‘Ka’ succeeds on strength of its production, not story

Friday, Feb. 11, 2005 | 8:53 a.m.

To quote the Joker (Jack Nicholson) in Tim Burton's 1989 film "Batman": "Where does he get those wonderful toys?"

There are some wonderful toys in "Ka," Cirque du Soleil's fourth production to grace Las Vegas stages -- joining "Mystere" at Treasure Island, "O" at Bellagio and "Zumanity" at New York-New York (next year look for a fifth show that focuses on music by the Beatles at the Mirage).

In fact, the toys overwhelm the story.

Storytelling uses devices to help develop plot and character and to further the tale.

In "Ka," which had its official premiere at the MGM Grand last week, the devices are so exciting, so jaw-dropping and eye-popping they become more important than the story.

Audiences focus on the scenery, costuming, special effects and the magnificent theatre, when their main interest should be the story, if in fact the story is the most important element in the production.

But it isn't. It is secondary, simply another attempt by Cirque to re-invent itself, to blaze new trails and do something it has not done before -- such as "Zumanity," which was its effort to be erotic.

In Vegas Cirque IV, the company makes its first attempt at storytelling, but this story exists to serve the devices, when in legitimate storytelling the opposite is the case.

I'm reminded of the ancient fable about the Fox and The Scorpion:

A scorpion and a fox were on a river bank. The scorpion asked if the fox would carry him across the water. The fox, afraid the scorpion would sting him, said no. The scorpion pointed out that if he stung the fox, he also would drown. So the fox started across the river with the scorpion on his back.

Halfway across, the scorpion stung him. As they both began to sink, the fox asked why the scorpion stung him and the scorpion replied: "It's in my nature."

Ultimately, every Cirque show is a circus -- featuring acrobats and clowns, contortionists and trapeze artists. The only thing that changes is the setting in which they perform.

"Ka" is a saga that follows the adventures of two Imperial Twins (a male and a female) who become separated during a siege of their Far Eastern palace by evil warriors.

Except for an opening comment by an announcer setting up the story, there is no dialogue in the 90-minute production, which creates some expositional pitfalls. Unless you know what is going on beforehand, there are some transitional problems between some scenes and confusion about some elements of the story.

Lack of dialogue also makes it difficult for the audience to relate to the characters. Through dialogue there is exposition that not only helps explain the story, but also reveals traits about the character that makes us like or dislike him or her.

But Cirque's fan base is international -- one that includes many languages. Dialogue in one language would almost automatically exclude large numbers of potential ticket-buyers.

And so they rely on action to tell their story.

With all of that said, as long as you don't go to the theater expecting an experience of a play by Shakespeare or a musical such as "Les Miserables" or "Phantom of the Opera," you should find lots to rave about in "Ka."

The $165 million spent on the theater and the production have been well spent.

It is an experience you will remember for a long time, almost as if you are sitting in the middle of a motion picture.

Technology is the star of "Ka" -- a floating stage that appears and disappears, becoming at different times a mountain, a beach, a palace or a battleground; the wheel of death; a delightful cast of puppets (actually humans in suits that turn them into crabs, turtles, snakes and other creatures).

There are many memorable technological moments in the production: an underwater scene; a battle that takes place on a vertical field yet gives us the illusion that we have a bird's-eye view of the conflict; spectacular fireworks.

And of course the acrobats. What's a Cirque without acrobats?

The cast performs some of the most spectacular stunts of all the Cirque productions.

Anyone who sees "Ka" shouldn't be disappointed, providing of course they aren't expecting a Broadway play -- but that's another story.