O2

SALTIMBANCOIS the oldest production in Cirque du Soleil's extensive repertoire. And it shows. While later productions such as Quidaamand Varekipushed the relationship between circus and storytelling, Saltimbanco confines itself to traditional circus tricks. Set up as a performance within performance, there is a forceful ensemble, but in the long, slow first half of the show they use the volume of performers to make up for a lack of complexity in conception and performance.

The opening number, for example, is an extended piece of floor work, more gymnastic than acrobatic. Although the kaleidoscopic chameleons who slither across the floor are impressively choreographed, it lacks wow-factor, and the first half skimps on spectacle despite the best efforts of a juggler who juggles so fast the balls look liquid, and a bicycle performance so fluid the performer might be a clown-cycle hybrid. The first half in particular seems unsuited to an arena setting, as sightlines are scuppered for certain tricks; from Row 18, Stand G, you could see what was happening but the shapes carved in the hand-balancing and acrobatic swing act, to give just two examples, were severely compromised.

The second half of the show is more immediately impressive, opening with a Russian swing and trampoline sequence and finishing with a series of aerial numbers performed at breathtaking heights and speed. Even so, the highlight is Eddie the clown, the precision of his miming and improvisational skills simultaneously reminding us of how effective the most simple circus performances can be, but also how unnecessary a lot of the overdressed effects in Saltimbanco are. The aesthetic for the show is punk-rock urban with a tribal edge. This sensibility is complemented by an electronic score laced with Afro-beats, which provides the pulse for the physical performance, but in the absence of any overarching narrative is often relied upon to provide the drama.

Cirque du Soleil is undoubtedly the best circus act in the world, and it is important not to be complacent about the skill on display in this family-friendly show. However, when the company has evolved the art-form to such a degree in the years since Saltimbanco, it seems a little cynical to still be touring what is essentially a rather basic show. Runs until July 18th