Jugglers, Acrobats, Aerialists, and a Wheel of Death

MAD APPLE:  When Cirque du Soleil opens a new show it is quite an event because the show might play for decades.  Their first Vegas production, Mystere, opened in 1993 and is still going strong(ish).  Their newest production, Mad Apple, is now playing at New York, New York Casino and appropriately, is a tribute to New York City, the Big Apple.  Most of their previous shows, both in Vegas and touring under their big top, have featured exotic, other-worldly costumes, makeup, and music.  Mad Apple has broken that mold and is bold, brash, current, loud, nasty, and a whole lot of fun.

Like their previous shows, there’s not an exact moment when the show begins.  As much as a half-hour before the start, acrobats and jugglers wander through the aisles performing their specialties.  There are also three bars located on the stage right up until showtime so you can literally immerse yourself in the “New York” setting.

At show time, the cast wanders onstage and then a six-piece music ensemble starts a loud and exciting rendition of Alicia Keyes’ “New York” and suddenly the company is a cohesive unit. The band mostly sits on a platform upstage and above the performing area, but sometimes comes onstage to join the action. They are uniformly excellent and surprisingly loud. In typical Cirque fashion, songs, dance numbers, and thrilling circus acts blend seamlessly.  The big difference is that the music, voices and costumes are pitched for a much younger, more urban crowd than most of the previous shows.  Another huge difference is that they have two comedians (the second one is also a magician) who speak English, are very salty and very funny.   Previous Cirque comedians generally spoke gibberish to appeal to all audiences.

The circus including top-notch jugglers, acrobats, aerialists, and a wheel of death are all at Cirque’s standard of excellence and I watched a few moments from between my fingers that were clasped over my eyes as beautiful bodies soared above my head, hanging by a thread (or in one case, by a ponytail!).

Because the audience, including the balcony, are on three sides of the stage, all seats are quite intimate. On my next visit, I think I’ll try a balcony seat to see what the aerial acts look like from up there.  I will definitely see the show again, and suggest you do the same.   www.cirquedusoleil.com

THE SEARCH FOR SIGNS OF INTELLIGENT LIFE IN THE UNIVERSE:  Jane Wagner wrote this show in 1985 for her wife, Lily Tomlin, to perform on Broadway, on tour, and in a 1991 film.  This month, Los Angeles’s Center Theatre Group is presenting what I think is the first re-staging of the show without Tomlin.  SNL’s Cecily Strong is single handedly tackling the 13 characters that appear in the script, a feat which Tomlin excelled at.  I can’t think of any other performer more likely to succeed.  The original production received a couple of pans based on the amount of feminist “lessons” in the second act, but I suspect those will sound a lot tamer and more familiar today. www.CenterTheatreGroup.org through 10/23

HARPER LEE’S TO KILL A MOCKINGBIRD:  This show certainly arrives with credentials.  Lee’s book is a certified American classic (even if it is banned in a few red states), the script is written by West Wing’s Aaron Sorkin, directed by Broadway’s darling Bartlett Sher, and stars The Walton’s Richard Thomas as Atticus Finch. Plays at San Francisco’s Golden Gate Theatre (ww.BroadwaySF.com)  through 10/9; The Hollywood Pantages (www.BroadwayInHollywood.com) 10/25 – 11/27; San Diego Civic (www.BroadwaySD.com) 11/29 – 12/4; and Costa Mesa’s Segerstrom Center (www.csfta.org) 12/27 – 1/8. 

BROADWAY IN DRAG:  If you’re coming to Palm Springs for Pride this year (and why wouldn’t you?), try to book a ticket for Palm Canyon Theatre’s Broadway in Drag, playing one night only on November 4.  This annual event merges the illusions of cross-dressing and musical theatre for a very special and memorable evening.  www.PalmCanyonTheatre.net