Cirque’s ‘Corteo’: A thrilling, theatrical spectacle

By Rich Fahey

BOSTON – The artistry of Cirque du Soleil, combined with its matchless production values – music, lighting, costumes, set – sometimes blurs the differences between reality and a dream world. That’s especially true when that’s just the effect Cirque is looking for.

“Corteo,” now at the Agganis Arena at Boston University through Sunday, June 11, is Cirque at its finest, a dazzling display of human artistry at its best, combining that daring-do with humor and an intriguing storyline, a theatrical spectacle worthy of the world-renowned troupe.

“Corteo,” which premiered in Montreal in 2005, has broken records all around the world. Translated from the Italian, it means cortege or procession, and here, in a surreal, Fellini-inspired way, it tells the story of Mauro, a recently deceased clown, who watches his own funeral unfolding around him in a bizarre, carnivalesque, parade atmosphere, surrounded by a dazzling, theatrical troupe of clowns, acrobats, floating angels and performers.

As you might expect from a Cirque du Soleil arena show, the production values are exceptional, with clever staging, 260 gorgeous costume designs by Dominque Lemieux and a magnificent score, originally composed by Philippe Leduc and Maria Bonzanigo, and with additional, re-worked compositions by Jean-François Côté and Michel A. Smith.  “Corteo” incorporates elements of the traditional Commedia dell’arte and surrealism and the result is sublime entertainment.

Some Cirque spectacles have storylines that are hard to grasp or follow at times, but this  is simple and straightforward, which helps draw the audience into Mauro’s story.  The other characters include Mr. Loyal, a former military man who has elevated the art of whistling into high performance; the White Clown, who opens the doors to the magic of the circus for Mauro the Dreamer Clown; The Clowness, a Grand Dame of acting; The Little Clown, who pines for her, and The Giant Clown, who imagines himself to be a worldwide artist of great renown.

Many of the large Cirque shows have been performed under a traveling big top, but this one, in 2016, was redesigned to be performed in an arena. The stage is in the central part of the Agganis Arena and divides the venue into two; each side of the audience faces the other half, giving the audience a different perspective of the show, and a performer’s-eye view of the audience.

With a Cirque production, detail matters. The set curtains were inspired by the Eiffel Tower, and the central curtains were hand-painted.

The soaring vocalists and live band, dressed as Pierrots, are scattered around the stage, and there’s world-class work by the violinist and percussionist, to name just two. Sound design is another area where Cirque has always excelled.

There are acts such as the Cyr Wheel that can be appreciated for their sheer strength and beauty, There are also breath-taking exhibitions, to name just a few, involving chandeliers, hula hoops, beds that become trampolines, teeterboards, trapezes, and flying disks. In short, the length and breadth of what human artistry is capable of.

Charm and humor abound. Take the Helium Dance, which will enchant young and old alike. A petite clowness named Valentina is harnessed by Mauro to a set of giant balloons and sent aloft into the audiences, who get into the act and uses their hands to propel her ever higher and further. Meanwhile, she delivers a non-stop, hilarious commentary on her flight.

A miniaturized, madcap presentation of “Romeo and Juliet” is staged to the audience’s delight in “Teatro Intimo.”

If you’ve never seen Cirque du Soleil live before, “Corteo” is a great introduction. It’s perfect for the entire family with fast pacing, amazing sights and sounds, and a set-up that puts the audience right into the show.

Cirque du Soleil’s production of “Corteo.” At the Agganis Arena, 825 Commonwealth Ave., Boston, through Sunday June, 11. Tickets: Cirquedusoleil.com/corteo