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Although it’s being touted as the first residential Cirque du Soleil show in Asia, the artistic acrobatic troupe from Montreal, Canada, is no stranger to this part of the world. Over the years, Hong Kong has seen numerous travelling productions, from Allegria to Saltimbanco to Quidam, all watered down versions when compared with the elaborate sets and feats of Las Vegas' headlining acts O and KÀ, or the exquisitely choreographed LOVE. Finally with the opening of Zaia, Asian audiences have a show that can compare with those in Cirque’s North American homeland.

The US$100 million show is housed in a spectacular curved and plush theatre at the Venetian, with a huge 7.5 metre sphere that moves smoothly through the audience, taking on different appearances through the use of projections, while swings underneath can carry the artists.

Like all Cirque shows, a loose narrative and plenty of surreal visual elements shape the storyline. In this case, Zaia is about the musings of a young girl living in modern society, who dreams about being an astronaut, watching the world revolve far below. The usual cirque mélange of dancing, comedy skits, acrobatics and gymnastic feature throughout the 90 minute show, set to a compelling score performed by live musicians.

While it must be said that Zaia's lively choreography, with dancers and performers zipping about the stage on bicycles and skateboards, keeps the pace fast, the ten-minute clown skits, which appeared more than twice throughout the show, seemed trite and tiring. Perhaps the decision to keep them on stage for such a long time is part of creating a ‘family appeal’.

That said, the acrobatics – though not particularly ground breaking like in O, where performers were engaging in aquatic and aerial sequences – were still performed with finesse. Compared with Cirque’s other venues, the purpose-built Zaia arena features a much higher ceiling, allowing for more innovative – and death defying – acts. One particular performance featured a man suspended sideways on a pole, while spinning a girl with a wire held in his teeth.

Aware that local audience may be weary of Chinese acrobatic acts, this part of the show was kept to a minimum – save for the globes and poles sequences. Here, performers in silver costumes balanced themselves on a large globe, while balancing a long pole on their shoulders. To add another twist, acrobats bounced and swung across the poles like monkeys in a jungle. The mostly Russian team of the ‘Aerial Frame’ (a fancy version for flying trapeze) performed jaw dropping swing and catch moves. These astounding athletes can easily control both speed and regal posture while flying through mid air, all performed with the grace of a Bolshoi dancer.

The constant suspension of dancers, singers and clown on the high ceiling track creates a multi-dimensional visual effect, which is better viewed by those sitting in the modestly priced upper section (those in the expensive seats down below are forced to crane their necks upwards for much of the show).

Perhaps the only minor disappointment of the otherwise spectacular Zaia was the penultimate trampoline act. Here dancers and performers bounced their way hither and thither across the set, in a visual sequence which seemed more messy than refined.

However in sum, in marks out of ten Zaia is safely an eight in artistic direction, and a six for technical difficulty. Then again, one gets the sneaking suspicion they are saving some of the more amazing magic for later. Like with cars and computers, you don't reveal the enhanced features with your debut product. After all, more Cirque shows are already on the drawing board for the Cotai Strip. May we venture a guess that these might feature their newest collaborator, shock goth-illusionist Criss Angel? Leslie Chan

Book your tickets now at www.cirquedusoleil.com/zaia