Bon Voyage returns this summer with a more dazzling, multisensory spectacle of circus artistry, physical theatre, and 360-degree mapping projection that brings us into the historical narrative of late 19th-century Montreal.
The premiere evening of Bon Voyage on July 9th was pure excitement, with a cocktail celebration and spectacular performances. Staged in the historic Dalhousie Station, Cirque Éloize went beyond showcasing visual entertainment. The result was a fantastic combination of audience interaction and poetic storytelling.
At the start of the performance, guests were guided to assemble around a circular stage that provided a full 360-degree viewing experience. There was no assigned seating. Rather than sitting in designated seats, this walk-through show encouraged spectators to move around to follow the performance. I had the opportunity to accompany my mother to the show, and I couldn’t agree more when she said it was incredible how we could “feel” these amazing artists so up close. In Bon Voyage, the audience was not passive observers, but participants in a shared environment.
Surrounded by suitcases and street lamps placed on the stage, I was about to board my trans-Canadian train journey from Dalhousie Station. In the show, the monumental 1885 launch of the first transcontinental train headed to the West Coast unfolded, despite several challenges encountered during its construction. Through visual dynamics, dance, and music, five circus artists of Cirque Éloize wonderfully, and somewhat humorously, unfolded the industrial and cultural stories of Montreal and Canada at large.
Amidst mesmerizing acrobatics, one particular opening performance of a ballerina en pointe was arrestingly beautiful. It touched me the most emotionally. She performed an aerial solo trapeze suspended high above the ground. I couldn’t help but gasp and scream for a moment when it seemed like she was falling. All she had was a long ribbon and pointe shoes, but the ballet on the trapeze conveyed such a sense of vulnerability and passion. The young artist made a beautiful gesture that marked the opening of the show.
The following sequences involved a storyline about lighting the city and constructing the railway. It definitely caught my eye when the dancer performed acrobatics just by leaning on the pole of a street lamp. In addition to the appropriate stage setting and costumes, the physical theatre of the dancers took us back in time to 19th-century Montreal.
The performances in the first half hour on the circular stage deserved exceptional praise, but one thing that fell short was the lack of creativity in the second room. The second half of the show continued the story after boarding the train, but the juggling and theatrical composition failed to resonate as strongly. Clichés always hit the mark, but they can’t deliver anything more than that. Still, I enjoyed the comedy brought out by inviting one of the audience members onstage. The artist-audience interaction was priceless.
Another commendable aspect of this production was its friendly bilingual presentation. The French-English script didn’t merely translate one language into the other; instead, the dialogue flowed naturally between both. As a linguistic and cultural hub, the beauty of Montreal was well expressed not only through visual images and projections but also through the soundscape.
It was remarkable how the circus could resonate so deeply across generations. From young children to the elderly, I witnessed everyone immersing themselves in the eye-catching show. Though at first I doubted that a 60-minute circus could be pulled off by only five artists, Cirque Éloize made it happen and more. If you are looking for splendid and thrilling indoor content, Bon Voyage will take you on a bon voyage!
Bon Voyage continues until August 17 at Gare Dalhouse (417 Rue Berri). Tickets and showtimes can be found HERE.
