A multilevel stage with moving segments and a forest illusion made of rope vines was built in the circus tent. This is complemented by a rear projection, in which glowing eyes, butterflies and elephants appear, but are sadly visible only from the front, not the sides of the viewing arena.

For most of the performance, the stage is separated from the audience by a translucent cloth with a floral pattern, which creates the mysterious gloom of the impenetrable jungle, but also unfortunately hinders the perception of what is happening there. And it’s quite disturbing in terms of dance productions with beautiful costumes and masks.

At the same time, twelve dancers from the Dekkadancers troupe bring the animal and human worlds closer together with the best performances. The story of Mowgli, who seeks his place between animal and man, is told simply through body language through images taken from Kipling’s book, and those who don’t know it are missing many important connections.

Mowgli does not have a well-established relationship with the representatives of the jungle or with people, nor is the rivalry with Shere Khan motivated. A disproportionate amount of space is devoted to its abduction by monkeys and the killing of tigers by herds of buffalo. All are impressive as dance and, in the case of the monkeys, funny moments, but they form a rather disjointed mosaic, told with little mentor commentary, and especially movement.

And of course Ivanović’s music, enchanting from the first dawn in the forest. He had dramatic moves, Ivanović was able to create a sense of tension and mystery, but also wrote cajdák for monkeys, colorful lyrical surfaces, and dramatic climaxes. In his musical speech, inspiration from Eastern and European culture, jazz, classical music and folklore blend freely and humorously. Czech Philharmonic performers interpret it with real mastery, feeling and pleasure.