By Chris Carney
For the greatest magicians of any era, the real power in illusions is not how they are accomplished but the nature and depth of the emotional response they generate in the audience.
Wonder and awe, the prickling of hair on necks and forearms, the collective intake of breath and cheers of surprise are all the foods upon which the master illusionists dine.
These are also the emotional endgames that the acrobatic wizards and dance phenoms of Cirque du Soleil seek with every performance of every show. Beginning with Mystère, swimming through "O," baring flesh in Zumanity, lighting the world on fire in KÀ and re-imagining the music of The Beatles in Love, Cirque du Soleil has long reached the very edges of the possible and pushed through to new worlds.
One need not possess the power of foresight to predict that the world of magic and the world of Cirque du Soleil would come together like dark soulmates. Yet the mysteries of both mix in a most unexpected manner in Criss Angel Believe. The show loosely explores the inner workings of a Victorian noble's dark dreams, one populated by an assortment of bizarre and amazing creatures and creations.
Best known for his TV show Mindfreak, the magician has a long-standing love aff air with the ultra-dramatic illusion. Whether he levitates himself through the Luxor's light beam, cuts himself in half before a live audience or blows himself up in a C4-laden crate, only to emerge unscathed and well-primped, Angel never skimps on the theatrics.
Billed as the co-writer, illusions designer and creator, original concept creator and, of course, star, Angel says that the seeds of Believe go back more than 15 years. It can be said that the show is the culmination of an obsession long germinated that has finally emerged as the dark fl ower of Believe.
Why would Cirque du Soleil change its recipe for success by creating a star-fronted show? Conversely, why would Angel agree to enter the realm of choreography and costumes, where the attentive audience's eye may wander to other performers? The answer lies at the very heart of what Cirque du Soleil and Angel are all about.
"Expect the unexpected, because this show is beyond even my wildest fantasy," Angel said.
Believe may not be your typical Cirque du Soleil production, but it encapsulates its philosophy, a philosophy long held by Angel as well: Never be satisfied with what has already been done, search out new directions, new experiences and always challenge expectations. This is the message, the true purpose of both Angel and Cirque du Soleil. Create something unseen, something organic that grows and changes with every performance. Create something vast, panoramic and dazzling. Believe strives with every performance to do just that.
| Published in Las Vegas Magazine 10-25-09 |
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