Between us, my date and I had seen many Cirque du Soleil shows, both here and abroad. We both agree that Saltimbanco,with its joyful gibberish language and enchanting world of mime and movement, is the most accessible, uplifting and happiest of them all. Vivid, colourful and bright – in terms of set, lighting and costume design – it is every bit the ‘celebration of artistry’ its creators describe it as, and is a perfect antidote for the chills of winter.

Although the hash fluorescents and detached atmosphere of the Vector Arena’s foyers is a far cry from the magic of The Grand Chapiteau – once seated, the familiar pre-show clowning and hilarious mischievous crowd-interface brings us happily back into a Cirque state of mind.

More than other Cirque shows I’ve seen, Saltimbanco’s impressive, partly angled set design, showcases the live band – the engine room of all Cirque’s shows – upstage and centre. Deservedly so – band leader Eric Alain’s small but perfectly formed musical unit drive the night, infusing funky grooves, fat guitar riffs (Adrian Andres), lots of unashamed glam rock and soaring synthesizers (very indicative of the 90s, when Saltimbanco was first devised) and some deliciously free-form jazz-saxophone (Philippe Poirier). Songbirds Nicola Dawn and Charlie Jones add their own expressive magic throughout the night.

Saltimbanco’s castis huge, and the show’s directors create a very inclusive, warm vibe, by using the large troupe on the peripheries of each main event, or circus routine.

During the beautifully lit, graceful opening Adagio, the house troupe slide and glide like lizards, round the sides of the stage. They are also often there for support and safety – the intensity and concentration of their role, a remarkable feat of trust and split second synchronization. No more so than when members of the house troupe climb the dizzy heights of the central rig, for the climatic breath-taking Bungee performance. During the equally magnificent opening act, Chinese Poles, it’s clear every person on stage is very much in the moment, ready to support and commit on cue.

Saltimbanco’s clown Eddie, the masterful Martin Poles, infuses his cartoon-like sound effects, mime and interactive humour throughout the night, generously making stars out of all the audience members he enlists to assist. As the larger-than-life Ringmaster, James Clowney (aptly named) and the elusive Dreamer Daniel Buckland, add their own brand of well-timed humour.

From BMX-ers to lycra-clad speedsters, cyclists will be amazed by the agility and balance of Ivan Do-Duc during Artistic Bicycle; just as gymnasts and thrill seekers will be by the flight and elevation of the house troupe during the Russian Swing routine, or the strength and artistic fusion of Julia and Gabriele Janke in Trapeze. The captivating rhythms of the twirling Boleadoras (simple percussive instruments invented in Argentina) provide a novel toe-tapping finale to the first half. More established circus acts, such as juggling, balancing on canes and contortion, are also on Saltimbanco’s menu.

Once again, Cirque du Soleil’s world-renowned sense of scale, unparalleled production values and microscopic attention to creative detail and flow, have come to life through Saltimbanco to inspire and artistically enrich the audience’s lives.  
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Ignore the big-top snobs, swapping the tent for a stadium is a step up 

At the heart of the circus is a hymn to human potential. While most of us are likely to feel we are pushing our limits by negotiating the steps to the upper levels of the Vector Arena, it is inspiring to see how the disciplined cultivation of strength, agility and concentration enables acrobats to radically extend the boundaries of human mobility and laugh in the face of danger.

Nowhere is this more apparent than in Saltimbanco’s duo trapeze act that delivers the exhilarating thrill of death defying bravado. At one point the seemingly impossible interlocking of feet was the only thing preventing one of the performers from plummeting to ground. [More] 
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