Created by Cirque du Soleil co-founder Normand Latourelle, Cavalia is the world’s first equestrian ballet. The striking spectacle is a global hit, already seen by more than six million people. Declared the “best show ever” by CNN icon Larry King, the show will open in Beijing on April 28.
The production takes its title from the French and Spanish words for horse (caballo and cheval respectively), as well as the English word cavalry. Often compared to Cirque du Soleil, the show is a breathtaking mix of equestrian arts, acrobatics, live music and cutting-edge technology. One of North America’s most popular draws, Cavalia finally made its Mainland debut last summer in Shanghai.
The show was founded in 2003 after Latourelle experienced a moment of clarity, as his son (and the show’s tour manager) Mathieu explains.
“My father was at an outdoor show and there were 100 people on stage and only one horse. The choreographer was complaining about the horse taking the spotlight away from the musicians and dancers. Plus, my father realized that during backstage visits everyone wanted to see the horse. So it was an ‘a-ha’ moment of exploring the idea of having more horses on stage and at some point doing a horse show.”
Now, thirteen years and two shows later (the company’s second production is titled Odysseo), Cavalia has astounded audiences worldwide with its magical portrayal of one of the oldest relationships known to exist – that between man and horse.
“Whatever culture you’re from, horses have helped us throughout history – to explore and in our day-to-day work, so there is a natural admiration for the horse,” Mathieu claims. “The show is made up of beautiful images and special scenes constructed around this relationship. For example, you’ll see horses in liberty – without saddle or attachment – a trainer on the ground sending vocal commands, and the horse’s reaction. You’ll see a friendship.”
With a cast of 40 artists and five musicians, Cavalia is a theatrical spectacle. But the show revolves around its equine performers, which can lead to some unpredictability. Mathieu assures us that, unlike other strictly controlled shows, spontaneity is welcomed: “If a horse decides not to listen to a command, we don’t force him into doing something, because that would suppress the spirit of the horse. It’s a playground, it’s meant to be fun for the horses to perform with our artists.
“Making sure we keep the horses happy is one of our biggest challenges,” he continues. “We have our own recipe for this and it’s very simple: love, respect and patience.”
The show is performed under two pitched tents, collectively known as ‘Big White Top’. Created specifically for the show, the temporary structure encompasses over 2,440 square meters and is shaped like a white castle.
“We don’t set up a show, we set up a village,” Mathieu jokes, citing the 120 permanent staff, 100 trucks, and 40 horses required.
It’s a mammoth operation, but one that has the capacity to delight and alter perspective. “We’ve had marriage proposals and people who cry during the show, as well as letters from children afterwards,” Mathieu shares. “The crazy part is that my father was not a horse person, he was raised in the city, so it’s a show designed by a ‘non-horse’ person, with the aid of professionals who have made sure the quality and presentation of the show is accurate. The person who loves horses will enjoy the show, and the person who doesn’t really know much about horses will still come out of it being entertained and wanting to know more about these animals. It’s a general public show, rather than a horse-lover’s show.”
The beauty of Cavalia must be seen to be believed. Fortunately, this is only the beginning, as Mathieu hopes the show will be able to tour China for some time yet.
“We could stay [in China] for many years, as long as people welcome us with arms open. We are very excited to present this show to Beijing audiences. I have to say the cast and crew have been enjoying the city a lot so far. It’s nice; there’s culture and good places to visit.”
Mathieu ends positively: “I think the show will do well and as we are happy here, you know that’s a good thing.”
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