Review: Corteo Is A Celebration Of Life In Full Colour

Created and directed by Daniele Finzi Pasca, Corteo by Cirque du Soleil has enthralled millions since it premiered in 2005. Now, Corteo is kicking off its Australian tour in Perth. 

Corteo makes the impossible look easy, and the possible look spectacular. Combining elements of traditional Italian circus with late 14th century commedia dell’arte, Corteo uses circus and clownery to tell a tale about clowns and circuses, celebrating camaraderie and creativity through (you guessed it) creative camaraderie.

The show’s structure alternates between controlled chaos and world-class specialist acts, accompanied by flying angels, ensemble clownery, and unforgettable spectacle. Rich soundscapes and innovative set design enhance every element, keeping audiences breathless.

Corteo tells the story of Dreamer Clown Mauro, played by Stephane Gentilini, as he cheerfully witnesses his own funeral procession. Nuanced themes of sadness-transformed-into-joy are embodied in Gentilini’s skilful performance, which uses clowning, movement and inflection to great comedic effect. 

Corteo’s storytelling – poetic and emotionally resonant – is delivered with spectacular aplomb, not least through Gentilini’s execution of his role. Punctuated with visions of cherished memories and lost loves, witnessing Corteo is analogous to observing someone else’s dream. This is not accidental.

Corteo’s semi-veiled opening balances clownish comedy with dramatic intensity, building to the appearance of its most iconic set pieces. Three massive chandeliers become aerial apparatuses, incorporating elements of lyra and aerial net. Fully-lit frames and strings of oversized pearls replace traditional equipment as the four loves of Mauro’s life express their love through aerial artistry.

Feats of flying feature heavily throughout the show, and it isn’t just the elevation of the aerial artists, or the almost-constant presence of levitating angels, that makes this so. Valentyna the Clowness, an airborne bicycle, and more acrobats than you can count, take to the air in remarkable ways. Forget Bedknobs and Broomsticks – the Trampobed is infinitely better.

During the Trampobed scene, which encapsulates Mauro’s childhood happiness, angels fly overhead as bed-bouncing acrobatics defy both physics and adultish-seriousness.

The synchronised spinning of the Cyr Wheel act is so mesmerising, you almost don’t notice the upside-down white clown float-walking above. And if you’ve ever wondered whether it’s possible for a person to float away on a bunch of balloons, you might be pleasantly surprised.

From the onomatopoeic sound effect of a vanishing person to the tiptoeing shoes of invisible feet, every aspect captivates. Highlights from the first act include a playful Marionette, a sentient golf ball, and the inhumanly flexible prowess of Halyna Zaporozhetson on the Suspended Pole.

The Teeterboard act combines clownish fun with people-powered propulsion and comic clownery to the audible delight of the audience.

The second act opens with mystical music, escalating to an astoundingly choreographed acrobatic mass of flying limbs. The clubs, rings, and diablo of the Harlequins gets unexpectedly intense, and the Acrobatic Ladder includes some tiny robot friends. Every drop and hang of the sultry Duo Straps act has undertones of romance, which builds to a shimmering climax. 

The Tournik routine is gloriously stressful to behold. Like so much of the show, the miscalculation of a mere centimetre could make a dangerous difference. Is this a metaphor for crossed paths and missed moments, or simply a heart-stopping acrobatic spectacle? You decide.

Jean Rabasse’s ingenious set extends beyond the stage, with chandeliers, lighting, and instruments merging the story-world with reality. The venue is split into two, with the stage in the centre, and seating on both sides. This transforms the audience into an atmospheric backdrop and turns the RAC Arena into something resembling a Big Top.

Clever use of misdirection facilitates seamless set changes, with the help of Martin Labrecque’s innovative lighting design and Debra Brown’s layered choreography. 

Dominique Lemieux’s costume design is vintage without seeming outdated; cumulatively mismatched, yet effortlessly complementary. This timeless costume collection creates the Corteo aesthetic with careful palette selection, inherent awareness of movement, and nods to historical tradition.

Across the entirety of the show, music and choreography combine perfectly in an almost diegetic merging of the audio/visual senses. In addition to a live clown band, instruments include Tibetan bowls, crystal glasses, drums, accordion, bagpipes, violin, and even a whistling solo from Geert Chatrou.

Spanish guitar and stunning vocals are a standout among the many musical elements. Jonathan Deans’ sound design perfectly complements the composition from Jean-François Côté, Philippe Leduc, and Maria Bonzanigo.

True to the nature of Corteo, the music plays with contrast, with sombre funeral marches transforming into celebratory sambas at the drop (or theft) of a hat. 

Playing with scale and conceptions of perfection, Corteo lives in the liminal space between opposing forces. Controlled chaos and solid fluidity meet poetic storytelling in this memorable celebration of life, imagination, and personal connection. Corteo is a vivid dream worth staying up late to experience.

Cirque du Soleil Corteo runs in Perth to 17 August at the RAC Arena and then tours Australia. Full dates below.

Tickets are on sale here.

Website: https://www.cirquedusoleil.com/corteo

Socials: https://www.instagram.com/corteo.cirquedusoleil/

Photo credits: Maja Prgomet, Johan Persson, Aldo Arguello

2025 Australian Tour Dates

Perth 8- 17 August, RAC Arena

Melbourne 22 – 31 August, John Cain Arena

Sydney  4 – 14 September, Qudos Bank Arena

Brisbane 18 – 28 September, Brisbane Entertainment Centre

Adelaide 2 – 5 October, Adelaide Entertainment Centre