This virtuoso defies gravity and explanation in his powerful and graceful
performance. Combining the elasticity of the bungee with the power of the gymnastic
rings, the artist soars through the air while performing acrobatic feats. His awe-inspiring
performance is a combination of incredible skill, agility and strength. His sculpted
physique is imposing, yet he is tender and graceful.
The second act of Alegría opens with a flury of
activity. The White Singer, in all her beauty,
is drawn to the men in the audience. After teasing
a couple, she selects one and takes him up on stage.
The two dance until the Strong Man - the protector of
Alegría - roars onstage and takes the man back to his
seat. Then a clown on horseback rides by carrying a
letter in his hands. He tries to deliver it to the
Singer in White but everyone grabs for it. The letter
passes from the Clown to Fleur to Tamir to the Strong
Man back to the Clown before he rides off.
A man bolts into the
forefront, signaling the end of the clownish antics. The
stage once again tints Orange as this new performance sets
to take hold. It is a little hard to describe this performance
accurately. The Flying Man's apparatus is a
bungee-cord, but the discipline behind it is
reminiscent of similar Elastic, Aerial Straps,
Tissue and Spanish Web performances. Regardless
of the background, this is one and exciting
new performance not to be forgotten.
Flying Man is performed to "Malioumba," which is featured on
the extended Alegría CD. There is quite a bit of low
percussion and string-synthesizer chord progressions over a slow
tempo. The airy vocal sonnet provides a floating sensation and you
can hear the high notes echo throughout the big top. One of the
highlights for me is the bridge, where bassist David Pelletier plays
a gliding melody line on his fretless bass that leads back to the
chorus-lyric of "Malioumba."