25-05-2025
Defying gravity and death: Cirque du Soleil's chief show operations officer on bringing ‘Kooza' back to Hong Kong
Above An aerial silk performance at 'Kooza' (Photo: courtesy of Cirque du Soleil)
Among Cirque du Soleil's celebrated repertoire, Kooza holds a particularly cherished place for Fisher. 'It's our most circus of circuses,' he says, referring to how the show comprises classic acts by gold medal winners from the biggest circus festivals: highwire, aerial silk performances, duo unicycling, the wheel of death, teeterboard, contortion, chair balancing and more. 'It has traditional circus that keeps you on the edge of your seat. I was an acrobat in my younger years, so I'm partial to those acrobatic elements that Kooza has.'
This is a far cry from the family circuses in the US that he was part of in his earlier years. 'Circus was lions and tigers and bears and spit and sawdust,' he says. 'Cirque du Soleil reinvented the circus to be theatre, dance, music and everything that goes along with it. It created its own thing; the 'cirque' is now a thing.' While many companies attempt their brand of 'cirque' productions, Cirque du Soleil stays ahead of the game by raising the bar of their incredible human performances and creating original shows.
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Above A contortion performance at 'Kooza' (Photo: courtesy of Cirque du Soleil)
The current Hong Kong engagement of Kooza introduces captivating new elements. While the awe-inspiring acrobatics remain, the production features three new clowns with refreshed routines, a new hula hoop artist seamlessly incorporating contortion and dance, and a powerful aerial act from Japan that embodies what Fisher describes as 'real strong girl power'.
All these elements come together to tell 'an incredible story of a child who is drawn into an imaginary world that's full of these incredible characters who do all these amazing things,' he says, adding that one of the charming aspects of Kooza is how it brings everyone together in a moment of wonder. 'The production doesn't have a rigid storyline. Rather, it creates worlds for individual interpretation,' he says. 'Whatever you interpret for you is right; whatever I interpret for me is also right.'
Above 'Double Highwire' at 'Kooza' (Photo: courtesy of Cirque du Soleil)
Amy Lo, the chairman of UBS global wealth management Asia and head and chief executive of UBS Hong Kong, which is the title sponsor for Cirque du Soleil, articulates her immense enthusiasm for the show's arrival. 'We've been working with Cirque du Soleil for several years, but because of the pandemic, they weren't able to come,' she says. 'Now, it will bring the joy back to our clients and also to the community.'
Lo believes that a spectacle of Kooza 's calibre can impart considerable cultural and artistic resonance within the city, drawing both international visitors and local aficionados. She further highlights that Cirque du Soleil distinguishes itself among other cultural initiatives sponsored by UBS due to its unique entertainment style. Having previously captivated over a million guests worldwide in past engagements, Cirque du Soleil's return is warmly welcomed by many who have experienced its magic in other global cities. Lo, who is witnessing the show for the first time, expresses her admiration for Cirque du Soleil's ability to perfect the 'art of performance'.
Above Middle: Duncan Fisher and Amy Lo (Photo: courtesy of Cirque du Soleil)
Looking ahead, Fisher confidently affirms that while new technologies will be embraced to enhance performances, the fundamental essence of human performance will always remain paramount. He recalls a compelling conversation with Avatar (2009) and Titanic (1997) director James Cameron, who attended one of Cirque du Soleil's shows in Los Angeles. '[Cameron] said to me, 'I love what I do. I make these movies with these incredible technologies, but I have no idea what technology I'll be using five years from now, because it evolves so quickly. But 1,000 years from now, I could come and watch your show and still be amazed because of the incredible human performance that people come to see.''
'People don't come to see us for the lights, the screens, the augmented reality and the VR. They come to see the guy on the wheel of death, whom they think is gonna die. We will embrace new technology, and we will use it, but we're never going to get away from the fact that we are going to present incredible human performance.'
