BWW Reviews: An Energetic, Enthusiastic El Grande CIRCUS de Coca-Cola Missing a Little Fizz

El Grande CIRCUS de Coca-Cola/written by Ron House/directed by Alan Shearman/Skylight Theatre/thru August 23, 2015

In the world premiere of his El Grande CIRCUS de Coca-Cola; playwright Ron House attempts to match his original 1973 success of his Drama Desk-winning El Grande de Coca-Cola, but with mixed results. The talented five-member cast, directed by Alan Shearman, certainly must be commended on their commitment and enthusiasm as they interact with the audience as second-rate circus artists and plow through their intentionally bad vaudeville routines. Just as a clown must know the correct techniques to pratfall or look ridiculous, best acts of this travelling CIRCUS hit their intended, targeted reactions of laughter and applause when the audience's allowed to realize the good, solid techniques behind these really bad circus feats.

Marcelo Tubert commands centerstage as ringmaster Pepe Hernandez with the perquisite quick wit and ease of phrase to charm his audience. (Note: About 90% of this show's performed in Spanish, but with the facial expressions and the physical reactions of others in the cast; comprehending the goings-on should not be a problem.)

Best showstopping act - hands down - revolved around the quinceañera of the ringmaster's two wives, Consuelo and Maria. What begins as a slapstick, non-eventful coronation of the two women evolves into a brilliant, mesmerizing slow-mo piece (choreographed by Tor Campbell) of hair-pulling, kicking, punching, and just general mayhem of the two women and their respective escorts. Bravo to Lila Dupress, Olivia Cristina Delgado, Paul Baird and Aaron Miller for their incredible synchronization and precision. Like watching Keanu Reeves dodging bullets in Matrix. Simply stunning!

A very funny "Schwan Lake" routine has Dupree exhibiting her ballet prowess as her Consuelo's en pointe wearing a little stuffed swan atop her headpiece. Dupree's joined by cohorts Delgado as a costumed ribbitting frog and Miller as her adoring prince.

Another fun, deliberately imperfect bit has Consuelo (a very game Dupree) frequently mis-jumping onto a galloping horse, consisting of Juan (Miller) as the horse's head and Miguel (Baird) as its rear-end. Juan sporting a wire horse-head (created by Marc McCormick), with his back half would fit right in the chorus of Equus.

Other solid techniques aforementioned comprise of Miller's snappy drum playing and physical comedy skills; Baird's piano and accordion expertise; and Delgado's strong vocal and comedic chops.

Perfectly complementary to this CIRCUS; the cheesy, run-down circus tent by set designer John Iacovelli and the vibrant colored costumes of Sarah Figoten Wilson.

Possibly, if some of the other purposely bad circus sequences (hula hoop jumping, aerial silks climbing) revealed more of the talents of the cast, the ninety minutes would have gone by more entertainingly.

www.skylighttheatrecompany.com

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