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Cavalia is a heart pounding and breathtaking performance that is a show for all the senses, but especially the imagination.
Created by Normand Latourelle, one of the founders of the brilliant Cirque du Soleil and directed by Érick Villeneuve, Cavalia brings audiences a multimedia performance that uniquely explores the bond between horses and humans. Even the stage is set more for something like an Opera or ballet performance than one with running horses.
Frederic Pignon and Magali Delgado are the Equestrian Co-Directors of the production. The troupe consists of 47 horses, and over 30 human performers and live musicians. Even though Lusitanos and Quarter Horses were primarily used in the performance, a range of other breeds are in the cast as well, including. Paints, Arabians, Andalusians, Percherons, Belgians, warmbloods, Appaloosas and Spanish breeds. Over half of the horses are stallions and the rest are geldings.
The opening act of the performance gave a peak into what the rest of the afternoon would be like, as three yearling colts came running out on stage only to proceed to play with the toys neatly arranged at their feet.
Perhaps one of the most exceptional ‘props’ in the shows was the use of the technological aspects. The special effects, lighting, screens, use of water and predominatly the ever-changing backdrop were nothing less than spectacular. For each act that was up, a mood was created with these effects that captivated the audiences’ every stare. Each act and each scene took you to another time and a different place.
Intermixed with the performance of the equines, were their two-legged counterparts. Latourelle and his co-directors did a brilliant job of mingling the human acrobatic routines, reminiscent of the Cirque du Soleil, with the equestrians.
Many of the performances were at liberty, where the horse is controlled only by the voice and hand movements of the trainer. The most impressive part of these routines was the connection between the horse and person. All in what often resembled a dance like play. Horses merely ran off stage when their act was up.
Cavalia had its fair share of amusing acts, too. Toward the start of the performance, the routine showcased a single horse and man in the amusing battle of wits. While he balanced and rolled on a large ball, the equine proceeded to taunt and stick his tongue out at his human counter part. Another example of the vast diversity in the acts in Cavalia were in those that followed next.
Equestrian vaulters leapt atop and off their horses while the acrobatic troupe preformed.
Choreographer Alain Gauthier was magnificent in his work with such acts as Incredible Flights. Two horses, paired with two rides each, walked unto the stage and began a routine set to haunting and melodical music. As the performance continued, each of the female riders was lifted up from her horse and began what seemedlike an aerobatic dance while flying with their horse and rider. Far beyond incredible, it was alluring and hypnotic.
The show moved on to some heart-pounding action where the performers raced around the stage and jumped over logs. The only difference herewas that the people were no longer riding the horses; they were standing on them, two, even four horses per person.
In what is titled “Hypnotic Dreamscapes,” six horse-and-rider pairs moved in perfect unison in this precision riding. This routine gave simple movements of side-passing and interweaving art almost myth-like quality.
Expect the unexpected. That is what Cavalia seemed to be saying throughout the show. And nowhere was that more obvious than in the western-themed act. Trick riders from by-gone Western eras flew on and off stage performing their stunts. Sometimes up to six in a row, other times several coming from each side of the stage.
The climax of the show came after this routine, whengalloping trick riders, several acrobats on ropes from the ceiling and on balancing poles, and riders jumping over poles all occupied the stage at the same time.
For the last act of Cavalia, in one of his many performances, Pignon had a single horse at liberty. He was greeted with a kiss by his equine partner. In the most personal act that afternoon, Pignon had his horse stand at the barrier between the audiences, even waving to the crowd.
Then they were accompanied by two more horses on stage. Listening to his every command and moving in complete partnership, the three horses traveled across the stage in absolute freedom. One by one he had them all lay down (with the minor exception of the one who did not want to stay down, opposed to the one who did not want to rise). When finally rising from what seemed to be an afternoon nap, the three took a final bow together before exiting the stage, again at a total gallop.
Cavalia is a must-see for anyone who appreciates horses and the one-of-a-kind bond people get to share with them. It is an extravagant and imaginative performance that you will not want to end. | 
