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%%* EverythingsBetterWithSpinning: The foot juggling act.
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%%* SpectacularSpinning: The foot juggling act.
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[[quoteright:350:https://static.tvtropes.org/pmwiki/pub/images/banana_shpeel_cirque_du_soleil.jpg]]
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* BrokenWinLossStreak: This was the first Cirque show to qualify as a bomb. (While ''ZAIA'' and ''Theatre/CrissAngelBelieve'' opened first to myriad problems, the former still managed to run for several years in China before shutting down in early 2012, and the latter was successfully retooled and continues to run.)
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* BrokenWinLossStreak: This was the first Cirque show to qualify as a bomb. (While ''ZAIA'' and ''Theatre/CrissAngelBelieve'' opened first to myriad problems, the former still managed to run for several years in China before shutting down in early 2012, and the latter was successfully retooled and continues continued to run.run until 2018.)
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* BrokenStreak: As mentioned in the description, this was the first Cirque show to qualify as a bomb. (While ''ZAIA'' and ''Theatre/CrissAngelBelieve'' opened first to myriad problems, the former still managed to run for several years in China before shutting down in early 2012, and the latter was successfully retooled and continues to run.)
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* BrokenStreak: As mentioned in the description, this BrokenWinLossStreak: This was the first Cirque show to qualify as a bomb. (While ''ZAIA'' and ''Theatre/CrissAngelBelieve'' opened first to myriad problems, the former still managed to run for several years in China before shutting down in early 2012, and the latter was successfully retooled and continues to run.)
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* FundamentallyFunnyFruit: Bananas being a slapstick standby, it's no wonder a {{Vaudeville}}-inspired show would have a title punning on "BananaPeel", and they did show up in the show.
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* VarietyShow
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* VarietyShow
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Everythings Better With Spinning is being made into an index. There is not enough context to find a more suitable sub-trope here.
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* EverythingsBetterWithSpinning: The foot juggling act.
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This show (directed by David Shiner, who helmed ''KOOZA''), Cirque's first for traditional proscenium theaters as opposed to custom-designed ones, had [[TroubledProduction a hellish time of it]]. It went through two extensive [[Main/{{Retool}} retools]] on its path to opening in New York, resulting in a months-long delay and lots of bad press. By the time it opened at the Beacon Theater, Cirque was competing with itself with the tent tour ''Theatre/{{OVO}}'''s run in the city and the newcomer closed two months ahead of schedule. After an abortive Toronto run, a North American tour was scuppered, rendering this Cirque's first out-and-out failure among its live shows.
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This show (directed by David Shiner, who helmed ''KOOZA''), ''Theatre/{{KOOZA}}''), Cirque's first for traditional proscenium theaters as opposed to custom-designed ones, had [[TroubledProduction a hellish time of it]]. It went through two extensive [[Main/{{Retool}} retools]] on its path to opening in New York, resulting in a months-long delay and lots of bad press. By the time it opened at the Beacon Theater, Cirque was competing with itself with the tent tour ''Theatre/{{OVO}}'''s run in the city and the newcomer closed two months ahead of schedule. After an abortive Toronto run, a North American tour was scuppered, rendering this Cirque's first out-and-out failure among its live shows.
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This show (directed by David Shiner, who helmed ''KOOZA''), Cirque's first for traditional proscenium theaters as opposed to custom-designed ones, had a hellish time of it. It went through two extensive [[Main/{{Retool}} retools]] on its path to opening in New York, resulting in a months-long delay and lots of bad press. By the time it opened at the Beacon Theater, Cirque was competing with itself with the tent tour ''[=OVO=]'''s run in the city and the newcomer closed two months ahead of schedule. After an abortive Toronto run, a North American tour was scuppered, rendering this Cirque's first out-and-out failure among its live shows.
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This show (directed by David Shiner, who helmed ''KOOZA''), Cirque's first for traditional proscenium theaters as opposed to custom-designed ones, had [[TroubledProduction a hellish time of it.it]]. It went through two extensive [[Main/{{Retool}} retools]] on its path to opening in New York, resulting in a months-long delay and lots of bad press. By the time it opened at the Beacon Theater, Cirque was competing with itself with the tent tour ''[=OVO=]'''s ''Theatre/{{OVO}}'''s run in the city and the newcomer closed two months ahead of schedule. After an abortive Toronto run, a North American tour was scuppered, rendering this Cirque's first out-and-out failure among its live shows.
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* FunWithAcronyms: In an unfortunate real life example that reflected the show's reception, Cirque fans liked to refer to this show by its acronym -- '''BS'''.
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This Cirque du Soleil production formally opened in New York City in 2010; if one goes by official premiere dates, it is the twenty-eighth show in the canon.
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This Cirque du Soleil Creator/CirqueDuSoleil production formally opened in New York City in 2010; if one goes by official premiere dates, it is the twenty-eighth show in the canon.
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This Cirque du Soleil production formally opened in New York City in 2010; if one goes by official premiere dates, it is the twenty-eighth show in the canon.
Unlike most Cirque shows with their fantasy-based plots, this is a VarietyShow set within the colorful, broad trappings of old-time {{Vaudeville}}. It's presented as the latest production of producer Marty Schmelky, with dance numbers (tap and modern), showgirls, acrobatic specialty acts...and lots of [[Main/{{Slapstick}} slapstick comedy]] -- more than he, his assistant Margaret, and his comic underlings expected. A trio of oddballs took the stage at the beginning of the show for an audition, and they don't want to give it back...
This show (directed by David Shiner, who helmed ''KOOZA''), Cirque's first for traditional proscenium theaters as opposed to custom-designed ones, had a hellish time of it. It went through two extensive [[Main/{{Retool}} retools]] on its path to opening in New York, resulting in a months-long delay and lots of bad press. By the time it opened at the Beacon Theater, Cirque was competing with itself with the tent tour ''[=OVO=]'''s run in the city and the newcomer closed two months ahead of schedule. After an abortive Toronto run, a North American tour was scuppered, rendering this Cirque's first out-and-out failure among its live shows.
!!!This show contained examples of:
* AudienceParticipation: A female audience member was roped into a ChezRestaurant sketch and later was brought back for the finale.
* BrokenStreak: As mentioned in the description, this was the first Cirque show to qualify as a bomb. (While ''ZAIA'' and ''Theatre/CrissAngelBelieve'' opened first to myriad problems, the former still managed to run for several years in China before shutting down in early 2012, and the latter was successfully retooled and continues to run.)
* ChezRestaurant: See AudienceParticipation above.
* ChorusGirls: Well, it's {{Vaudeville}}...
* DisappearingBox: Two boxes, one on each side of the stage -- a person steps in one and comes out of the other. This act quickly went awry.
* EverythingsBetterWithSparkles: Sequins, sequins everywhere on the costumes!
* EverythingsBetterWithSpinning: The foot juggling act.
* FluffyFashionFeathers: Some of the ChorusGirls' costumes featured these.
* FundamentallyFunnyFruit: Bananas being a slapstick standby, it's no wonder a {{Vaudeville}}-inspired show would have a title punning on "BananaPeel", and they did show up in the show.
* HopelessAuditionees: The trio of oddballs -- a very old man, an Argentinian who thinks himself a ladies' man, and one best described in-story as a "psychotic" -- proved just as tenacious as the real things.
* LargeAndInCharge: Schmelky.
* NonIronicClown: Schmelky's underlings and the HopelessAuditionees.
* RealLifeWritesThePlot: This was a rare Cirque show in that it lacked any kind of aerial act. Proscenium theaters aren't set up for the elaborate rigging they need, and indeed the Chicago and New York venues could not be altered to incorporate them (they're historic landmarks); at least in the Chicago tryout, this issue was brought up by the characters!
* {{Retool}}: Twice over -- first, it was originally intended as part-[[Main/TheMusical musical]] but this aspect and two key characters were dropped when it proved too many elements to handle. Then, after the poorly-reviewed Chicago tryout at the end of 2009, three acrobatic acts and Margaret were added. And this meant ''three different sets of composers'', one for each incarnation.
* TheShowMustGoWrong: The whole show's built on this premise.
* {{Slapstick}}: Tons.
* SlidingScaleOfSillinessVersusSeriousness: This was undoubtedly Cirque's broadest, silliest show.
* TheSmurfettePrinciple: While there were plenty of female performers, Margaret was the only woman among the comic principals, and she wasn't introduced until New York. This was a case in which the trope almost applied by default, as women and slapstick humor are generally seen as a poor combination and professional female clowns are a rare breed.
* VarietyShow
Unlike most Cirque shows with their fantasy-based plots, this is a VarietyShow set within the colorful, broad trappings of old-time {{Vaudeville}}. It's presented as the latest production of producer Marty Schmelky, with dance numbers (tap and modern), showgirls, acrobatic specialty acts...and lots of [[Main/{{Slapstick}} slapstick comedy]] -- more than he, his assistant Margaret, and his comic underlings expected. A trio of oddballs took the stage at the beginning of the show for an audition, and they don't want to give it back...
This show (directed by David Shiner, who helmed ''KOOZA''), Cirque's first for traditional proscenium theaters as opposed to custom-designed ones, had a hellish time of it. It went through two extensive [[Main/{{Retool}} retools]] on its path to opening in New York, resulting in a months-long delay and lots of bad press. By the time it opened at the Beacon Theater, Cirque was competing with itself with the tent tour ''[=OVO=]'''s run in the city and the newcomer closed two months ahead of schedule. After an abortive Toronto run, a North American tour was scuppered, rendering this Cirque's first out-and-out failure among its live shows.
!!!This show contained examples of:
* AudienceParticipation: A female audience member was roped into a ChezRestaurant sketch and later was brought back for the finale.
* BrokenStreak: As mentioned in the description, this was the first Cirque show to qualify as a bomb. (While ''ZAIA'' and ''Theatre/CrissAngelBelieve'' opened first to myriad problems, the former still managed to run for several years in China before shutting down in early 2012, and the latter was successfully retooled and continues to run.)
* ChezRestaurant: See AudienceParticipation above.
* ChorusGirls: Well, it's {{Vaudeville}}...
* DisappearingBox: Two boxes, one on each side of the stage -- a person steps in one and comes out of the other. This act quickly went awry.
* EverythingsBetterWithSparkles: Sequins, sequins everywhere on the costumes!
* EverythingsBetterWithSpinning: The foot juggling act.
* FluffyFashionFeathers: Some of the ChorusGirls' costumes featured these.
* FundamentallyFunnyFruit: Bananas being a slapstick standby, it's no wonder a {{Vaudeville}}-inspired show would have a title punning on "BananaPeel", and they did show up in the show.
* HopelessAuditionees: The trio of oddballs -- a very old man, an Argentinian who thinks himself a ladies' man, and one best described in-story as a "psychotic" -- proved just as tenacious as the real things.
* LargeAndInCharge: Schmelky.
* NonIronicClown: Schmelky's underlings and the HopelessAuditionees.
* RealLifeWritesThePlot: This was a rare Cirque show in that it lacked any kind of aerial act. Proscenium theaters aren't set up for the elaborate rigging they need, and indeed the Chicago and New York venues could not be altered to incorporate them (they're historic landmarks); at least in the Chicago tryout, this issue was brought up by the characters!
* {{Retool}}: Twice over -- first, it was originally intended as part-[[Main/TheMusical musical]] but this aspect and two key characters were dropped when it proved too many elements to handle. Then, after the poorly-reviewed Chicago tryout at the end of 2009, three acrobatic acts and Margaret were added. And this meant ''three different sets of composers'', one for each incarnation.
* TheShowMustGoWrong: The whole show's built on this premise.
* {{Slapstick}}: Tons.
* SlidingScaleOfSillinessVersusSeriousness: This was undoubtedly Cirque's broadest, silliest show.
* TheSmurfettePrinciple: While there were plenty of female performers, Margaret was the only woman among the comic principals, and she wasn't introduced until New York. This was a case in which the trope almost applied by default, as women and slapstick humor are generally seen as a poor combination and professional female clowns are a rare breed.
* VarietyShow
