Cirque du Soleil – KOOZA | Australian Arts Review

Under the soaring white and blue Big Top at Melbourne’s Flemington Racecourse, Cirque du Soleil has once again delivered a theatrical spectacle of visual storytelling and astonishing artistry with the return of KOOZA.

Since premiering in Montréal in 2007, KOOZA has captivated more than ten million audience members across the globe, and experiencing it live makes it immediately clear why this production has endured as one of Cirque du Soleil’s most beloved creations. Having previously toured Australia in 2016–17, the production returns with several featured artists still performing in the show.

Written and directed by David Shiner, with creative direction by Serge Roy, the production is a dazzling fusion of old-world circus traditions and contemporary theatrical spectacle, filled with thrilling acrobatics, inspired clowning and superb live music.

Performed by an international ensemble of 56 artists representing 32 nationalities, KOOZA unfolds as a richly textured two-hour journey centred on The Innocent, portrayed with warmth and vulnerability by Alexander Yudintsev.

Guided through a surreal and chaotic world by the mischievous Trickster, played with magnetic charm by Kevin Beverley on opening night (*), The Innocent encounters a parade of eccentric characters including the hilariously unpredictable King, embodied by Mark Gindick, alongside clowns Miguel Berlanga Madrono and Duncan Cameron, whose audience interactions provide some of the evening’s most memorable comic moments. On opening night, well-known Australian actor Shane Jacobson became part of the fun during one particularly spirited segment, much to the delight of the audience.

What makes KOOZA so thrilling is the sheer consistency of its excellence. Each act somehow manages to surpass the last, prompting audible gasps from the audience as performers push the boundaries of human capability with extraordinary precision and grace.

Bookending the show is the ‘house troupe’ as they balance and form human pyramids in Charivari, immediately establishing the production’s joyous energy, or fly through the air (some on stilts) aided by a teeterboard – an acrobatic apparatus that resembles a playground seesaw.

Among the many standout acts are the mesmerising Mongolian contortionists – Sunderiya Jargalsaikhan, Ninjin Altankhuyag and Sender Enkhtur – whose sculptural physicality transforms the stage into a living artwork of impossible shapes and hypnotic fluidity.

Equally captivating is Mizuki Shinagawa, whose aerial silk performance combines elegance, athleticism and emotional poise in a sequence of breathtaking beauty. Ukrainian duo Anastasiia Shkandybina and Dmytro Dudnyk astound with a unicycle routine that seems to defy both balance and logic.

Russian balancing artist Victor Levoshuk delivers one of the evening’s most nerve-racking displays, methodically constructing a towering seven-metre structure of stacked chairs while maintaining complete composure and control.

The evening’s greatest heart-stopping moments, however, belong to the extraordinary Twin High Wire and Wheel of Death acts. The high wire sequence elevates an already perilous discipline into something almost surreal, with Vincente Quiros, Roberto Quiros, Jhon Brayhan Sanchez and Flouber Sanchez navigating dual tightropes with astonishing confidence, at times riding a bicycle high above the stage. It is an act performed with such effortless assurance that one momentarily forgets the immense danger involved.

Then comes the Wheel of Death – an act so electrifying the audience seems collectively to stop breathing. Colombian performers Jimmy Ibarra Zapata and William Torres Patino deliver a truly breathtaking exhibition of timing, strength and fearlessness as they leap, sprint and balance atop rotating wheels moving at exhilarating speeds.

Visually, KOOZA is nothing short of stunning. Stéphane Roy’s elaborate set design evokes the atmosphere of a fantastical town square, dominated by the ornate Bataclan tower and framed by sweeping staircases that glide open to reveal performers and musicians. Inspired by Hindu architecture and Indian jewellery, the set creates a vivid, immersive environment while maintaining excellent sightlines throughout the Big Top.

The production’s costumes, designed by Marie-Chantale Vaillancourt, are dazzling works of wearable art. Drawing inspiration from sources as varied as Gustav Klimt, Indian textiles, Eastern European folk art and the anarchic aesthetic of the Mad Max films, the costumes explode with colour, texture and detail. Every performer appears to have emerged from an extravagant dreamscape, with over 175 costumes and thousands of handcrafted elements contributing to the production’s visual splendour.

Music plays an equally vital role in shaping the atmosphere. Jean-François Côté’s original score, performed live by six musicians and two vocalists, seamlessly blends orchestral flourishes, funk rhythms, western pop influences and traditional Indian sounds into a dynamic and emotionally resonant soundscape that propels the performance forward with infectious energy.

At its core, KOOZA is a celebration of wonder, a joyous reminder of the thrill of live performance and the extraordinary things the human body can achieve. In an era increasingly dominated by digital spectacle, Cirque du Soleil continues to demonstrate the singular power of real performers taking real risks before a live audience. A spectacular night under the Big Top that rekindles a childlike sense of awe from beginning to end.

Cirque du Soleil – KOOZA
Flemington Racecourse, 448 Epsom Road, Flemington (Melbourne)
Performance: Thursday 21 May 2026
Season continues to 19 July 2026
Bookings: www.cirquedusoleil.com

Following the Melbourne season, KOOZA heads to Brisbane from 1 August and Sydney from 17 October 2026. For more information, visit: www.cirquedusoleil.com for details.

Note: (*) Kevin Beverley shares the role of the Trickster with Australian Mitch Wynter