“We are inventors. We are problem-solvers. We are performers.”
This is how Marjon van Grunsven, creative director for Cirque du Soleil’s OVO, describes her team of acrobats, aerialists and contortionists.
These performers present Cirque’s take on a classic love story—except OVO’s princess is a giddy young ladybug, and the prince is an outspoken fly.
The story is akin to most romantic comedies: A girl falls head over heels for a mysterious character. But OVO is more reminiscent of A Bug’s Life than Cinderella.
“Sometimes you think something won’t be possible, but because you’re with Cirque, you find out—yes, we can, because that’s the nature of Cirque,” van Grunsven says.
For the two-hour shows, 50 performers create art through motion. From aerial silks and acrobatics to gymnastics and balancing acts, OVO delivers Cirque’s global brand of gravity-defying stunts.
A sextet of red ants juggle jumbo slices of kiwi on their feet, a pair of butterflies engage in a perilous aerial duet without a safety net, and in the show’s buoyant finale, nearly 20 performers clad in grasshopper-like costumes use trampolines to propel themselves through a seamless combination of wall climbing, acrobatics and dance.
Van Grunsven says even after years of traveling with Cirque, she still gets anxious watching some stunts.
Cirque by the numbers
20 performers in Cirque du Soleil at its beginning in 1984
100 people behind the scenes at OVO
4.5 million number of spectators OVO has attracted so far (as of press time)
50 artists from 15 different countries perform in OVO
4 hours per day performers practice—not including strength and cardio training
She sits in the stands for most shows, going backstage at intermission and post-performance to check on the artists.
“They [performers] never stop taking my breath away,” she says.
OVO debuted in North America in April 2016 after nearly 10 years of Big Top tent productions in Europe and Asia.
The show made its way to Baton Rouge the same month after stops in Lake Charles and Lafayette.
Van Grunsven says the storylines in Cirque du Soleil productions are great, but more important is everything that happens before and after performers hit the stage.
The bonds they form on the road are incomparable, she says, as are the collaborations among performers, directors, musicians and behind-the-scenes crewmembers.
Van Grunsven says the team typically spends 10-12 weeks on the road, then parts ways for a one- to two-week break.
The pattern continues until a show closes, and some shows last longer than 20 years. OVO has been touring since 2009.
“You have to love this culture,” van Grunsven says. “It’s not for everyone … but it is for me.”
Aruna Bataa, a 27-year-old contortionist born in Mongolia, has been with Cirque du Soleil for five years. She says she doesn’t plan to quit anytime soon. She shares her thoughts on the show’s Louisiana visit and Cirque culture.
How have you liked touring through Louisiana?
I really like the Acadiana culture. And the food … well, it’s just been great. But I’m sure you hear that a lot!
What has surprised you the most about North America on this tour?
I knew that North America was a very big country with a lot of different cultures, but I didn’t know it was really as different as they say. It has been great to see the ways people are in different areas, even within the same state. We went to Lake Charles, Lafayette, New Orleans and here [Baton Rouge], and all are different, yet they are so close.
What show stands out to you the most in your five years of performing with Cirque du Soleil?
It’s hard to pick just one, because they all stand out for different reasons, but I think it’s fair to say my first show [Quidam] stands out just because it was my first Cirque performance.
What is your favorite part about being a Cirque performer?
Being on stage and performing is by far the best part. I love hearing the applauses and knowing that I’m entertaining people up there doing what I love.
