Cirque du Soleil: Its Bag Of Tricks Are All Treats

Cirque du Soleil's "Kooza" has vaulted into town, and the clowning, acrobatic show pretty much nails its landing at National Harbor.

It's more knockabout than knockout, more Keystone Kops and high-wire acts than luxuriously upholstered bohemian fantasia (the kind of upscale diversion that has helped Cirque to 17 productions worldwide, thanks very much).

"Kooza" is written and directed by David Shiner, the former Cirque clown whose wordless "Fool Moon," with Bill Irwin, played Broadway three times in the 1990s. Not surprisingly, Shiner's show has a street-theater aesthetic that frequently sends its clowns scampering up the aisles to goose the crowd.

Mostly, though, it has first-rate performers doing the kinds of jaw-dropping things you go to a circus to see. Where to begin -- with the three female contortionists whose bodies are pliant as warm Play-Doh? The gasps are universal as they arch backward, touching their heads to their backs. Truly astonishing feats ensue.

But wait, there's also the Wheel of Death, a large metal swinging contraption powered by two men in scaly pants. (They also have horns on their heads, and the live Cirque band eggs them on with heavy rock and a thundering drum solo.) These daredevils caper on -- well, picture a giant barbell being flipped end over end, with these guys monkeying on the weights. They take the prize for crazy, and you have to wonder how many times during rehearsals they were flung against the wall like wet spaghetti.

Mistakes, of course, are few and far between in "Kooza." The flawless performers include juggler Anthony Gatto, who cascades more clubs than you can count -- and so rapidly that they look like a school of fish leaping around his head. Less flashy but just as impressive are the duo unicyclists Yuri Shavro (who does the pedaling) and Diana Aleshchenko (who meanwhile nimbly climbs on Shavro's head). Their routine is unexpectedly lovely, a beautiful dance on wheels -- er, on wheel.

The comedy, largely to do with a loopy "king" and two screwy courtiers, is slap-happy and scatological. It's not the show's strong point, although you have to admire Shiner's willingness to keep pushing bits until they pay off. He also comes up with some real surprises with audience volunteers, and the high jinks certainly help give "Kooza" its down-to-earth flavor.

This isn't one of Cirque du Soleil's design-intensive shows, though there is a brief epic quality when a grand canopy rises and reveals a two-story Middle Eastern gazebo as if by magic. Instead, the show's signature image is of an innocent trying to fly a kite. "Kooza's" pleasures aren't quite that simple, but delightfully, they don't feel that far removed.

Kooza, written and directed by David Shiner. Composer, Jean-François Cote; choreography, Clarence Ford; set design, Stephane Roy; lighting, Martin Labrecque; costumes, Marie-Chantale Vaillancourt; sound design, Jonathan Deans and Leon Rothenberger. About 2 hours 50 minutes. Through Dec. 14 at the Plateau at National Harbor. Call 800-678-5440 or visit http://www.cirquedusoleil.com.