Behind the scenes with Cirque du Soleil as Alegría turns 30
We head behind the scenes of Cirque du Soleil’s iconic show Alegría as it opens at London's Royal Albert Hall.
Our verdict
Matt Beard
I’ve wanted to run away with the Cirque since I was 12 years old.
That’s when I first saw Cirque du Soleil’s Alegría at the Royal Albert Hall, back in 1998. I bought the soundtrack on CD, listened to it over and over again, and learnt every single lyric. Sadly, it became apparent that my circus skills and questionable singing ability probably weren’t quite up to scratch, and so instead the world-renowned circus’ annual visit to London has remained a constant source of joy.
Fresh from a year in Japan, Cirque du Soleil’s most iconic production, Alegría, has returned to the capital. Celebrating its 30th anniversary, Alegría: In a New Light is a revival of the immersive and uplifting original show, carefully modernised for a 2024 audience, and performed once again at the Royal Albert Hall. Its residency lasts until 3 March, and much to the delight of both my 12- and 38-year-old self, I was invited backstage to have a look around.
The sight that met me as I stepped into the auditorium took my breath away; firstly, the vastness and grandeur of an empty Royal Albert Hall is a sight to behold, and at it’s a centre, a troupe of around 12 trapeze artists were flying through the air, being tossed from one to the other, suspended at a vertigo-inducing 10m above the stage.
“Of all our acts, the Flying Trapeze trains the most because there are so many different elements to it. We perform the show ten times a week, so this training time is just to make sure that the routine is in their bodies and that everything feels right. This act is all about timing,” explains Cirque du Soleil publicist, Francis Jalbert.
“Flying trapeze is a discipline mainly rooted in Latin America, in traditional circus, so a lot of these performers were born into circus families where their parents were circus artists, etc. We also have a few American performers who trained at flying trapeze schools in the US.”
The current Alegría company also includes Lucie Colebeck, a gymnast born in Ascot who represented Great Britain before she ran away with the circus.
“40% of Cirque du Soleil acts come from a competitive gymnastics background. We have a casting department who are on the lookout for casting performers all year round.”
Maybe there is hope for me yet…
Matt Beard
First premiered in 1994, Alegría (‘joy’ in Spanish) has become one of the most beloved Cirque du Soleil shows and has delighted over 14 million spectators in 255 cities across 40 countries in over 19 years of touring (phew). ‘In a new Light’ sees the classic show reimagined for a new generation to fall in love with.
Set in a mystical kingdom with no king, it is a timeless story of the power struggle between the old order and the youth who strive for renewal. The plot is lose, but this is intentional; the creative team would prefer audiences to let their imaginations run wild and make up their own interpretation of what they see.
An impressive 64 performers appear in the show, and there's a whopping total of 109 people hailing from 24 different countries who all tour with the production.
“It’s a big family,” explains Francis, who has been on tour with Cirque Du Soleil for 14 years, non-stop.
“After this run, we will be in Spain for the rest of the year and then we will move somewhere else. There will be a different Cirque show here next year, so this is the only chance to see Alegría in London...”
We then moved backstage and visited the wardrobe department; a small, talented team who are constantly creating, sewing, amending, and repairing a staggering array of glittering costumes, all cleverly adapted for the incredibly physical nature of the show. We pass room after room, each with a different function; physio, stretching, working out, warming up, laundry, props and more.
There is just one huge dressing room that houses the entire company, who sit at rows of mirrors and apply their own make up before each show. The only exception is the two clowns who get their own space, as there is “a lot of clowning around that goes on”, Francis tells me with a wink.
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That evening, I was lucky enough to the watch the show in all its glory, and it is classic Cirque at its most captivating. The entire spectacle is beautiful in both its design, storytelling, and staggering performances. Confident and reassuring, Alegría feels like where a lot of Cirque began – it’s the OG show, if you like. There is no unnecessary over complication, it is flawless in its attention to detail, creative beauty, and the level of quality throughout. And of course, the rich red velvet and glittering gold Royal Albert Hall lends itself perfectly to a show that is usually performed in a big top tent.
“It offers the same intimacy as our big top,” explains Francis.
“When we come here, we have to redo the whole sound system and lighting design and so that gives us an opportunity to really create a feeling of being immersed in the show, and because it’s in the round, there’s not a bad seat in the house – instead each one offers a different viewpoint.”
Performed live by two singers and five musicians, the Grammy nominated score is sensational. The main track – Alegría – is irresistibly rousing and undeniably catchy. Then there are the dazzling costumes, otherworldly set designs, and of course, the spectacular acts.
There are nine in total, and just some of the highlights include a high energy fire knife dance, set to the sound of a powerful live drummer, and something called ‘powertrack’, which involves a group of fourteen impossibly fast acrobats leaping, tumbling and bouncing off two crisscrossing trampoline tracks embedded into the stage.
I also loved the evocative, almost romantic Aerial Straps routine, where two astonishingly strong (and brave) aerialists gracefully glide across the auditorium entwined in one another.
The clowns, who have their own storyline throughout, are both genuinely funny and also touching at times. Without wanting to give too much away, they are responsible for one the show’s most unforgettable wow factor moments, one that involves a lot of snow…
And of course, the flying trapeze act that I had been lucky enough to see in training, now costumed up and set to dramatic music, were remarkable and garnered audible gasps and delighted whoops from the audience, and that’s what Cirque is all about.
In an age of AI, CGI and modern-day special effects, there is still nothing more impressive, thrilling, and inspiring than watching uniquely talented, hardworking humans doing absolutely extraordinary things with their bodies, and no one does it better than Cirque Du Soleil.
Alegría: In a New Light is on now until 3 March at the Royal Albert Hall, Kensington Gore, London SW7 2AP. Performance times include 11.30am, 1.30pm, 3.30pm, 5.30pm, 7.30pm. Ticket prices vary depending on availability. See more at royalalberthall.com/tickets/events/2024/alegria/
