In a large tent stationed on the outskirts of Suffolk Downs, East Boston, one might stand patiently, some complimentary popcorn in one hand, and anticipate what would appear at that moment to be a quintessential circus performance.  There are, after all, host entertainers outside: women on long stilts taking pictures with children; smiling young workers juggling oranges, executing crowd-worthy tricks with an air of nonchalance; circus members performing a miniature show on the roof of the tent while the crowd walks in.

It is after the lights have gone out, after the audience goes silent that the tent above you transforms to a new realm of fantasy, excitement, and psychedelic oddity known as Cirque du Soleil’s Kurios written and directed by Michel Laprise.

The show opened with the Chaos Synchro 1900 scene, in which a train comprising musicians and performers dressed in 19th century steampunk attire danced its way to the stage. Here, the audience was first introduced to the characters including The Seeker, an old man with a vertical cone-shaped ponytail protracting from his head; Nico, a representation of a human accordion with bellowed pants; and Klara, a soft shoe-dancing woman wearing a large slinky as a skirt, as they moved about festively around retro-futuristic train station scenery. Fast-paced Parisian accordion music blared through the venue, as the crowd cheered energetically.

Starting off on such a high note however, one might question Kurios’ ability to further stimulate the audience. Despite this, similar to a long chain of dominoes, each notion one might have that he had already witnessed the pinnacle of talent, creativity, and fascination in Cirque du Soleil’s masterpiece, would fall and be put to rest as the acts progressed.

One of the impressive first acts included an aerial bicycle performance in which an acrobat was suspended in mid-air on a bicycle she used to position herself in a variety of positions. Applause roared as she hung on to the handlebars with nothing but her feet, pulling herself back on to the seat as the bike spiraled higher and higher up.

Even more impressive was the fifth act, a small squad of contortionists in deep sea monster-themed body suits. In a graceful, and slightly seductive manner, these women proved their inhumanity by displaying an uncanny ability to not only shape their bodies in ways the human mind will typically fail to imagine, let alone attempt, but to do so in perfect time with one another, creating a flawlessly choreographed dance performance.

The only downfall of the show’s first half might be considered the Invisible Circus act in which a comical ringmaster pretends to be leading a circus of invisible people and animals through lights and noises. Although slightly amusing, the comical effect wore off promptly, leaving the audience with more of a special effects display than a talent-based performance.

After a twenty-five minute intermission in which audience members could roam the tent, or help themselves to popcorn or soft drinks, the show’s second half commenced as the stage darkened once again. A wave of energy, fear, and pure, untainted adrenaline passed the crowds during the Rola Bola act, in which a man balanced himself on a rolling plank stationed on a platform which would elevate higher and higher up while the man not only kept balance, but rolled, shifted, and even danced on the plank flawlessly. Gasps and “I can’t watch anymore” eye-covers could be seen ubiquitously throughout the crowd during this act.

Along with this, a more untraditional act known as the “Theater of Hands” was executed to calm the nerves of anxious circus-goers. This involved an artist’s real time recording of his hands acting like human beings which was projected on a hot air balloon. Not only did such an act exhibit incredible creativity and uniqueness, being an arguably unprecedented circus performance, but the artist moved his hands in such fluid motions, he was rather accurately able to imitate an individual. He also allowed this hand man to take flight from its planet, and into the audience, where it danced on the head of an audience member, an ingenious incorporation of humor which caused the crowd to scream with laughter.

Displaying the perfect mixture of comedy, excitement, danger, innovation, and beauty, Michel Laprise managed to exceed expectations in almost every way possible through Cirque du Soleil’s Kurios. Let this steam punk, psychedelic, and bizarre masterwork forever change the way generations to come perceive a trip to the circus.

8/10