The Instagram-friendly crescent moon remains in the lobby on the 14th floor of the Cambria Hotel, though the sign above now reads Cabaret Zazu instead of Teatro Zinzani. The spectacular, two-hour-plus “Cabaret Zazu Presents Luminaire” infrastructure is similarly on-brand for Randolph Entertainment LLC, bringing world-class circus performers to the lavish boutique-style “Spiegeltent.” A business has been created. Hotel

Like ZinZanni, “Luminaire” features a spectacular parade of contortionists, acrobats, jugglers and extraordinary aerialists in a venue so you can watch them work up a sweat. As before, the circus acts are woven together by a lovable clown (played by ZinZanni star Frank Ferrante) and live music. All accompanied by a fine four-course meal and the chance to drop some serious coin at the gift shop Tiara.

‘Cabaret Zazo Presents Luminaire’

But where Teatro ZinZanni was quite a confection like Bubbles, “Luminaire,” directed by Drea Weber, has some bite to it as well as heart-pounding action.

Nowhere is the shift in tone more impressive than in the magic act of Ukrainian-born Victor Kay, who takes to the stage in a kind of Prometheus-unbound, otherworldly and stony-faced bodysuit as smooth as body paint and Appears as form fitting.

Orange-shaped light globes formed between his fingers, dancing across his spine, before glowing circles began to fall from above like hailstones, before rapidly firing in complex sequences. Be arched like flies. Kee concludes by simultaneously stepping into a pose and pleading, an outstretched arm casting a sheet of light toward the audience before blacking out.

The titular theme of “Luminaire” is that we are all in a “feast of forgiveness,” and there are specific rites and rituals related to such. So describes Ferrante as Fort the Clown. Ferrante is irresistible, working the crowd and deftly managing the boldly beautiful audience members as he gets everyone ready to dance to one of Beyoncé’s hits. “Finally” is a slow jam courtesy of Leo Warfield, who along with James Harkness provide powerhouse vocals throughout the show.

Music director Chuck Webb and his Cracker Jack Quintet create a palette of rhythm, blues, soul, rock and pop and old-school gems. An opening volley of tunes including the mischievous, toe-tapping “Money the Moocher” makes the place feel like a stirring speech.

Liv Warfield, who along with James Harkness, provides powerhouse vocals throughout the evening in “Cabaret Zazu Presents Luminaire.”

The music pivots on a dime when Warfield enters with an electrifying cover of Gnarls Barkley’s “Crazy.” Where Barclay’s main question is the rationality of two people, Warfield seems to point to the sanity of the entire world as she sashays across the stage, a star in her element.

From there, we’re treated to a cheeky/heart-pounding roller skating act featuring England’s Isis Clegg-Vinell and Nathan Price, (two-thirds of England’s trapeze group Trio Vertex, which also includes Cornelius Atkinson are) fly around each other like an olympic. Ice dancers on a platform about the size of a backyard trampoline, less than five feet from cafe tables filled with hummus and cocktails.

Plus Mongolian contortionist Elzi Marjan’s stunning, arachnid display of virtuosity, in which she plays the piano for all four organs at such an angle that it doesn’t seem possible.

Alongside Warfield, Harkness raises the emotional stakes in circus acts and solos with his own arena-worthy charisma and a voice that can range from silky to belted to falsetto without missing a note.

Scenic designer/design director Shawna Frazier has set the stage in (what looks like) stained glass windows from above. With candles and chandeliers the place has the warmth of a bordello, there’s not a bad seat in the house.

Costume designer Debra M. Bauer designs eye-popping looks, whether referencing the glitz and glamor of the ’20s or purely whimsical. For their trapeze act, Bauer put Trio Vertex in unitards and leotards in red and black flame patterns, their arms and legs encased in leather-like accents and straps that conjured up some Mad Max-style dystopian universe. give birth to No one smiles as they swing from the top of the diner, their spins and dips and getting faster, farther and more desperate until it feels like we’re watching fire fall from the sky. are watching

Weber still doesn’t have the timing right. Food service steps in with some voice acting, forcing the cast to compete for the audience’s attention with freshly plated salmon, chicken and steak. Don’t get distracted. “Luminaire” is wonderful.

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