Matsuri

A motorbike stunt show in Las Vegas? One ill-informed ticket holder certainly had his wires crossed prior to attending Japan's export “Muscle Musical” at Las Vegas' Imperial Palace Hotel! “Matsuri” in fact derives from the Japanese for “festival”; a non-date specific tradition of national celebration - usually for the rice harvest. Producer Ushio Higuchi is charged with bringing this celebration of Japanese culture to the Strip, through an electrifying show of super-human gymnastics; a little combi martial arts and an exuberance of color that doesn't merely stop at the costumes. Oh no, the 33-strong troupe have gone the whole hog, dyeing their manes in some wacky hues of blue and pink, to further enhance the spectacle!

The production team behind “Matsuri” remain tight-lipped about the niche this show is intended to fill, however with Ushio Higuchi at the helm, it's striving to be more than just a gymnastic revue. Higuchi's limitless creative vision has already born a number of wacky TV shows Stateside, including “Unbeatable Banzuke” and “Ninja Warrior” (“Sasuke”.) “Ninja Warrior” strove to endear it's comedy-value, while maintaining a commitment to showcasing contender athleticism. The result? An hilarious competition show, which featured an abundance of contestants seeking to battle it out on a break-neck obstacle course of rope sliders, tilted walkways and flying chutes! Rather than make mocking mincemeat of Japanese “muscle men”, “Matsuri” is keen to exemplify the athletic prowess of a country, usually only regarded for it's martial arts and dance excellence. The theatrical outcome is now drawing direct comparisons with Cirque de Soleil's own “Mystere”!

Launching straight into high-octane territory, the entire 33-man troupe opens the stage with a riveting synchronized number, accompanied by the pumping rhythm of Tiesto-esque trance. The scene quickly segues from it's convivial circus intro, into some truly stunning gymnastic choreography. Five cast members are heaved 12-feet in the air simultaneously - subsequently executing individual flips, which defy description for impeccable timing. Engaged by such frenzied activity mid-stage, the audience barely notices two lithe performers weaving between the action, to lay a large jump-rope for the next scene. Floor gymnastics are taken to a whole new level, as those foremost to the front of the stage assume an orderly line of hand-walkers, proceeding to play jump rope. Cart-wheeling “muscle men” draw the eye to the action going on behind - several high jumpers executing flips over 20-feet above the rope dancing. It's both exhausting on the eye, and seat-gripping to experience!

As if in understanding of the frenetic visual effect it could have, the “Jump Rope” scene is extended backward, allowing performers to gradually filter off-stage invisibly, while two martial artists in full combat gear draw attention to an apparent ensuing combat. Higuchi's trademark subtlety for comedic interlude rears it's head. Instead of commencing a bare knuckle “Street Fighter” episode, the two become a tango dancing ensemble – a distinct departure from “Mystere” expectations. Encompassed by baton twirling Japanese dolls, the duo are soon enveloped by around ten performers – as they disperse, you'll notice the Tango Two have vanished!

The beauty of “Matsuri” is it's non-conformist structuring. Unlike many Vegas shows, there is no real plot to speak of, nor any particular moral lesson woven between acts. The sole focus is upon the visual delivery of 'can't quite believe it' stunts, and a wholly unique approach to demonstrating the “other side” to Japanese culture. Higuchi couldn't have chosen better people for the job. Hiroyo Shimada and Yasuaki Yoshikawa make the “Wheel of Death” look tame in comparison to the trapeze wheel. With a combined skill-set gained from over 30 years of performing, they take aerial gymnastics to a whole new level!

Keigoh Arizono is a former world champion when it comes to mountain bike trickery, and with all the over-wrought energy you've come to expect of these dedicated Japanese artistes, proceeds to ride on-stage atop a giant baseball. (When we say giant, we mean this thing is at least 15 feet in diameter!) The highlight of the scene is when Arizono has to find a route of descent, and opts to do so with a spokes 'n' all leap over the heads of five baton-swirling cast. It's a good job the Imperial Theater's stage offers an expansive landing strip! His return to the stage seemingly in one piece ear-marks the beginning of the show's finale, a dynamic climax of Stomp-inspired drumming, high-jump gymnastics and several hamster wheels descending from the rafters, featuring gravity defying performers hanging off by their feet! At little over 75 minutes long, you can't help wishing for a 15-minute encore!