Courtesy photo Cirque du Soleil's ‘Saltimbanco' will be at the AT&T Center.

For years, Brooke Webb assisted with producing legendary stage works such as “The Producers” and “Cats,” all in the hopes that she would one day get the opportunity to run her own major production. That dream has become a reality, as the Australian is now the artistic director for “Cirque du Soleil: Saltimbanco,” which performs at AT&T Center March 12-16. Before “Saltimbanco” begins its seven-show run in San Antonio, Webb talked to 210SA about paying her dues and what audiences can expect from “Saltimbanco.”
 

“Delirium” came through San Antonio about a year ago. How is “Saltimbanco” different as far as Cirque du Soleil productions are concerned?

I haven't seen “Delirium,” but I can say that what people expect from our show is a lot of energy. It's a very grass-roots sort of production, now in its 16th year. ..... Look at the Vegas (Cirque) shows, and they have massive sets, huge costumes and very epic storylines. Grass-roots is so very simple, very simple but efficient. It relies on energy and a community effort.

What exactly is your role as artistic director?

Like a film director, I look after sounds and look after stage management and set design. We have a cast of 57 on stage, and my job is to make sure that the show maintains creative quality. The show has to develop. It cannot stay the same, and it has to develop in the right way.

On that note, with seven shows over five days in San Antonio, will each show offer a little something new?

Every show is different, but not hugely different. An audience member may come a week and see it and to them, it's the same show. We change people and change certain acts because we have a rotation. People may get injured or ill and we have to replace them. Every night, the show is new. ..... It's a challenge for us, and it's pretty difficult.

Cirque du Soleil relies on so much precision, but do you ever have any mishaps?

We work to precision, and it's gymnastics discipline, really. But some nights, things do happen that don't go according to plan, and we have to be prepared for that. If somebody doing it is brand new, they learn as they go. ..... Everyone is human onstage, we all make mistakes, and we all learn from it.

Having been involved in a few popular productions, what has been your most rewarding experience to date?

I think “The Producers” because it was my first really big show (Webb was an associate resident director). To work with Mel Brooks, someone who I'd grown up (admiring), I had a lot of respect for him, and it was amazing. It was my first big gig, and you never forget your first.

What did you learn from such high-profile work?

Personally, what I took from it is how difficult the style can be. When talking about an artist's life, it's not easy. People always told me that, but you learn yourself and learn how to sacrifice in order to keep doing what you do. Professionally, I learned to trust myself. I think everyone has instincts, but it's very easy to be influenced by other people. I learned to listen to myself.

What is the story of “Saltimbanco”?

It goes from classical to operatic to funk to pop to rock. Some songs are African-inspired, some are Irish-inspired, and it's a very eclectic soundtrack. You have this world, and within that world, you start as worms as the most primitive beings. They evolve into enlightened beings. It's the journey of life.

CLINT HALE | 210SA