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    Calling All Goddesses

    5 reasons why Cirque du Soleil's newest show is unlike any you've seen before

    CultureMap Create
    Nov 13, 2018 | 11:30 am

    For more than 30 years, Cirque du Soleil has been wowing audiences all over the world with its dazzling live shows. Featuring amazing performers who defy gravity with their acrobatic acts and musicians who play the original scores live, the experience is unlike any other form of entertainment.

    The latest Cirque du Soleil show, Amaluna, is bringing its blue-and-yellow-striped Big Top to Lone Star Park at Grand Prairie beginning January 23, 2019.

    The audience is invited to a mysterious island governed by goddesses and guided by the cycles of the moon. Their queen, Prospera, directs her daughter's coming-of-age ceremony in a rite that honors femininity, renewal, rebirth, and balance. In the wake of a storm caused by Prospera, a group of young men lands on the island, triggering an epic, emotional love story between Prospera's daughter Miranda and a brave young suitor named Romeo. But the couple must face numerous trials and overcome daunting setbacks before they can achieve harmony.

    Even if you've been lucky enough to witness a Cirque show before, here are five reasons why Amaluna is unlike anything you've ever seen before.

    1. The women are the stars
    Not only is Amaluna's storyline focused on females, the cast is comprised mostly of women. "I didn't want to build a 'women's agenda' show. I wanted to create a show with women at the center of it, something that had a hidden story that featured women as the heroines," says director Diane Paulus.

    2. They're in charge offstage too
    Amaluna is the first Cirque du Soleil show to be directed by a woman. Diane Paulus, the Tony-winning theater and opera director, drew from a series of classical influences when creating the concept of the show, including tales from Greek and Norse mythology, Mozart's The Magic Flute, and Shakespeare's The Tempest.

    3. Women also run the music
    Cirque du Soleil shows are known for their incredible scores and live musicians, and Amaluna is the first time the company has employed an all-female band.

    4. The show's title has a hidden meaning
    "Amaluna" is a fusion of the words "ama," which refers to "mother" in many languages, and "luna," which means "moon," a symbol of femininity. Together, the word evokes both the mother-daughter relationship and the idea of goddess and protector of the planet. Amaluna is also the name of the mysterious island where the show's story unfolds.

    5. There are two brand-new acts
    Jaw-dropping feats of physicality are what make Cirque shows so unique, and this one is no exception. Amaluna boasts not one, but two, new acts: the Waterbowl and the Balance Goddess.

    The Waterbowl is a pool that's more than 7 feet in diameter and weighs 5,500 pounds when filled. It's where Miranda and Romeo tentatively kiss for the first time, after Romeo watches Miranda perform a challenging hand-balancing routine before diving through the water.

    The Balance Goddess is shown creating a world in equilibrium with a mobile made of 13 palm leaf ribs. An ode to balance, her movements are slow, deliberate, and almost meditative as she concentrates all her attention on this literally breathtaking structure. And then she removes the smallest piece, everything disintegrates and the young couple's trials begin.

    ---

    Take advantage of 15 percent off select tickets, categories 1-2-3 for all weekday and Friday 4:30 pm shows.

    Amaluna is the first female-driven Cirque du Soleil show.

    Cirque Du Soleil Amaluna
      
    Photo by Markus Moellenberg
    Amaluna is the first female-driven Cirque du Soleil show.
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    Movie Review

    Stephen King film adaptation The Life of Chuck aims for the heart

    Alex Bentley
    Jun 13, 2025 | 1:20 pm
    Tom Hiddleston in The Life of Chuck
    Photo courtesy of NEON
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    Just like actors, once a filmmaker becomes known for a certain genre, it can be difficult to escape that pigeonholing. Writer/director Mike Flanagan has worked for 20 years in both film and television, and literally every project he’s done has been related to horror. He’s finally breaking out with The Life of Chuck, which is ironically based on a short story of the same name by Stephen King.

    Told in three chapters in reverse order, the film is almost impossible to describe without giving away its magic. The first section centers on Marty (Chiwetel Ejiofor), a teacher grappling, like everyone around him, with what seems to be the world falling apart. He’s comforted to a degree by reuniting with his ex-wife, Felicia (Karen Gillan), but is also baffled by multiple ads touting the retirement of Charles “Chuck” Krantz (Tom Hiddleston) after “39 great years.”

    The second section consists of little more than a slightly younger Chuck happening upon Taylor (The Pocket Queen), a drummer busking on a street corner, giving Chuck and a younger woman, Janice (Annalise Basso), the inspiration to start dancing. The final section goes back to the childhood of Chuck (Benjamin Pajak), where he’s raised by his grandparents (Mark Hamill and Mia Sara), discovers dance as an outlet, and wonders about various small mysteries.

    Flanagan finds a way to deliver a lot of story with relatively little effort. Using a wry narrator (Nick Offerman), a limited number of locations, and a series of great small performances, he creates an intriguing premise with few straightforward answers. The structure of the film is designed to confuse the viewer until just the right moment, and the revelation forces you to reexamine everything that came before.

    The biggest accomplishment by Flanagan is making what are essentially three short films and having each of them resonate equally. The film contains elements of science fiction, although the first section may hit a bit too close to home for some of those watching. All three sections, though, have a heartwarming bent to them that sells their central idea without becoming overly saccharine.

    To do so, each of the characters have to connect in a short amount of time. The casting of the film is crucial, and not only does that department succeed with the main roles, but a series of small roles are filled expertly as well. Carl Lumbly as a funeral home owner, David Dastmalchian and Harvey Guillen as parents of students, Matthew Lillard as Marty’s neighbor, Q’orianka Kilcher as Chuck’s wife, and Jacob Tremblay as a teenage Chuck are just a few of the recognizable actors that do yeoman’s work in their brief time on screen.

    Hiddleston is only prominently featured in the second chapter, but his performance there and in small glimpses throughout makes a big impression. Ejiofor is given the star turn in the first chapter and he absolutely kills, both in moments by himself and in scenes with Gillan, with whom he has great chemistry. Hamill, making a rare non-voiceover appearance outside of the Star Wars universe, and Sara, in her first notable role in 11 years, are also very memorable in the final chapter.

    The Life of Chuck is a film that’s filled with emotion, but the full impact of the story is not felt until the final moments. It has a mysterious journey that is initially frustrating, but the performances keep the film going until it gets to its satisfying payoff.

    ---

    The Life of Chuck is now playing in theaters.

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