Spectacular acrobatics with some pulsating beats, woven around a thin narrative: a winter warmer.Rating
Good!
Cirque du Soleil’s hugely popular juggernaut of an event (originally created by Guy Laliberte) has arrived at London’s Royal Albert Hall for its now-annual residency. For 2026, we have a new version of the OVO theme that premiered in Montreal in 2009. ‘OVO’ is Portuguese for egg, which gives the show its name and should form the underlying theme, allowing the audience to become entrenched in the world of insects.
I was keen to experience a Cirque show, having never seen one before, and looking forward to seeing how the cavernous space at the Royal Albert Hall would be used. The main stage area has been extended out across the arena, taking up the majority of the ground-level stalls seats. However, there are still plenty to go round and the layout makes for a more immersive experience for those up close. To allow for the acrobatic acts to do their thing, a huge gantry overhangs the stage (all designed by Fred Gerard), which, had I been sitting up high in the auditorium, might have restricted the view somewhat.
On stage, we have the first sight of ‘OVO‘– a giant, inflatable egg, 28 feet by 22 feet in size, which soon deflates to reveal some of the cast. As the lights dim, figures emerge with acrobatics and huge billowing flowers on the stage. It’s hard to tell what all the characters are meant to be, but creative and flexible costumes (designed by Liz Vandal and all handmade) give them an insect/grub/Teletubby-type feel. They talk amongst themselves in their own language and interact with the crowd before the main event.
A side-plot involves three of the main ‘clowns’ – Master Flipo, The Ladybug and The Voyager. This is something of a distraction as the night progresses and, like some of the acts that follow, feels slightly lost in the vastness of the Hall. The full ensemble piece at the start is more fitting for the space and is a great way to get things started, introducing an insect world. The arrival of another, smaller ‘OVO’ is then confusing. It comes on at various points, then it goes off: its purpose is really not followed up.
Musical and vocal accompaniments throughout are superb (directed by Berna Ceppas), with Brazilian beats and voices pulsating through the Hall, really highlighting the acoustics of the venue.
There is absolutely no doubting the talent of the cast, each bringing their incredible acts to the fore. The Foot Juggling Ants, Dragonfly Balancing, Butterfly Aerial Straps and the Aerial Cradle are highlights of the first half, wowing the audience with stunning, body-morphing performances. Some routines would definitely benefit from being expanded to include more performers, for sheer extravagance and to better utilise the space, enhancing the experience for the viewers.
The second half has the mind-blowing, large-scale Trampowall and tumbling Crickets, and the incredible Web, The White Spider, a contortionist, who left many spectators agog. Again, though, the Hall could handle scaled-up acts and bigger ensemble pieces to deliver a real spectacle. Creatura, a slinky-like insect, could be made many times bigger to add real effect, as it ended up being slightly underwhelming. The addition of large screens would perhaps allow the crowd to get closer to the onstage action: with the cost of tickets as they are, some may feel short-changed at the current lack of visibility.
Despite some shortcomings, this is a big-budget, worldwide phenomenon of a show that will continue to go from strength to strength. The wonderful acrobats, musicians and singers deserve high praise indeed, and the carnival-like ensemble ending is a fitting close to a high-energy, entertaining evening.
Founder and Creative Guide: Guy Laliberte
Artistic Guide: Gilles Ste-Croix Writer
Director and Choreographer: Deborah Colker
Creation Director: Chantal Tremblay
Set and Props Designer: Gringo Cardia
Costume Designer: Liz Vandal
Composer and Musical Director: Berna Ceppas
Lighting Designer: Eric Champoux
OVO plays at The Royal Albert Hall until Sunday 1 March, before touring Europe.
