When the Big Top sways to the beat of Cuban rhythms, the juggler takes centre stage. This young artist is already a master of her art. Rather than juggling balls into the air, the pint-sized performer bounces first three, then seven balls off the floor in an astounding array of patterns and shapes. The result is an unforgettable rhythmic and dynamic performance.

One of the mainstays of the Circus has been, is currently, and will be for all time… juggling. And even for Cirque du Soleil that rule still holds true to this day. The juggler for Saltimbanco fills the stage with a Cuban beat and a quick eye as he (or she) will manipulate up to seven balls at a time. Miguel Herrera originated this role; however, in subsequent tours, Maria Choodu filled this spot amongst many others.

As a set-up act, The Sleeper experiences a dream sequence featuring a parade of characters. The music includes backward-masking guitar patches, echoing saxophone runs, dreamy synthesizer chords, and improvised fretless bass riffs, while the singer continues with the melody line from "Kazé". This short piece has a chilling effect that haunts The Sleeper. As he awakes the sequence segues into a high-spirited percussion attack that introduces the Juggling act accompanied by "Arlequin."

"Arlequin" is absolutely Cirque du Soleil's jazziest tune and all the musicians get to show off their improvised talents. Each member of the band has a solo with the highlight of the song being a frenzied trade-off between guitar and saxophone. The jazz theme incorporated by an alto and baritone (synthesizer) sax combo bounces in unison with the juggler's multitude of balls. Groovin', Man! The blissful theme of "Arlequin" ends with a drastic dynamic evolution as "Death" makes an ominous appearance to set up the next act. The theme during this transition is dark and could easily be incorporated into "The Phantom of the Opera." A drone synthesizer note fills the darkness until a frantic barrage of random sequencer notes introduces the following act: Bolas.