Leave any preconceived notions of what a “cirque” show is or should be at the door of “Cirque Eloize: Hotel,” and enter the illusion of a grand lobby with an open mind of what a contemporary circus can be.

It can be musical theater, such as the award-winning Broadway revival of “Pippin,” reconceived with circus performers, or it can be the grand spectacle of a big-top arena show, or it can be any stretch of imagination that suits a big-house proscenium — with acrobats and clowns, of course.

For its 25th anniversary of international entertainment, Cirque Eloize — the other cirque out of Quebec — has chosen the unifying theme “Hotel” and realized it as a dream-like place with early 20th-century grandeur.

Acrobats, aerialists, a juggler, a singer and more parade their skills for the world premiere, part of the Pittsburgh Cultural Trust’s Festival of Firsts and Broadway in Pittsburgh series.

The official premiere is the Thursday performance, part of the Trust’s Fall Gala.

On Tuesday, the very first performance revealed a series of whimsical, theatrical sketches with circus-style thrills and inventive clowning on the Benedum Center stage.

Julius Bitterling, a ponytailed strongman, entered the lobby first and greeted Cesar Mespolin, his performing partner, with a hug of welcome that developed into two bodies intertwining in a dance of strength and flexibility.

Whether it was twirling multiple hula hoops or manipulating the Cirque Eloize signature Cyr wheel — a large hoop controlled from within the circle — performers displayed a grace and ease of movement (degree of difficulty notwithstanding) associated with dance as much as circus acrobatics.

The sketches were supported by music that referenced cinematic touchstones such as “As Time Goes By” from “Casablanca,” and Sabrina Halde occasionally popped up as a smoky-voiced singer whose vocals seemed to be coming from an old Victrola. The music and costumes suggested the 1930s, with the exception of one hotel “guest” who arrived decked out in blue sequins that seemed more Beyonce than ’30s glam yet still fit the mood of a star arrival to a grand hotel.

A favorite sketch was by Antonin Wicky, an acrobat and theatrical clown whose character seemed to be in charge of the goings-on, as he called out instructions now and then. He used every inch of the stage, including triangular- and diamond-shaped structures lined with lights, to convey a charming Charlie Chaplin-esque moment that culminated with a suitcase over his head. With humor and style, he told a human story in a unique way that, as much as the acrobatics provided oohs and aahs, was a triumph of theatrical wit.

Acts and routines dissolved into one another until the troupe pulled out all the stops, building before our eyes what looked like a giant door frame. It was attacked from both sides, as each performer showed off leaping, balancing and otherwise risk-taking moves.

Before the clock ticked off 90 minutes, with no intermission, the troupe gathered one last time, this time with musical instruments. It was unconventional for a circus, but then, the unexpected is par for Cirque Eloize.

Sharon Eberson: seberson@post-gazette.com or 412-263-1960. Twitter: @SEberson_pg.

First Published: September 27, 2018, 4:00 a.m.
Updated: September 27, 2018, 8:27 p.m.