One of the world’s most beloved and high-flying live performances is leaping back into Houston for in-person shows after a year away due to the pandemic.
Global sensation Cirque du Soleil has announced a fall return to Sam Houston Race Park for its acclaimed production, Alegría. Shows will kick off November 13 under the now-famous Cirque du Soleil Big Top. Tickets for the shows go on sale Monday, June 21.
Redesigned for 2021 audiences, Alegría brings an energetic soundtrack, often-stunning acrobatics, surreal costume designs, vibrant sets, and silly humor. The story centers around the power struggle “at play between the old order and a new movement seeking change in hopes of a brighter tomorrow,” a press release describes.
Colorful, awe-inspiring and sometimes delightfully clownish, Cirque d has attracted more than 200 million spectators in more than 60 countries, since its beginning in 1984. Immersive and splashy, Alegría charts as one of the franchise’s most popular shows.
“We know our artists are ready to get back on the road and fans are eager to reconnect at events,” said Daniel Lamarre, president, and CEO of Cirque du Soleil Entertainment Group, in a statement.
“More than 450 days have passed since our stages around the world went dark, and we have been anxiously waiting for this moment. I just can’t wait to see the Alegría lights go back on! Thank you to all of our employees for their perseverance, flexibility, and creativity. Intermission is over.”
As recently as the late 2010s, if a movie was made about an LGBTQ+ character, it was more than likely about their coming out experience. Romance, if it existed, was typically chaste, and actual sex was almost completely out of the question. Things have changed dramatically in the 2020s, to the point that a major movie star has no issue starring in a film called Queer.
Based on the 1985 novella by William S. Burroughs, the film features William Lee (Daniel Craig), whom everyone calls just Lee, a writer living in 1950s-era Mexico City who spends most of his time haunting local bars with friends like fellow writer Joe Guidry (Jason Schwartzman) and hitting on younger men. His early interactions in the film seem to indicate that Lee has a bad reputation within the local gay community, as multiple people avoid him or give him odd looks.
Lee senses an opportunity when he encounters a newcomer, Eugene Allerton (Drew Starkey). Despite some awkward interactions, the two of them start spending time together, although Lee has much more invested in the relationship than Eugene does. Their hit-and-miss bond continues until Lee, who’s starting to get into drugs in addition to the booze, convinces Eugene to accompany him on a trip to South America.
Directed by Luca Guadagnino and written by Justin Kuritzkes (making their second straight film together after Challengers), early on the film seems to be mostly about the divide between an older person who’s grown comfortable in his ways and a younger person who’s living a relatively carefree life. The introduction of drugs into the plot changes things, though, with Lee searching out more ways to open his eyes to what the world has to offer.
Guadagnino and his team use some interesting visual storytelling techniques to introduce ideas that may not be present in the actual script. The most successful, demonstrated in multiple scenes, is the superimposition of movements by Lee over what’s actually taking place in the scene. The subtle overlay gives the audience insight into Lee’s true feelings, showing what he can’t or won’t say out loud.
Music also plays a big part in how the plot is perceived, with the use of anachronistic songs from Nirvana and Prince serving to heighten certain moments. The score by Trent Reznor and Atticus Ross is not as in-your-face as the one they did for Challengers, but it complements the film well, especially when the plot starts to get trippy in its final half hour.
Craig, who appears sweaty and disheveled for much of the film, is about as far from the suaveness of James Bond as you can get in this role. He takes multiple risks with his performance and almost all of them pay off. Starkey’s character is subdued by comparison, but still comes off well. Schwartzman and Lesley Manville are given showy roles, with both using altered appearances that make them nearly unrecognizable to deliver memorable performances.
Queer is not as accessible as Challengers was storytelling-wise, but the fact that it tells a story about gay men living their lives as they see fit with no interference or questions shows how far the film world has come in a short period of time. It also continues Guadagnino’s streak of making audacious films in a way that few other filmmakers are willing or able to approach.
