The artistry of ‘O’ not watered down

Friday, June 14, 2002 | 8:44 a.m.

At the end of "O" the curtain closes by going up, rather than coming down. A large wicker basket glides onto the stage and when it lands, red cloth flies from the basket and flows upward until the stage is hidden.

The final curtain is similar to the entire show: a topsy-turvy presentation that takes place in a surreal world of exotic costumes and physical imagery that has the audience oohing and ahhing throughout much of the performance.

"O" is a collage of acrobatic feats, music, dance and aquatics.

After almost four years the production by Cirque du Soleil at Bellagio continues to draw huge crowds who are mesmerized by the Fellini-esque circus setting.

Trying to describe the 90-minute show is difficult. It is abstract expressionism brought to life.

For comparison: Norman Rockwell, one of the nation's most notable realistic artists, painted several circus pictures during his illustrious career. "O" is more similar to a painting by Jackson Pollock, an icon of abstract expressionism who was noted for his dripping and splashing of colorful oils on canvas.

And this visually striking production, much of which takes place in water, is filled with dripping and splashing.

Before the curtains open, the sound of dripping water resounds throughout the 1,800-seat auditorium. Two clowns, dressed in sailor costumes, begin rolling a giant doughnut-shaped flotation device up the aisles, a clue that water is going to play an important role.

"O" is the phonetic sound of the French word "eau," which means water. Human life, some say, emerged from the sea. The life of "O" emerges from a 1.5-million gallon pool of water that is 25 feet deep and 150-by-100 feet across.

The surface of the pool is at stage level. When the curtains open to reveal the setting, a dozen sets of feet and legs break the surface of the water and begin dancing in air.

Eventually the performers roll out of the pool and the fast-paced show begins in earnest. More than 80 cast members are involved in the production.

Everywhere you look, something thrilling is going on, whether it's divers plunging 60 feet into a relatively small opening, or a man catching on fire and casually picking up his burning chair and walking offstage.

Throughout the show platforms rise and sink into the pool, providing ministages for dancers, contortionists and swimmers.

Acrobats perform on one-dimensional scaffolds, on trapezes and on the metal frames of a ship.

Performers on swings are flung high into the air then dive into the water. Others grab the end of a cloth that stretches from the stage to the ceiling, and are pulled into the air, flying over the audience and from one side of the stage to the other.

"O" cast members come from several different countries. Hardly a word is spoken throughout the evening. Anyone from any nation can enjoy the performance, whose universal language is one of grace in motion and awesome feats.

Even the inspiring music, composed by Benoit Jutras, has an international flair. It is performed by 11 musicians from a half-dozen countries who play such diverse instruments as Colombian guitars, African harps, Chinese violins and Scottish bagpipes.

Those who put "O" together are to be commended. Gilles St. Croix is the creative director; Debra Brown, the choreographer; Michel Crete, set designer; Dominique Lemieux, costume designer; Luc LaFortune, lighting designer; and Francois Bergeron and Jonathan Deans, sound designers.

Franco Dragone, who wrote and directed "O," has assembled an athletic cast of performers who are flawless in their presentation. The parade of synchronized swimmers, rhythmic gymnasts, tumblers, contortionists, divers, dancers and acrobats combine their talents seemlessly.

Similar to an abstract painting, you don't question, you merely enjoy.