The biggest problem with doing a show based on Elvis Presley’s life is that he became larger than life (no, that’s not a “Fat Elvis” joke); a legend that nothing could ever live up to, then sadly — a parody, a stereotype.
How, then, to get around that problem to produce something that is not parody? Something that honors the King’s life and legacy without turning into a caricature? For the folks at Cirque du Soleil’s “Viva Elvis,” the answer was simple. And brilliant: Don’t try.
No, you’ll see no “Elvis Impersonators” during the performance (the big closing number notwithstanding, sort of). For the most part, “Viva Elvis” lets the King speak (well, sing) for himself, in audio and video clips that are often turned into duets with live performers. When Elvis doesn’t sing, the songs are inspired and innovative re-imaginings of classic songs sung without a hint of a lip curl or trademark slur by female singers. When Elvis “appears” on stage, it is in an almost generic sense—as a placeholder: a young GI in uniform; two young men in t-shirts and jeans representing Elvis and his twin brother Jesse, who died at birth (in a sweet and touching nod to the feelings of loss and guilt Elvis carried with him throughout his life.)
“Viva Elvis” is an unconventional Cirque show, which oddly makes it seem more of a traditional Vegas show. The set is traditional: a large stage in the front of the theater, complete with big red velvet curtains. The acrobatics are there, but take a back seat to more conventional choreography. The music is there too, but so is a narrative, delivered by the character of Elvis’ longtime manager, Colonel Tom Parker.
Given all this, it seems no wonder that “Viva Elvis” seems to have sparked more controversy that most Cirque shows in recent memory, almost polarizing its fans—and Elvis’, for that matter. Bizarrely, though, the camps don’t seem to come together in any consistent way—with fans of all sorts in the both the “loved it” and “hated it” camps.
The show takes the form of a loose recap of the King’s life: his early years, his induction in the Army, his return and emergence as a Hollywood star and finally his establishment as the ultimate Vegas entertainer. Happily (for this is not a documentary), the show skips Elvis’ tragic downfall into excess in favor of ending on a high note with a lavish, classic Vegas showstopper, replete with showgirls with big headdresses and and chorus of jumpsuitted Elvii.
In between, we are treated to some phenomenal numbers and energetic acrobatic sequences, including the most “Cirque-like” performance of the show, a superhero-themed, gravity-defying trampoline scene, ostensibly based on Elvis’ love of comic books. Other highlights included a touching version of “All Shook Up” as a gospel song; a delightfully done “Return to Sender” that would be enough reason on its own to buy the show’s soundtrack (sadly, it’s not included on it); a whimsical and incredible demonstration of old-fashioned rodeo roping (believe it or not); and an updated and expanded recreation of Elvis’ famous Jailhouse Rock scene from the eponymous film.
It’s a testament to the enduring appeal of Elvis that in many of the sequences that featured him singing on a large video screen behind the set, I kept finding my eyes drawn to him even over the dancing and acrobatics taking place on stage. Such is till the power of the King.
“Viva Elvis” is a playful, joyful tribute to the King that deftly uses new arrangements to avoid clichés, and in turn embraces enough of the “kitch” of the times to make it a wildly entertaining delight, and as Elvis himself would surely appreciate, a veritable spectacle.
In short: It’s a hunka hunka burnin’ fun.
