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Fascination Issue 008
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Fascination! Newsletter
Issue #8 - April 2002
"Cirque to Live; Live to Cirque"
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Bonjour et bienvenue! Though its still cold in much of the
Northern Hemisphere this month we hope to warm the soul with a look
at a warm and happy performance: Saltimbanco. It is amazing that the
show, created in 1992, continues to play to audiences today. Its
stamina is amazing and to honor its new European Tour, we have made
it our feature presentation. This issue showcases some of Saltimbanco's
greatest achievements, highlighting its beginnings through to the
current tour. We will look at how much the show has changed over the
course of 10 years and perhaps answer the question... how long
will the story between the Worms and the Baroques continue to be
told? All that and more in this exciting issue...
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Contents:
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* News & Rumors
* The Itinerary (Tour/Show Information)
* This Month in Cirque History
* Birthday Wishes
* Cirque TV
* Special Engagement:
"Heeeeere's Cirque 2002!" (By: Ricky Russo)
* Le Spectacle:
"Ethereal Science and Magic" (By: T. Clay Buck)
* Cirque Musique:
"Barock Odyssey" (By: Paul Roberts)
* Beyond the Big Top:
"Oscar Night!" (By: Fascination! Staff)
* The Cirque Connection:
"He's reading French, help him!" (By: Keith Johnson)
* Le Spectateur:
"On Stage With Cirque du Soleil"
Special Reprint, By: Bill Fitzhugh
* Parting Quote
* Next Issue
* Subscription Information
* Copyright & Disclaimer
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NEWS & RUMORS
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News
------
Name of new show revealed!:
Fans of Cirque du Soleil have been anticipating the name of the
2002 show for weeks. At 11:00am on Tuesday, April 2nd 2002,
Cirque du Soleil released that name in a special never-before
done-in-the-history-of-the-company web cast. During the web
cast, the world was introduced to the show's concept, its
theme, its music, its costume and its acts. But, probably
the most important aspect of the web cast was the unveiling
of the shows name: Varekai. More on this new, exciting
production in this issue.
Cirque du Cabaret?
Last month we reported that Cirque was in the process of
creating another spectacle that might end up at the New York,
New York Casino Hotel in Las Vegas. This month Cirque du Soleil
has posted a casting call for "a new project". In their words,
"Cirque du Soleil is now developing a new form of Cabaret-style
show" and they are looking for variety of talents to help bring
this project into reality. For those artists that "wish to
perform in a provocative, sensual, exotic and cutting-edge
environment," you can apply at casting.cirquedusoleil.com. This
new show will be staged at a permanent venue within the North
American continent but just where is anyone's guess at this
time. We will keep you updated.
Alexis Brothers... for sale?
Fans of Saltimbanco and Mystère, where the Alexis Brothers (also
known as the Lorador Brothers) currently perform, can now
purchase an array of merchandise dedicated to this balancing
pair. Fans can find Hats, Note Pads and an interesting item
called "Crystal Cube", a solid 3-D cube with a picture of the
brothers in their "one-arm planche" movement. It comes with a
velour gift box. Browse their merchandise store:
<http://www.alexisbrothers.com/webstorepage.htm > for further
information. While you're there get to know this fine balancing
pair!
A Fly on the Wall:
Bravo, the cable film and arts network, who has been the
Television home to Cirque du Soleil for many years, is preparing
a behind the scenes look at this enigmatic troupe in a special
entitled "Cirque du Soleil: A Fly on the Wall." The 13-episode
series takes viewers behind the curtain through an 18-month
period of the creation of a Cirque Show. One can speculate that
the half-hour shows will take us behind the creation of the new
Cirque 2002 Tour. The series will begin this fall. More
information as it becomes available.
Cirque du Celine:
During the last couple of months, the Cirque community was
stunned with the announcement that Celine Dion was teaming up
with Franco Dragone (Cirque's Conjurer) to produce a Las Vegas
extravaganza. Details regarding this show have begun to emerge
thanks to a March 5th article in the Los Angeles Times. The
show, tentatively contracted for 3 years at Caesars Palace, will
earn Celine $100 Million US Dollars. The content, "like
Dragone's acrobats," as the article suggests, is "very much up
in the air." The show will be 90 minutes long and is scheduled
to open in March 2003. To read more about this new spectacle by
Cirque alum Franco Dragone, visit the LATIME's article at this
address: < http://www.latimes.com/entertainment/printedition/
calendar/la-000016338mar05.story >.
Cirque taking Alegría Pre-Orders:
In July 2002, Cirque du Soleil filmed Alegría on its Australian
Tour (in Sydney). According to Cirque du Soleil, it was filmed
with DVD in mind as more than 14 cameras and state-of-the-art
techniques were used to film the spectacle. The DVD (a release
date is still to be determined, but is still Spring 2002 as
earlier reported) also includes a 50-minute documentary produced
by an Australian TV network. Fans will finally be able to see
backstage and watch their favorite artists be interviewed! (The
special will not be on the VHS). The DVD (Catalog #:502461) is
regionally coded for Region 1 only (US and Canada) and will sell
for $29.00. The VHS (Catalog #:502460) is in NTSC format only
and is priced at $25.00. Both items will only be available
directly from Cirque du Soleil. Pre-order now!
< http://store.yahoo.com/cirquestore/alegria2002.html >. Don't
delay, order today!
Cirque du Soleil Site Juiced Up!:
When the previous Cirque du Soleil web site was replaced, many
fans were disappointed with the lack of multi-media features,
pictures, and show information. Fans can now rejoice as the next
phase of the Cirque web site has been placed online. Now,
spectators and fans alike can learn more about each show
directly from Cirque's official web site. Visit them today at:
<http://www.cirquedusoleil.com/ >.
Rumors
--------
All is quiet on the Rumor Mill front as fans gear up for Cirque
2002! Check next issue for more exciting news and rumors!
=======================================================================
THE ITINERARTY (Tour/Show Information)
=======================================================================
[Touring Shows]
Alegría:
* Denver, Colorado: 6/12/02 - 6/30/02.
* Minneapolis/St-Paul, Minnesota: Summer 2002
Cirque 2002:
* Montréal: 4/24/02 - 6/2/02
* Québec: 6/27/02 - 7/14/02
* Toronto: Summer 2002
* Philadelphia, Pennsylvania: Fall 2002
* San Francisco Bay: Fall 2002
* San Jose: Winter 2003
Dralion:
* Las Angeles Area: 3/6/02 - 4/7/02
* San Diego, California: 4/18/02 - 5/12/02
* Portland, Oregon: 6/12/02 - 7/7/02
* Seattle, Washington: Summer 2002
* Sacramento, California: Fall 2002
* Phoenix, Arizona: Fall 2002
Quidam:
* Charlotte, North Carolina: 3/29/02 - 4/14/02
* Pittsburgh, PA: 5/9/02 - 5/26/02
* Detroit, MI: 6/20/02 - 7/7/02
* Boston, Massachusetts: Summer 2002
* Cleveland, Ohio: Fall 2002
* Tampa, Florida: Fall 2002
Saltimbanco:
* Amsterdam: 2/14/02 - 4/14/02
* Barcelona: 4/26/02 - 5/26/02
* Vienna: 7/10/02 - 8/4/02
* Brussels: Fall 2002
* Madrid: 10/31/02 - 12/01/02
* London: 1/7/03 - 1/26/03
[Resident Shows]
La Nouba:
* Two shows Nightly - Thursday through Monday.
* Times: 6:00pm and 9:00pm
* Location: Walt Disney World, Orlando.
* No performances on Tuesday or Wednesday.
* Other than its normal off nights, "La Nouba" is
scheduled to be dark on these dates in 2002:
- April 1st through 4th
- May 28th through June 12th
- July 22nd through July 25th
- September 9th through 12th
- October 21st through 24th
- December 3rd through 11th
Mystère:
* Two shows Nightly - Wednesday through Sunday.
* Times: 7:30pm and 10:30pm
* Location: Treasure Island, Las Vegas.
* No performances on Monday or Tuesday.
* Other than its normal off nights, "Mystère" is
scheduled to be dark on these dates in 2002:
- April 7th through April 10th
- June 5th through 9th
- August 4th through 7th
- October 6th through 9th
- December 4th through 17th
"O":
* Two shows Nightly - Friday through Tuesday.
* Times: 7:30pm and 10:30pm.
* Location: Bellagio, Las Vegas.
* No performances on Wednesday or Thursday.
* Other than its normal off nights, "O" is
scheduled to be dark on these dates in 2002:
- April 29th through 30th
- June 19th through 27th
- August 12th through 13th
- October 14th through 15th
- December 4th through 19th
=======================================================================
THIS MONTH IN CIRQUE HISTORY
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* April 04, 2001 -- Dralion opened in New York
* April 05, 1996 -- Saltimbanco opened in Amsterdam (again)
* April 05, 2001 -- Quidam opened in Antwerp
* April 06, 2000 -- Dralion opened in San Jose, California
* April 08, 1988 -- Le Cirque Réinventé opened San Francisco
* April 08, 1998 -- Quidam opened New York City
* April 11, 1991 -- Nouvelle Expérience opened New York City
* April 13, 1989 -- Le Cirque Réinventé opened Miami, Florida
* April 18, 2002 -- Dralion opened San Diego
* April 20, 2001 -- Saltimbanco 2000 opened Nagoya, Japan
* April 21, 1994 -- Alegría Premiered in Montréal
* April 22, 1999 -- Dralion Premiered in Montréal
* April 23, 1992 -- Saltimbanco Premiered in Montréal
* April 23, 1996 -- Quidam Premiered in Montréal
* April 24, 2002 -- Cirque 2002 Premiered in Montréal
* April 26, 2002 -- Saltimbanco opened Barcelona
* April 27, 2000 -- Mystère performed 3000th Performance (10:30pm)
* April 29, 1997 -- Quidam opened in Santa Monica (again)
* April 30, 1999 -- Alegría: Le Film premiered in Québec
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BIRTHDAY WISHES!
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* April 02, 1973 -- Dessy (Ex-Singer/La Nouba)
* April 04, 1972 -- Sheetal Gandhi (Character/Dralion)
* April 18, 1962 -- Valery Kleft (Clown/Alegría)
* April 20, 1967 -- Marco Lorador (Hand to Hand/Mystère)
* April 23, 1963 -- Matthew Baker (Fritz/Quidam)
* April 26, 1955 -- Rene Bazinet (Clown/Saltimbanco)
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CIRQUE TV
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Cirque du Soleil is once again scheduled to appear on Bravo, the
film and arts Network in the United States. The schedule of
performances is as follows (All times are Eastern):
* April 1st:
1:00am -- Nouvelle Experience (60 Minutes)
* April 22nd:
8:00pm -- Alegría (120 Minutes)
11:00pm -- Alegría (120 Minutes)
* April 23rd:
5:00pm -- Alegría (120 Minutes)
10:00pm -- Nouvelle Experience (60 Minutes)
* April 24th:
4:00pm -- Nouvelle Experience (60 Minutes)
8:00pm -- Saltimbanco (60 Minutes)
9:00pm -- Le Cirque Réinventé (60 Minutes)
10:00pm -- Saltimbanco (60 Minutes)
11:00pm -- Le Cirque Réinventé (60 Minutes)
* April 25th:
6:00pm -- Saltimbanco (60 Minutes)
8:00pm -- Quidam (120 Minutes)
10:00pm -- Quidam (120 Minutes)
This schedule is directly from Bravo and is subject to
change at any time. Check your listings to confirm show times.
=======================================================================
SPECIAL ENGAGEMENT:
"HEEEEEEEEEEERE'S CIRQUE 2002" (By: Ricky Russo)
=======================================================================
April is a month for new beginnings. Spring is in the air,
temperatures rise, flowers begin to bloom, and a big top is raised on
the Jacques Cartier pier in the Old Port of Montréal. For the last
couple of months, Cirque du Soleil has been hard at work putting up
their new big top in preparation for their new show - Varekai -
and we are on the cusp of its release. When it debuts, it'll be
the first new show to come out of Montréal in 3 years (since 1999's
"Dralion"), and the excitement is building for the show's debut.
On April 24, 2002, the world will get its first live glimpse of
Cirque's new spectacle and the Fascination! Newsletter will be there
(on April 25th) to join in the celebration.
"Varekai" is a Romanian term that translates into "Wherever".
"Wherever the wind carries us," is the underlying theme of the show
as relayed by Dominic Champagne, Varekai's Director. "ROM", the
rumored and oft mentioned working title for "Varekai" is a Gypsy
word with a common meaning - Person. More specifically, it's the
word for "man". Cirque's fascination with the imagination holds true
for "Varekai" as they dive into European folklore.
The inspiration for this new show comes from "the bond between circus
artists, acrobats, dancers, jugglers, contortionists, clowns and
actors as they risk their lives to defy the laws of gravity, showing
the world that something else is possible."
Dominic Champagne, the director of the new spectacle, is joined by an
assortment of talented people, many of whom are working with the
Cirque for the first time. Andrew Watson is the Director of Creation.
It is his job to make sure the creative vision remains intact.
Stéphanie Roy is the Set Designer. She previously worked on Dralion,
Cirque's 1999 production. Eiko Ishioka joins Cirque for the first time
as Costume Designer. Violaine Corradi is on board as the show's
composer. She made her Cirque debut with Dralion. There are two
Choreographers for the new show: Michael Montanaro and Bill Shannon.
Sound is designed by François Bergeron, who has been around since
Nouvelle Experience. He is joined by Nol van Genuchten (Lighting
Designer), who has been Luc Lafortune's (Lighting Designer on many
Cirque shows) assistant for the past few years. He breaks out on his
own for "Cirque 2002". Francic Laporte joins the new tour as
Projections Designer. The Make-up designer is Nathalie Gagné, another
Cirque alum since Quidam. Rigging is done by Jaque Paquin, and last
but not least, André Simard designs yet another acrobatic performance.
There have been lists of acts to be presented in "Verakai" released
on the internet by fans, but these turned out to be mostly rumor and
speculation. During the web-cast on April 2nd, the world got its first
glimpse of what characters and acts would fill the stage. If you
missed the web cast, members of Cirque Club will be able to view
it beginning the evening of April 2nd (Eastern Time) at this link:
< http://www.cirquedusoleil.com/go.asp?p=117&l=en >.
Regardless of the performances onstage, fans of Cirque du Soleil will
get a treat - a new big top! Affectionately called "The Grand
Chapiteau", it is an impressive beast standing 17 meters high (that's
55.77 feet) and 51 meters in diameter (or a little over 167 feet).
Those dimensions make it the largest big top Cirque has ever performed
under! And, unlike previous (more traditional) big tops, the blue and
yellow stripes are replaced with a "Swirl" of blue and yellow. This
new design made its debut in Miami, Florida on the Quidam tour and is
an interesting twist to a classic design.
Further information regarding the new tour will be released officially
by Cirque du Soleil through the Cirque Club (www.cirqueclub.com). As
always, the Fascination! Newsletter will keep you up to date on the
events surrounding "Varekai" and all the other tours world-wide.
=======================================================================
LE SPECTACLE:
"ETHEREAL SCIENCE AND MAGIC..." (By: T. Clay Buck)
=======================================================================
Ethereal Science and Magic - The Art of Saltimbanco
I came to Cirque du Soleil through the back door. That is, by the time
I'd seen Mystère, the tour of Quidam had already left Montreal. These
quixotic Quebecois were already a decade into their circus reinvention
and had established nearly one-half of their repertoire. Greedily I
latched on to everything I could find about them, and thus it wasn't
until only a year or so ago that I came upon Saltimbanco - and even
longer than that until I truly fell in love with the show.
Now, let me begin by saying, I've only ever seen it on videotape and
in the images and stories from various articles and web sites. Like
most of Cirque's creations, I can't even begin to imagine what it's
truly like to experience this show under the Big Top. But, to me,
Saltimbanco represents the foundation of the Cirque I have come to
know and to love.
By the time Saltimbanco was conceived, Cirque du Soleil had already
established its reputation for excellence. Le Cirque Réinventé and
Nouvelle Experience had charmed audiences across North America, and
the world domination had already begun. Thus, the concepts that would
become the framework for Saltimbanco were in place. But in this
creation, the team of conjurers took greater leaps than had ever
before been dared. At the same time, they laid the framework for what
would become the hallmark of Cirque du Soleil - the spectacle, the
story, and the amazing feats of human agility and strength.
The story of Cirque du Soleil is truly a story of evolution. On a
snowy Saturday, take the day and watch every video (or DVD) from start
to finish. When you get to the end of Dralion, think back to the
opening act of Cirque Réinventé and see just how far we've come.
Falling somewhere in the middle of this evolution lies Saltimbanco -
the one, the many, eternal, and out of time. The acts that are
contained within the show have become a hallmark for Cirque - the
Chinese poles, resurrected in Mystère, the Russian Swing, born again
in O, the Bungee (or Elastics), brought to life in Mystère, Journey of
Man, and at the 74th Academy Awards. These images of aesthetic
athleticism are immediately recognizable as Cirque.
At the same time, the entire spectacle of Saltimbanco envisions the
other indicator of Cirque-ness. The all-encompassing thematic
spectacle. Even more than its predecessors, Saltimbanco brings
together a troupe of characters, of personnages, who construct the
thematic over-current of the show. Yet, unlike its descendents
(Alegría, Quidam, et al) Saltimbanco embodies a more over-arcing image
than a true plot-line. A does not necessarily lead to B in this
kaleidoscope of fantasy.
The world we enter in Saltimbanco is one unlike any other - even in a
Cirque-centric universe. At the opening, the entire arena is covered
in a large white sheet which parts to reveal a world rich in color and
texture. The stage and its environs are reminiscent of a bright,
fantastic forest - rich, bright blues and greens dominate in eye-
popping colors. And the inhabitants of this world are straight out of
an iridescent comic book. More than any of Cirque's other creations,
Saltimbanco is vivid, bright, almost iridescent. It is a world that
exists in primary colors - red, yellow, blue, green - with little
variation in the between the line hues. Unlike the more somber Quidam,
the darker Alegría, or the earth-toned Dralion, the colors in
Saltimbanco are eye-popping.
It is through this vivid use of color that the theme of Saltimbanco is
revealed - as the notes of the show say, "As an antidote to the
violence and despair typical of the 20th century [it] proposes a new
vision of urbanity, overflowing with optimism and happiness." It is,
perhaps, the embodiment of Cirque's mission of being merchants of
happiness.
As in all Cirque shows, the acts flow one after the other as this
mythic fable unfolds. But, again, not through any traditional sense of
a story line. There is no lost child who carries through to catharsis;
no sad hunchback who tells us his tales of lost love and desire. But
instead, a kaleidoscope of characters, and images, that lead us to a
perhaps brighter future. Dominated by two species - the Worms and the
Baroques - the world of Saltimbanco is a rich one, indeed. The Worms
are the nameless, faceless many who aspire to be better than they are,
to transcend the low social strata. The Baroques are the antithesis -
with a deeply perceptive sense of the world around them. The Worms
spend their time in trying to achieve the status of Baroque.
There is a certain simplicity, too, to this show. It is full of a
child-like wonder and amazement. It is an exploration, and
celebration, of imagination run wild, and perhaps less complicated and
more playful than any of Cirque's other creations. Which is not to say
that the dark side doesn't linger just beyond the horizon - Death
makes an appearance at one point, and there are those who would steal
the joy. But all in all, it is a playful, beautiful show, yet always
aware of its own mortality.
The acts within Saltimbanco have evolved as the show has - it began
its tour in 1992, continued on to Japan in 1994, in Europe from 1995,
in Asia in 2000 and has recently begun a 2002 tour of Europe once
again. Acts have come and gone, yet many remain the same. Yet, each in
its own way maintains a basic adherence to the fantasy that is
Saltimbanco - the Chinese Poles, the Tight Rope, Russian Swing, and the
Bungee. All acts that originated in Saltimbanco and have gone on to be
featured in other shows, or indeed to represent the very core of what
is Cirque. Others are more truly indicative of Saltimbanco - the
Boleadoras, the Adagio Trio, and the Juggling act. Indeed, one of
Cirque's greatest performers, Rene Bazinet, was a cornerstone of
Saltimbanco for much of its history.
If Alegría is Cirque's signature show - the one that pulled together
all of the various elements into one seamless, fantastic production -
then Saltimbanco is the progenitor of what would become the essence of
Cirque du Soleil. By taking a giant leap from the literal-mindedness
of Le Cirque Réinventé, and, to some extent, Nouvelle Experience, it
laid the groundwork for the true exploration of what these shows had
already begun. It is much less literal than any of the shows that came
before it, relying more on thematic structure and image than on a
strict set of rules.
To look at Saltimbanco, coming where it does in the evolution of
Cirque's history, is to see a basis of what came after it. In my
opinion, with Saltimbanco, the productions became less about pretty
pictures that tied the acts together, but more of a total experience,
out of which the circus acts became an integral part. In other words,
it became one complete theatrical experience. The acts come out of an
impulse in the story line; they blend together in one seamless
totality of fantasy.
The characters, then - the Worms, the Baroques, the Baron - become not
just plot devices or wonderful costume pieces that add to the visual
excitement, but archetypes of personality and emotions. The Baroques
are vividly different from the Worms, and the nature of their
performance (most pointedly in the Russian Swing) is vastly different
(compared to the Worms on the Chinese Poles). The music of the show is
expertly integrated to underlie the thematic structure. Indeed, the
signature song of the show - Kumbalawe - is one of the lightest, most
lyrical pieces of Cirque's repertoire. Think of it in comparison to
the bright colors, the high energy of the set and the design, and it
is a simple, almost child-like tune, reminiscent of innocence and joy.
What is perhaps most remarkable is that Saltimbanco is still touring -
with dates booked through January of 2003, making it the longest-
running of Cirque's current shows. It came before Cirque put down its
roots with permanent shows, and continues to enjoy wild success across
the globe. So, the question then is why is this show such a phenomenal
success? I believe it is for two reasons - 1) This show IS Cirque du
Soleil in its purest, essential form. It is the Circus - and, indeed,
the theatre - reinvented. It is a completely new form, a completely
new identity of any kind of performance that had happened before. And,
2) it is a beautifully simplistic show. It reminds us all that there
is a brighter world, a hope for the future, and that the barest
essence of humanity - whether Worm or Baroque - is to engage in the
sheer wonder of life, of color, of sound, and of fantasy. It reminds
us that we are individuals, yet as individuals we are part of a whole.
"I am one. I am many. I am Saltimbanco."
=======================================================================
CIRQUE MUSIQUE:
"BAROCK ODYSSEY" (By: Paul Roberts)
=======================================================================
The first time I watched the "Saltimbanco" video, I felt somewhat
disappointed. At the time I had seen "Mystère" live and the "Quidam"
video and initially felt that "Saltimbanco" lacked something. The
music, however, absolutely knocked me over.
"Saltimbanco" is the longest running current Cirque show and still a
favorite of many fans. Developed in 1992, Cirque du Soleil's creative
team took another step further from previous shows by casting Francine
Poitras as the first vocalist to play an important role. She not only
provided her splendid operatic voice, she also developed a frolicking
character that meshed with the show's acts. Francine left
"Saltimbanco" to become the vocalist for the "Free Willy 3" movie
soundtrack in 1997 and hopefully is still displaying her talent
somewhere.
The live band also included changes to Cirque du Soleil's at-the-time
limited tradition. Instead of a salvo of electronic keyboards, the
lineup of percussion, keys, bass, guitar, and saxophone created a crew
that jammed like no other. Normally Cirque du Soleil musicians as a
whole are known as an orchestra, however, for "Saltimbanco" this
lineup of traditional instruments could be classified as a
progressive-rock band.
The musicians shine with improvisations and for the first time a lead
guitar is very dominant, and original live guitarist, Yvonne Caultier,
provided some of the tastiest guitar chops I have ever heard. I
compare him to one of the finest guitarists in the world, Steve Morse,
with several styles and leads that are not only lightning fast, but
also very melodic. Prior soundtracks had included only limited guitar
usage, but in "Saltimbanco" the semi-sterile synthesizer dominance of
the past had been replaced by the harder-edge guitar. And thus, let
the rock show begin...
The Baron recites the spoken word "Rideau," that begins with piano and
then crescendos into a full-band triumph. The powerful ending entices
the curtain opening as a bell tolls signaling the entrance of The
Worms to slither to the melodic song "Kumbalawé." A welcoming theme
sung by the cast.
The first act is a beautiful contortion scene involving a
representation of mother, father, and child that is called the Adagio.
The song, with the same name as the act, features a haunting melody
line backed by fretless bass and melancholy saxophone with a chorus
that includes a memorable classical guitar line. The child then climbs
into a large air-filled chair and grows older leading to the exciting
act of Chinese Poles.
The shuffling beat to the title track, "Saltimbanco" provides a
majestic rhythm for the pole climbers and jumpers. This instrumental
is just a preview of what is to come throughout the show as several
improvised solos are provided from the musicians. Saxophone and
distorted guitar play the major theme as interruptions of instrument
solos are choreographed with the artists' exploitations. A Taïko drum
introduces the next act and songs.
Although separate songs on the CD, "Kazé" and "Norweg" are
interestingly combined during the Double Wire act. "Kazé" is a subtle
piece with synthesizer flute and a rich melody that continues
throughout. A basic 4/4 drum pattern is laced with a kalimba-like
sound and a choir "ah" sound from the keyboards. The subtlety ends and
"Norweg" kicks in with a moving bass line that is reminiscent of a
1950's-like chord progression. During the intense moments of the high
wire artist's jumps from wire to wire, the song evolves into a
keyboard-fingered triplet section in a 6/8 time signature. As the
audience breathes a sigh of relief following the artist's successful
performance, "Kazé" is revisited to calm things down, then
"Saltimbanco" enters into a world of fantasy.
As a set-up act, The Sleeper experiences a dream sequence featuring a
parade of characters. The music includes backward-masking guitar
patches, echoing saxophone runs, dreamy synthesizer chords, and
improvised fretless bass riffs, while the singer continues with the
melody line from "Kazé". This short piece has a chilling effect that
haunts The Sleeper. As he awakes the sequence segues into a high-
spirited percussion attack that introduces the Juggling act
accompanied by "Arlequin."
"Arlequin" is absolutely Cirque du Soleil's jazziest tune and all the
musicians get to show off their improvised talents. Each member of the
band has a solo with the highlight of the song being a frenzied trade-
off between guitar and saxophone. The jazz theme incorporated by an
alto and baritone (synthesizer) sax combo bounces in unison with the
juggler's multitude of balls. Groovin', Man!
The blissful theme of "Arlequin" ends with a drastic dynamic evolution
as "Death" makes an ominous appearance to set up the next act. The
theme during this transition is dark and could easily be incorporated
into "The Phantom of the Opera." A drone synthesizer note fills the
darkness until a frantic barrage of random sequencer notes introduces
the following act: Bolas.
The accompaniment to the Boleadoras Flamenco act incorporates a
percussion contraption that looks like some sort of bizarre octopus.
This assortment of synthesized drums includes MIDI (Musical Instrument
Digital Interface) connections that allow the percussionist to play
various patches that enhance the performers' bolas and tap shoes as
they strike the miked stage. The Bola Girls dance and twirl and the
pace becomes so intense that the bola balls appear to be flying off of
their strings as the percussionist seems to grow several arms to keep
up with the multitude of drum strikes.
Following the Bolas, The Baron slows down the pace as he steps onto
another miked stage to perform a tap dance with percussion providing a
tribal beat. As he dances and swings his white and black-striped cape
he groans and screams an evil version of "Rideau" sounding as if he
were alone in a vast cavern. When he completes his dance, a straight
drum beat signals the beginning of one of Cirque du Soleil's most
rocking songs, appropriately titled "Barock."
"Barock" accompanies the energetic Russian Swing act and is another
instrumental that features a myriad of instrumental ad-libbing. A
descending guitar riff travels through most of the upbeat song as
various instruments provide tasty solos. In the middle, however, the
band quiets down to enhance the intensity of setting up for a flyer to
land atop a chaired pole. With the safe landing, the tune then returns
to its vigorous theme. During "Barock" the band appears to be having a
lot of fun as they are seen dancing around like rock stars.
Afterwards, comic relief is in store to be followed by the incredible
double trapeze act.
"Amazonia" is one of my favorite Cirque du Soleil songs. While
accompanying the dual trapeze act, this piece goes through a multitude
of time signatures and dynamics. The beginning includes Taïko drums
beating to synthesizer sequences behind the vocalist's spoken-word in
the famous Cirque du Soleil imaginary language. A bass guitar
interrupts the intro and begins a steady pattern of full-band
classical-like chord progressions. The climax of the song occurs when
the one of the trapeze twins slides down the other twin's legs to be
caught by her feet. Like the amazing routine, the high note hit by the
vocalist is spine-tingling. And as the trapeze twins take their bow,
the band plays a reprise of this wonderful song.
Morphing into a pulsating synth bass line, "Urgence" provides a
perfect backdrop for the Hand-to-Hand act of two strongmen, originally
performed by the Lorodor Brothers, now of "Mystère" fame. A great
representation of the bandleader's duties is represented in the video
by keyboardist, Bridgette LaRouche. After several hand-to-hand
movements, Paulo attempts to raise a hand-standing Marco by his feet,
which is the climax of the act and thus the music rises to the
occasion. However, Paulo has difficulty in raising Marco and has to
give up momentarily. Bridgette notices this and directs the band to
soften the song until he triumphantly raises his brother in the air.
Then on cue, the music's chord pattern ascends with Paulo's legs.
During their bow, Paulo expresses pain in his face. And to think they
do this twice a night, five nights a week.
The passionate side of "Saltimbanco" now ensues as one of Cirque du
Soleil's most operatic songs "Il sogno di volare," compliments the
beautiful Bungee Ballet. Franco Dragone wrote the lyrics and, as the
flyers take to the air, a string ensemble escorts a soaring melody
line. When the bungee artists descend, a sorrowful ambiance ensues.
The end is near.
To celebrate another successful show, all the performers gather on
stage and take turns flying and flinging on the bungee cords. Some
grab acrobats by the feet and sling-shot them so hard that they soar
to the top of the tent. The band plays a quirky little song that
embellishes the jovial mood, but with a sudden snap of the snare drum
the finale arrives.
Cirque du Soleil is known for rearranging live songs from the studio
versions, but the closing song, "Horéré Ukundé", has one of the most
distinctive changes. On the soundtrack this song is played with a slow
4/4 time signature; live, however, it is played to an upbeat 2/4
signature that almost seems rushed. This song includes some of the
most interesting imaginary lyrics with words like "qwu-eggy" and "mah-
leggy" that rolls off the vocalist's tongue. Maybe Cirque du Soleil
could just create a universal language for all to speak.
And...the bell tolls once again. The performers wave goodbye to the
admiring crowd.
On the soundtrack CD (RCA Victor/BMG Catalog #: 09026-61486-2), there
is a beautiful piece titled "Pokinoï" that as far as I know has been
never used live. Why? This song includes a wonderful staccato-string
accompaniment to Francine's operatic melody line and a heavenly choir
fills out the song's chorus.
The Japanese version of the CD (BMG/RCA Catalog #:BVCF-31076 74321-
82877-2) also includes two live cuts: "Adagio" and "Arlequin." Even
though the CD's liner notes gives no musician credits, I'm fairly
certain that it is close to the same line-up as on the video and I un-
mistakenly know that Mr. Caultier is playing the guitar. But, as a
side note, the live cuts on the Japanese CD are not the same as the
Saltimbanco video.
" 'Saltimbanco', at first was going to be a rock show...baroque rock.
Rock baroque," said an subtitled Franco Dragone on the Baroque Odyssey
video, "but in the end, the show, instead of rock stayed baroque, but
became tender. In a way, it was inevitable. The cast members were
sensitive types. I tried to turn them into rockers...heavy metal...but
they remained sensitive."
The second time I viewed the tape, I seized the emotion of the
complete show. There is a special energy in "Saltimbanco", but the
sensitive passion that Franco found in the performers has allowed the
show to stand the test of time and I hope to someday actually
experience "Saltimbanco" live.
=======================================================================
BEYOND THE BIG TOP:
"OSCAR NIGHT!" (By: Fascination! Staff)
=======================================================================
Oscar Night was a special one for Cirque fans. For five minutes,
Cirque du Soleil would be the focus of the 74th Academy Awards. It took
Cirque four months to create the show, which featured eleven acts from
some of their most popular productions: Dralion, La Nouba, Quidam,
Mystère, "O", and Alegría. Millions would see the performance and out
of those millions, the Fascination! staff wishes to express their
thoughts on the wonderful outing by Cirque du Soleil!
Paul Roberts:
So much anticipation on the night of March 24, 2002. Not only
had my favorite story of all time been successfully adapted into
a movie, my biggest obsession was to also perform at the Academy
Awards Presentation show.
Twenty years ago I read J. R. R. Tolkien's "The Lord of the
Rings" trilogy and the story became an important part of my
life. As a band of five friends gathered and wrote stories of
our travels through Middle Earth, I relived some of my best
memories when director Peter Jackson's movie hit the big screen.
Five years ago, I experienced my first Cirque du Soleil show:
"Mystère" and discovered a new passion, one like I had not felt
in twenty years. This new passion led to meeting several of my
Cirque du Soleil heroes and even fellow fans from all over the
world, via e-mail and in person. I now had reason to watch my
first-ever Oscars show.
Approximately an hour and a half into the awards ceremony,
Whoopie Goldberg strolled onto the stage wearing Hobbit feet and
a "Lord of the Rings" highlights film followed. Next, Sir Ian
McKellen and Madame Maggie Smith, wizards from the "Lord of
the Rings" and the "Harry Potter" films respectively, segued to
the next feature: a performance by Cirque du Soleil. Cirque du
Soleil's extraordinary tribute to the magic of film had me in
awe as usual, but I realized that my past and my present had
been united in such a magical way that these tributes held
personal significance. Thank you, Peter Jackson and Cirque du
Soleil for combining memories that I shall always cherish.
Keith Johnson:
I really liked their performance at the Academy Awards. More of
a "greatest hits" than premiering new acts, the performers
actions synced up to the film montage by Lewis Cohen perfectly.
The German Wheel accompanying images of the space station in
2001 - trampoline wall- climbing with images of flight and
falling. It was short and intense, with the bungee act as a
final, breathtaking touch. I almost feel tired after watching
it, there is so much going on (much like a Cirque show.
This is a performance I will keep. When friends ask me "What is
Cirque?" I'll sit them down in front of the TV and show them
this tape. "This is Cirque du Soleil," in five minutes or less.
Ricky Russo:
When I first heard that Cirque du Soleil would be performing at
the Oscars I knew I had to make sure I tuned in. In the past I
had watched the Oscars religiously, but TV time had become less
and less over the past year and I wasn't sure I would be able to
make time to watch. Then Cirque du Soleil came along and fouled
that up. Now, I had to watch! So, there I sat in front of my TV
from the beginning of the telecast hoping to catch glimpses of my
favorite circus troupe.
The show Cirque du Soleil put on was nothing short of
spectacular. As the curtain went up featuring the Banquine
artists in formation, a bizarre feeling overwhelmed me. My skin
became bumpy and raised, my breath still and my mind focused.
Cirque had besieged me already. And I knew right then that
watching the performers from all of Cirque's spectacles flood the
stage would be something special. I was not disappointed in the
least. The finale of the spectacle was just as overwhelming as
Chris Lashua cycled out into the audience, stopped and pointed up
at a sight that made me fall out of my chair (yes, literally) -
the Bungees! I yelped out in excitement and watched with glee as
the elastic artists bounced into my heart and soul. Cirque du
Soleil can definitely put on a show!
T. Clay Buck:
The March 27 edition of The Chicago Tribune ran a section called
"Oscar Reconsidered," a listing of what should be kept and what
should be axed from the annual Academy extravaganza. In the
Keep column they listed, "Cirque du Soleil. What does the
circus have to do with movie special effects? Who cares?
They're cool." Well, my sentiments exactly. What absolutely
blows my mind is that Cirque was actually able to capture the
feel of what was going on on-screen with their live acrobatics -
the Quidam and the Invisible Man, the Fire Act with Backdraft -
every act fit perfectly with the screen version. Which begs the
question - which came first, the acts or the movies? Somebody,
somewhere put together those acts with the clips from the films.
Did Debra Brown do it all? What genius Hollywood editor had the
foresight to put it all together. Either way, I think it's a
remarkable testament to the power that is Cirque - that even
they could eclipse the work of film and bring Hollywood to its
feet in a standing ovation to the power of live performance.
We've all slogged through so many of those retrospectives and
tributes to a particular element of film in the Oscar broadcast.
Cirque, true to form, raised the bar and made this one
especially exciting.
Jen Waldman:
I arrived home from Atlanta, GA around 10 PM on March 24 and
immediately went to bed...but though I was tired, I couldn't
sleep. So I turned on the TV. As the picture became clear, I saw
Maggie Smith say "Cirque du Soleil!" Do I time my plane arrivals
well or what?
I hadn't heard La Nouba in a while, so it was a pleasure to hear
that. And then I spent the whole time trying to match the acts
to their shows, and marveling at the way the acts matched the
film clips shown. I thought the pairing of Elena Lev with
Metropolis was perfect. Loved the use of Banquine. I bet myself
that cordes lisses would be matched with Mission:Impossible.
That was correct (at one point), but since I was all alone, the
bet was off. I was actually annoyed by the appearance of the
Bungee People, though I usually adore that act. Perhaps it was
just jet lag. As I just happened to catch the performance, I was
unable to tape it or even give it my full attention, but I
remember what I said aloud then and I will say it here now:
"This is bloody brilliant stuff here!"
=======================================================================
THE CIRQUE CONNECTION:
"HE'S READING FRENCH, HELP HIM!" (By: Keith Johnson)
=======================================================================
"Le Cirque Du Soleil: La Creation D'un Spectacle Saltimbanco" by Julie
Boudreault (Nuit Blanche Editeur Publishers, Montreal, Quebec, June
1996, ISBN # 2-921053-56-X)
This book is in French, I informed my erstwhile editor Richasi. I
don't read French, don't understand much beyond "Bonjour" and
"Michelin." So I wouldn't be any good at a decent book review, would
I? "Oh, give it a try," he replied, "It fits the theme of the issue,
Saltimbanco, perfectly. Just write up a few paragraphs." Okay then,
and with apologies to our French speakers...
I found this 204-page curiosity at www.archambault.ca
<http://www.archambault.ca/>, a French bookstore website (which also
has an English translation). It cost about $23.00 Canadian. I
purchased it fully expecting it to be in the French language, but
hoped it might have some interesting illustrations.
The book begins with a quick Cirque du Soleil history, then a quick
circus history with illustrations, focusing on "traditional" circus
disciplines and clowns. It then concentrates on Cirque du Soleil in
three basic sections. (Now remember I'm translating, poorly.) "The
Acts" covers the less-traditional acts in Saltimbanco, such as Bungee
and Chinese Poles, and the people who perform them. "The Concept"
seems to discuss the creation and brainstorming of the show with
several pages of costume sketches by Dominique Lemieux. It also
discusses and has diagrams of the stage, big top, and lighting design.
It's in this section where you'll find a majority of the books 47
illustrations.
Finally, what I would call "The Evolution" part of the book seems to
address how the show evolved, and how the Cirque du Soleil process
differs from more traditional circuses, with the artists and creators
interacting and feeding off each other. The book takes great pains to
point this out, to the point of having a diagram of "spectacle du
cirque traditionnel" showing an insular "tradition" keeping out the
"nouvelles idees" from the process. This is offset by a similar
diagram for Cirque du Soleil, showing "nouvelles informations", as
well as all other areas of the production, having influence on each
other.
There are three interesting Appendixes at the end of the book. The
first has year-by-year highlights from 1987-1996, listing awards and
media (magazine, television) appearances. The second is a very
complete listing of tour itineraries from 1984-1998 (even including
their first tour of Quebec in June-Aug 1984). And finally there is a
5-page bibliography, including some citations in English.
I'm afraid I can't comment on the books style, or whether it's a good
read. Though I can make out some words, I can't read French. That
being said, I did appreciate the many pages of costume sketches, the
tour itineraries, and bibliography.
Is it worth $20.00 of your hard-earned American currency? I'd suggest
only to a hard-core fan. This would be a wonderful translation
project for a bi-lingual Cirque fan, with lots of time and a fair
amount of Web page space.
A hard-core bi-lingual Cirque fan.
=======================================================================
LE SPECTATEUR:
"ON STAGE WITH CIRQUE DU SOLEIL"
SPECIAL REPRINT, ORIGINALLY WRITTEN BY BILL FITZHUGH
=======================================================================
Ahhh, the allure of the circus. Step right up and witness captive
lions stripped of their magnificence as they are whipped by an idiot
costumed like an albino Liberace! Behold the awesome power of mighty
African elephants trivialized by a goon in a stove- pipe hat! Examine
the collection of freaks guaranteed to give children a permanent
mental block when it comes to dealing with the handicapped! "Anyone
want to run away and join the circus?!" I don't think so.
On the other hand, I have long believed that Juvenal was right when he
noted that people could be distracted from their lives by the games of
the circus. For me, final proof of this came one recent Saturday
afternoon when I found myself on stage with René Bazinet, the
ringmaster and head clown of Cirque Du Soleil.
The first clue that something was afoot should have been when the
usher looked our tickets, said, "Uh oh," and took us to a seat so
close to the stage that I sat sideways to prevent splinters from
lodging under my kneecaps. Once seated, I shrugged off the "uh oh"
assuming it meant I was destined to be doused with water in some
classic clown routine.
The distractions began immediately as I attempted to divine how the
oddly set stage could present the magical event I had heard so much
about. After all, it was nothing more than a brightly painted round
platform partially covered by a sizable sheet emanating from an
industrial-sized air duct. Not exactly Barnum and Bailey.
Then the lights went down, the music came up, the sheet disappeared
into the pipe, and a parade of characters unlike any I've ever dreamt
of drifted onto the stage to the strains of enchanted harmonies. The
lights, music, and costumed performers converged to present a world
Walt Disney might have concocted after a dozen martinis, a bit of
peyote, and a "Road Warrior" film festival.
THE SMELL OF THE GREASEPAINT
Early in the second half of the show, Rene Bazinet, the Main Clown,
was on stage peeking behind imaginary doors when something suddenly
spooked him, causing him to bolt across the stage and into my lap. "Uh
oh, " I thought, "there's a sweaty clown in my lap. " So this is what
the usher meant.
The next thing I knew, I was standing at center stage, holding this
clown's hand. At this point, self-consciousness gave way to hysterics
and I began laughing so hard I nearly went blind.
It turned out I was going into one of the invisible rooms with this
joker, and the room we entered was evidently filled with fruit-bearing
trees.
Rene picked two imaginary bananas from an imaginary banana tree and
gave one of them to me. He peeled his and took a bite, indicating I
should do the same. However, not wanting to mis-peel my fruit and look
the fool, I slid the banana into my pocket, and got quite a laugh from
the distracted masses.
Rene responded to my improvisation with a disapproving look that made
me panic. Trying to make amends, I retrieved the banana, peeled the
sucker, and took a bite. With that, I was back in the game.
Rene then sashayed to center stage where he ceremoniously dropped both
our banana peels before returning to my side and indicating I should
watch him. But there was no need for that; I knew what was expected of
us at this point. "Hell, we're clowns," I mused, "and we've got to go
slip on those peels."
Rene went first, then it was my turn. Five nonchalant steps and zwip,
bang! Flat on my back. One of the best amateur pratfalls in amateur
pratfall history. The crowd went wild.
There was confidence in Rene's eyes when he helped me to my feet. This
clown knew he had something to work with, so we strapped on imaginary
holsters filled with fictitious six-guns and I got a quick lesson in
how to handle those puppies.
Rene threw one of his guns in the air and caught it in his holster. I
followed suit and, bingo, six-gun in the side pocket. Rene then
pitched both of his sidearms skyward and just as easily caught them.
Then it was my turn --I hurled my weapons, they soared gracefully
(trust me) before landing neatly one, two, whump, whump...right back
in the holsters. Or so I thought.
Mister bigshot funny-guy rolled his eyes conspicuously before
swaggering over and picking up my second six-shooter which, it turns
out, I did not catch. "Hey, I'm new at this,' I thought, "so shoot me
if I don't catch both guns on my first try. Besides, if I don't stop
laughing and catch my breath soon, I'm going to be dead anyway."
In addition to being a clown, Mr. Rene Bazinet evidently also reads
minds because he then decided we would play "Shootout At The Cirque Du
Corral."
Rene strode to the far side of the stage and turned to face me. We
began circling, arms akimbo and fingers fidgeting, prepared to find
out who was the fastest fool in the west --a quick draw contest for
clowns leading to certain, if fictitious, death.
Rene waited for me to make the first move. And he had to wait a long
time because I had no idea I was supposed to draw first. When he
finally gave me an exasperated look, I got the clue. So I pointed
behind him to make him turn around. (Sometimes the oldest trick in the
book works; that's why it's in there.) The moment he turned, I
squeezed a shot off, BANG! Got him. But before he died, Rene managed
to get a shot off too and I went down like a sack of oats -- dirt nap
time for a dead clown.
The crowd loved us and we lay on the stage milking the wild cheers for
a minute. Rene then helped me to my feet and we returned to center
stage to absorb the ovation. My fifteen minutes of fame was over.
When the show ended, people came over to shake my hand; they said I
had been wonderful. One woman found my performance so amusing she
thought I was a shill and said she kept expecting the other clowns to
rush onto the stage and strip off my clothes, revealing tights
underneath (something that might be fun for me to try at home).
Rene Bazinet had never said a word to me, but I felt like we were old
friends by the time it was over. Unfortunately, my date had been too
stunned to take a picture and I was too dumbfounded to ask. Perhaps if
he reads this, Rene will invite me down for a photo op, or maybe he'll
send an autographed eight by ten glossy, "To Bill -- As Chaplin said,
'What a sad business is being funny.' If you'd like to run away and
join the circus, keep us in mind." And you know, now that doesn't seem
like such a bad idea.
* * *
Bill Fitzhugh is the author of the comic thrillers, "Pest Control" and
"Cross Dressing," now in development at Warner Bothers and Universal
Studios respectively. He also wrote "The Organ Grinders," an ode to
human organ trafficking. His most recent novel, "Fender Benders," is a
comic murder mystery set in Nashville's music industry. Fitzhugh lives
in Los Angeles where he is at work on his next novel.
You can find more about Bill Fitzhugh at his web site,
< http://www.billfitzhugh.com/ >.
Article Copyright 1999-2002, Reduviidae, Inc., and is reprinted with
permission of the Author, Bill Fitzhugh.
=======================================================================
PARTING QUOTE
=======================================================================
"I am celestial and eerie. Playful and mischievous. Subtle and
striking. Magnificent. Androgynous. I am Saltimbanco."
- Saltimbanco
=======================================================================
NEXT ISSUE...
=======================================================================
Saltimbanco is an eternal, never-ending show that seems to never run
out of steam. Later this month, April, Cirque du Soleil will unveil
its new show - Varekai - on April 24th. On April 25th, 2002, writers
for the Fascination! Newsletter will be attending the show and get a
first hand glimpse! So, our next issue will feature... drum roll...
CIRQUE 2002!
Thank you for reading!
Have a comment, question or concern? Simply email the Fascination!
Newsletter staff at either richasi@azlance.com or through the
Yahoo Groups email address: CirqueFasincation-owner@yahoogroups.com.
We are anxious to hear any and all comments!
=======================================================================
SUBSCRIPTION INFORMATION
=======================================================================
Fascination! is a monthly newsletter, available only through sub-
scription. If you wish to unsubscribe, please send an email to:
< CirqueFascination-unsubscribe@yahoogroups.com >. To re-subscribe in
the future, you can do that automatically by emailing us again at:
< CirqueFascination-subscribe@yahoogroups.com >. If you have any
questions, feel free to email us at: richasi@azlance.com.
=======================================================================
COPYRIGHT AND DISCLAIMER
=======================================================================
"Fascination! Newsletter" Copyright (c) 2002 Ricky Russo, published by
Vortex/RGR Productions, a subsidiary of Communicore Enterprises. No
portion of this newsletter can be reproduced, published in any form or
forum, quoted or translated without the consent of the "Fascination!
Newsletter". By sending us correspondence, you give us permission
(unless otherwise noted) to use the submission as we see fit, without
remuneration. All submissions become the property of the "Fascination!
Newsletter". "Fascination! Newsletter" is not affiliated in any way
with Cirque du Soleil. Cirque du Soleil and all its creations are
Copyright (c) and are registered trademarks (TM) of Cirque du Soleil,
Inc., and Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
{Issue 8a: August 01, 2002}
