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Zumanity
Zumanity
Logo for Cirque du Soleil's Zumanity
CompanyCirque du Soleil
GenreContemporary circus
Show typeResident show
Date of premiere20 September 2003 (2003-09-20)
Final show14 March 2020 (2020-03-14)
LocationNew York-New York Hotel & Casino, Las Vegas
Creative team
Creative GuidesGuy Laliberté (founder), Jean-François Bouchard (CCO of refresh)
Writers and DirectorsRené Richard Cyr and Dominic Champagne
Director of CreationsAndrew Watson, Gilles Ste-Croix (new staging)
Creator and Costume DesignerThierry Mugler
Set DesignerStéphane Roy
Composer and Musical DirectorSimon Carpentier
ChoreographersDebra Brown, Marguerite Derricks, Dave St-Pierre (new staging), Yanis Marshall (refresh), Patrick King (2Men/specific acts), Stéphan Choinière & Sara Joel (body2body/body2body 2.0), Dwight Rhoden (specific acts), Philip Sahagun (Knife/2Men with ninjas)
Lighting DesignerLuc Lafortune
Sound DesignerJonathan Deans
Comedic DirectorsCal McCrystal, Spymonkey (specific acts), Wayne Hronek (new staging), Shannan Calcutt (Scotch Baggies/specific acts)
Make-up DesignerNathalie Gagné
Photographer and Production Image DesignersNatacha Merritt, Keith Sadowski (refresh), Jorde Salomone (refresh), Peter Thompson (refresh)
Acrobatic Equipment and Rigging DesignerJaque Paquin
Props DesignerNormand Blais
Additional Lyrics and ScriptingAnna Liani, Robbie Dillon, Armand Thomas, Joey Arias, Christopher Kenney, Jamie Morris
Other information
Preceded byVarekai (2002)
Succeeded byKà (2005)
Official website

Zumanity (zoo-manity) was a resident cabaret-style show by Cirque du Soleil at the New York-New York Hotel and Casino on the Las Vegas Strip, in the theatre previously occupied by Michael Flatley's Lord of the Dance (musical). The production was unveiled on September 20, 2003 (previews started on August 14, 2003) and had its last performance on March 14, 2020. It was announced on November 16, 2020 that the show would be closing permanently. It is the first "adult-themed" Cirque du Soleil show, billed as "the sensual side of Cirque du Soleil" or "another side of Cirque du Soleil". Created by René Richard Cyr and Dominic Champagne, Zumanity is a departure from the standard Cirque format. Intended for mature adult audiences only, it was centered on erotic song, dance, acrobatics, and comedy.[1]

The inspiration for Zumanity came from multiple sources. Cirque du Soleil founder Guy Laliberté was offered the chance to create two new shows in Las Vegas, and wanted something completely new and original rather than multiple similar shows that would cannibalize off of each other's sales and audiences. Another reason was that the New York-New York Hotel and Casino wanted to make their entertainment appear more "trendy", and liked the concept of a more adult Cirque du Soleil performance.[1]

Laliberté admits that the biggest reason to produce Zumanity was the opportunity to create something with edgier subject matter. He was interested in the idea of creating a show that explored human sexuality something at complete odds with the other, more family-oriented Cirque du Soleil shows. "Our previous shows have all been family-oriented and politically correct, which is great," Laliberté said, "but we're human beings, we won't hide it. We're a bunch of happy campers. We like to live new experiences. Zumanity deals with some of those experiences."[1]

On February 22, 2022, Cirque du Soleil announced that a new show, Mad Apple, would replace the Zumanity show at New York-New York Hotel and Casino, which opened on May 26, 2022.

Costumes

[edit]
Zumanity float at the 2012 San Francisco Pride parade.

Thierry Mugler designed the costumes for Zumanity; he created the costumes to enhance the sensual atmosphere and heightened sexuality of the production. Many of the costumes are highly colorful, yet some are minimal to an extreme. Fur, feathers, leather, lace, fishnet stockings, velvet dresses, tiny corsets, cone bras, and plastic accessories were primary materials utilized to create the costumes' provocative appeal. Jonel's costume, for example, is made of stretch vinyl and is airbrushed to create a semi-nude effect; her bright red wig is made of expanded foam. Faun has fur on his pants made of toothbrush bristles, human hair, and yak fur. Molinier's long velvet dress was created by using a stencil and net onto which black silicone was applied. Though some characters are made to look entirely nude, the sex organs are fake pieces. Zumanity had Cirque's most expensive and elaborate costumes, the Rose Boy's g-string alone costing $75,000.

For a great selection of character costumes and concept art, see Le Grand Chapiteau - Zumanity - Personages

The Human Zoo

[edit]

The lobby was designed in European style, with an emphasis on curves. A long lighting fixture on the ceiling appeared to be made of strips of golden silk. One wall was lined with what appeared to be a burgundy, padded headboard, along which were peepholes that originally were conceived to show clips of erotic vintage films, but eventually showed promotional posters of the show. There was a large window filled with blue swirls, and a glowing, golden fixture in the wall that appeared to resemble labia. Another framed window appearing to feature branches or vines showcased the "Amsterdam Room," which had a performer in it, dancing and teasing the guests in the lobby to whom patrons could talk via a phone built into the wall. The lamps were elegant and attached to the wall by arms that appeared porous. There was a small nook with a couch you could lie on, usually with a performer. The grand staircase leading to the balconies also appeared to be made of vines, or even nerves, possibly symbolizing the sense of touch.

The theatre had 3 bars, or Eroticafés -- two on the ground floor, and one upstairs -- serving sushi and various drinks, the signature being the Zumanitini: 1 oz. Vodka Citron, 1/2 oz. Cherry Pucker, and a splash of Triple Sec, Sweet and Sour, and cranberry. Next to one bar was a small stage made up to look like a bedroom, where there was always a cast member beckoning to the guests from the bed. The restrooms were unique in that you would hear whispering and teasing in each stall. Unlike other shows, Zumanity had multiple performers roaming the lobby, always ready to playfully flirt and take photos.

Entering the theatre itself, you'd find yourself in a cabaret, smaller and more intimate than the other resident Cirque du Soleil Las Vegas shows. The stage appeared to be a marble parquet with elegant, red curtains and two spiral staircases on either side. Above the stage was a bridge from which the band played, that could move up and down. Many chandeliers hung around the stage, and the walls were lined with dimly lit lamps. The carpet featured naked women in a style resembling a Renaissance or Baroque painting. Around the back sides of the stage were barstools, and around the front circle of the stage were loveseats -- special options on top of the normal theatre seating.

When the curtains opened, a giant structure called "The Wave" was exposed. These were two massive, wavey screens whereon images could be projected. The screens could be moved into various positions.

The shop contained all sorts of novelties, from Zumanitini glasses to chocolate soap bars. Naturally, one could also find various adult-themed items.

The Show: 2003 - 2005

[edit]
  • Animation
    • "Through a series of scene transitions, this comedic quartet supplies the counterpoint to all that is erotic and provocative about ZUMANITY. In a show filled with serious sexual tension, Spymonkey is a reminder of the importance of having a laugh at ourselves and having fun in the bedroom!"[2]
      • Spymonkey was composed of Toby Park, Petra Massey, Aitor Basauri Barruetabena, and Stephan Kreiss
    • Eliot Douglass plays a jazzy cabaret tune on the piano as the Molinier stands by with a cigarette. Zumans descend the spiral staircases to walk among the audience, with some stripping on stage. Luciene and Licemar Medeiros, twin sisters in showy French maid outfits, brush up against audience members in the aisles as they feed them strawberries. Antonio Drija, Zumanity's resident Gigolo, flirts with audience members, passes out calling cards, and takes polaroids. The Puritans, Spymonkey dressed up as Quakers, take to the stage protesting the show's obscenities, while ironically being a bit sexual themselves.
  • Welcome, "Hello boys, hello girls"
    • "Half-lit cigarette, empty martini glass, all these chicks lined up in a row on a street with no name in a city that never sleeps."
    • The Puritans are booted off stage. Joey Arias, our "Mistress of Seduction" madame, emcee, and drag artist, sings a jazzy tune in her sensuous, smokey voice reminiscent of Billie Holiday. She then welcomes and warms the audience up for the coming show with laughs and very personal questions for the guests.
  • Warnings, "Rules of the House"
    • Lonnie Gordon, acclaimed dance, pop, and R&B singer, takes the stage, singing a song that highlights some things about the effects of the show that may surprise audiences, and what is prohibited. Eventually, Corinne Zarzour, Zumanity's rock diva, would join her.
  • Extravaganza
    • “Blaring horns and hammering drums announce the beginning of the fanfare. One by one the cast makes its fashionable entrance, parading down the catwalk in costumes every bit as vibrant, bold, and diverse as their spectrum of talents and personalities. It’s an incandescent introduction to the colorful cast of performers who will guide the audience on their journey into the world of ZUMANITY.”[2]
  • Wind and Wassa
    • "We summon the spirits of passion and hope."
    • "All at once a storm sweeps over the stage as Marcela [de la Vega Luna], Queen of the Wind, summons the spirits in a fevered flamenco dance. With smoldering intensity, her hypnotic trance stirs the soul, arouses the imagination and prepares the senses for an uninhibited transformation."[2]
    • "Marcela awakens the unbridled passion in Wassa [Coulibaly]. Exploding into a vigorous African dance, her arms, legs and torso take on a primal energy of their own, flying erratically and erotically in rhythm to the intoxicating tribal pulse."[2]
  • Water Bowl
    • "Do you remember that first hint of something delicious and strange? Of water on parched lips? Or that very first glass of champagne? Do you remember how, in one magical moment, everything changed?"
    • "Abandoning their innocence, contortionists Gyula [Gyulnara Karaeva] and Bolormaa [Zorigtkhuyag] bathe in inhibition and taste love for the first time. Fluidly they glide through the water striking a sensual array of inconceivable poses to explore the limits of physicality, sexuality and creativity all at once."[2]
    • Cirque's Amaluna would also showcase a water bowl act years later in 2012.
  • Hoops
    • "Oh, innocence: so fleeting, so fragile. One day the sweet young thing, the next thing you know, you're soaking wet and lying naked in a hotel room in Vegas. Story of my life: 'what goes around, comes around.'"
    • "Julia [Kolosova] brings to life the school girl fantasy. She gyrates and swivels as she guides her hoops up and down her lithe frame, ultimately engulfing her body. Then, without warning, the dream takes flight as she soars through the air performing daring feats of aerial choreography."[2]
    • Julia hula hooped in midair while swinging around the theatre.
  • The Rose Boy
    • "I've been looking at all these beautiful, sexy, wonderful women up on stage tonight, and I know some of you are wondering, 'Where's the beef?' Does anybody want some roses?"
    • "Alex [Castro] peels away the tough exterior to expose his weakness... for the ladies. He tantalizes and teases the audience by revealing his chiseled body bit by bit in a sinfully seductive striptease."[2]
  • Pom Poms
    • Spymonkey comes out entirely nude (the privates were prosthetics) and teases the audience by covering themselves only by pom poms, which they remove to give quick flashes of their bodies. At one point, one of the members crawls over the audience's seats with his privates getting entangled in guests' hair.
  • Body2Body
    • "These days I live for the elicit tingle of skin on skin, the taste of sweat, and the pungent scent of passion. How about you? Are there parts of your lover's body you've left unexplored, untouched, untasted? Well, my only question is, "What are you waiting for?'"
    • "Sara [Joel] and Stéphan [Choinière] entwine in a tantric, hand-balancing duet that underscores the beauty of sex. Featuring a breath-taking array of Kama Sutra-inspired maneuvers, their act portrays the discovery of a lover’s body with dramatic strength, flexibility and trust."[2]
    • The artists maneuver their bodies into various shapes, making living, human sculptures. Body2Body can be related to hand-2-hand, although it is done quite differently. The performers use their entire bodies to lift each other, and the act has high emphasis on choreography.
  • Expressions and Dislocation
    • Expressions: Interlude into Dislocation where the Fauna [Jesse Villa] breakdances on the stage to the percussion accompaniment of Larry Aberman.
    • Dislocation: "Limber Lothario, Moukhtar [Gusengadzhiev], performs on command for his sadomasochistic sirens, who derive pleasure from watching him squirm. Redefining flexibility, his elastic body bends, twists, and contorts into nature-defying positions that inspire both 'awes' and 'ows.'"[2]
  • Dance on TV
    • "Gorgeous good girl, Elena [Gatilova], breaks out of her shell to grab her lover’s attention. Turning up the heat on love gone flat, she ignites the scene with her feminine wiles, sultry gymnastics and dance to rekindle the flame and make her lover see her again as if for the very first time."[2]
    • This act features a television set in the middle of the stage, with multiple men watching the sports game playing on the set. Elena dances on the TV, trying to get their attention. Eventually she succeeds and the sports game turns to static. Zumanity's other female dances take the stage, and they all remove their tops and dance on chairs for the men.
  • 2Men
    • "Tumultuous lovers Patrick [King] and Johan [King Silverhult] tango in the throes of passion. Through their fierce choreography unfolds a love story between two deities, Love and War. Again and again they attract and repel in intense conflict until the magnetic energy between them becomes more than they can bear."[2]
    • Patrick and Johan perform a violent dance in a cage, symbolizing fighting. They are sparring over Marcela, who dances in the background in a flamenco dress, egging them on. As the fight goes on, it becomes softer and more sensual, and the brilliant red light behind Marcela starts to grow smaller. The fighters eventually lose all focus on Marcela, give one big, passionate kiss, and walk off the stage together, to Marcela's great dismay.
  • Revenge of the Doll
    • Spymonkey reappears to shed their sexual inhibitions. One of them carries a sex doll onto the stage, preparing to have fun with it. He is chased by a few of the others dressed as policemen. When he comes back out, the doll comes to life to hump the audience members and the cast. Originally, there was also a segment where Spymonkey used gags to mock some of the previous acts, much like in Cirque's Dralion.
  • Savage Love, Market, Fire, and Aerial Straps
    • "Are you still hiding from monsters under your bed? Skeletons in your closet? Follow me to a place where rules are broken and pleasure dances with pain. Just be careful what you ask for... you might just get exactly what you deserve."
    • Market, part 1: First, arabesque music plays as the Boteros juggle dildos, Zumans flail in chains, and Jonel Earl dances with a whip. The interlude resembles a sadomasochistic circus. This act originally contained 2 pythons, Adam and Yves, some of Cirque's only animals ever used in its shows. This interlude would remain in the show until its closing.
    • Fire: Fire was only in the show for a few weeks, but it featured Heidi Good and Jila Alaghamandan in very showy S&M leather outfits as they performed a fire dance. Androgynous Cape ["Almukatab" Jacobo Espina] also danced with one of the snakes. This act was removed from the show because Guy Laliberté, Cirque's founder, did not want a fire act in the show. The smoke left in the air after the act also made it difficult for the Straps artist to perform.
    • Savage Love: It is unknown when exactly this act was in the show, but it is believed to be either the replacement for Fire or a back-up act. This act featured Vanessa Convery and Ugo Mazin violently dancing in the 2Men cage. See reference for a video of the act.[3]
    • Market, part 2 (also called Inferno in press releases): "Pleasure dances with pain as ZUMANITY’s resident gigolo, Antonio [Drija], feels the wrath of the women [Jonel Earl, Laetitia Ray, Vanessa Convery, Sophie Ayache, and Agnès Roux] he has scorned. Captured by a militia of vixens in a barred prison cell he finds himself caught in the middle of rough-and-tumble romantic revenge."[2]
      • This act replaced either Fire or Savage Love, and was in the show until around 2005. There was also a version of it that used 7 men and 1 woman.
    • Straps: "Laurence [Jardin], alone on stage in fragile silence, is bound by her straps. An exercise in self-inflicted pleasure and pain, she uses the leather contraption to tease and torture herself. All the while she watches her bonds ease into auto-erotic aerial maneuvers. Scored by heavy breathing, gentle moans of ecstasy and the friction of her straps, Laurence’s self-satisfying bondage flight draws to a climactic finale."[2]
      • From 2005 and onwards, Market, referred to above as "part 1," would lead directly into straps.
  • S&M Hoedown
    • Spymonkey comes onstage dressed in S&M leather with various pain-inducing items. They do a hoedown dance while inflicting pain on themselves as a sexual stimulant.
  • Sheets and Tissus
    • Sheets: An opening interlude to Tissus, this is a short ballet where the dancers had silken, white sheets on their hands that they danced with.
    • Tissus: "Though he desperately tries to catch her attention, Alan [Jones Silva] passes unnoticed by the glamorous goddess Olga [Vershinina]. Finally, the once unattainable object of his affection is within arms reach as their two worlds entwine mid-flight in mesmerizing aerial dance."[2]
  • Midnight Bath
    • "Let your imagination have free reign[sic]. Let your fantasies take you to unexpected places."
    • "With the suggestion that you can’t keep love locked up in a bedroom, Vanessa [Convery] and Ugo [Mazin] give imagination free reign[sic and let fantasy take them to unexpected places. Using milk as their medium they caress each other’s flesh in this luscious lactic sexual experiment."[2]
      • As the name suggests, this act was performed in a bathtub in the middle of the stage. The act was opened by another jazz number from Joey Arias: "Touch me, hold me, never let me go."
  • Orgy, has been referred to in the show as Lazy Susan of Sex, Sex Station 69, Garden of Delights, and Zumanitarium
    • "The cast emerges from every orifice of the theatre in search of hedonistic prey. In duos, trios (and some flying solo), they assume a smörgåsbord of sexual positions on the Lazy Susan of Sex, where they touch, stroke, moan and embrace until the tension builds to an orgasmic conclusion."[2]
      • This is an audience participation segment. Antonio would lead two members of the audience onto the stage, usually one male and one female. Each would be given to a few of the cast members that would try to arouse them based on their sexual orientation. Antonio usually caressed and rubbed up against the female as the emcee would ask personal questions and make sexual innuendos. The emcee would then move on to the male and try to arouse him. If he was okay with it, his shirt and pants would be removed by the time the emcee got to him. Joey Arias would stick her microphone into his underwear and speak into it.
  • Pacemakers and Finale
    • "Bringing the show full circle, veteran cast members Birgit and Fleming [Thomsen] surprise the audience with an astonishing hand balancing adagio. Together they defy time and gravity with physical feats of strength, flexibility, and control. This real-life couple, married for over 48 years, is a testament to the enduring, everlasting nature of true love."[2]
    • Birgit and Fleming were sitting in the audience and brought on stage as "guests," when in reality they were cast members and would break into acrobatics.

The Show: 2005 - 2015

[edit]

There were various changes throughout 2005, from acts to costumes. The Body2Body artists left the show and the act was replaced by Hand-to-Hand. Spymonkey also left and the "Sexperts," Dick and Izzy, replaced them for the remainder of Zumanity's run. While Pom Poms stayed in the show through 2014 (and would feature Dick, Izzy, and the Boteros), all of the other clown acts were new. Pacemakers and Extravaganza would also be changed around 2006, when Extravaganza was moved to the end of the show and Pacemakers left permanently.

  • Dick and Izzy: "Zumanity’s resident sex therapists, Dick [Nicky Dewhurst] and Izzy [Shannan Calcutt] aim to please with their sexy and silly methods engaging the audience in a hilarious round of not-so-innocent repartee. The sexual tension runs high as Dick, a French sex merchant, peddles his wares, while Izzy, his wife!, searches the audience night after night for a boyfriend."[4]
    • Animation: Instead of the Puritans, Dick and Izzy come out dressed in 1950s-esque prom outfits. Both hit on various members of the audience and try to swing with the couples. They make sexual innuendos with bananas and fence with dildos.
    • Scotch Baggies!: Izzy pitches her new business - little plastic sandwich baggies that she fills with scotch (in reality, tea) to use instead of breast implants. She removes her top and has one of the male members from the audience hold the baggies to her breasts as she tapes them to herself. "You are not going to see this at the Celine Dion show."
    • Knives (possibly called Sex Toys): Volunteers from the audience is strapped to a board and blindfolded while tricked into thinking knives are being thrown at them.[5]
    • Vegas Hook-Up (also referred to as Express Dating): Audience members are once again brought on stage. Dick and Izzy explain that it's better to forget all of the normal wooing on a first date and go straight for the bedroom. They teach the audience members how to turn each other on. Then, they make them get onto a bed and ride each other as they sink into the stage and silly string shoots up.
  • Hand-2-Hand
    • "In an aggressive but intimate hand-balancing duet, [Joanie Leroux-Côté] and [Nicolas Alain Michel Besnard] entwine in a powerful act with breathtaking acrobatic-inspired manoeuvres. Their flawless movements thrust the two kindred spirits into a provocative tale of lust."[4]
  • I Like It
    • Back-up act where Joey Arias would sing another jazz song.
      • "Oh, What a Feelin" may have also been sung more than during Joey's final performance.
  • Mistress of Sensuality, Edie
    • "Part showgirl, part cabaret queen, Mistress of Sensuality Edie [Christopher Kenney] plays hostess to your every fantasy. As the sun sets and desires come alive, Edie uses her signature blend of sass and sensuality to guide the audience through the erotic escapades that make up the world of Zumanity."[4]
    • Joey Arias left the show at the end of 2007, and Edie became Zumanity's main emcee for the rest of the run.
  • Roue Cyr (Cyr Wheel)
    • "Jonas [Woolverton] is brought to the stage on his knees.  A slave to love and forced to perform for his Mistress, he spins and turns inside his wheel while she cracks her whip. He is eager to please, even donning a blindfold for some of his tricks. One can only hope the pleasure is worth the pain he receives..."[4]
  • Handbalancing
    • "Dima ["Shine" Bulkin] is alone, going in circles around his pole. He has just about given up on love when he meets a lovely contortionist who seems to fit into his world. She brings him back to earth in this beautiful act."[4]
  • Chains
    • "Brandon [Pereyda] brings fantasies to life. He flies and defies gravity on his chains. Dreams take flight as he soars through the air, performing daring feats of aerial athleticism choreography and strength."[4]
    • Though this act is associated with the refresh in 2015, Zumanity's 2012 b-roll shows this act being used. It was most likely a back-up or rotational act until it was made a main act in 2015.

The Refresh: 2015 - 2020

[edit]

On January 20, 2015, a refresh of the show was introduced to the public in which roughly 30% of the show was changed from its original concept.[6] Certain acts, including Hoops, Dance on TV, Pom Poms and Tissus (in its original form) were retired. Entirely new acts included chains, Aerial Dream, and Perfect Jam. Tissus was changed into a solo act and the Rose Boy evolved into Magnum, mostly the same routine but the dancer became a secret agent. Yanis Marshall choreographed new dance segments throughout the show, and there are multiple acts in which men dance in high heels (including Wind, Perfect Jam and for a short amount of time, the 2Men act). The show also features new and updated music, costumes, comedic acts, characters and artists.

  • Come Together
    • "All at once, a storm sweeps over the stage as three characters, Spirits of the Wind [Marie Ndutiye, Tiffany de Alba, Arnaud Boursain], summon passion, desire and lust in a fevered dance. With smouldering intensity, their hypnotic dance stirs the soul, arouses the imagination and prepares the senses for an uninhibited transformation."[4]
  • Magnum
    • "Look out, ladies, 'cuz here comes Magnum. He's an undercover agent, and it's no secret he's on a mission. Who's gonna share that special bond? Is it you? Catch him if you can."
    • "Magnum [Willie Hulett], our very special secret agent, peels away his tough exterior in a sensual mission for the ladies. He tantalizes and teases the audience by revealing his chiseled body bit by bit before showing off his secret weapon."[4]
  • Perfect Jam
    • "Let me entice you to unlock and unleash your inner diva."
    • "Gorgeous, and powerful, the dancers [Tiffany de Alba, Anouck Margueritte, Briana McKee, Marie Ndutiye, Kaitlyn Reese Davin, Leah Sykes-Hodgson, Monteece Taylor, Arnaud Boursain, Pepe Muñoz Martinez] invade the space to express and celebrate their female and male energy and unleash their inner diva. Turning up the heat, they ignite the stage performing a sultry and dynamic dance that will entice the imagination."[4]
  • Aerial Dream (also called M&M)
    • "Is there someone in your life that you lust for, long for, but the only safe place to rendezvous is in your dreams? You fall asleep and hope he's there again tonight. The best part? Nobody needs to know, not even the person right next to you, shhh..."
    • "One woman and one man [Marina Tomanova and Michael McNamara]. One bed. One airborne fantasy. She dreams about him, the intense secret object of her desires. They will meet and experience a magnificent, sensual and passionate performance. Dream or reality?"[4]
  • 2Men
    • "2 men in a cage [Arnaud Boursain, Pepe Muñoz Martinez]. Through their fierce choreography, a passionate story of impossible love and anger unfolds. Again and again, they attract and repel in intense conflict until the magnetic energy between them becomes more than they can bear."[4]
      • As previously stated, the big thing that changed about this act was that the men danced in bright red heels and in an entirely new form of dance.
      • This was eventually changed into a wushu (sport) act with ninjas [Philip Sahagun and Wes Scarpias].
  • Tissus 2.0
    • "Though he desperately tries to catch her attention, Alan [Jones Silva] remains unnoticed by Mariko [Muranaka], the musical muse whose beauty propels him to soar to new heights. Finally, the once-unattainable object of his affection is within arms’ reach, and their two worlds come together at the finale of this mesmerizing aerial dance."[4]
  • Body2Body 2.0
    • Used as a back-up for hand-2-hand, Stéphan Choinière returned to the show in 2017 and performed a new version of Body2Body with Tsvetelina Tabakova.
  • Solo Strap
    • A solo strap back-up act that was performed by Tsvetelina Tabakova from 2019 onwards.
  • Light
    • A comedic act with Dick and Izzy as they rave on the stage with one of the audience members.
  • Trapeze
    • Halfway around the world, his loved one is away. It's raining, and descending in his thoughts are the warmth of her love, the softness of her lips, the caress of her touch... It’s late, he’s restless and alone again tonight, and not knowing when they’ll be together again sends his emotions flying."
    • Arthur Morel van Hyfte's act in 2017. This used the bed and music from Aerial Dream and replaced the act for awhile.

Emcees

[edit]
  • Main emcees
    • Mistress of Seduction, Joey Arias: August 14, 2003 to December 31, 2007
    • Raven O: August 14, 2003 to December 31, 2006
    • Mistress of Sensuality, Edie [Christopher Kenney]: Jan 1, 2008 to March 14, 2020
  • Understudy emcees
    • Queen of Québec, Vanessa Convery: back-up for an unknown time, but she was in the show from August 14, 2003 to January 3, 2014
    • Señorita Extravaganza, Antonio Drija: back-up for an unknown time, but he was in the show from August 14, 2003 to January 3, 2014
    • AXLE Beaurouge [Brandon Pereyda]: May 1, 2017 to March 14, 2020
    • Pepe Muñoz Martinez: roughly 2014 to 2016
    • Pulga, Alan Jones Silva: July 18, 2016 to March 14, 2020
  • Guest emcee
  • NeNe Leakes: June 27, 2014 to July 01, 2014

Characters

[edit]
  • Mistress of Seduction/Mitzi la Bouche/Mitzi la Gaine/Mistress of Ceremonies - Joey Arias
  • Mistress of Sensuality, Edie - Christopher Kenney
  • Pulga - Alan Jones Silva as emcee
  • AXLE Beaurouge - Brandon Pereyda as emcee
  • Queen of Québec - Vanessa Convery as emcee
  • Señorita Extravaganza - Antonio Drija as emcee
  • Wind/La Muerte - Marcela de la Vega Luna
  • Dick and Izzy/The Sexperts - Nicky Dewhurst and Shannan Calcutt
  • Afrique/African Queen - Wassa Coulibaly
  • Ginger - Shereen Hickman as clown understudy to Izzy
  • Jane - clown understudy to Izzy
  • Jessica - Laetitia Dewhurst as clown understudy to Izzy
  • Rose Boy - Alex Castro
  • Spider Shadow[7] - Dima "Shine" Bulkin
  • Magnum - Willie Hulett
  • Blue Robotica - Mariko Muranaka
  • Biker - Brandon Pereyda
  • Fauna - Jesus Villa
  • Athon and Arno Extravaganza/The Gods of Love and War - Patrick King (Athon) and Johan King-Silverhult (Arno)
  • Molinier (see Pierre Molinier) - Jonel Earl
  • Botero Sisters - Licemar and Luciene Medeiros
  • Casanova/Gigolo/El Siete - Antonio Drija
  • Miss Salsa[7] - Agnès Roux
  • Mec Branché[7] - Ugo Mazin
  • Mademoiselle Loup/Blue Blade - Laurence Jardin
  • Dominatrix - Jonel Earl
  • Ballerine[7] - Sophie Ayache
  • Comet - Stéphan Choinière (originally called Ultraman during creation, after the Japanese super hero)
  • Romantique/Vixen Vanessa/Diamond Girl[1] - Vanessa Convery
  • Scottish Fantasy[8] - Alex Stabler
  • Tissu Star[7] - Olga Vershinina
  • Airman - Nicolas Alain Michel Besnard
  • Androgynous Cape - "Almukatab" Jacobo Espina
  • Carol/La Catin - Elena Gatilova
  • Valentino
  • Bunny Girl[7]
  • Lothario - Moukhtar Gusengadzhiev
  • Roadrunner - Jerónimo Garcia-Cabral Medina
  • Illusia and Illaria
  • Queen of Barbare[7] - seems to be Jila Alaghamandan

Music

[edit]

The studio album for Zumanity was released on March 22, 2005, under Cirque du Soleil's music label. This is an "inspired by" album containing music that was not actually used in the show and was very loosely based on the live music. This is similar to the songs If I Could Reach Your Heart, We've Been Waiting So Long, and Reach for Me Now on the KÀ album. The CD does not feature Zumanity's musicians, although it does contain the voice of Joey Arias and that of Anna Liani, who worked with Zumanity's composer, Simon Carpentier, on the show's music and wrote the lyrics to Mio Bello, Bello Amore. She also sings Mio Bello, Bello Amore on Cirque's Midnight Sun DVD. The music on the album is mainly a collaboration between Simon Carpentier, Robbi Finkel, and Robbie Dillon.

A promotional album entitled Foreplay was included with the original program. It was released on July 31, 2003, and contains select work-in-progress songs from the show's creation period. The program was last sold around 2005, and this album is now considered a collector's item. Four other work-in-progress songs were released on Zumanity's website in 2003, all completely different from anything used in the show, although one of them was quite clearly an early version of Wind.

Names for live music:

  • Zumanity Tango (2Men, 2003-2020)
  • Sex Is Beautiful (Body2Body, 2003-2005; Body2Body 2.0, 2017-2020; Hand-2-Hand, 2005-2020)
  • Love Myself (possible name for Straps, 2003-2020)
  • Girl Attitude (Cyr Wheel, ?-2018)
  • Libera me (Hoops, 2003-2015; Aerial Dream, 2015-2020; Trapeze, 2017)
    • The tune to this song was changed from 2015 onwards.
  • I Like It (Rotational act sung by Joey Arias and possibly Raven O, 2005(?)-2007)
  • What a Feelin’ (Act sung by Joey Arias during her final performance on December 31, 2007)
  • The Rose Boy (Rose Boy, 2003-2015; Magnum, 2015-2020)
  • My Erotic Lounge (Scotch Baggies!, 2005-2020)
  • Major-Minor (Welcome, 2003-2007)
  • Wind (Wind, 2003-2015; Come Together, 2015-2020)
  • Mio Bello, Bello Amore (Pacemakers, 2003-2006(?); Handbalancing, 2010-2018; Solo Strap, 2019-2020)
  • Disco Alan (Tissus 2.0, 2015-2020)
    • The opening of this song contains an instrumental medley of Wind and Mio Bello, Bello Amore.
  • Into Me (Chains, 2012(?)-2020)
  • Water Bowl (Water Bowl, 2003-2020)
  • Perfect Jam (Perfect Jam, 2015-2020)
  • First Taste (Water Bowl opening, 2003-2020)
Further information: Cirque du Soleil discography § Zumanity

Vocalists

[edit]
  • Emcee
    • See the Emcee section above for a list of the hosts of the show. The emcee sang Major-Minor for Welcome, Midnight Bath, Sex Is Beautiful, the Rose Boy, and I Like It from August 14, 2003 to December 31, 2007. From 2008 onwards, the emcee only sang during the Rose Boy and Sex Is Beautiful. The songs sung by the emcee are mainly in the jazz/cabaret genre.
  • Hip Hop Singer
    • Kinnie Starr: August 14, 2003 to September 2003
      • Little is known about this period in Zumanity's history, but Kinnie may have sung some of the rock singer's songs for acts like Dance on TV and Water Bowl.
  • R&B/Soul Singer
    • Lonnie Gordon: August 13, 2003 to December 31, 2006
    • Debbie "Divine" Davis: January 2007 to December 31, 2007
    • Paris Red: January 1, 2008 to March 14, 2020
    • Cassiopée: August 2017 to December 2017
      • Cassiopée also sang as a back-up for both the R&B and rock roles, depending on which one was needed, during 2016 to 2020.
  • Rock Singer
    • Corinne Zarzour: October 3, 2003 to January 2004; September 2004 to March 14, 2020
    • Nathalie Noël: January 2004 to September 2004
    • Laur Fugère: 2004; 2006
  • Backing Singer
    • Geneviève Dubé: August 14, 2003 to March 14, 2020
    • Melle Vasquez: August 14, 2003 to March 14, 2020
    • Anne Charbonneau: August 14, 2003 to December 2008

Original Musicians

[edit]
  • Anne Charbonneau (bandleader/accordion/keyboards/keyboard programming) - August 14, 2003 to December 2008
  • Jean-François "Djeff" Houle (assistant bandleader/bass/programming/laptop fx) - August 14, 2003 to 2006(?)
  • Jean-François Blais (clarinet/flute/soprano and tenor saxophone/percussion) - August 14, 2003 to March 14, 2020
  • Jean-François Thibeault (trombone/percussion) - August 14, 2003 to June 2009
  • Larry Aberman (drums/percussion/programming) - August 14, 2003 to August 10, 2019
  • Melle Vasquez (guitar/percussion/banjo) - August 14, 2003 to March 14, 2020
  • Geneviève Dubé (vibraphone/violin) - August 14, 2003 to March 14, 2020
  • Eliot Douglass (piano) - August 14, 2003 to October 31, 2019
  • Lonnie Gordon (percussion) - August 14, 2003 to December 31, 2006
  • Sébastien Jean (flügelhorn/trumpet) - August 14, 2003 to October 31, 2019

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Zumanity

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from Grokipedia
was an adults-only live entertainment production created by , featuring acrobatic feats intertwined with , , and explicit sensual themes, performed exclusively at the New York-New York Hotel and Casino in from its premiere on September 24, 2003, until its permanent closure in 2020. Billed as "the sensual side of ," the show marked a significant departure from the company's typical family-oriented spectacles by emphasizing , , and taboo-breaking elements such as , sexual props, and provocative performances designed for mature audiences aged 18 and over. Unlike 's narrative-driven productions, Zumanity eschewed a linear storyline in favor of episodic vignettes exploring physical and through aerial acts, , and audience interaction, often eliciting mixed reactions for its raunchy humor and boundary-pushing content. The production achieved a notable longevity of 17 years, entertaining thousands as a Las Vegas staple amid the city's competitive entertainment landscape, though it faced criticisms for diluting Cirque du Soleil's artistic reputation with perceived vulgarity and for struggling to consistently sell out compared to the company's more whimsical shows. Its closure was precipitated by the COVID-19 pandemic, which halted performances on March 14, 2020, and exacerbated Cirque du Soleil's financial distress leading to bankruptcy proceedings, rendering revival unfeasible despite extensions for other Las Vegas shows. While praised by some for its bold innovation and empowering sensuality, Zumanity drew detractors who viewed it as an uneven blend of athleticism and titillation that alienated traditional Cirque fans and invited charges of exploiting shock value over substance.

Overview

Concept and Theme

Zumanity was conceived as 's inaugural adult-oriented production, marketed explicitly as "the sensual side of du Soleil" to delve into and intimacy through acrobatic and performative elements. Unlike the company's standard , which featured family-suitable spectacles centered on ethereal and , Zumanity targeted mature audiences with provocative themes of , , and physical vulnerability, integrating circus disciplines like aerial work and with and aesthetics. This approach eschewed narrative linearity in favor of vignette-style explorations that celebrated the raw spectrum of human connection, emphasizing bodily expression over fantastical storytelling. Central to its artistic vision was a humanistic focus on diverse physical forms and the acceptance of varied body types, portraying sensuality as inclusive rather than idealized or uniform. Performers embodied this through acts highlighting strength, flexibility, and intimacy across genders and builds, fostering themes of curiosity and tolerance toward taboo aspects of desire without descending into mere titillation. The production's departure from Cirque du Soleil's traditional emphasis on wonder and universality marked a deliberate pivot to unfiltered adult humanism, prioritizing emotional and physical exposure in a theatrical framework that blended athletic prowess with suggestive humor and intimacy.

Venue and Production Details

Zumanity was staged exclusively at the Zumanity Theatre within the New York-New York Hotel & Casino on the Las Vegas Strip, operating as a resident production from its opening on September 20, 2003, until permanent closure was announced on November 16, 2020. The theatre accommodated 1,261 seats in an intimate -style layout, featuring a prominent , love seats for pairs, and cabaret stools to foster close audience proximity and enveloping immersion. Production logistics incorporated advanced technical infrastructure, including dedicated control booths for , , projection, and audio systems, enabling seamless stage mechanics and support for aerial apparatus. The show maintained a rotating international cast of around 45 to 50 performers, encompassing acrobats, dancers, and singers, backed by live musicians and totaling approximately 120 personnel including crew and support staff.

Development and Premiere

Conception and Creative Team

Zumanity was conceived in the early 2000s by Cirque du Soleil as the company's inaugural production targeted at adult audiences, diverging from its traditional family-friendly acrobatic spectacles to incorporate themes of sensuality and eroticism tailored for the Las Vegas entertainment landscape. This initiative aimed to capitalize on the city's established market for mature-oriented shows, positioning Zumanity as a cabaret-style exploration of human desire and physicality within a circus framework. The production emerged following the success of earlier Las Vegas residencies like Mystère in 1993 and O in 1998, representing Cirque's strategic expansion into more provocative territory. The creative direction was led by writers and directors René Richard Cyr and Dominic Champagne, who crafted the narrative around a mythical "city of water" inhabited by diverse characters embodying exaggerated forms and . Cyr and Champagne's collaboration emphasized a theatrical structure blending intimate storytelling with acrobatic feats, drawing on multicultural performers from over 15 countries to evoke a of varied physiques and expressions. This approach prioritized the causal interplay between physical movement and emotional intimacy, fostering an atmosphere of seductive immersion distinct from Cirque's prior ethereal aesthetics. Costume design was handled by French designer , whose background as a dancer informed the creation of provocative outfits accentuating bodily contours and sensuality through exaggerated silhouettes, latex, and metallic elements. Mugler's vision aligned with the show's intent to celebrate the raw, unfiltered aspects of human form, contributing to its bold visual identity. For the musical score, composer Simon Carpentier developed an eclectic fusing pop, , and atmospheric sounds to heighten erotic tension, marking a departure from the orchestral scores of previous productions. Carpentier's work supported the directors' goal of evoking through and .

Initial Launch in 2003

Zumanity debuted on September 20, 2003, at the New York-New York Hotel and Casino in , following previews that commenced on August 14, 2003. The production marked Cirque du Soleil's first adults-only resident show, structured as a single 90-minute act blending , theater, and sensuality without a linear . Marketed as the "sensual side" of , the launch emphasized eroticism and human connection through artistic performance, distinguishing it from conventional strip clubs or circuses by framing and within high-caliber aerial and acts. Promotional efforts highlighted its provocative themes—exploring desire, identity, and vulnerability—to attract an mature audience seeking an immersive, non-literal experience rather than explicit titillation. The initial cast comprised an international ensemble of approximately 45 performers, including emcee as a host delivering ribald commentary, alongside vocalists like and comedic duos such as the Porn Clowns from the Spymonkey troupe, who enacted satirical interludes on Puritan repression and sexual farce. Signature acts featured routines emphasizing fluid, intimate movements, contortionists in paired displays of physical entanglement, and group sequences underscoring themes of ecstasy and abandon. Post-opening, the show encountered early challenges from mismatched audience expectations, with some patrons anticipating more overt akin to , leading to minor adjustments in pacing and tonal balance to amplify acrobatic prowess over comedic . Original vocalist Starr departed shortly after previews amid reports of underwhelming reception, prompting swift cast refinements to stabilize the production's erotic-acrobatic equilibrium.

Performance History

Early Years: 2003-2005

Zumanity opened on September 20, 2003, at the New York-New York Hotel and Casino in , introducing du Soleil's inaugural adults-only production billed as an exploration of sensuality and human desire. The show's core acts centered on intimate physicality, including routines, partner , and aerial suspensions that blended erotic tension with athletic precision, performed in a cabaret-style theater seating approximately 850 patrons. These elements distinguished Zumanity from 's prior family-friendly spectacles, capitalizing on the novelty of eroticism within the company's framework to attract mature audiences seeking a provocative alternative in the entertainment landscape. The production operated on a near-nightly schedule from late 2003 onward, sustaining high occupancy rates driven by its unique positioning as Cirque's first foray into sensual , which generated amid the competitive Strip venue scene. Attendance remained robust, with tickets reportedly selling out quickly in the initial months, reflecting the draw of its boundary-pushing themes for visitors unaccustomed to such explicit artistry from the troupe. By September 2005, Zumanity had amassed over 1,000 performances, underscoring operational stability and the causal pull of its fresh erotic novelty amid 's established reputation for innovation. Early operations included minor adaptations informed by audience and critical feedback, such as tweaks to staging and pacing through December to address perceived inconsistencies in tone and execution. These refinements aimed to harmonize overt sensuality with humor and narrative cohesion, mitigating initial critiques of an underdeveloped identity while preserving the show's foundational acts without structural changes. The result was a gradual maturation that fortified its nightly appeal, enabling consistent crowds prior to any later evolutions.

Mid-Period Evolution: 2005-2015

During 2005–2015, Zumanity maintained its core structure of sensual and elements while incorporating gradual cast rotations to sustain performer freshness and audience engagement. These rotations involved periodic replacements for aerialists, contortionists, and dancers, allowing for subtle variations in act execution without altering the show's thematic focus on human sensuality. Emcees remained central to the production's narrative flow, with Christopher Kenney assuming the primary role of the drag performer "Edie, the Mistress of Sensuality" following Joey Arias's departure in late 2007, providing continuity in hosting duties through interactive monologues and transitions. To counter intensifying competition from other residencies, the production introduced celebrity guest emcees for limited runs, exemplified by personality hosting as the "Mistress of Sensuality" from June 27 to July 6, 2014, across ten performances. Leakes's bold, vivacious style aimed to draw diverse crowds, marking the first such guest stint and injecting contemporary pop culture appeal into the show's intimate format. Music and staging evolutions preserved the sensual essence, with the release of a studio album on March 22, 2005, featuring original compositions and arrangements inspired by the live score to extend the show's auditory identity beyond performances. Minor tweaks to lighting and act sequencing occurred incrementally, emphasizing close-proximity feats in the 500-seat venue to foster immersion. By late 2015, amid sustained operations four to five nights weekly, ticket pricing reflected market adaptations, with base fares ranging from $69 to $119 plus fees, supplemented by promotional discounts as low as $59 during off-peak periods to address variable demand.

2015 Refresh and Final Run

In response to stagnating interest after 12 years, Zumanity received a major overhaul in early 2015, modifying roughly 30% of the production with updated choreography, new acts, and refreshed costumes designed by Thierry Mugler to appeal to contemporary audiences amid intensifying competition from other Las Vegas residencies. The changes, implemented starting January 3, 2015, introduced elements such as enhanced dance sequences and comedic segments, alongside a new aerial strap act performed by Brandon Pereyda, who incorporated dynamic chain and gravity-defying maneuvers to heighten the show's sensual athleticism. Core features, including the Botero Sisters' signature routines and established aerial silk and tissu performances, were preserved to maintain thematic continuity while injecting novelty to counteract fatigue in repeat viewership. The refresh aimed to realign Zumanity with shifting market dynamics, including evolving tastes for more explicit cabaret-style entertainment and direct rivalry from emerging adult-oriented productions, though quantifiable attendance upticks were short-lived and insufficient against overarching declines in ticket sales influenced by economic factors and oversaturation. Post-update, the show sustained operations through varied performer rotations, emphasizing in emcee interactions and audience engagement to sustain its intimate, provocative edge. This final iteration ran until its suspension on March 14, 2020, amid the outbreak, accumulating contributions to the production's overall tally exceeding 7,700 performances across its lifespan. The modifications demonstrated Cirque du Soleil's adaptive strategy but underscored the challenges of long-term viability for niche-themed residencies in a transient tourism-driven venue, where initial revitalization efforts yielded marginal extensions rather than reversal of downward trajectories.

Closure in 2020

Zumanity's permanent closure was announced by on November 16, 2020, marking it as the first of the company's productions to shut down indefinitely following the onset of the . The final performance occurred on March 14, 2020, after which all shows halted amid government-mandated restrictions on live gatherings. The decision stemmed from broader financial pressures on Cirque du Soleil, which filed for creditor protection under Canada's Companies' Creditors Arrangement Act in June 2020, burdened by approximately $1 billion in debt and the cessation of revenue from global tourism-dependent operations. Over its 17-year run from 2003 to 2020, Zumanity had delivered more than 7,700 performances in its dedicated 1,260-seat theater at the New York-New York Hotel and Casino, but prolonged venue capacity limits and uncertain recovery timelines rendered reopening unviable amid slashed visitor numbers to Las Vegas. These external economic shocks, rather than inherent production deficiencies, drove the closure, as evidenced by the company's selective retention of higher-revenue shows post-restructuring. As of October 2025, has announced no plans to revive Zumanity, aligning with industry trends favoring scalable and reduced on-site staffing over traditional resident spectacles in a post-pandemic entertainment landscape.

Artistic Components

Costumes and Design

The costumes for Zumanity were designed by designer Manfred , whose vision emphasized provocative, character-specific ensembles crafted to accentuate performers' physical forms and enhance the show's sensual themes. Mugler drew on high-end materials sourced globally, including and from , leather gloves from , beads, stones, fur, feathers, velvet, and , often combined in form-fitting or minimal styles to evoke vulnerability and . Certain outfits incorporated innovative techniques, such as stretch vinyl airbrushed for a semi-nude illusion or prosthetic elements like custom brow pieces, chins, and ears to amplify exaggerated features and body contours. All garments were produced in Cirque du Soleil's ateliers in , prioritizing durability and flexibility to accommodate acrobatic demands, with reinforced seams and elastic components enabling fluid movement during aerial and acts. This functional design ensured costumes supported the physicality of performances—such as trapeze swings and isometric holds—while visually amplifying the body's diversity in , , and expression, aligning with Mugler's intent to individuality amid erotic abstraction. In the January 20, 2015, production refresh, Mugler's original designs underwent updates for wear and tear, including fabric refreshes and minor alterations, while select early-era outfits—such as bolder, more revealing variants—were reintroduced to reinvigorate the aesthetic without altering the core provocative style. These evolutions maintained the costumes' role as immersive tools, empirically facilitating audience engagement with themes of desire by exposing and in ways that balanced artistry with practicality, though their revealing nature drew commentary on emphasizing performer physiques over depth.

Music and Vocalists

The original score for Zumanity was composed by Simon Carpentier, who approached the project by reinterpreting classic music with contemporary high-energy arrangements to evoke sensuality and rhythm suited to the show's intimate eroticism. Carpentier's compositions emphasized song-like structures—including verses, choruses, and bridges—even in instrumental passages, fostering a seductive build through layered rhythms and melodic tension rather than the sweeping orchestral grandeur typical of other productions. A studio album inspired by the live score, featuring vocal contributions from artists such as Coco Thompson and , was released on March 22, 2005. Live renditions relied on two principal vocalists delivering original and adapted material in a cabaret-infused style, with performances noted for their erotic pop-musical flair and direct engagement with the theme of human connection. These singers were backed by a live band of skilled musicians, including drummer Larry Aberman—known for collaborations with artists like —and Melanie, whose contributions added percussive drive and improvisational spontaneity to maintain dynamic energy across shows. The band's setup prioritized rhythmic intimacy over expansive , enabling real-time adaptations that heightened the auditory with the production's sensual tone. Following a mid-2015 production refresh, the score incorporated updated tracks to revitalize the auditory elements, aligning with broader changes to approximately 30% of the show while preserving Carpentier's foundational rhythmic essence. This evolution sustained the music's distinction as more cabaret-driven and pulse-oriented compared to Cirque's typically fantastical soundscapes, emphasizing live execution's role in amplifying the erotic immediacy.

Acts, Characters, and Staging

Zumanity presented a sequence of independent acts centered on acrobatic and gymnastic displays with sensual undertones, eschewing a cohesive storyline in favor of vignettes celebrating physicality. Core performances encompassed aerial chains, where solo artists like Larunce Jardin maneuvered through suspended metal via climbs, drops, and inversions requiring exact timing to maintain momentum and stability. Hand-to-hand routines involved pairs supporting and reshaping one another's bodies in equilibrated poses, executed by youthful duos as well as mature performers such as the Pacemakers, aged 64 and 71, who balanced through controlled shifts in weight distribution. segments featured artists folding into hyper-extended configurations while , as in Elena Lev's routine combining spinal flexibility with prop manipulation for sustained rotations. Comedy acts provided contrast through the Botero Sisters, plus-sized twins who strutted in feathered headdresses, fishnets, and bikinis, embodying archetypal "good" and "bad" personas via flirtatious interactions, including audience engagement like feeding strawberries, underpinned by their proficiency in and to affirm physical capability across body types. The ensemble reflected a "" ethos by incorporating performers of varied somatotypes—athletic builds for aerialists, voluptuous forms for comedians, and extremes in stature from 3 feet 9 inches to 6 feet 2 inches—sourced from more than 15 nations including , , , and , with ages spanning 20 to 71. Staging occurred in an 843-seat theater designed for proximity between performers and spectators, utilizing dynamic lighting cues and for atmospheric shifts and seamless act segues, minimizing static scenery to prioritize the causal demands of feats like synchronized balances and aerial descents. This setup underscored technical precision, as acts relied on millisecond-accurate coordination to execute maneuvers without safety apparatuses visible onstage.

Emcees and Key Performers

The emcees of Zumanity, typically styled as the "Mistress of Sensuality," functioned as rotational hosts who delivered comedic , audience interaction, and narrative transitions to frame the show's sensual themes. Drag performer Edie anchored the role for 13 years, appearing in the opening sequences to tease patrons and set an irreverent tone. In a limited guest stint from June 27 to July 1, 2014, actress and television personality assumed emcee duties for 10 performances, infusing the position with her outspoken persona while maintaining the show's provocative transitions. By the show's final run, emcee Christopher Kenney delivered poignant closings, as noted during the November 2020 shutdown announcement. Among key performers, Senegalese dancer Wassa Coulibaly stood out for her nine-year tenure originating and executing rhythmic sequences, emphasizing athletic diversity through fluid, culturally rooted movements that complemented the production's sensual . These artists rotated in line with du Soleil's structures, typically spanning one to several years, allowing for skill renewal while preserving core interpretive elements in the emcee-guided flow.

Reception and Analysis

Critical Reviews

Initial critical reception to Zumanity, which premiered on September 17, 2003, at New York-New York Hotel & Casino, praised its innovative fusion of Cirque du Soleil's acrobatic excellence with explicit sensuality, positioning it as a daring departure from the company's traditional shows like Mystère. Reviewers highlighted the production's bold thematic exploration of and emotional bonds, delivered through acts, , and that integrated with physical feats. The Las Vegas Sun commended the show's immersive sensory elements, including its evocative scents and topless performers emphasizing athletic grace over mere nudity, though noting it appealed primarily to open-minded viewers tolerant of its adult-oriented titillation. Early critiques acknowledged the emcees' bawdy humor as a provocative framing device, enhancing the atmosphere, but some observed it occasionally veered into without deepening the thematic coherence. Subsequent reviews identified structural weaknesses, including an absence of a unified narrative arc, which led to perceptions of over-reliance on spectacle at the expense of Cirque's signature artistry and imagination. The New York Times characterized the sensuality as "silly" in comparison to the narrative-driven depth of productions like O, suggesting Zumanity's thematic focus diluted its sophistication. A 2017 assessment faulted the show for excessive across acts, rendering it juvenile and lacking restraint, akin to unchecked adolescent impulses rather than mature . Following the 2015 creative refresh, which aimed to reinvigorate staging and acts, later critiques reflected mixed endurance, with some praising sustained thrills and inclusivity amid evolving casts, while others noted audience fatigue with repetitive erotic motifs amid Vegas's competitive entertainment landscape. The Las Vegas Sun in 2018 affirmed its enduring sexiness and unexpected acrobatic highlights, yet implied a plateau in innovation after nearly 15 years. Overall, professional consensus valued Zumanity's technical prowess—such as strap duos and chair-balancing routines—but critiqued its thematic shallowness as a limitation relative to du Soleil's more narrative-rich offerings.

Audience and Commercial Performance

Zumanity targeted an adult audience with its 18+ age restriction and cabaret-style emphasis on sensuality, performing five nights a week in a 1,260-seat theater at the New York-New York Hotel & Casino. The show's intimate venue and thematic focus distinguished it from du Soleil's family-oriented productions, enabling diversification of the company's resident offerings to appeal to couples and mature tourists amid broader Strip entertainment options. Over its 17-year run from September 2003 to March 2020, Zumanity staged more than 7,700 performances, demonstrating sustained draw in a market influenced by fluctuating volumes and increasing from other acrobatic and variety shows. Commercial strategies included periodic content refreshes, such as a 2015 overhaul revamping 30 percent of acts to heighten appeal, alongside standard practices like promotional ticket discounts to optimize occupancy during variable demand periods. The production's final performance occurred on March 14, 2020, immediately preceding COVID-19-related shutdowns that suspended all shows worldwide, leading to its permanent closure announcement on November 16, 2020. This event aligned with broader industry disruptions rather than isolated pre-pandemic revenue shortfalls, as evidenced by the show's endurance relative to shorter-lived Cirque ventures elsewhere.

Achievements and Innovations

Zumanity represented Cirque du Soleil's inaugural venture into explicitly adult-oriented programming, debuting on September 20, 2003, at the New York-New York Hotel & Casino in as a production centered on sensual , , and for audiences aged 18 and older. This shift expanded the company's thematic scope beyond family entertainment, blending with circus disciplines like aerial silks, , and high-wire acts to create a provocative yet artistic spectacle. The production's format innovations, including the fusion of burlesque elements such as cage dances and seductive aerial routines with Cirque's signature physical feats, underscored a novel approach to integrating sensuality into live performance arts. Early financial indicators affirmed the viability of this model, with Zumanity described as performing "exceptionally well" in its initial quarters, contributing to robust resort revenues amid high demand for its $16 million investment. Over its run, Zumanity sustained operations for nearly 17 years, solidifying its status as a enduring resident show and demonstrating the sustained audience appeal of mature-themed circus formats within Cirque du Soleil's portfolio. This longevity highlighted the production's role in broadening the company's demographic reach to include adults seeking immersive, boundary-pushing , thereby validating sensual themes as a commercially feasible extension of traditional circus innovation.

Criticisms and Controversies

Zumanity faced criticism for its explicit , which some reviewers argued promoted and objectified performers, particularly through topless female acts, simulated , and props like dildos in scenes. members, including those with conservative sensibilities, described the show as unsuitable for prudes, citing parallels to offense over events like the 2004 , and warned against attending if averse to raunchy humor or nudity. These elements were seen by detractors as emblematic of moral laxity in entertainment, prioritizing over du Soleil's traditional artistry. Quality concerns emerged in audience feedback, with complaints of excessive comedy and filler acts diluting the acrobatic core, rendering segments "contrived" and distracting from genuine feats. One reviewer labeled the production "truly horrible," attributing dissatisfaction to overreliance on lowbrow theatrics amid the sensual themes. Feminist critiques occasionally highlighted potential exploitation in the commercialization of bodies, though empirical defenses emphasized performer agency and consensual as expressions of artistic rather than coercion. Debates over LGBTQ representation portrayed Zumanity as complex, featuring drag queens and same-sex pairings but risking stereotypes through exaggerated, voyeuristic depictions that some analyses deemed "fake public " for commercial appeal. While praised by pro-LGBTQ outlets for inclusivity, critics argued it tokenized elements to titillate heterosexual audiences, contrasting left-leaning endorsements of boundary-pushing normalization with right-leaning reservations about restraint in public spectacles. No major scandals, such as allegations, surfaced, but post-2017 #MeToo scrutiny amplified questions on the show's enduring relevance amid heightened sensitivity to sexualized performance dynamics.

Legacy and Impact

Influence on Cirque du Soleil

Zumanity, launched in 2003 as Cirque du Soleil's inaugural adult-oriented production, marked the company's initial venture into erotic cabaret within its Las Vegas residency model, thereby validating the feasibility of themed shows targeting mature audiences beyond traditional family demographics. This diversification expanded Cirque's market segmentation in the competitive Vegas entertainment landscape, where prior residencies like Mystère (1993) and O (1998) emphasized acrobatic spectacle for broad appeal, by introducing intimate, 500-seat cabaret formats that emphasized sensuality and audience interaction over large-scale illusions. The show's sustained run until 2015 demonstrated that such adaptations could sustain revenue streams in fixed venues, contributing to Cirque's pre-2020 portfolio of five concurrent Vegas productions that collectively generated hundreds of millions in annual ticket sales. Subsequent refreshes, including the 2017 relaunch as Zumanity: Rated Cirque with updated acts like aerial choreography and dance ensembles, underscored adaptive strategies such as periodic creative overhauls to combat audience fatigue in long-term residencies. These efforts, involving collaborations with external choreographers and thematic pivots toward bolder sensuality, informed similar interventions in other shows, though Zumanity's eventual permanent closure in December 2020 amid declining attendance and the company's bankruptcy filing highlighted the financial perils of niche theming without consistent innovation or broad draw. By 2020, Zumanity had logged over 3,000 performances, providing empirical data on occupancy thresholds and cost structures for intimate venues, which reinforced Cirque's emphasis on multi-year commitments while exposing vulnerabilities to economic disruptions and shifting consumer preferences. The production's model influenced Cirque's internal risk assessment for thematic experimentation, balancing bold departures against core brand integrity, as evidenced by restrained pursuits of further adult-exclusive formats post-Zumanity. Its contributions to Vegas —part of a yielding Cirque approximately 20% of global circus-entertainment revenue by the mid-2010s—affirmed the residency paradigm's scalability, even as the show's closure signaled limits to sustaining specialized audiences without crossover appeal.

Broader Cultural and Industry Effects

Zumanity's integration of sensual themes into circus performance contributed to a broader normalization of adult-oriented experiential entertainment in Las Vegas, where traditional family-friendly spectacles increasingly coexisted with provocative cabaret-style productions. By blending acrobatics with erotic elements from its 2003 premiere through its 2020 closure, the show helped pave the way for subsequent risqué offerings like Absinthe, which ranked among the city's top historical productions and emphasized irreverent, boundary-pushing humor and physicality. This evolution reflected Las Vegas's shift toward immersive, adults-only formats that prioritized sensory intensity over broad accessibility, influencing the Strip's entertainment landscape to favor shows capitalizing on voyeuristic appeal amid competition from digital and scalable alternatives. The show's permanent closure in November 2020, following the pandemic's disruption of live events, underscored the inherent vulnerabilities of intimate, in-person theatrical formats reliant on close-proximity audiences and high operational costs. du Soleil's decision not to revive Zumanity by 2025, despite resuming other productions, signals an industry preference for more adaptable, high-volume shows over niche sensual spectacles, as evidenced by the company's pivot to diversified touring and resident acts post-bankruptcy recovery. This fragility was compounded by mass layoffs—95% of 's workforce in March 2020—highlighting how pandemics accelerate closures for non-essential, experiential entertainment unable to transition easily to virtual or hybrid models. Culturally, Zumanity prompted examinations of sexuality's portrayal in , with analyses framing it as a commercialized exploration of and identities through voyeuristic staging, such as vignettes and gender-fluid characters. While proponents viewed its fusion of traditions with as liberating human sensuality from prudish constraints, critics noted risks of desensitization via stylized, consumable depictions that prioritized over authentic emotional depth, potentially commodifying intimacy in a voyeuristic economy. These debates extended to broader circus reinvention, queering conventional narratives but raising questions about whether such innovations erode distinctions between artistic expression and , especially in family-originated institutions like .

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