On a cold and wintry day back in the 1950s, I put on my mittens and galoshes and stepped outside into a grey-skied winter wonderland. Snow had fallen the previous night and was now more than a foot deep in our driveway and backyard.
A thought suddenly came to mind and, long before anyone would use the term "global warming," I decided to take a proactive stance for the environment. After clearing away the snow in front of our garage door, I rolled up about 16 snowballs and carefully placed them atop the table inside the garage.
Several weeks later, after the weather had improved, I went out to the garage to check on my snowballs. To my utter horror and dismay, they were gone! When I described this tragic loss to my mother, the last thing I expected was to see her double over in laughter.
Like Queen Victoria, I was not amused.
As one grows older and (hopefully) wiser, one learns that it's impossible to hold onto a kiss, a sunset, or the magnificent vision one had in a dream. While it's easy to recognize the smell of cherry tobacco, bacon on the griddle, or the scent in the air moments after a summer downpour hits a hot sidewalk, it's almost impossible to conjure up the cold, crisp moisture of a snowy day. Or the look on a dog's face as he shakes himself dry.
For many of us devoted to the magic of live theater, it is the quest for a special kind of moment that keeps us coming back for more. That moment could be:
In one of the lesser known songs from 1964's Anyone Can Whistle, Stephen Sondheim's lyric captured the fleeting mystery of life and the magic of live theater.
One of the theater's great strengths is its ability to combine music, movement, and poetry. Some musical theater numbers -- Rodgers and Hammerstein's hypothetical "If I Loved You" from 1945's Carousel; Leonard Bernstein and Stephen Sondheim's intoxicating "Maria" from 1957's West Side Story; and Meredith Willson's declarative "Till There Was You" from 1957's The Music Man -- easily work their way into popular culture. Other, less familiar lyrics vanish into the clouded past. Consider the uncommon grace of this Oscar Hammerstein verse from 1943's Oklahoma!
"Out of my dreams and into your arms I long to fly
I will come as evening comes to woo a waiting sky.
Out of my dreams and into the hush of falling shadows,
When the mist is low and stars are breaking through
Then out of my dreams I'll go -- into a dream with you."
Based on the 1953 movie Lili, Bob Merrill's score for Carnival! (1961) was best known for Anna Maria Alberghetti's charming rendition of "Love Makes The World Go 'Round." In the following clip from Anaheim High School's production of Carnival! Natalie Elder sings Lili's first song, the innocent and disarming "Mira."
One of the my favorite "undiscovered" Broadway songs comes from 1961's The Gay Life. With music by Arthur Schwartz and lyrics by Howard Dietz, it was sung by Barbara Cook with a vocal purity and clarity of phrasing that is rarely matched.
In this clip from If It Only Even Runs A Minute, Jill Paice sings the enchanting "Magic Moment," Although the clip from the show is eight minutes long (and contains some hilarious background information about The Gay Life's creation and out-of-town tryout), this song epitomizes the kind of incandescent lyricism that can only be achieved in musical theatre.
If one is lucky, certain theatrical moments reach out and grab an audience with their magic. Whether lavishly mounted and backed by tons of money, or performed in a minimalist staging where the audience can almost touch the actors, these moments encapsulate what people ultimately find so thrilling and memorable about live theater.
Late in 2012, a 3D film that deserved to reach a much wider audience was pretty much blown off the map by holiday audiences flocking to see Lincoln, Les Misérables, and Django Unchained. Cirque du Soleil: Worlds Away, which combines 3D footage of the company's stationary 2011 Las Vegas shows (O, Mystère, Ka, Zumanity, Love, Viva Elvis, and Criss Angel Believe) is as much a feast for the eyes as Julie Taymor's 2007 musical drama, Across the Universe (which was built around a long list of songs written by The Beatles).
Audiences who have attended any of Cirque du Soleil's shows know that they are wildly extravagant, visually overwhelming, jaw-dropping spectacles for which tickets cost a pretty penny. So much happens so quickly in each show that it's difficult for the senses to absorb it all.
Being surrounded by nearly 2,000 people can make it equally difficult to zero in on one moment, stop the action, and smell the musicodramatic roses. As director Andrew Adamson explains:
"We had to find a natural, cinematic way into the world of Cirque. I started thinking about the way Cirque's live shows work. There is a very dreamlike quality about them.-- a thin thread of narrative that weaves in and out of each but allows these acts to exist within the worlds that are created. I thought this movie could do the same thing. I could find a narrative that threads these completely different shows together. What I wanted to do is take the audience to see these shows in a way that they hadn't seen them before, to get the camera in close, give a different perspective of what these artists do and show that perspective in high speed, slow motion 3D."
By working with James Cameron, Adamson has been able to create something far more extraordinary than the "standard" Cirque du Soleil experience.
As one watches this film one becomes acutely aware of the industrial scope of Cirque du Soleil's empire (which currently has 19 shows running and 11 that have been "retired"), the stunning technological advances it has pioneered in stagecraft, and the amazing talent bank that performs for Cirque on stages around the world. As Cameron explains:
"The film feels as if you strayed into a circus in a dream. While it starts in this sort of run-down circus, it plays out as discovery of this other dimensional circus world they fall into (which is still very much a circus). There are wires, harnesses, and you see it all -- no effects hiding it. In seeing it, you experience the ingenuity of staging, costume design, the strength and agility of their talent that seem so effortless, so fluid. But the preparation and work that goes into it is anything but effortless. What you see is pure Cirque."
From the beginning, Andrew had a fairly clear vision of what he wanted to do and it continued to evolve. As a producer, I kind of acted as his sounding board. Andrew had to walk a fine line working with such diverse elements from these shows. The goal was to really celebrate the physical artistry of everything Cirque du Soleil is about: the design, the beauty. and the grace of those performances. It was never meant to be about effects but to showcase the raw, pure physical human talent and their amazing ability."
With Cirque du Soleil nearing its 30th anniversary as a theatrical company, it's easy for audiences to feel jaded, as if the creative team of the newest Cirque production is really going to have to work hard to impress them (I've heard such comments year after year). Not only does Cirque du Soleil continue to exceed most audience's expectations, the company never stops experimenting, innovating, and dazzling people with its prowess. I can't recommend Cirque du Soleil: Worlds Away strongly enough. It's a magnificent theatrical (as well as cinematic) experience bursting with muscles, magic, music, and a few minor miracles. Here's the trailer:
To read more of George Heymont go to My Cultural Landscape
Follow George Heymont on Twitter: www.twitter.com/geoheymont