New Cirque du Soleil Show Dazzles

by Mark Smiley | Jun 18, 2015 | Travel

by Mark Smiley

Cirque du Soleil’s newest touring show, Kurios — Cabinet of Curiosities, has rolled into town with 65 trucks and 2,000 tons of equipment as the 35th installment of the franchise since 1984. The show is set up under the 62 foot high big top in the west lot of the Pepsi Center and performances run until July 26, 2015.

The show, which features 46 artists ages 21 to 37 and over 100 costumes, is the newest installment in the lineup of shows. It is the chance to see astonishing feats of agility, flexibility, strength, balance, coordination and inventiveness. Kurios evokes the eerie world of a 19th-century carnival. It’s a shadowy universe inhabited by strange, and vaguely ominous creatures, such as an accordion man, a serious chap with a cosmic pod for a stomach and a little woman who resembles Angela Lansbury. The production’s settings and costumes suggest a mad scientist’s laboratory and fantasies in the late 19th century.

The stage is one of the lowest of all Cirque du Soleil big top shows. It is only 24 inches high. This decision was made by director Michel Laprise so that the artists are closer to the public. The props on stage include coppered Victrola record players, a clanging vintage clock, antique electric lights, odd robot-like characters with pod faces and bulbous metal midsections. This is a museum-worthy assemblage, created from recycled bits and pieces of leather, metal, old gramophones and typewriters, turbine engines, piping and tubing.

Of course a Cirque du Soleil show would not be complete without acrobats, contortionists, jugglers, and death defying acts, one of which is a dashing chair balancer at a levitating dinner party, and a goggle-wearing aviator who uses his biplane as a platform for a balancing act that has him perching on a gyrating tower of cylinders and planks. James Eulises Gonzalez who performs on the Rola Bola is the only artist who cannot be replaced if stricken ill or injured. He is the only person in the world who can perform this feat.

Kurios also features comedy from the cheeky verve of the ensemble. However, David-Alexandre Després wins laughs as both the overeager suitor of a lovely young woman plucked from the audience, and as an uncannily realistic and raunchy pussycat who won’t leave the poor girl alone. Cirque du Soleil has not deployed clowns often but this show adds one.

“Let’s not forget we are still a circus …,” said Bruno Darmagnac, artistic director of Kurios, “…and since the beginning the company made a statement to never ever use any animals in our productions, which is something often expected from a circus. In that sense we went, ‘NO, we will never do that, but clowns..YES.’ And this one is a very special clown. And different. We don’t even call him clown, we call him the comic.”

Cirque du Soleil was cofounded by Guy Laliberte and it is now one of the biggest live entertainment groups in the world having performed 35 shows in front of nearly 150 million spectators in more than 300 cities on six continents. He has been aiming to revitalize his company, known for its intricate circus shows as its creative guide.

Laliberte started out as a street performer in Quebec, walking on stilts and breathing fire. He founded Cirque du Soleil in 1984 when the Canadian government awarded him a $1 million contract to develop a celebration for the 450th anniversary of the discovery of Canada. Now, Cirque du Soleil has close to 4,000 employees, including 1,300 performing artists from close to 50 different countries.

Darmagnac indicated that Laliberte is involved with every show before it premieres. Shows are put together and then performed in front of Laliberte for final approval. Darmagnac describes this process as “entering the lion’s den.” Each act is meticulously choreographed and Laliberte will either approve each act, make changes, or eliminate it altogether. It makes for a tedious process but each employee of Cirque knows what to expect and knows the final product will be something audiences will enjoy.

Darmagnac has been with Cirque du Soleil since 2011 and before joining Cirque, was the co-creator of FLIC FLAC, a modern traveling circus in Germany. He is excited about the new show. “Allegria [the traveling tour prior to Kurios] was 20 years old. This one is new and the energy is completely different,” said Darmagnac. “This one [show] really wanted to put humans on stage, with a face and with this steampunk look. Lots of people can relate to it and it will not go out of fashion for a long, long time.”

Kurios was written and directed by Michel Laprise, and features bright and breezy songs by composer-music directors Raphaël Beau and the duo Bob & Bill. The songs are upbeat, unpretentious numbers reminiscent of 1930s French jazz, buoyantly performed by a small, eclectic ensemble. The music kept the audience engaged and complemented the acts.

They’re a few of more than a dozen acts in a show that runs close to 2-1/2 hours, including one intermission. The audience at the Denver premiere gave the artists a standing ovation. Kurios — Cabinet of Curiosities tickets can be purchased at www.cirquedusoleil.com/kurios.

All photos: © Martin Girard shootstudio.ca

A Gardener Traces His Roots

by Mark Smiley | May 26, 2015 | Travel

by Councilman Charlie Brown

For the last eight seasons, Denver City Councilman Charlie Brown has planted thousands of tomato seeds in March and nurtured the plants to distribute free to residents and city officials in early May. He grows them in his basement and office, where they eventually end up in his office windows on Exposition Avenue and are often confused with a newly legalized plant.

“When that happens,” Brown said, “I always remind folks that tomato plants are not a cash crop.”

The second year his efforts proved so popular that constituents started calling in April wanting to know when they could pick up “their” tomato plants. The “The Tomato Plant Entitlement Program” was hatched.

This year was his biggest yet, with more than 800 plants and 15 varieties handed out. And it will be the last year to do so, since along with five other Denver council members, he is term-limited in July. He has represented 52,000 residents in south Denver for more than 14 years.

Brown calculates he has distributed some 6,000 tomato plants during the last eight years which, if urban gardeners followed his tip sheet for growing in Denver’s fickle climate, produced 20,000 pounds of America’s favorite gardening crop. And with this era ending, he wanted to share how he got started — not with politics, but with gardening.

The love affair began decades ago.

My first gardening memories can be traced back to my grandparents’ small farm five miles east of Durham, N.C. When we were about 10-years-old, my Mom would take my twin brother and me there to spend the weekend helping them with farm chores.

Saturday mornings started early. A rooster’s cock-a-doodle-doo would send us dashing off to the hen house to gather fresh brown eggs for breakfast. That was the easy start of a long day working in the heat and humidity and the sandy clay soils of North Carolina’s Piedmont region. We milked cows, fed the pigs and chickens, and tackled the dreaded hoeing and weeding.

I would do things that city folks have trouble understanding, including wringing a chicken’s neck for Sunday supper and watching it run around the barnyard with no head; and plowing long rows of crops with a large, tail-swishing beast six feet in front of me who, surprisingly, respected my commands of “whoa mule!” I loved every minute of it, especially the gardening.

The southern climate allowed for early planting and harvesting. It’s hard for Denver gardeners to fathom that by late June we were already “bringing in” potatoes, broccoli, spinach, beets, onions, field peas, squash, butter beans, string beans, green peppers and, my favorite, tomatoes. Okra, turnip greens, cantaloupe, watermelon and corn would soon follow. Most crops would be “put up” in canning jars or, later, a small Sears & Roebuck freezer.

As I look back on those days I realize just how much my grandparents taught me. My grandmother was an early naturalist, who loved birds, wildlife and gardening. “Gardening teaches you patience,” she said. She reminded us not to keep all the fish we caught from the scummy farm pond but return some for ‘another day’ long before the concept of “catch and release.” My grandfather was a hard task master. If he would catch us leaning on our hoe to catch a quick break he would yell out: “You have to hoe to the end of the row,” a work ethic that’s sometimes hard for youngsters to comprehend.

Thanks to the influence of my grandparents, I’ve planted a garden each spring for more than 40 years. It gets in your blood. When it hails in Denver everyone is concerned about their cars and roofs. But like all farmers, ranchers and urban gardeners, our concern is about, in the words of Kenny Rogers, “our crops in the field.”