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Chandelier Merriam Webster
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What do you call a person who makes chandeliers? October 24, 2005 SubscribeSet in the glamorous days of Hollywood in the early 1900s, Paramour is Cirque du Soleil’s first foray onto Broadway — a steamy love triangle interwoven with signature acrobatics that are a sight to behold. Director and choreographer Philippe Decoufle’s Paramour is a classic tale of forlorn love, musical score, camerawork and mesmerizing stunts, all of which delight for more reason than one, or two or three — in fact, here are ten reasons to see Paramour this season. In the Broadway production of The Phantom of the Opera, a spectacular, glaring chandelier famously falls from the ceiling to swing out over the audience at the culmination of act one. In Cirque du Soleil Paramour, this chandelier moment takes the form of aerial acrobatic artists, Andrew and Kevin Atherton. In act one, the Atherton twins soar above the gaping audience, implementing death- and gravity-defying stunts in the open space above the stage, simultaneously thrilling and terrifying the crowds.
Romance fills the air at the Lyric Theatre in this new Cirque du Soleil show. The very word “paramour” is defined by the Merriam-Webster dictionary as “a person with whom someone is having a romantic or sexual relationship, and especially a secret or improper relationship.” The allure of a romantic love triangle between a poet, a director and a glamorous actress is intoxicating, offering the perfect backdrop for a romantic date night in Manhattan.
chandelier jlb Act one of Paramour features a series of awe-inspiring, quick costume changes.
chandelier plugin for dialuxLead actress Ruby Lewis transforms herself before the audience’s eyes as she throws off a dress in favor of an accented hat or timely accessory.
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As leading lady Indigo, Lewis assumes the role of a theatrical chameleon, mastering the ability to transition from one role to the next. To the untrained ear, actress Ruby Lewis merely belts and croons in key in Paramour. The trained viewer, however, will discover that Lewis’ vocals actually mimic the more guttural, sultry vocals of the actresses of the early- to mid-1900s. Lewis enraptures in her Broadway debut, showcasing that talent need not bear a known name to impress. Though trap doors and cabled harnesses are employed as in other Broadway productions, Paramour opens a new door in the realm of visual Broadway musicals with the use of high-tech screens that stream live footage onstage and — yes — aerial drones dancing in the air above the actors. The physical sets transport the viewers through the stages of a classic Hollywood movie, reminiscent of the Walt Disney World attraction, the Great Movie Ride. From a mystic Cleopatra-esque backdrop to a staircase modeling the “singular sensation” of the Broadway musical, A Chorus Line, Paramour pushes the confines of the average musical.
Take the Hollywood camerawork of Cloverfield, remove the life-threatening creatures, add a hint of musical theater, and this is Paramour. In this newfound Cirque du Soleil invention, several cameramen and women hide throughout the set pieces in inconspicuous, period-appropriate costumes in order to record and stream this footage that streams on massive screens blanketing the Lyric Theatre. As the story progresses, the utilization of live camera feeds increases. With thirteen countries represented onstage at the Lyric Theatre, it’s no surprise to viewers that the onstage acrobats and performers of Paramour rank among the most talented in the world today. From the aerodynamic Atherton twins to the spunky, flipping floor acrobats, these actors consistently alter the audience’s perception of the limitations of the human body. Onstage, actors leap across building tops, flip off of massive set pieces — and even balance on the faces of their colleagues with seemingly nothing more than one bead of extorted perspiration.
Unpredictable use of visual technology By the end of the musical, the audience need not look at its Playbills for cast and creative information — they need only peer above at the projected screens to watch the information flit across a screen. In the 21st Century, this implementation of digital technology should come as no surprise to tech-savvy audience members, but — paradoxically — it does. Could this use of screen projections mark the end of the printed playbill? In a time when renewable resources and recycling constantly appear in the headline news, only time will tell. Gold beading, sleek leotards and neon gangster threads are merely a selection of the visually stunning pieces of clothing employed to bring Paramour to life. Costume designer, Philippe Guilottel, clearly spared no expense when outfitting this Cirque du Soleil production. With such an enormous cast on stage, the only negative aspect of the costuming for Paramour remains the audience member’s inability to view each outfit onstage at once.