silikonaplus.blogg.se - Drawn to life cirque du soleil reviews

“This show has been in the works for years and to finally share it with the world is a dream come true,” said Daniel Lamarre, President, and CEO of Cirque du Soleil Entertainment Group. As a result, the show pays homage to classic Disney Animation techniques and many trailblazing Disney Animation artists, including Mary Blair, Ollie Johnston, and Frank Thomas. Years in the making, the show resulted from extensive visits Cirque du Soleil teams made to Disney theme parks, Walt Disney Animation Studios, Walt Disney Animation Research Library, Walt Disney Archives, and The Walt Disney Family Museum in San Francisco. In addition, it marks the first-ever theatrical collaboration of three creative icons: Cirque du Soleil, Walt Disney Animation Studios, and Walt Disney Imagineering.

Admission, Disney Genie+, Lightning Lane, and MagicBandsĭrawn to Life is Cirque du Soleil’s 50th production, and it celebrates Disney’s extraordinary legacy in the art of animation, from the earliest pencil sketches to the spellbinding spectacles of today.

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Nothing about it is big or flashy, yet it is Cirque, maybe even circus, at its most spellbinding. This is a show that blends, almost to perfection, its subcontinental sounds, its stunning lighting and costumes with theatrical ingenuity and acrobatic wonder. The clowns here are warm, gentle and infectious and a mild anarchy intersperses the show, with two gigantic confetti canons blasting streams of colour into the audience and old-style policemen whistling and weaving amongst us. This is not the po-faced cirque that can sometimes emerge with its mumbling French clowns and awkward five-minutes of physical comedy at the start.

Or if its humour we’ve come for, it is here not just in its ostensible theme of the wandering clown, but across the performances. Or if fans are drawn to the wonder of it all, they find it here in spades: contortionists who appear to have a rib-free, catlike mutability (though one body spin comes disconcertingly close to the infamous scene from The Exorcist) and acrobats who defy gravity, particularly the human pyramids and the gymnast who balances with one hand, upside down, atop a column of eight stacked chairs. More dizzying is the ‘wheel of death’ act in which two super-athletic performers run, jump and somersault on giant, fast-moving wheels it has to be seen to be believed and appears to be the closest thing to flying without wings, with an added element of danger given a serious accident on the same equipment at Cirque’s Zarkana show in 2013. If circus fans are drawn to high stakes danger, they find it here in a double tight-rope act in which four men walk, jump, skip, sword-fight and cycle high up with no net or safety ropes for part of the set. It is after the interval that the thrills really set in. The show winds up its ‘wow’ factor gradually, charming us first with rustic theatricality and gentle comedy (the awkward ‘outsider’ clown is a running theme) before rachetting up the tension. The stage is set for an intimate, carnivalesque show with touches of burlesque – a fabulous hoola hooping acrobat in a transparent, lace body-sock and feathered cape a witty chorus of dancing skeletons in feather-tails and head-dresses and a spangled grim-reaper who resembles a cruise ship crooner.