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A statuesque woman in a gown looks up with hands raised. Cirque Du Soleil Paramour is written in white letters in front of a shimmering gold background and purple sky.

Show Description

Cirque du Soleil has dazzled audiences the world over, and now it’s finally arrived on Broadway with a “jaw dropping” (Variety) new spectacle! 

PARAMOUR, A CIRQUE DU SOLEIL MUSICAL spins the thrilling tale of a beautiful young actress forced to choose between love and art in the glamorous world of Golden Age Hollywood.

Featuring “death-defying” acrobatics (New York Observer) and sumptuous music and dance, PARAMOUR will transport you to a sublime world of “breathtaking magic” (The New York Times) as it walks the exhilarating tightrope of the heart.


"Paramour," which includes classic Cirque touches like aerial acts, board jumping and acrobats on teeterboards, has chosen — somewhat puzzlingly for Cirque's maiden voyage to Broadway — to celebrate classic Hollywood. But unlike other Cirque shows, this one does a really fine job of integrating the acrobats into the narrative. Here, pole acrobats show off their stuff on city lamp posts, tumblers explode during a bar brawl and trampoline specialists flip high over rooftops. It's thrilling stuff

---Associated Press

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About 45 minutes into Paramour, the Cirque du Soleil musical that opens at Broadway’s Lyric Theatre tonight, the twin aerialists Andrew and Kevin Atherton are suspended over a stage set of what’s supposed to be a movie set of Ancient Egypt. They’re a striking pair: platinum blond, lantern-jawed, impossibly toned, and mirror images, each hanging from a strap and effortlessly contorting himself, dozens of feet above the stage. It’s the sort of breathtaking, beautiful athleticism you expect from Cirque du Soleil, and it’s thrilling. The audience is rapt. At the end of their number, the Atherton twins get the evening’s biggest applause.

---Entertainment Weekly

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“Paramour,” Cirque du Soleil’s attempt to merge its gravity-defying spectacle with a traditional song-and-story musical, definitely has the best trampoline-powered rooftop chase scene ever turned into a Broadway finale. And the flying, in the same cavernous theater where “Spider-Man: Turn Off the Dark” made its aerial and financial belly flops, easily puts hapless Spidey to shame.


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