Cirque's latest touring show, a pretentiously decorated and directed drag high on allusions to some great theme, did not fool me. It did not fool the San Francisco critics.
And neither has it fooled the New York Times.
About the strongest positive from critic Claudia La Roco, there is this:
the display of female strength (as in biceps and triceps and quads, oh my) is
nonetheless a lovely thing. There are no damsels in distress here, despite the
aforementioned pesky lizard man.
Her not-so-hot assertions:
possible, then, that you won’t connect emotionally to “Amaluna,” the latest Cirque du Soleil extravaganza to roll into New York."
this feminist gloss, is there anything to be said about “Amaluna” that you
couldn’t guess? Not really. It may be a new production, but it’s an old
formula, a giant machine of a spectacle with (unfortunately tedious) clowning
thrown in, and lots of sound and light and quick set changes to keep things
moving in a blur."
As I wrote last year, in my own review, having now seen two Cirque duds in a row -- Totem and then Amaluna, next time they call, I'm waiting to see what the S.F. critics write before I decide to go or not to go.
The thrill is gone.