Can’t talk on behalf of anyone else, but successive quarantines were rough on me; however, I believe they also acted as a catalyst to a sort of rebirth. As I tried living life no matter what, faced much of my darker nature and reassessed my life and its direction, I realized that outside survival I often did not truly live. So, what did I need for my life to have better quality?

I craved reclaiming and redefining what truly matters to me. To experience again what I considered foregranted. To face challenges bravely rather than feel like running a pointless uphill struggle. To give birth to a newfound joy for living and to direct my moral compass towards what truly matters.

How Kaleido Star is even related to this? I believe there might be few shows that encompass everything on what it means to live as we truly wish. Note: there will be no spoilers.

(a.) The story is divided into two halves: the 1st focuses on the protagonist arriving at California in order to live her dream of being part of the namesake circus, akin to real-life Cirque du Soleil.

After a certain misadventure-turned-blessing, it becomes apparent it won’t be all rainbow and sunshine, and that she will struggle in order to earn the respect of the staff. The environment is almost cutthroat and the stakes are very high, for Kaleido Star is portrayed as both an entertainment center and a business.

Failure or mediocrity is not an option for it costs in tickets and attendance, apart from holding performers back. I cannot praise enough how those stakes feel like they actually matter. I’ve watched quite some sports and game fiction, but almost nothing could rival the agony I felt during various stage plays. One even holds the honor of being in the only sport/game episode where I closed my eyes and then paused.

(b.) I won’t dig into too many details on the 2nd, for I believe it is best experienced and may also spoil details on the 1st. Skip its first two episodes, they are recaps.

I don’t find this half to be as consistently good as the 1st, for parts can feel too frustrating and unnecessarily melodramatic, but the feeling of stalemate and its ups and downs were something much appreciated. Plus, it’s characterization and growth on its finest and leads to a fascinating thematic exploration of what it means to have a dream, and its value.

Is it something made to be imposed by others? Does an old dream continue to serve us well? Is it truly aligned with our innate, core desire and what brings meaning to our life?

(c.) On both arcs, they by no means are limited to stage plays. E.g. some episodes can have a more slice-of-life feel, ideal to prevent the pacing from becoming breakneck, or some are parts of training mini-arcs (with some of the most brutal training regimes I’ve witnessed in fiction).

There are some persistent romantic and fantasy elements, but nothing that derails the show, although the fantasy elements were not handed well combined with the first OVA.

Entertainment industry is displayed as equal parts dark and uplifting, and overall this show keeps a healthy balance between realism and idealism (despite some stunts that require quite some suspension of disbelief), yet ultimately it is an inspirational and cathartic experience. It makes clear though that living one’s dreams and treading one's personal path is no easy task. You will displease, struggle, question yourself and bleed (sometimes literally). Life will present hurdles, and not all will make their dreams a reality.

But should you give up and live in fake comfort? Should you despair over each and every obstacle if it’s within your capabilities to overcome? Should others define what matters to you and turn yourself into a pawn to fate and expectations?

The protagonist Sora is in certain aspects much like many typical shounen heroes (I cannot speak on shoujo heroines). She’s upbeat, determined to live her dream, somewhat ditzy and naturally talented in her field. However, there’s more than meets the eye, and consistently shows to be a character with legitimate flaws. She can be clingy, lack self-confidence and be self-destructively stubborn. She’s not my favorite by any means, but she holds merit.

My favorite starlet is the deuteragonist, Layla Hamilton. She is one hell of a performer, and has one hell of an intense personality, being a blunt, demanding and competitive individualist, yet also with more vulnerable aspects and full of genuine passion. Her chemistry with Sora is one of the main drives of the show, and one of its greatest charms.

Other characters include a varied cast, e.g. some rather byronic and antagonistic characters, some others that are more cooperative and cordial to Sora, and various reoccurring ones usually limited to around 2-3 episodes. Like lesser Kaleido Stars in a wide sky, they may shine brightly albeit for a little while, and contribute to its themes.

(a.) Although its art style is modest, it’s by all means functional. Character designs are smooth to the eye, easily distinguishable and never stand out like a sore thumb. Background artwork is usually average, but of consistent quality.

Both are amplified where stage plays are involved, with charming costumes and stage settings, and animation and direction as well is on its finest there. Animation is mostly limited or even stilled outside those, but it works well within its more slice-of-life parts.

b.) On sound, the 1st OP is decent and the 2nd is great (and also functions as the last ED), but always skipped the 3rd and three out four EDs. Of course, it’s a matter of preference whether one favors another OP or ED. Insert music is functional despite the rather limited number of tracks, and matches each scene in question harmoniously, and in general its sound direction is one of the very strong cards for each sound fits on its right place.

▶

Another sound aspect I appreciated a lot is voice acting, equally including female and male roles, from both less known seiyuu and more famous. My favorite voices include Fool’s (Takehito Koyasu) and Layla’s (Ohara Sayaka).