What a wonderful show to see at the Cirque du Soleil compound in Disney Springs. When Julie completed her masterpiece and shared it with her mother, the entire cast celebrates with the audience. His sticking the tip of his pencil (on his head!) into the pencil sharpener garnered one of the largest independent laughs of the night. Quirky characters enjoyed so much during the show include a white hand, sometimes with blue shoes, other times red, who acts to greet or to be a safe haven for Julie, the stilted gentlemen who do splits with just one leg left on the ground in gravity-defying fashion, and the magical pencil who helps guide Julie's journey. A simple act of kindness on Julie's part allows the villain to shed her paper, all of the things in her world that she's held as a grudge, and reveals, when she unfolds, a scene of Julie playing. The paper villain appears to be winning against Julie, but this is Disney, of course. Their skill as dancers, as performers left the audience spellbound. It's clear that she had to be harnessed but her freedom of movement made it appear seamless.
In a slow, sensual ballet between mother and father, Julie watches her parents as the story of love and loss, separation both figurative and literal as her mother is lifted effortlessly so that she's running atop her husband's hands outstretched over his head. The one time the theater seemed to still to complete silence was upon the father's return. Bouncing, squeaky, wonderful tires were used for three cast members to ride in and the one on the smallest tire to lasso that bucking broncho drafting table … and allow the audience to re-set with humor rather than sadness on Julie's behalf. It wasn't until later I learned she was actually created from Julie's first cast off drawing, one that landed not in, but near the trash can, so could easily be retrieved and re-examined at a later date.Īs were the cowboys riding in on their painted… tires? Yes, you heard me. More humor prevailed as five trash cans, stuffed with crinkled papers likely discarded by our animator's father, danced onstage in front of the villain of the evening, Miss Hesitation, the largest gob of crushed paper you've ever seen with a sour, dismissive attitude and the greatest way of looking at an audience and conveying the message of the story with a look, a TSK, or a rude noise. Most moving may have been when the stage was transformed, with the use of a mesh curtain upon which was projected some of our favorite Disney couples led by the Princesses, Arial, Belle, Aurora, and Tiana. As an entire painting production occurred on center stage, these two performed an entire trapeze act, all perfectly in sync with the classical music. The men's ability to judge the centrifugal force to be completely airborne at the top of the wheel or use that moment to do additional flips and stunts within or on top of the wheel are mind-boggling.Īt one point in the show, two cast members worked from a bronze-colored bicycle wheel several stories high at the back of the stage. Four of six men were in, on, or around the wheels as they skyrocketed into the air, usually apart, but sometimes close enough that one could fear they would collide.
The double wheel of death appears to be a 50-foot metal wheel with an 8-foot diameter circle on either end. Whether it's the six synchronized acrobats, the five unicycle riding Faerie Princesses, the six men working the double wheel of death, or the six men jumping on the seesaw (aka teeterboard) to propel each other, and one of the button-down, suspender, slicked back black haired male animators present throughout the show, the explosion of color, movement, and context with Disney video frequently played on the interior screens makes for a jaw-dropping, jump to your feet with applause worth performance. Stilt walkers and unicycle riding princesses turned faeries kept the speed and motion of the performance going, similar to the first film reels that Walt created as well as the initial animation you may have been fortunate enough to witness after visiting the Walt Disney Family Museum at the Presidio in San Francisco, California. Comedy breaks the somber and melancholy scenes, whether Julie sticking her pencil into the sharpener that is actually the second-floor balcony to the right or the comic timing of the juggler who, finally able to count the balls only when they were on the ground, kept up to seven going at one time, with another cast member bouncing a giant ball at the back of the stage.
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