Ice that warms

The cast members of Sergei Ryzhkov’s “Moscow Circus on Ice” are between the ages of 16 and 30. The budget is fantastic: six million dollars and the show’s creator says it is unmatched in the world.

Let me warn those expecting to see “cows on ice” that there are no trained animals involved. The production team’s stand is unequivocal: whereas an actor can quit when he has had enough, poor little bears and monkeys have no say. However, the absence of that animals that are so beloved by children is compensated by a great many extraterrestrial creatures. The bright, colorful costumes defy the richest imagination: magic birds, aliens, passionate witches, even an unidentifiable green creature with a huge belly that occasionally jumps around in the ring.

The first act consists of numbers that are practically unconnected to each other. “It’s a divertissement that takes the audience members to the circus world and shows them what it’s all about,” says Ryzhkov. However, considering that the second act is a proper ice show, the first act serves as an interlude. Kind-hearted clowns empty buckets of sparkling confetti, a merry Don Quixote catches plates that fly from the hands of the beautiful Dulcinea, fearless trapeze artists balance at a dizzy altitude, funny aliens fly to the roof on colorful stoles, and charming maidens ride on unicycles with their brave companions. At the sight of all this the children in the audience sit with their mouths wide open with excitement. You will agree, however, that an interlude lasting an hour and a half is too much even for an adult, let alone children. But this part of the program is the easiest for children to understand simply because the next act must be taking place in hell. The children become frightened and cry at the sight of huge black ravens and terrible, vicious demons with chained hands. The second act is meant for viewers older than kindergarten age.

Unfortunately, the sound and lighting are obviously below the modern technological level. Despite these shortcomings, we watched a show marked by captivating professionalism, strength, and beauty. A gorgeous witch sitting atop a huge blazing wineglass is the mistress of the ice ball. Her servants are muscled, handsome men sporting black bandanas, and their charming, lithe companions circle the ring in a dance of dazzling speed. They are prepared to do anything for their mistress and try to outdo each other with their agility and skills, including taking breathtaking jumps from the trampoline and doing double somersaults-while wearing skates.

Traditional circus numbers woven into the fabric of the plot turned into a completely new spectacle. It is hard to imagine the technique it takes to twirl fifteen hula-hoops and dance on skates at the same time.

Of course, some magic was used. A witch clad in a scarlet cloak sat grandly in midair as though on a throne, her legs crossed in an authoritative yet very feminine manner, looking down at the audience spitefully, as though asking: “Can you do this?”

The prisoner, a real prince charming who personifies goodness, flees his captivity and flies up to the sky — to the circus dome, that is — to thunderous applause. The finale is impressive, although the audience never actually saw the real finale the day I was there. Some of the auxiliary circus staff made a mistake and the act had to be cut short — in midair — although hardly anyone noticed, since good overcame evil anyway.

Watching this program, you begin to realize that there is a kind of ice that can make you feel warm.