Review: TOTEM, Royal Albert Hall

It is easy to be wowed by Cirque du Soleil; the acts themselves are often utterly thrilling and defy any expectations of human strength, dexterity and flexibility. With TOTEM, returning to the Royal Albert Hall for the next six weeks, a lack of some truly breathtaking acts, a coherent storyline and amusing comedy are issues that let a potentially brilliant show down.

What is essentially a show of completely separate acts is angled to try and convey the concept of the evolution of the human species, from amphibians to modern man complete with mobile phone and briefcase. As with last year's superior OVO, the story is not really the thing.

Any attempts at comedy fall fairly flat and there is no real narrative to the story. Much of the music relies on the usual synthesised world music, which feels a little too generic, rather than anything matching the wonder of the acts themselves. Essentially, it feels like a highly impressive visual spectacle without quite enough heart.

The show starts with great potential. The ensemble appears on a huge turtle skeleton, performing jaw-dropping acrobatics to demonstrate the beginning of evolution. However, here the narrative stutters.

Director Robert Lepage has a reputation for highly innovative and creative work, but it is not seen enough here. Apes are shown only for comedic purposes, and a studious-looking man who may or may not be Charles Darwin potters about juggling light balls.

As ever, there are several wonderful moments to witness. Contortionists appear to have no spine to speak of and unicyclists perform with grace and ease. Fixed trapeze artists Louis-David Simoneau and Marie-Christine Fournier perform an incredibly intricate routine, with awe-inspiring demonstrations of both trust and strength. It is often hard to define where one body starts and another begins.

Denise Garcia-Sorta and Massimiliano Medini perform a highly energetic routine on roller skates, circling at great speed on a tiny platform, and there is a clever version of evolution shown where an ape metamorphoses into man.

What is missing from the show are the genuine moments of jeopardy that Cirque do so well. There are no high-wire acts, no gravity-defying demonstrations of technique, and even some the impressive trapeze acts are more about displays of incredible strength rather than hazardous risk. The comedy sections feel like padding to a show that sometimes lacks pace.

The show looks beautiful, with a vivid set by Carl Fillion and hypnotic projections of water, bubbling lava and a sandy beach by Pedro Pires. At one point a performer appears to swim up from under the stage. It is visually stunning. Kym Barrett's costumes complement the action perfectly: intricate, glittering and a feast for the eyes.

Press night introduced Cirque's partnership with Sentebale, an African children's charity co-founded by The Duke of Sussex. Harry was in attendance with his wife Megan, sprinkling some stardust in the audience and marking the second event in a series of 'Sentebale Nights', after the charity's first production with Hamilton in August last year.

If you are a newcomer to the feats of Cirque, there is no doubt you will be left in a state of true amazement, but otherwise the outlay may not quite be justified for this particular show.

TOTEM is at the Royal Albert Hall until 26 February

Photo Credit: Cirque du Soleil

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