Siegfried and Roy Show Review
This review is dedicated to JonJon. The subject of my last conversation with him, (aside from his health) was about this show; the next I knew of him was when I read on the board Kevin’s post informing us JonJon had passed away in the night. It was a little bittersweet to see it after this. Perhaps he has seen it himself from wherever he is right now.
After I had made all the necessary arrangements to see this show, I started doing research into the show, the background, and the Illusionists (they preferred to be called ‘Storytellers’)themselves. I read their book “Siegfried and Roy, Masters of the Impossible—the Truth Behind the Magic”; went to their beautiful website www.sarmoti.com ; and scoured the internet looking for reviews.
And still, after having seen the show, I was amazed. Nothing could have have prepared me for it. Nothing can come close to the experience. I agree with the lovely couple that sat next to me; it isn’t just about illusion and technology; it’s about spirituality. It truly IS a spiritual experience.
My show was the late show. First thing; I noticed, as I stood and waited for the theater to empty after the first show, the smiles on the faces of every man woman and child who exited the theater. Quite a accomplishment for Siegfried and Roy in and of itself in these troubled times.
The dancers were beautiful, both the men and the women. Could I take one of THEM home with me—Please? It’s quite an accomplishment in my mind to take a show that has no nudity, no foul language, or other dubious features---and make it work year after year. It is clear what the public REALLY is interested in, and the packed theater day in and day out attests to this in no uncertain terms. The music wasn’t the same as that on their website, which I preferred, but it was interesting, and imparted an interesting ‘feel’ to the overall expereience. I could get used to it. It is available on a cd, but since my copy was given to me, I couldn’t say where to get it now. The use of lighting and machinery and the sets and costumes was a superb combination; it wasn’t just a ‘magic’ act and it wasn’t technological overkill either.
My original seat was in section ‘c’, table 13 (there is a seating map that can be accessed through their website) but due to some rearranging of seating I wound up in section A; I was close enough to untie the dancers’ shoelaces if I’d wanted or grab a tiger’s tail; and yet I sill could not see how the illusions were done.
From their website, I had guessed my favorite illusions would be the ones involving levitation, and I was correct. They have a peaceful feel and a very emotional tone to them (even with this different music). The illusion with Roy levitating in the revolving ‘ring’ was my favorite of the whole show, and I could have watched just that one event for a good two hours by itself. It was beautifully choreographed. I was close enough that I could FEEL the heat from the flames (or at least I thought I could) and feel and hear the ‘whoosh’ of air as the ring turned (or again I thought I could) yet I couldn’t see how it was accomplished. To be able to successfully pull off an illusion like that before an audience sitting 20/50/100 feet away is one thing…but I was RIGHT THERE!!! It was truly amazing, and a very humbling experience. Pehaps next time if I drank something stronger than coffeee, I could figure out more…
The more I think about it, the more I must conclude that my favorite parts of the whole show were those instances in which Siegfried did something to Roy.
Anyway; two illusions in particlar to mention: one where Siegfried and Roy start with a small box, unfold it to a larger box; place girl inside, then fold box ridiculously small again; then unfold box and out pops girl. The other where there is a cage suspended from the ceiling with a dancer in it (who looked like Lynette Chappell but I wasn’t sure); covers cage and she is replaced by a big cat. The best part is…these acts are performed on the front part of the stage, which means the audience completely surrounds the illusion. We STILL couldn’t see how it was done. What an accomplishment!!!
As Siegfried and Roy like to say, magic can be found ‘all around YOU”. I find this to be especially true in the show. Some of what these men experienced in their childhoods (according to their book) I also experienced in mine. I found myself wondering; What is the difference between those of us that survived these events and those children that did not? Is there a God somewhere who says “No more, you have suffered enough” and he takes them away to be with him, to suffer pain no more? Or conversely, is there a God somewhere who says “No more; you will hurt for a little while”, and he takes them and dwells with them and grants them the ability to take the pain they have suffered and turn it to something beautiful and wonderous to behold? Magical, either way.
More magic to be found is this; that ability of the duo to bring 1500 people from many nations and languages, religions and politics together in one place at one time, to share a single experience, in harmony; and to do this many times a week, for months and years. Quite simply, a miracle.
More magic easy to see but harder to duplicate is that quality which exists when mind of man meets heart of animal. To see (mostly) Roy’s body movements blend seamlessly with those of his animals provokes a feeling difficult to capture in words. It really must be felt. And I suspect it must be learned, rather than taught. If Gildah the elephant really resolved to stampede into the pit, what might be the only thing to stop her? No doubt the spiritual union between the men and the animals. You can see this on the stage and feel it in the air during the performances.
And lastly, there is magic to be found in the relationship between these two men. Whatever its origins and nature may be, the fact is that WHATEVER they have together has endured through many decades and through good times and bad, and it is still evident from their verbal exchanges and their patterns of relating onstage. This, too, is nothing less than magical in these days of disposable relationships (use once, throw away, start with another and the cycle continues).
I would see the show no less than twice; once up close to get the urge out of your system of seeing HOW the illusions of performed (which you won’t figure out) and another time in a different part of the theater where the show can be seen with a more panoramic view. Then one can get the emotional/spiritual perspective that I think the show deserves.
If you sit in ‘the pit’ as I did this time, you may get lucky and have a dancer fall in your lap, a tiger jump on your table (preferably with Siegfried or Roy attached); Siegfried may pick on you; and in the end you may get to shake a castmember’s hand. (None of these things happened to me.) In my opinion, a very equitable tradeoff.
I did not have the occasion to speak with either performer that evening. If I had, I would have liked to have said to them; “The world is a much much better place with you in it; please take care of yourselves---and each other.”
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Dungbeetle