If you run into a bevy load of French Canadians around town, it’s probably Cirque du Soleil time.
ECHO is the latest production under the big top at Marymoor Park in Redmond, and it’s a must-see. From aerialists dangling off the side of a spinning giant cube, to acrobats wearing white animal heads, to a girl (an aerialist) and her dog (also a juggler—because of course), to the gorgeous, ripped host, THE CARTOGRAPHER (also an aerialist… clearly cardio is mandatory), the spectacle is nonstop.
The premise feels like they’re preserving animal life in Iceland… or maybe Greenland… or possibly a very chic freezer. The clowns (AKA. DOUBLE TROUBLE) carry around white boxes and somehow stack more than 20 of them, defying physics and my understanding of balance. The highlight of Act 1 is a massive giant puppet that absolutely steals the show.
The second half is a bit underwhelming, with the male contortionist being the lone standout (yes, contortionist) known as THE FOSSORIAL . Overall, the first half alone is worth the price of admission—and possibly a neck brace from looking straight up the whole time.
Behind all of that jaw-dropping spectacle is Artistic Director Fabrice Lemire, whom I sat down with ahead of opening night to talk about the story beneath the acrobatics — and the journey that brought him to Cirque du Soleil.
Lemire’s career spans continents and disciplines. A former dancer with Oregon Ballet Theatre in the 1990s, he began his American chapter after flying from Paris to Portland to assist renowned choreographer Donald Byrd. “Jems offered me a full-time job with OBT,” Lemire recalled warmly, referring to former artistic director James Canfield. “That was the beginning of my life in the U.S.”
From ballet and opera choreography to nearly two decades with Cirque du Soleil (he’s been with the company since 2008), Lemire has built a career rooted in movement, storytelling, and evolution. And with ECHO, he’s helping shepherd one of Cirque’s most visually striking and emotionally resonant productions yet.
A Story of Becoming
At its heart, ECHO is a coming-of-age story.
“My interpretation of the story is very much in alignment with a young teen or young adult questioning everything about herself,” Lemire explained. The central character, Futur, is portrayed by a young woman, but Lemire emphasizes the universality of the role. “It could be any gender. It’s about questioning your purpose in society and accepting who you’re going to become.”
The show’s visual language underscores that theme. Futur first appears camouflaged head to toe — not in military print, but in blue sky and clouds. “It’s still camouflage,” Lemire said. “Camouflage means you don’t fit in. You question. You want to disappear.”
Her journey revolves around a massive cube that dominates the stage. When she makes contact with it — physically and vocally — it comes alive. The cube transforms, opening into windows and doorways, symbolizing opportunity and the unknown.
“In Act One, she explores within the cube,” Lemire said. “It’s a metaphor for going inside yourself to find who you are.” By Act Two, the cube has been stripped to its frame. “It’s a clean canvas. She rebuilds it the way she wants. In my interpretation, she’s building herself into the young adult she wants to become.”
It’s a layered narrative, one that doesn’t spoon-feed the audience but instead invites reflection.
Balancing Story and Spectacle
Cirque du Soleil has increasingly leaned into narrative-driven productions in recent years, and ECHO continues that evolution — carefully.
“There’s a fine line with storyline,” Lemire noted. “The more narrative you become, the more locked in you are. It gives you less flexibility if a performer is injured or sick.”
While there is a clear emotional arc, the show remains fluid — a hallmark of Lemire’s role. As Artistic Director, he doesn’t claim sole choreographic authorship. Instead, he sees himself as a steward of the creative vision.
“There’s a creative team that creates the product,” he explained. “My role is to adopt it, carry it, evolve it — and adapt it when we have a change of cast or discipline.”
That balance is evident in standout acts like the flying poles, where six performers soar 25 feet in the air, sometimes suspended by one hand. The strength required is extraordinary, but the presentation doesn’t spotlight muscle or bravado.
“You forget the strength,” Lemire said. “You’re looking at the lines, the image.”
A Human Lens
Gender neutrality in ECHO isn’t a statement so much as an extension of its message.
“It’s more about looking at humans versus animals than looking at male versus female,” Lemire said.
Lemire’s own life experience informs his worldview. Openly gay and raised in a supportive, progressive family in Paris, he recognizes the privilege of growing up without having to hide who he was.
“I was never in the closet,” he said. “I never came out of the closet. I knew nothing different.”
Over the years — including time spent teaching in Birmingham, Alabama — he has faced challenges in leadership roles. But his philosophy remains steady: authenticity without agenda.
“I don’t advertise it, but I don’t hide,” he said. “It’s my own business. I don’t hurt anybody.”
What’s Next for Cirque?
As ECHO tours through the Pacific Northwest, Cirque du Soleil is already developing a new touring creation slated for 2027, currently in discussion stages in Montreal.
But Lemire believes in giving audiences breathing room between visits.
“Do you want people to see us every year,” he mused, “or do you want them to say, ‘We can’t wait for them to return’?”
For now, though, ECHO is here — blending acrobatic brilliance with poetic introspection. Whether you come for the jaw-dropping aerials, the giant puppet, or the deeper coming-of-age metaphor, one thing is certain: you’ll leave looking at the sky a little differently.
Cirque du Soleil’s ECHO runs through March 22nd at Marymoor Park in Redmond, WA. Tickets at
