil’s quirky approach to so-called circus entertainment knew
they were in for a treat. Cirque du Soleil’s newest production,
"Alegría," didn’t disappoint them.

As audience members filed into the blue and yellow big top,
things had already gotten under way. A ringmaster mime saunters
around the stage eyeing the audience and a clown runs around
aimlessly trying to find a seat.

While other circus shows revolve around animals and individual
events, Cirque’s productions follow a linear theme. The show’s plot
follows a newer generation of birds as they overtake their menacing
elders. The stars of each segment are younger and more daring; so
every time the older birds appear with their bird-like tails and
waddle, the students either shoe them away or chase them off. But
sometimes these cranky birds simply get scared by the death-defying
events like the trapeze and tightrope.

These circus routines differ from the typical "Ringling
Brothers" show. Made up of a cast of metallic colored, spandex and
feather-clad acrobats, the outfits matched the dark mystery of the
production. One felt like they were in a strange fantastical forest
only found in the depths of an imagination.

While acts like the fire-eater and strong man made up the body
of the show, it was the the music, the interludes and the
fairy-like singer that kept the flow going.

Francesca Gagnon, dressed in a breathtaking pale pink and white
dress by designer Dominique Lemieux, looked like a fairy
controlling the specific events and interludes with her spirited
movements and siren-like voice. Not surprisingly, Gagnon’s singing
amazed the audience. It’s not surprising because she’s not only had
years of practice, but she has also appeared in such prestigious
companies as the Opéra Bolshoï and Milan’s La Scala.

Her singing added that extra quality Cirque is known for. The
songs’ tempos and gothic sounds are inspiring, entrancing and add
to the suspense that accompanies the actions taking place at that
moment. Gagnon’s voice is so mesmerizing, a seduced audience member
followed her up on stage only to be restrained moments later by the
strongman.

It’s not Gagnon’s voice alone that keeps audience members
storming the souvenir counters for the compact disc, it’s the
daunting score that accompanies her.

Composed by René Dupéré, the music follows the
action and fits with Gagnon’s operatic arias: peaking during the
intense, breath-holding moments and bottoming out during the mellow
clowning around. But unlike past Cirques, this year’s musical score
was more circus sounding, complete with frequent bars of caliope
music to accompany the clowning around.

At one point an older clown in a bright yellow jumpsuit shuffled
out with a suitcase to go on a trip. As he unpacked his coat to
clean it, a bizarre interlude took place. While dusting the over
coat, he slipped his arm into its sleeve making the coat suddenly
come to life. It threatened him, it loved him, it even had a
relationship with him. The interlude was delightfully funny and at
times poignantly touching; especially when he received a letter
from the coat saying it wouldn’t be coming to meet him at the
station.

This interlude seemed more like a journey for the clown. He grew
and learned lessons for later life. The sketch wasn’t purely for
the audience’s entertainment; it caused laughter while invoking
poignant thoughts about the audience members themselves.

It was short acts like these that kept audiences intrigued while
the cast set up for the next death-defying feat.

The entire mystical atmosphere was one of magical sorcerers and
fairies found in the times of Merlin. Somehow it all seemed to fit
like pieces of a puzzle. If any one of these pieces were missing,
the production would have been incomplete. Although there’s no
question that the acrobatics make Cirque du Soleil the spectacle
it’s become, the production wouldn’t be the same without the
hypnotic melodies, Lemieux’s colorful costumes and of course
Gagnon’s operatic voice. "Alegría" is a wonderful
two-and-a-half hour trip through fantasyland.

STAGE: "Cirque du Soleil: Alegría." Directed by Franco
Dragone. Composed by René Dupéré. Running through
Nov. 20 at the Santa Monica Pier. TIX: $13.50 ­ $39.50. For
more information call: (310) 458-7773.

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