With a flash of bright lights, actors flipping, twisting and turning, and movement synchronized to the beats, the Lookingglass Theatre Company, 821 N. Michigan Ave., and Silverguy Entertainment’s “Hephaestus: A Greek Mythology Circus Tale” hits the ground running and never looks back.

“My biggest goal was to create a theatrical circus in a confined space so that it was right in the audience’s faces,” says Tony Hernandez, the show’s creator, co-director and co-writer. “Whereas the audience in a traditional circus sees the action from far away, I wanted them to experience everything up close.”

“Hephaestus: A Greek Mythology Circus Tale” chronicles the myth of Hephaestus, the god of the forge, who was cast from the heavens at birth. On his journey back to Mount Olympus, Hephaestus encounters sea nymphs, creates men out of silver and even falls for the goddess of love, all of whom are portrayed by professional circus artists.

With the audience encircling the stage from three sides, “Hephaestus” plays out like a one-ring circus. The actors perform seemingly impossible stunts a few feet from the audience.

“I wanted the audience to see the actor’s diaphragm stretching as they breathe, their muscles contracting and relaxing as they perform and even be able to tell if the actor has bad breath,” Hernandez says. “I didn’t want to hide anything.”

When Iris, portrayed by Erendira Wallenda, swings across the stage, it was clear that she was holding nothing back. She crept closer and closer to the rafters with each swing. She then appeared to leap into the second level of the theater, but catches the swing with her feet, and on the way back down, flips herself back onto the swing.

Committed to stretching the bounds of conventional theater, Hernandez did not use any sets. So instead of elaborate sets depicting the island, sea and volcano environments of the production, he relied on other effects.

Hernandez credits his scenic and lighting designer, Brian Sydney Bembridge, for the production’s special effects.

“Brian is a genius,” Hernandez says. “He was able to create this dark, gritty feel for the volcanic forge environment and contrast that with this gold, majestic aura for Mount Olympus. But the reality is that we only had two days of technical rehearsals, so there were some special effects that we had to leave out.”

Bluish-green lights, dripping water and the sound of crashing waves announce scenes in or by the sea. Soft red lights from above and below the stage, smoke and war drums depict the inner rumblings of the volcano where Hephaestus crafted his masterpieces.

In another twist on a typical theater take, none of the actors speak throughout the 90-minute piece. A young girl, who reads Hephaestus’ story before going to sleep, narrates the story instead. Her bed remains on the stage and she remains active, interacting with the other actors throughout the piece.

“Almost all of the cast are circus artists by trade,” says Hernandez, who stars as Hephaestus. “They are used to acting with their bodies, so it was a no-brainer to have the actors remain silent because they would have been uncomfortable otherwise. They did a great job of telling the story without saying a word.”

Ares, portrayed by Almas Meirmanov, enters to war drums and dark red lights and executes forceful twists and flips He even balances in an ironman-esque pose suspended above the stage. His silent display of pure strength and power embodies the god of war’s essence.

Hernandez admits that some of the show’s coordination was preplanned, despite the short time window, by the music coordinator and composer, Andre Pluess.

“We were fortunate to be able to do a workshop version of ‘Hephaestus’ before we brought it to the stage,” says Hernandez. “We taped it and gave the videotape to Andre. He watched it and then wrote the score in tune with the actors’ movements.”

In a scene oddly reminiscent of the sound and dance coordination of “Stomp,” Hephaestus’ creations, the Silver Men, beat on drums as the sea goddess twirls hula hoops around her body. She continues to add more and more hula hoops, and at one point is twirling more than a dozen at the same time. But her twisting and turning is always in sync with the beat.

Hailing from world-famous troupes such as the Wallenda Family, Ringling Brothers and Cirque du Soleil, the actors’ professionalism is evident throughout the piece. The audience finds themselves constantly applauding as the actors continue to outdo themselves.

“I feel like the guy who writes a screenplay specifically with Natalie Portman in mind, knowing full well that she would never take the part,” Hernandez says. “I wrote ‘Hephaestus’ with all of these performers in mind. Even though they are my friends and family, I never dreamed that they would all be able to perform in this piece.”

“Hephaestus” is playing at the Lookingglass Theatre until Oct. 2. Tickets are between $10 and $58. For showtimes visit lookingglasstheatre.org. To buy tickets call (312) 337-0665.4

Medill junior Michael Burgner is the PLAY theatre editor. He can be reached at [email protected].