From first to last this show is a treasure to be savoured. It is about as far removed from the glitz and glam of a traditional circus as it could possibly be, and twice as satisfying. 

The setting is that of a rural Vietnamese village. The production conveys the contrast between the quiet life of the countryside and that of a large city, with urbanisation creeping ever closer. It also depicts the conflict between the old and the new. The word "A O" comes from "Lang Pho" which means village and city. 

Director Tuan Le, (the first and only Vietnamese artist to sign a long-term contract with Cirque du Soleil,) hopes the production will illustrate the danger urbanisation has on the traditional culture of Vietnam, but it's message is also a universal one. 

We see local villagers going about their daily lives, courting, joshing each other, working.  Most of the props are made from real tools or modifications from daily bamboo and rattan ware that the fishermen and farmers on the Vietnamese central and southern coast actually use. 

Le, along with designers Nguyen Nhat Ly, Nguyen Lan Maurice and Nguyen Tan Loc have created a most beautiful and simple set that is astonishing in its versatility. Bamboo poles become a bridge one minute and the sea beneath it the next.  Flirtatious turtles morph into delightful ducks; factory workers amaze us with their dexterity, as rattan baskets whiz up and down the poles as if on conveyer belts. Small baskets suddenly become cars' steering wheels. The humour is robust yet sweetly innocent – a rare quality these days. 

The beauty of the set is greatly enhanced by Cyril Le Brozec's subtle lighting design.  Night and day is delicately delineated by the coming and going of the moon. 

Credit must also go to the musical direction of Nguyen Nhat Ly, the artistic direction of Nguyen Lan Maurice and the choreography of Nguyen Tan Loc.  Five musicians sing and play traditional instruments live on stage. 

The production's format is very satisfying. It begins in the village, moves to the bustling city, and returns again to the quiet village, the culture of which is slowly changing.

The various scenes allow the artists to demonstrate their astonishing skills. They leap, spin and whirl on trapeze wires, erupt in crazy hip hop and break dance to die for.  Their timing is impeccable, especially so in the scene where they appear and disappear from behind large woven baskets. Furthermore, they do it with a smile and look like they're having a whale of a time.

Source: www.stuff.co.nz