There is no doubt that “Cavalia’s” cast of riders, acrobats, musicians and horses brings talent to the stage, but it is the production’s effort to manifest paradise that makes the experience most worthwhile. An antidote to the malaise of world-weary disillusionment, “Cavalia” lives up to creative director Normand Latourelle’s purpose to create “an ode to beauty, a freedom fantasy, a hymn to harmony, one step towards a new complicity.”

Admittedly, the floridness of some acts turns saccharine, but it is worth looking past the cliché moments to appreciate the coming alive of childhood fantasies. The show induces a dreamland of chivalry, innocence and romanticism, making mythical ideas a reality. Crucial to the noble aura of the work is the horses’ breathtaking poise, which communicates both strength and gentleness.

The first half of the program lacks impact compared to the second half, but it introduces the intimacy and significance of the encounter between horse and human. Riders appear fully present and immersed in their connection to the animals, and the dynamic between them displays awe and respect. The show emphasizes the attitude of veneration toward horses, including backdrops with passages such as Comte de Buffon’s words, “The noblest conquest of man is to have gained the friendship of the horse.”

Live music by composer Michel Cusson is dynamic, varied and effective in adapting to the concept of each piece. The sets and costumes also support the feel of the performances, which ranges from ethereal and pure to rambunctious and adventurous.

In the second act, the cast’s technical skill and command of the horses is astounding.  One memorable act titled “Grande Liberté” features a composed performer orchestrating the movement of nine horses with seemingly effortless influence.

The tender reality created inside “Cavalia’s” packed tent, which on opening night generated audible support, triggers reminiscences of storybook gentility and playful escapades while spotlighting the striking animals so loved by many and not often showcased onstage.

Contact staff writer Desiree Lanz here.