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Two days before Cirque du Soleil’s “Luzia” opens at Tysons Galleria, the grounds outside the circus tents resemble a construction site. Small vehicles move through the yard as workers and visitors in yellow safety vests prepare for opening day on Saturday, Sept. 6.

Inside the Big Blue Tent, performers, musicians and crew members are bringing a surreal vision of Mexico to life.

Thursday, Sept. 4, is dedicated to validation: confirming that the touring production has been reconstructed exactly as it was at its previous stop. The team checks whether lights interfere with performers’ sightlines and whether every one of the 2,500 seats is correctly positioned and numbered.

Near the entrance, a locally hired worker presses a rooster-patterned costume on an old-fashioned ironing board. The design is commonly seen in Mexico, according to “Luzia” publicist Charlie Wagner. More brightly colored costumes inspired by the country hang along the wall.

Elsewhere, one performer balances on his head while others rehearse a two-level gymnastics sequence in harnesses. A couple rests on a floor mat, and an enormous silver horse waits nearby.

Because Cirque du Soleil does not use live animals, the production relies on puppetry. The horse appears in the opening act and requires three people to operate it from inside.

A passage leading into the darkened main tent is lined with props, including wide-brimmed hats and rows of candles in several sizes. Small stations hold instruments for the show’s musicians, beginning with an assortment of drums and cymbals. Seven musicians, including a singer, perform the score live.

“Luzia” presents a dreamlike world inspired by Mexico’s culture and landscapes, combining acrobatics, puppetry, vivid costumes, live music and elaborate water effects.

The production debuted in 2016. Wagner estimated that 15 of its 47 cast members have remained with the show since the beginning. After arriving from Montreal, the company will perform in Tysons before traveling to Atlanta.

Cirque du Soleil operates multiple productions around the world at once. Wagner said its current lineup includes five shows in Las Vegas and individual productions in Florida, Mexico and Hawaii, with another preparing to begin in Berlin. Each show is distinct.

Audience reactions also vary by country. Montreal crowds gave standing ovations nightly, Spanish audiences stamped their feet, and Korean spectators remained vocal throughout the performance, Wagner said. Certain moments, however, draw a response everywhere.

Touring has taken Wagner across North America, Europe and Asia. She described travel as both the best and worst part of the job: it offers the chance to see the world but often means missing major occasions at home.

Acrobats return to the air

High above one side of the stage hangs a large metal disk representing the Aztec calendar. When reversed, it becomes the sun or moon.

Crew members install massive treadmills designed to give spectators clear views from different parts of the tent. Nearby, the hoops team uses the equipment to rebuild its rhythm after 10 days without performing.

The routine begins with two hoops stacked over a treadmill. As the rehearsal progresses, two more are added. Each acrobat brings a distinctive flourish before jumping and flipping through the hoops, finishing to the sound of a bell.

Most of the performers have trained throughout their lives, Wagner said. Some were born into circus families, while others attended circus school.

A rainstorm beneath the tent

“Luzia” became the first Cirque du Soleil production to incorporate water into a performance. During one scene, rain falls from a ceiling-mounted hoop onto three sisters stranded in the desert.

Creating that spectacle requires an extensive system beneath the stage. About 94,000 small holes drain the water into a tunnel that forms a pool. The water is then pumped to a large outdoor container, where it is disinfected and warmed before circulating again.

Keeping the water warm is essential because cold water can affect the acrobats’ muscles. Between uses, a crew member pushes a drying machine back and forth across the stage to remove accumulated moisture and keep the surface safe.

Following Thursday’s validation work, the company will run the acts during Friday’s dress rehearsal. “Luzia” opens Saturday in the Big Blue Tent and is scheduled to remain at Tysons II from Sept. 6 through Oct. 19.