'Cirque du Soleil – Corteo' review — this charming show mixes theatrical storytelling with mind-blowing circus skills

Read our review of Cirque du Soleil – Corteo, now in performances at the Royal Albert Hall to 2 March.

Last seen at London’s O2 arena in 2022, Cirque Du Soleil’s entrancing show Corteo originally premiered in Montreal in 2005 and has been travelling the world ever since. The Royal Albert Hall’s vast space has been transformed by set designer Jean Rabasse who has divided the arena in two, with each half of the audience facing each other. Apparently, this design is a first for Cirque and it creates a wonderfully intimate experience.

Corteo, which means cortege in Italian, follows Mauro the clown as he pictures his own funeral. A joyous and exuberant procession of tributes to him follow from his circus family, until he travels off to the great circus in the sky.

Usually with Cirque shows the story matters little, serving only to frame the often jaw-dropping performances. However, as angels float overhead, the show feels much more theatrical than usual. Strong ensemble storytelling portrays energetic celebrations, leading to a poignant conclusion as Mauro cycles up to the sky as his friends wave him farewell.

Mauro is played by Stéphane Gentilini, a very likable and charming Frenchman, who speaks in Italian and English throughout. He gently guides the performances along, while engaging both sides of the audience.

Stephanie Waltman pulls off one of the most impressive performances of the night on a suspended pole. She demonstrates incredible strength and balance as she contorts herself up and around the pole as it moves around the stage, often holding her whole body with a single foot or hand. Waltman never wobbles once; her power is mind-blowing.

Other highlights include the Paradis act that brings together two circus skills: The Korean Cradle and the Tramponet (a combination of trampoline and safety net). performers are spun between two high platforms as though they are rag dolls. The skill, dexterity and trust involved are breathtaking.

More delights come with flying teeterboard athletes: Roman Munin, who balances on a 15-foot ladder that does not lean against anything, and Tournik, where gymnasts jump and flip in incredible unison on high bars configured into a cube.

Not for the first time, the clowning is a less successful part of the show. A golf scene where a clown’s head is the ball and a ‘teatro intimo’ playing Romeo and Juliet feel like they are just filling time. However, younger audience members seem to love it.

An exception to this is the magical Helium where The Clowness, the diminutive Valentyna Paylevanyan, floats around the arena suspended by giant helium balloons, relying on audience members to propel her around with helpful shoves.

Corteo features an interesting, European-inflected soundtrack with Spanish guitar, Italian folk songs and Eastern European Klezmer. The show also looks gorgeous, with influences from traditional Italian Commedia dell'arte with Pierrot, rich fabrics and traditional harlequin costumes by Dominique Lemieux.

Corteo is charming and awesome in equal measure. A perfect antidote to the January gloom.

Cirque du Soleil – Corteo is at the Royal Albert Hall to 2 March. Book Cirque du Soleil – Corteo tickets on LondonTheatre.co.uk

Photo credit: Cirque du Soleil – Corteo (Photos by MajaPrgomet, Johan Persson)