Star Rating: Four and a Half of Five

The stage is small, but it does not prohibit big thrills during a performance of “Kurios”, Cirque du Soleil’s current production.

The Cirque is a themed circus originally out of Quebec, Canada, who travel around performing fantastical shows. The one playing right now in Chicago is “Kurios”, which is supposed to be a cabinet of curiosities, as the name would imply. Indeed, the steampunk-themed circus is a wild fantasy wonderland, an absolute thrill to watch.

“It’s a concept show, to be sure,” said Robert Hurwitt in his SFGate review, “but you needn’t know the concept — that all the weird mechanical contraptions and characters are supposed to be the 19th century inventions of that pleasantly dotty old scientist (Anton Valen) who pops up all over the place — to enjoy their unique qualities.”

Indeed, the story can add to the enjoyment, but not knowing it certainly does not rob the show of its magic. The set design was beautiful, with a special bridge at first for guests to explore the backstage and set, and the music was thrillingly jazzy and upbeat.

The acts themselves were the best part, however enchanting the sets. World class acts of contortion and acrobatics dazzle the audience, young and old alike. Adults will be amazed at this mature, grown up circus, and children will be mesmerized by the magic they see.

The best act was the human trapeze, where one performer acts as the equipment, bending and swinging, throwing and catching, while the other flies through the air, twisting ethereally and defying gravity.

“The show still contains world-class circus acts,” Chris Jones said in his Chicago Tribune review, “including formidable juggling from Gabriel Beaudoin (a master of dissimilar objects), a two-person trapeze act from the Ukraine (it stars Roman and Olena Tereshchenko) that uses human bodies where the trapezes are supposed to be, and a thrillingly exuberant tumbling act (known as “Acro Net”) that employs a giant net doubling as a trampoline.”

The international wonders capture and hold the attention of the audience, and do not disappoint. The trampoline acrobats soar and twist incredibly through the air. In fact, much of the show involves aerial aspects.

The one area in which the show fell flat was its ringmaster, David-Alexandre Després. His invisible circus act, while an impressive feat of pantomime, dragged on too long. His comedy routine, where he had a “date” a lady from the audience, was filled with stereotype, stale gags, and one horrendously sexist quip when he imitates a cat and a laser pointer winds up pointed at the woman’s bust.

Besides his failed attempts at comedy, the show is magical and mystifying. The Cirque is, as always, a wonderful and mystifying way to spend an afternoon.