CIRQUE DU SOLEIL’s first show created specifically for Broadway, impresses on the spectacle level but hits considerable flat notes in the musical department.

PARAMOUR tries ambitiously to blend Broadway with over the top acrobatics, literally, and neither Broadway lovers nor Cirque du Soleil devotees are likely to be entirely pleased, though there are some really stunning high flying, dancing and racing sequences and stunts that provide a theatrical adrenaline rush.

The story is nothing original or remotely engaging — songwriter/pianist boy meets girl – a young, aspiring crooner/actress, girl meets director – a famous/powerful one, and she winds up in a battle of her heart and head.

When A.J. discovers Indigo singing in a cabaret, he’s on a quest to create a blockbuster motion picture, and he’s decided she’s the starring vehicle to clinch his egotistical mission. Unexpectedly, he finds himself like a puppy dog in love doing battle over a beautiful prize bone. Not to mention the fact that it makes for buzz-worthy newspaper headlines to announce an engagement to the cinematic ingenue up ‘n comer who has quickly become his muse.

Will ambition or love ultimately win out?  You can probably guess, but on the road to lasting romance, we bear witness to some thrilling acrobatic feats, and very cool projections, set amongst the glitz and glam of the Golden Age of Hollywood of the 30s.

Gilded Art Deco costumes and sets combined with considerable hard-bodied eye candy, makes this a showcase of both sex appeal and athletic showmanship. Nothing overly memorable musically, but the able threesome of featured actors hold their own — Jeremy Kushnier as A.J., Ruby Lewis as Indigo and Ryan Vona as Joey.

The rest of the hardworking, lithe and muscled cast, includes a company of talented Broadway actors, dancers, and renowned aerialists, acrobats, and circus arts performers covering the disciplines of aerial strap artists, Chinese pole, contortion, juggling, Russian beam, teeterboard, tumbling, trampoline, trapeze, and many others.

Among them, there are some particular standout numbers. Act One features a pair of golden, twin aerialists, Andrew and Kevin Atherton, who glide through the air and into the audience (reminiscent of the Green Goblin soaring during SPIDERMAN, at the same theatre), drawing gasps from theatre-goers.  Act two features a rollicking chase scene, utilizing trampolines, that seems to go on endlessly, but is loads of fun.

PARAMOUR endeavors to have the plot echo the acrobatics at times, and when it succeeds, it impresses.  A beautiful, affecting dance piece is performed to highlight the romantic triangle of the leads.

But, what Cirque du Soleil is so known for, the mystique and eclecticness of its style, is abandoned here in favor of the more mainstream.

Still, it’s entertainment for all ages, and while it won’t score with the most discerning, it’s a welcome addition to Broadway where it’s often a challenge to find a show suitable for a family.