To come up with a highly ambitious and curvaceous design that hit all the right aesthetic notes using modern, digital tools. The structure had to be lightweight and able to be broken down into four pieces for transport and two pieces for the show. In addition, the effort generated by the two trapeze artists during the performance exceeded the stress analysis estimates. The use of computerized actors—a first—also added to the complexity of the assignment.
We looked at the project the way we would an art sculpture and opted for a traditional method of assembly. We also quickly established a strong line of communication between all parties involved and allowed for frequent visits on location to accelerate the validation process at every step. Keeping an open mind was another key part of the solution: we had to strike the perfect balance between honouring the initial idea and making the necessary structural changes to ensure strength, durability, and performance.
We built the trapeze of the Allegria production with Unisson. It was a major piece of the show, and a great technical challenge in terms of engineering and mechanics: this trapeze could rotate, we had never done that at the Cirque. The process came with lots of changes and curve balls and Unisson showed up – they could adapt to everything.