Zumanity

New York, New York? No, they haven't confused the venue with Broadway. Nor is this Sinatra-Graceland! Cirque de Soleil chose the prime piece of real estate that is The New York, New York Hotel and Casino (Las Vegas) for the alleged soft-core erotica revue “Zumanity”. But just going off the self-promotion of the marquee - “the sensual side of Cirque de Soleil”; you know they're playing down the skin exposure and potentially carnal close encounters. “Zumanity” takes the glitz and glamor of old-school Vegas cabaret; throws in some multi-million pound hydraulic set pieces – then adds the trademark elements of aerial choreography, ballet and circus illusions, to create non-stop hold your breath moments of provocative visual awe!

Experimental nouveau theater is a niche which Cirque de Soleil dominate outright, and like the masterpiece of an impressionist, something they just have to keep playing with. As a brand, it's doubtful Cirque de Soleil would ever have enjoyed such longevity, or courted multi-million dollar deals with some of the most powerful real estate owners in Vegas. The key to it all? Creative evolution!

The 1993 unveiling of "Mystère" at the Treasure Island Resort, Las Vegas, marked the company's first real departure from the tried and tested “circus” format. “Mystère” was the first production for which Spanish and tribal rhythms accompanied a move from dream-like sequences, to the very real occurrence of the birth of our galaxy. Just ten years later, Cirque de Soleil once again went against the grain, with a concept one could only define as daring. “Zumanity” was unleashed at it's purpose-built residence within New York, New York Hotel and Casino - a venue self-marketed as “the best of New York condensed into 2,417,643 square feet”. Initially dubbed an “eye-opener to the sensual side of human nature”, the provocative production earmarked a new era of nouveau theater, in which there are no boundaries or censorship per se.

Lack of censorship doesn't seem to taint the appeal of “Zumanity” - those familiar with the Cirque brand affirmative in their belief it stays true to artistic celebration, rather than just flaunting sex. And art it is! With a complex series of exuberant vignettes, that transcend from the sensuality of a solo dancer within a bedroom scene; to the fluid unity of two bodies within a giant water bowl - “Zumanity” explores every aspect of human nature. Aside from the anticipated aerial and gymnastic stunts, the “Water Bowl” is one of the most visually enthralling scenes within the show. A giant circular tank of about 10 feet in diameter and 8 feet in depth occupies center stage; lit by hazy blue under-lighting and a gentle plume of fog resembling sunlight on a submerged world. Two water nymphs slow emerge from the crystal clear depths, embarking upon a sax-accompanied journey of innocent discovery.

The abandonment of inhibitions is soon forgotten when sultry blond schoolgirl Julia Kolosova takes to the stage, with a couple of buff male bodies to boot. Suffice to say the schoolgirl costume of barely-there tartan skirt and white braces (the only thing covering her chest) may dupe some guests into thinking she's about to perform an overdone lap-dance routine – you couldn't be more wrong. Within seconds, Kolosova becomes airborne, single-handedly maneuvering herself upside down upon a bungee rope and swinging out above the audience. As she descends briefly upon the stage, she is thrown three gold hoops – the integral visual wonder of this act. Few aerialists are capable of air-borne choreography with a prop, let alone the vigorous hip, arm and thigh gyrations required to keep three hoops simultaneously spinning. What a way to demonstrate the discovery of femininity!

World-class pole dancer Felix Cane is one of the alluring names among an ethnically diverse 50-strong cast. Five times consecutive winner of “Miss Pole Dance Australia”, as well as “Miss Pole Dance World Champion” in both 2009, and 2010 – Felix Cane has made a name as one of the premier pole artists of the new Millennium. Within the “Dance On TV” vignette, she plays a lovelorn leather-clad sweetie who attempts to revive the physicality of her relationship, with a steamy pole and aerial vignette. The mere sight of the champion shifting her entire weight onto one hand, as she finales with horizontal splits is enough to catch anyone's breath! But this is “Zumanity” through and through. It may be a departure from the staid format of Cirque de Soleil productions, yet the intention to astonish is as palpable as ever! Exotic, daring and just a little bit playful – Las Vegas strip shows will never appeal in the same way again!