The young audiences gasping at “Urban” probably have no idea they’re watching a depiction of life on the mean streets of Cali, Colombia. No matter: As Circolombia’s show at the New Victory proves, feats of derring-do cross all international barriers.
The troupe — 13 men and two women, most in their early 20s — delivers a thrilling, fast-paced presentation of aerial and acrobatic feats tinged with a hint of danger and an air of triumph: It’s as if the daunting challenges of the barrio can be overcome by sheer physical exuberance.
Performing to a throbbing reggaeton soundtrack, these cast members have an unpolished, streetwise way about them. It’s no surprise when you realize they’re all graduates of Circo Para Todos — Circus for All — the world’s first professional circus school for disadvantaged youth.
All ripped bare torsos and rippling muscles, they’re physically impressive and consistently amazing, whether break dancing, skipping rope or propelling themselves through the air in multiple somersaults.
Director Felicity Simpson infuses the proceedings with drama and a whiff of danger: In some scenes, the ensemble seemingly threatens to break out into violent, “West Side Story”-style rumbles. A segment inspired by the Day of the Dead finds them dancing with life-size skeleton puppets.
Projected behind them is film footage of Cali street life, including, at one point, an alarming simulation of the city in flames.
While the many tightrope, trapeze, aerial and balancing routines don’t break any new ground, they’re always impressive. One acrobatic act, in which the performers fly through the air only to land on tightropes with their legs spread, inspires hope that they’re outfitted with sufficient protection.
Sexy enough to engage adult chaperones while enthralling children who hopefully won’t be too tempted to duplicate these dangerous stunts, “Urban” is a refreshingly edgy take on a familiar genre.