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Fascination Issue 009
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Fascination! Newsletter
Issue #9 - May 2002
"Take your fill - let the spectacle astound you!"
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Bonjour et bienvenue! Spring is an exciting season for Cirque du
Soleil fans. April saw the debut of a new Cirque du Soleil spectacle:
Varekai and the Fascination! Newsletter Staff was there! This issue
explores the theme, skills, music and ambiance of Varekai as presented
in Montréal, but our coverage does not stop there. In the coming
weeks and months, the Fascination! Newsletter will continue to
explore this new and exciting show. And now, let us take a cue from
a song from Phantom of the Opera, and let the spectacle of Varekai
astound us. Let us see how Dominic Champagne (Director) handles the
"reinvented circus" without reinventing it!
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** SPOILER WARNING **
This issue is full of spoilers about the new show. Please keep this in
mind as you read on.
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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
* Le Spectacle, Part One:
"The World of Varekai" (By: Ricky Russo)
* Le Spectacle, Part Deux:
"The Wanderers of Cirque" (By: Ricky Russo)
* Cirque Musique:
"'Wherever' is Montréal" (By: Paul Roberts)
* Behind the Curtain:
"The Imaginations That Power Varekai" (By: Jen Waldman)
* Special Engagement:
"Le Grand Tour: Varekai" (By: Ricky Russo)
* From the Boutique:
"When is a program not a program?" (By: Keith Johnson)
* Le Spectateur:
"A Nouvelle Las Vegas Experiénce"
(A Guest Submission by: Mimi Roscioli-Greco)
* Parting Quote
* Next Issue
* Subscription Information
* Copyright & Disclaimer
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NEWS & RUMORS
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News
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Varekai Soundtrack to be Released:
While Varekai continues its brand new tour of Canada, plans
have already been approved to release the show's music.
Unfortunately, the soundtrack is not due in stores until
September 2002 (an exact date has not yet been determined).
In fact, we do know the music has not even been recorded
yet. As always, we will keep you updated on the release of
the Varekai CD.
Cirque du Celine, Again:
In previous issues we reported that Celine Dion and Franco
Dragone were working on a new concept to be staged in Las
Vegas. In order to rehearse for this new show, Celine Dion is
moving to La Louviere, Belgium for three months. Why Louviere,
where the population is only 76,000? So she can work with
Franco Dragone, who lives there. Franco, former Cirque
visionary, is currently working hard constructing the concept
of the show at his home. Celine, who is contracted with Caesars
Palace in Las Vegas for three years will perform 200 nights a
year beginning in March 2003.
Terrorism still affecting Vegas:
The wake of September 11th still is as strong as ever. While
tourism to Las Vegas has gotten steadily stronger, it
appears the terrorist attacks have had another profound
effect - stopping the development of a multi-billion dollar
hotel. It has been reported that casino developer Steve Wynn
has halted plans to build Le Reve, his $1.7 billion development
on the Las Vegas Strip. The reason? He could not buy enough
terrorism insurance to satisfy his lenders.
In a speech by President Bush, he is quoted: "A $2 billion
resort in Nevada, (which) could provide 16,000 jobs is on hold
because they can't get insurance for terrorism. You know,
you've got the chance to employ 16,000 people, but because
something hasn't happened in the United States Congress, it's
not going forward. And that's not right."
Bush was referring to his push for Terrorism Insurance and did
not mention the Las Vegas developer by name. However, Steve
Wynn did support the President in the 2000 elections and remains
a personal friend with George W. Bush's father. Wynn is not
talking at this time but the gaming industry doubts the claim by
President Bush. We will be watching this development and wish
Steve Wynn well. Le Reve is set to be the home of another Franco
Dragone production.
Rumors
--------
Cirque du Cabaret?
A new venture by Cirque is causing quite a storm in the Cirque
du Soleil fan community. While most feel that "cabaret" must
mean topless, the Fascination! Newsletter has heard rumblings
that "topless" is certainly not the case. What we will all have
to do is take a "wait and see" kind of attitude toward this
new potential creation and see how it all comes together.
Varekai filmed?
Well, no... at least not yet. We did hear a rumor that if the
show comes together before Toronto, Varekai may be filmed
there. This is just speculation and heresy, but fans might
have a copy of the show to watch at home by 2003!
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THE ITINERARTY (Tour/Show Information)
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[Touring Shows]
Alegría:
* Denver, Colorado: 6/12/02 - 6/30/02.
* Minneapolis/St-Paul, Minnesota: Summer 2002
Dralion:
* San Diego, California: 4/18/02 - 5/26/02
* Portland, Oregon: 6/12/02 - 7/7/02
* Seattle, Washington: 8/1/02 - 8/25/02
* Sacramento, California: Fall 2002
* Phoenix, Arizona: Fall 2002
Quidam:
* Pittsburgh, Pennsylvania: 5/9/02 - 5/26/02
* Detroit, Michigan: 6/20/02 - 7/7/02
* Boston, Massachusetts: Summer 2002
* Cleveland, Ohio: Fall 2002
* Tampa, Florida: Fall 2002
Saltimbanco:
* Barcelona, Spain: 4/26/02 - 6/16/02
* Vienna, Austria: 7/10/02 - 8/4/02
* Brussels, Belgium: 9/4/02 - 9/29/02
* Madrid, Spain: 10/31/02 - 12/01/02
* London, England: 1/10/03 - 1/26/03
Varekai:
* Montréal, Canada: 4/24/02 - 6/16/02
* Québec City, Canada: 6/27/02 - 7/14/02
* Toronto, Canada: 8/1/02 - 8/25/02
* Philadelphia, Pennsylvania: Fall 2002
* San Francisco Bay, California: Fall 2002
* San Jose, California: Winter 2003
[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:
- 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:
- 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:
- 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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* May 01, 1986 -- Cirque Performed at Expo 86 in Vancouver
* May 02, 2000 -- Journey of Man (IMAX) premiered in USA
* May 02, 2000 -- Journey of Man CD Released
* May 07, 1987 -- Le Cirque Réinventé premiered in La Salle
* May 08, 1990 -- Nouvelle Expérience premiered in Montréal
* May 09, 2002 -- Quidam opened Pittsburgh
* May 11, 1986 -- Cirque leaves Expo 86
* May 11, 2000 -- Saltimbanco Pacific-Northwest Tour Began (Portland)
* May 14, 1985 -- 1985 Tour Began in Montréal [Vieux-Port de Montréal]
* May 18, 1986 -- Le Magie Continue opened Sherbrooke
* May 18, 1987 -- Le Cirque Réinventé opened Sherbrooke
* May 19, 1995 -- Saltimbanco opened Munich
* May 18, 1989 -- Le Cirque Réinventé opened Chicago
* May 20, 1999 -- Alegría premiered "permanently" in Biloxi, Miss.
* May 22, 1992 -- Fascination Premiered in Tokyo (Until September)
* May 25, 1988 -- Le Cirque Réinventé opened New York City
* May 27, 1999 -- Alegría: Le Film premiered in Netherlands
* May 28, 1999 -- Saltimbanco opened Brisbane, Australia
* May 29, 1986 -- Le Magie Continue opened Montréal
* May 28, 1987 -- Le Cirque Réinventé opened Montréal
* May 29, 2001 -- Alegría opened Sydney, Australia
* May 31, 1996 -- Saltimbanco opened Stuggart
* May 31, 2001 -- Quidam opened Hamburg
* May xx, 2001 -- Dralion opened Toronto, Canada
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BIRTHDAY WISHES!
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* May 01, 1962 -- Camita Lorador (Statue/Quidam)
* May 02, 1968 -- Chris Lashua (German Wheel/Quidam)
* May 08, 1976 -- Jinny Jacinto (Contortion/Nouvelle Expérience)
* May 21, 1956 -- Rodrigue Proteau (Character/Varekai)
* May 22, 1932 -- Brian Dewhurst (Clown/Mystère)
* May 27, 1975 -- Stella Umeh (Triple Trapeze/Varekai)
* May 29, 1977 -- Krystian Sawicki (Le Titan/La Nouba)
* May 30, 1985 -- Irina Koliktsionova (Body Skating/Varekai)
* May 31, 1962 -- Sun Hongli (Tightrope/Saltimbanco)
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CIRQUE TV
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At press time, Cirque du Soleil shows were not scheduled
to perform on Bravo or Starz during the month of May.
For further information on when Cirque du Soleil
will appear on TV, check www.bravotv.com, and
www.starzencore.com. These schedules are subject to change.
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LE SPECTACLE, PART ONE:
"THE WORLD OF VAREKAI" (By: Ricky Russo)
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The world of Varekai is a mysterious, lush realm that exists deep
within a forest - any forest - at the summit of a volcano. In this
world an array of fantastical creatures subsist amongst an
extraordinary place where anything is possible.
Varekai (pronounced var-ee-kie) is a Romanic term meaning "wherever"
or "it does not matter the place" and lives as a "tribute to the
nomadic soul, to the spirit and art of the circus tradition, and to
those who quest with infinite passion." The term is an homage not
only the acrobats that push their art to the extreme, but also a
reminder to the wanderers of ancient Europe: the Gypsy - the
universal wanderers.
"The sky lets go a solitary young man," the press release from
Cirque du Soleil eludes, "and the story of Varekai begins." The
solitary young man is Icarus, the fabled son of the brilliant Greek
artisan Daedalus. His is a story of how excitement can cloud one's
better judgment. As Greek legend tells, Daedalus crafted two
magnificent pairs of wings out of feathers and wax for himself and
his brash young son (Icarus). Taking to the skies in a flurry of
excitement, Icarus does not heed his father's warnings and strays
too close to the sun, melting his wings. But, unlike the Icarus of
fabled tale (in which Icarus plummets to his death) the Icarus of
Cirque du Soleil falls into a fantastical world of good and evil
where he must redeem himself.
This fantastical world exists on one of the most unique stage
structures I have ever seen for a Cirque du Soleil performance,
and we can thank Stéphane Roy for creating such an engaging scene.
In the background, 20-foot poles jet into the sky, simulating
the forest Icarus falls into. The poles themselves appear bamboo-
like but are metallic in nature, and can sway to the winds of
change or of the weight of the occasional performer who climbs
them. And climb them they do - using strips of a sticky substance
that runs the entire length of them.
The poles are but one part of the a structure that will instantly
capture your attention upon entering the big top, no matter which
door you come through. The stage is cross-sectioned with a catwalk
hanging high above the forest floor, accessible only by a single
staircase, winding around the forest trees. The stage itself
consists of many movable parts, two round areas that are used
for the Russian Swing, a risible platform, and three small holes
to allow characters to dive below ground. (Believe me, the
space under that stage is not all that big!)
"On this day at the edge of time, in this place of pure and
undiluted possibility, begins an inspired incantation of life
rediscovered and to a newly found wonder in the mysteries of the
world and the mind."
Varekai is certainly an uplifting, colorful extravaganza that
shatters the meaning of the word spectacle. Let us now share with
you those amazing performances that brought us to our feet, mouths
agape, hands applauding loudly, and our minds exploding with
emotions never before felt.
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LE SPECTACLE, PART TWO:
"THE WANDERERS OF CIRQUE" (By: Ricky Russo)
=======================================================================
There are eleven (11) different performances (acts) by the troupe of
Varekai. Each an extension of the world brought to us by Dominique
Champagne and the other creators. The full show order (as premiered)
is as follows: Opening, Flying of Icarus (Aerial Net), Icarian
Games, Spinning Meteors (Water Meteors), Clowns (Magic Act 1 and
John with Balloon), Aerial Straps, Clowns (Magic Act, Part 2),
Georgian Dance, Intermission, Humming Bees (Opening of Act 2), Body
Skating, Solo on Crutches, Clowns (Lounge Singer), Acrobatic Pas de
Deux, Triple Trapeze, Clowns (John w/Lightbulb), Handbalancing on
Canes and the Russian Swing.
These acts are performed by an international cast of 50 plus artists
representing counties including Canada, Georgia, Moldavia, Brazil,
Russian, Romania, Sweden, the UK, Italy, China, Ukraine, and Spain.
Flying of Icarus:
The story of Cirque's Icarus is a rich one, filled with the essence
of freedom. Icarus, played by Anton Chelnokov (Tchelnokov) from
Russia - who is the same young (now all grown up) who was
previously in Saltimbanco as a third of the Adagio Trio (the child
in white). His drama takes flight as he descends into a populated
forest full of curious creatures "costumed as mutant birds, insects
or exotic hybrid species." Icarus is ensnared by a net, stripped
of the wings that gave him flight, and is hoisted high above the
forest floor. His struggle for freedom within the flexible cage
touches on emotions harbored in us all. The right to freedom is an
unsupressable human quality and is one that Anton Chelnokov plays
upon well as he triumphs over his imprisonment. In escaping his
harsh encapturement, Icarus flies once again across the heavens in
celebration.
But, as he touches the ground he finds himself face to face with a
beautiful young creature (Olga Pikhienko), who is as inquisitive
about him as he is about her. Unable to communicate, they begin to
mime each other, and then... fall in love. "Ten other acts follow,"
Robert Melnbardis reports for Yahoo! News, "as Chelnokov wanders
awe-struck through a shimmering kaleidoscope of scenes." The
spectacle has begun!
Icarian Games:
Icarian Games is not only an energetic performance but an audience
pleaser as well. The discipline is a variety in the genre commonly
referred to as antipode. Antipodes (the plural form) are persons
dwelling at opposite points on the globe. But, in the case of the
Icarian Games, the antipodist is the porter, or the artist lying
upon his back in a specially created incline chair. His job is to be
a prop used only for tossing and juggling the voltigeur (flyer) with
his feet - unbelievable! The three brothers that make up the team
known as the Rampin Bros. - Javier Santos Leal ("Javi"), Pedro
Santos Leal, and Ramon Santos Leal ("Moncho"), from Spain) come from
a seven-generation family known as the Santos-Rampin, which explains
how easy they make this art look. Their energetic performance brings
down the house and their exciting choreography will raise the heart
beat.
Spinning Meteor:
In every Cirque du Soleil show there is a nod, a hint if you will,
to the Chinese Circus. In Varekai, the Spinning Meteor (here,
referred to as the "Water Meteors") makes a triumphant comeback
after first being featured in the 1986 show "Le Magie Continue".
Unlike "Magie's" performance, the Spinning Meteor's here are
performed by 3 cute Chinese boys (Bin He, Junping Yang, and Siguang
Li). Janice Kennedy in the Ottawa Citizen put it best: "Three young
boys toss spinning meteors into the skies, twirling about with
elegant energy as they catch them, over and over"!
Aerial Straps:
The second of three aerial acts is a spectacle called the Aerial
Straps. Performed by Kevin and Andrew Atherton (from the United
Kingdom), they fly on the scene as one. But just as soon as they
catch your eye, they become two angels flying amongst the stars.
Their performance blends the skills needed for a Tissu, with the
demanding arts of the Banquine. You'll be amazed as this brotherly
duo soars from one end of the big top to the other, then returning
virtually to the same spot from which they left. Or, launching away
from one another and meeting in mid air! The Aerial Straps is a
powerful and yet very elegant performance. The two brothers also
make a re-appearance later in the show as guardian angels for the
- as yet - unredeemed Icarus.
Georgian Dance:
One of the most energetic dances on earth is the Georgian dance.
Known for their quick twists, spins and leaps, the dance is
performed by three male dancers: Temur Koridze, Badri Esatia, and
Khvicha Tetvadze (all from Georgia). One of the highlights of the
performance is during the clashing swords element. The house lights
dim as the stage became aflame, highlighted by the sparks of
the crashing swords. A shocking and wonderful way to end the first
half of the show.
Intermission:
Normally I wouldn't say much about an intermission for a Cirque
show. Quidam's is as spooky as it is thought provoking with the
Generics giving up their souls (in red balloons). Varekai ends on a
more positive and upbeat note, thankfully. The energy from the
Georgian dance continues right on through the next 20 minutes.
People get up, visit with one another and while they are away, the
stage is set up for the second half of the show. The lights then
lower, with the sound of dripping water still ringing in our ears
(which has been playing throughout the entire intermission). Once
again the big top fills with the buzzing of bees - filling with an
array of them, arranged in an optical display that is simple,
elegant and beautiful. Words fail when it comes to their
explanation. But, while the display of light and music continue
overhead, the stage is being set below for the opening act - Body
Skating.
Body Skating:
The second act is opened by a colorful and very playful act known as
Body Skating. An array of acrobats virtually "skate" across this
smooth blue surface performing an energetic and playful show of
strength, timing and fun! Their costumes mirror their lighthearted
nature in colors of red, green, yellow, blue, purple and a curious
mixture of all. These acrobats will have you smiling in no time!
Solo on Crutches:
The show takes a darker turn with the Solo on Crutches performance
by Vladimir Ignatenkov (Russia). Flanked by ominous creatures from
the forest, he shows Icarus, and himself, that he can stand on two
legs despite all that has kept him down. He is helped though by the
guardians of Varekai. This act is simple and yet difficult at the
same time; Ignatenkov twirls about the stage, feet far from the
ground.
Acrobatic Pas de Deux:
The Solo on Crutches performance gives way to the duo of Oleg
Ouchakov (Russia) and Tatiana Gousarova (Ukrane). Their act is "an
acrobatic slow dance with lifts, twists and mid-air spins and
catches." Romance is the key to this act that is a "testimony to the
danger of movements." Their quick movements and quick drops to the
stage floor flutter hearts and keep us on the edge of our seat. Not
to mention her flaming red hair! Both artists were previously seen
in the Banquine act in Quidam.
Triple Trapeze:
The final traditional aerial act of Varekai is the Triple Trapeze.
This apparatus is a wide, static (non moving) trapeze suspended from
the ceiling by four ropes. Four spidery-dressed females (alternating
performances by: Stellah Umeh, Zoe Voctproa Tedstill, Raquel Karro
and Susanna Defraia Scalas, Helen Ball, and Cinthia Beranek), spin,
gyrate and roll with their amazing grace and attention to detail.
Handbalancing on Canes:
Olga Pikhienko, another Quidam alum, performs a beautiful
handbalancing act dressed in an angelistic white sequined costume.
Her body sparkles as she contorts herself upon one, two, and even
three canes as they're moved about on stage. Her performance is
similar to what was seen in Quidam during her tenure only here is
much more sensual instead of sexual.
Russing Swing:
The absolute show-stopping act for Varekai is its closing
performance. The Russian Swing has previously been featured in two
Cirque du Soleil shows: Saltimbanco (its debut) and in the Las Vegas
extravaganza "O". Each time the apparatus has made an appearance in
a Cirque show, its spectacle is compounded. For Varekai, the Russian
swing is taken beyond the next level. Here acrobats are hurled high
into the air where they are caught by (and landing upon) the wrists
of their partners, who are situated on a multi-staged platform. The
set is also flanked by two canvas sheets that stretch from floor to
ceiling. "Ooooo's" and "Aaaaahs" punctuate the air when an acrobat
flings across and lands in one! This act produced its own standing
ovation. The first I've ever seen for a single act - ever - for
Cirque du Soleil. It was that good.
Closure:
The show ends on the high note of the Russian Swing performance.
Icarus is redeemed and finds himself among friends (and even marries
one of the characters, played by Olga Pikhienko). The standing
ovation continues right through the dancing finale, which (by the
way) is not set in stone. In fact, Varekai is without an ending at
this time. Remember, it is a show in progress and will continue to
be that way until Toronto. Even so, that knowledge doesn't take away
the fact that the set was awesome, the costumes colorful and the
acrobatics out of this world.
=======================================================================
CIRQUE MUSIQUE:
"'WHEREVER' IS MONTREAL" (By: Paul Roberts)
=======================================================================
I have been a fan of Cirque du Soleil since my first experience of
"Mystère" in 1996. Back then, I had no inkling of what I would
witness in April, 2002: a premiere of a new show. At the time the
tickets were purchased, the new show had a rumored title of "ROM"
and the tickets simply said "Cirque du Soleil 2002." On April
2, however, "Varekai" (meaning "wherever" in the old gypsies' Romany
language) became known during an on-line press conference that
included samples of a few acts. Even with the small samplings, it
would be my first Cirque du Soleil performances where I was not
already familiar with the music.
Old Montreal's Jacques Cartier Pier provided the home for the new
blue/yellow-swirled Grand Chapiteau, and if that site wasn't enough a
quick turn exposed an impressive view of Montreal's modern skyline.
Old European charm mixed with New World fascination.
Inside the souvenir tent, the patrons were transfixed to TV screens
that showed scenes from all Cirque du Soleil shows. I stood and
watched the whole looping video as eager shoppers around me gobbled
up insignia clothing, CDs/videos, Stella Atrois beer, and of course
popcorn. Upon purchasing the Creators' Notebook (a limited edition
souvenir program) I discovered that the "Varekai" band consists of
two vocalists, two keyboardists, two percussionists, one violinist,
and one woodwind player. A line-up on par with other Cirque du
Soleil shows. And...as I entered the main tent, I stopped dead in my
tracks at the first glimpse of the "Varekai" set. The crisscrossing
stairway to the stars above and a myriad of silver poles revealed a
stunning sight.
As with all Cirque du Soleil shows, a pre-show takes place with the
usual clown-seating antics, but several cast-creatures lurk into the
audience, climb the stairway, and sway on the mighty poles. The
show begins as a parade of musicians walk through and serenade the
crowd with a beautiful waltz titled "Gitans," a song that is
included in the Creators' Notebook's CD-ROM.
The famous John Gilkey then comes onstage and captures noises that
he places into a contraption where he mixes them up with various
knobs, squeeze boxes, and cranks. After a troublesome buzzing
firefly makes the introduction, the cast enters with a frenzied
dance number reminiscent of a Greek wedding reception that ends with
the falling of Icarus. He ascends in a net and performs an aerial
ballet to a slow classical-influenced song featuring singer Zara
Tellander's articulate "la la las." Her voice has a strong tonal
quality that is signature for Cirque du Soleil singers.
When Icarus lands once again, he discovers a beautiful green-winged
creature. They move closer to share a feather of passion, but
just as they are about to embrace a commotion interrupts their
trance, and a conglomerate of acrobats run onto the stage to perform
an act called Icarian Games. This act of human foot-juggling is
accompanied by another song found on the limited-edition CD that is
titled, "Icariens." The song evolves into several time signatures
to provide an augmenting backbone for the acrobatic movements.
Three young Asian boys come out next to perform an exciting act with
Spinning Meteors. I felt happy to see Cirque du Soleil integrate
this act back into a show as I had first seen this dangerous
juggling in the "la Magie Continue" video. Unexpectedly, the
accompanied song has a salsa-like feel that features Zara and male
vocalist, Mathieu Lavoie (the original singer for "Quidam"),
harmonizing as they dance in place at the rear of the stage.
Two clowns, Mooky Cornish and Claudio Carneiro, next make a brief
appearance-the spotlight goes out-and John Gilkey returns with
another contraption: a hot air balloon that is one of Cirque du
Soleil's most stunning illusions. Mr. Gilkey gleefully pulls the
balloon's rope as it floats with colorful projections of rainbows,
faces, and birds.
My favorite song of the show accompanies the next act-the Aerial
Straps-that features an ebbing-scale melody line sung by Zara. The
song includes some interesting electronic percussion and heavily
synthesized keyboard work by Brigitte Poudrier and Michel Cyr.
Woodwind player Wayne Hankin provides various trills on the flute
that enhances the flight of the twin Atherton brothers. As with
"Gitans," "Icariens," the opening "Greek Dance" number, and the
Acrobatic Pas de Deux song, the Aerial Straps song can be heard on
Cirque du Soleil's website's Cirque Club section.
The clowns return to perform a pseudo magic act that includes a
poor, unsuspecting audience member, who is not - I repeat - not a
plant. All I can say is the act ends with a bang.
To end the first part of the show, Cirque du Soleil revealed an act
called the Georgian Dance. Three men romp and spin around on their
knees, their toes, and other appendages that would make a whirling
dervish dizzy. It ends with a spark-flying sword fight while in the
background, a heavily-cloaked, dark character sways back and forth
with flames shooting from its arms. I actually had a nightmare
about this-one of Cirque du Soleil's creepiest-ever-characters.
After intermission, "Varekai" provides yet another sight that is
like nothing I have ever seen before. After Mr. Hankin walks
through the audience playing an archaic-looking bagpipe (watch out
for that hole, Wayne-thud: "It's part of the show."), thousands of
green fireflies swirl and dance above the stage to the show's
opening theme waltz. The illusion is simple, but oh so chilling.
When the stage lights illuminate, a group of colorful critters drift
across the stage to perform the Body Surfing act, which is sort of
an "underwater" Banquine performance.
The Body Surfing act features rumba music that fits perfectly to the
act's Caribbean-like feel, as the performers glide on the stage as
if they were floating in the sea's coral reef. Body Surfing segues
into a performance art-like segment called Solo on Crutches.
Representing healing for Icarus, Vladimir Ignatenkov twirls and
glides on a pair of crutches while enticing Icarus to stand on his
feet. The music includes an interesting accompaniment of electronic
drones that are backed-up with Gregorian chants. Violinist,
Stéphane Allard, also provides some chilling riffs to complement the
spell-binding melody.
Clown Claudio Carneiro returns to perform a funny lip-syncing skit
to Jacques Brel's' "Ne Me Quitte Pas" as he tries to follow a
reluctant spot light that forces him to run to all parts of the
tent.
The spotlight next shines brightly for Tatiana Gousarova and Oleg
Ouchakov when they participate in the beautiful Acrobatic Pas de
Deux. Tatiana and Oleg are dressed for a night out on the town in a
serene mini-rendition of the Banquine act they had performed for
years in "Quidam." They leave to arousing cheers as a rumble and
fog surfaces from above.
Then, descending from the ceiling, a new spin on a standard circus
act is introduced: the Triple Trapeze, which includes ex-"Mystère"
and Canadian Olympic gymnast, Stella Umeh. Four gymnasts careen
across each others' bodies while hanging from three attached trapeze
perches. The trapeze remains stationary, as the girls provide the
exhilarating movement.
The funniest bit in the show has John changing Rodrigue Proteau's
light bulb. 'Nuff said.
Without the need for any introduction, the next act features one of
Cirque du Soleil's most famous performers, Olga Pikhienko, who also
played the green-winged creature earlier in the show. She performs
a hand-balancing act that is similar to the one in "Quidam." Instead
of wearing a black leather outfit, however, Olga's costume covers
most of her body in a white leotard swathed in shiny sequins while
cast members reposition the balancing throughout the stage.
Up to this point the mood seems to be dreamy, almost missing the usual
high energy. It is all a set up for what is about to take place.
Icarus finds his true love and a wedding commences followed by one
of the most intense acts Cirque du Soleil has ever presented: a new
version of the Russian Swing. The "music" mostly consists of Mr.
Bannerman and percussionist Rafik Samman pounding frantically to
keep up with the acrobats' energy. Paul, who is a veteran of the
hyped-up-marching-band show BLAST!, proves that the show's needed
stamina comes in handy also for "Varekai." The drums provide another
value: to keep one's heart beating during this heart-stopping act.
To sum up the experience, our friend Cedric said, "That was the first
time I felt like I might actually see a Cirque performer die."
Especially Maxim "Mad Max" Levantsevich.
Halfway through the act, the audience could sit no longer and a
standing ovation commenced that lasted until the ending "Greek
Dance" revisited and the cast curtain call. Never had I experienced
a standing ovation coming before The End.
The group I met in Montreal serendipitously saw the show three
nights in a row and by the second night, I had already found myself
singing right along like I always do with the more familiar shows.
On the third night, the group witnessed a magical, unrehearsed feat.
The cast returned for an emotional third curtain call as the
audience's explosive cheers, whistles, and feet stomping exhibited
pride for their multi-cultured ambassadors of the world. It took
three days for the adrenaline to leave my body, but I know I will
not soon forget this once-in-a-lifetime event.
Merci to the people of Montreal and to Cirque du Soleil.
=======================================================================
BEHIND THE CURTAIN:
"THE IMAGINATIONS THAT POWER VAREKAI" (By: Jen Waldman)
=======================================================================
With Cirque du Soleil's new show "Varekai," even more new names join
the creative team. Some names are familiar from earlier shows, such
as Guy Laliberte (President and CEO of Cirque du Soleil, called the
"guide" for Varekai) and Violaine Corradi, who composed the excellent
music of "Dralion." But many names are new to the creative team, or
at least lesser-known. Here is a brief look at those who make up the
creative team of Varekai--an introduction to the new names, and a
refresher on those whose work we already know and love.
Guy Laliberte (Guide)--A fire-eater and stiltwalker, Guy Laliberte
created Cirque du Soleil in 1984. Though he is no longer an artistic
director, he has guided every Cirque du Soleil show since the
beginning, and continues to look for new ways to "reinvent" Cirque du
Soleil.
Dominic Champagne (Director)-- Mr Champagne is a playwright and
director located in Montreal. His plays have been performed around the
world with his company, Théâtre Il Va Sans Dire. His solo writing
efforts include "La Repetition" and "L'Asile." "Varekai" marks his
first collaboration with Cirque du Soleil, though in his youth he
performed as a "circus boy" in Greece.
Andrew Watson (Director of Creation)--Anyone familiar with "Le Cirque
Reinvente" has seen Mr Watson, who performed on the Aerial Cradle with
his flying partner, Jaqueline Williams. The duo started out at Gerry
Cottle's Circus in London, and later joined Cirque du Soleil. Mr
Watson has stayed with the Cirque du Soleil holding various positions
on Cirque shows including Saltimbanco, Alegria, and Quidam.
Stephane Roy (Set Designer) -- Mr. Roy studied at the National Theatre
School (as did Dominic Champagne). He has designed sets for the dance
troupe La La La Human Steps and for shows at Espace Go and other
theatres. Mr. Roy was the set designer for "Dralion."
Eiko Ishioka (Costume Designer), the first woman to win the Japan
Advertising Artists Club Prize, studied at Tokyo National University
of Fine Arts and Music. She worked with Francis Ford Coppola for "Bram
Stoker's Dracula" and "Apocalypse Now" and in 1983 published her first
book, "Eiko by Eiko." Recently, she designed the costumes for
Wagner's "Ring Cycle" at the Netherlands National Opera. "Varekai"
marks her Cirque du Soleil debut.
Violaine Corradi (Composer)--"Dralion" was Ms Corradi's composing
debut with Cirque du Soleil. She has composed the music for the IMAX
films "Great North" and "Bears" and her solo work "Passages." Ms
Corradi also worked on the CD "Nova's Dream."
Michael Montanaro (Choreographer) is a first-time choreographer with
Cirque. He teaches at Concordia University but took one year off to
work on Varekai. Mr. Montanaro came to Cirque with no background in
choreographing acrobatics but has come up with some inventive ideas,
including a piece for a performer on crutches developed with...
Bill Shannon (Choreographer)--"The CrutchMaster" is a recognized
performer on both the hip-hop dance scene and the disabled artist
scene. He has put together street performances exploring the public's
discomfort with disability and the disabled. He was the Pennsylvania
Developmental Disability Council Fellow in 1997 and one of Dance
Magazine's "25 to Watch" in 2001. Mr. Shannon is making his Cirque
debut, and his choreography should be an intriguing addition to
"Varekai."
Jaque Paquin (Rigging Designer) was hired by Cirque du Soleil in 1990
and held many posts while designing the aerial mechanics for
"Saltimbanco," (for which he was also Technical Director) "O", and
"Dralion."
Nol van Guchten (Lighting Designer) has been with Cirque since 1994
and became the Assistant Lighting designer in 1996. This is his first
time as Lighting Designer for a Cirque tour.
Francois Bergeron (Sound Designer) designed sound for many Cirque
shows beginning with "Nouvelle Experience." Other recent projects
include the Sound design for "Templo del Fuego" at Universal Studios
(Spain). He is based in Los Angeles and sometimes leads seminars in
Sound Design.
Francis Laporte (Projection Designer) works in Digital Video
Production and designed the overture to "Dralion." He has broken many
of the standard barriers in multimedia projection and promises to
break more. Expect to see his work featured prominently in "Varekai."
Cal McCrystal (Clown Acts Designer--duos) trained at the Royal
Scottish Academy of Music and Drama. He is a director and actor, and
has directed several plays for the Cambridge University Footlights
Dramatic Club, well-known for comedy and clowning. "Varekai" is Mr.
McCrystal's first time on the Cirque's Creative team.
Nathalie Gagné (Make-Up Designer)--Ms Gagne has been on the creative
teams for "Quidam," "O" and "Dralion" and has designed new makeup for
"Alegria" and "Saltimbanco." She has also done makeup for several
Canadian films and television shows.
Andre Simard (Aerial Acts Designer)-- Mr. Simard has taught at L'Ecole
National du Cirque for many years and has designed aerial acts for
Cirque du Soleil dating back to "Nouvelle Experience." He is the
former coach for the National Gymnastics Team and has his own studio,
"Les gens d'R." If you've seen a recent Cirque du Soleil show, chances
are you've seen Mr. Simard's work.
The Creative Team for "Varekai" is an unusual and delightful mix of
old and new, and should prove once again that Cirque can reinvent
itself over and over. As long as Cirque du Soleil is made up of risk-
takers like these, Cirque will keep changing and introducing new
elements to "circus." Based on the creative team alone, "Varekai"
looks like it will be a wonderful, wildly different Cirque du Soleil
show.
=======================================================================
SPECIAL ENGAGEMENT:
"LE GRAND TOUR: VAREKAI" (By: Ricky Russo)
=======================================================================
The month of April was met with much anticipation on my part. A
brand new Cirque du Soleil show was set to debut and for the first
time I would be part of the festivities - seeing the show debut in
Montréal, Cirque's home. Many factors had to fall into place for
such a trip to occur: finances, time, and reason.
Why reason? Because everything must have a reason and I needed to
convince myself that going to Montréal to see a show at its earliest
beginnings was a good thing to do. Going out of the country would take
some planning (as I live in the US), a lot of money and certainly time
that I may or may not have. It was a decision I was weighing up
until the creation of the Fascination! Newsletter. Thanks to the
creation of the newsletter the possibility of going to Montréal came
into focus.
Not only could I go to satisfy personal curiosity, but I could also
go in the capacity of the newsletter - to cover the show as
completely as possible. That realization led me to talk with
Paul Roberts, a Senior Writer for the newsletter. He and I crafted a
trip for two, almost mirroring a trip that we were about to take to
Miami, Florida for Quidam.
As the weeks melted away, more people came on board. Those were
torrid weeks of worry and concern as some who committed found
they could no longer go, while others teetered on the brink of
insanity (going, not going, and going again). All in all, there were
a group of seven of us. Some from the newsletter (Myself, Paul
Roberts and Keith Johnson, who came very much at the last minute)
with the rest made up of various friends of each party. We staggered
into Montréal's Dorval airport on Wednesday (the 24th) and Thursday
the 25th with our eyes wide, our pockets full of Canadian currency
and our minds bracing for the experience.
The trip was an enormous success from all standpoints. Montréal
was a gracious city, beautiful and majestic. Getting around was
no trouble at all on their Mètro system (underground subway) once
you understand where you're going (there are no signs in English
due to Quebec language laws). The people too were very friendly,
even if they couldn't always understand English or we French!
(It took me the longest time to figure out what PFK was - Poulet
Frit Kentucky or Kentucky Fried Chicken!)
Friendly people but hellish weather - it was definitely something
to be reckoned with. Going from a sunny cloudless sky with a
temperature of 13 degrees Celsius (about 55 degrees Farenheight) on
Wednesday to a rainy, cold, and miserable day on Thursday. On Friday,
the winds picked up at a rate of 35 km per hour, blowing everything
about. On Friday, the temperature was about 6 degrees C and clear
skies - making for a cold night! But nothing could surpass the
surprise waiting for us on Sunday morning - SNOW! Lots and lots of
it to be exact! It was as if a blizzard blew in from the north it
was so bad. Two of us decided to venture out in the snow and
came back looking more like snowmen than Cirque fans.
In spite of the weather, Varekai was and is a huge it for Cirque
du Soleil. All of us loved the show. In fact, we loved it so
much that some of us saw it three times! (We had guaranteed
tickets for the showing on April 25th, but we decided to wait in
standby for the show on April 26th and again on April 27th!). I
recommend standby for anyone who needs a ticket to a sold out show.
Your chances of grabbing a good seat are very good.
That first night in stand-by was my first and a bit exciting as
Paul Roberts procured two tickets very quickly from a gentleman
who was looking to sell. Unfortunately, that left us with a quandary:
purchasing two more tickets! It all depended on how many people
didn't show up for will call (and boy were we a sight to see
hoping the masses of people walking down the pier wouldn't pick
up their tickets!) Thankfully, two became available and we
were in again - that was so sweet! Probably sweeter than the
first showing.
The third night, however, was an adventure that none of us want
to repeat. On Friday, Paul, myself and Cedric (a friend of mine)
stood in line for an hour and a half with no success. The show
started and tickets were scarce available. By the time Paul and
I got to the window (you could buy two and two tickets only
per person), they closed up shop and advised there were no more
tickets to be had. Oh no! Seeing the show without Cedric was
not an option so we proceeded to sell the tickets to a couple
waiting nearby. But, as the sale was about to close, more seats
became available and Paul snapped those tickets back so quickly,
I thought his arm was hooked up to a bungee chord. While we missed
the beginning of the show (and came in during the first act), it
was still a wonderful sweet moment to be once again under the
big top.
Through the coming weeks and months, the Fascination! Newsletter
will continue to explore Varekai from every angle possible.
Remember, Montréal is but the first stop in a North American tour
scheduled to last until 2005-2006, so there is no doubt we will see
the show again!
For myself, the month of April begins a series of events that
will take me on a whirlwind tour of Cirque shows, from their most
recent (Varekai) to the eldest touring show (Saltimbanco). In the
end, I will see all 8 currently running Cirque du Soleil shows
within the span of 1 year (actually, in less time). The itinerary is
tight; The cost overwhelming. But this journey is something I must
undertake. It is a journey that I *want* to undertake, no one is
forcing me.
Am I doing this to prove that I am the ultimate fan? The answer to
that is a resounding no. We're all big fans in our own way and
express that fandom in just as many ways. For myself, I'm taking
my fandom to a whole new level. I may not be the first, nor the
last person to undertake such an event, but for me in my, taking
a trip of this magnitude seems right. The time is right. Finances
are in order. I am young and want to experience the world... and
I invite you to come along with me! The Fascination! Newsletter will
follow, with it all unfolding right here as I complete my journey,
one show at a time!
So, what's next now that Varekai has been experienced? Well, at the
end of May I will be traveling to the deserts of Nevada to take in
the oasis known as Las Vegas. It holds two gems in the Cirque du
Soleil portfolio: Mystère (1993) and "O" (1998). These are two shows
I've seen in the past but leapt at the chance to see again. For
Mystère, I'm seated in almost front row: Section 103, Row B, Seat 13
(the 7:30pm performance on 5/24) - the exact same seat I had the last
time I saw the show. For "O" I'm in the "splash zone" in Section 104,
Row A, Seat 18 (the 7:00pm performance on 5/27). The excitement is
definitely in the air and I can't wait to go!
The rest of the itinerary is shaping up but is not quite complete.
After Las Vegas, I will be traveling to Denver to see Alegría
as it makes its triumphant return to US soil (June 23rd at
6:00pm), Dralion next in Seattle (as well as a very special event
I'll elude to more as the time is right), Quidam and La Nouba in
Florida, and finishing up with Saltimbanco (which I have never
seen live) in London. And, let's not forget Journey of Man, which
currently plays at the Science Center, in Orlando, Florida.
Ambitious? Yes... but well worth it! So, stay tuned for further
installments of: Richasi's Le Grand Tour.
=======================================================================
FROM THE BOUTIQUE:
"WHEN A PROGRAM IS NOT A PROGRAM" (By: Keith Johnson)
=======================================================================
The merchandising department at Cirque Du Soleil must have been in a
quandary - they had a visual identity for Varekai (a winged "puppet
man" who looks to be "falling" through a yellow background, with the
shows title in red above it) but that was about it, the show was
still in flux as deadlines drew near. So there was a paucity of
Varekai merchandise available for the Montreal performances; a
poster and magnet (with a 3-D puppet image emblazoned on it) were
about the only things we found.
Oh, and something called a "Cirque Du Soleil - Varekai - Creator's
Notebook" selling for 14.00$ Canadian.
What makes this booklet interesting, besides the look and feel of a
book documenting a show whose own look and feel was still in flux,
is the inclusion of a "bonus sampler CD-ROM" of audio and video
excerpts and interviews about the show. Now this should be
interesting!
The cover is striking, showing a section of the stage with its' 20-
foot "forest poles" and catwalk reaching to the heavens. Opening
the first 5 3/4 inch wide by 9 5/8 inch high panel reveals the
second cover panel, part of the Icarus storyline with the word
"Falling" superimposed on it. And the cover opens yet again,
revealing the word "freedom". In total there are 28 full-color
pages, with an 8-panel fold-out cover. 17 pages are dedicated to
the show, the rest to credits, photos and ads. The entirety of the
book is carefully bi-lingual French/English.
The imagery, with pictures by Jean-Francois Gratton and Al Seib, Art
Direction by Pierre Desmarais, and Graphic Design by Michel Dalpe,
consists mostly of pictures from rehearsals (performers not in
costume), computer designed imagery and artists renderings. The
text, with lines on the topics of memory, ritual, chaos & disorder,
metamorphosis, and death and rebirth, to name a few, speak to
wandering, evolution and change. Some selected lines:
* "Our quest is riddled with ordeals, pitfalls, and mysteries."
* "Wandering is a comfortable way to live one's life."
* "To wander is human. We are on a quest for meaning, happiness,
truth, and freedom."
Quotes such as these are sprinkled throughout the imagery of the
book. Most all the performers are shown, though they aren't labeled
with their specific acts as in other programs I've seen, and in
general are not in their show costumes.
The extensive credits pages (long because they need to be in both
French and English) thank all the major contributors, with special
generic group "Thank You's" to the costume, set, prop, and special
effects people. In addition to the traditional black turtleneck
performer "head shots," the book has full-page ads for sponsors
American Electric Power and Desjardins (a Canadian insurance
provider), the charity Oxfam, the L'Ecole Nationale de Cirque
(Canadian National Circus School, whom Cirque du Soleil patrons and
is also Montreal-based), and a general Cirque du Soleil ad. Finally,
there is a panel on which the CD-ROM rests, which also promotes the
"Inspirational New Soundtrack available September, 2002." (Which is
funny considering the soundtrack hasn't been recorded yet). It's
here the program features it's only image of the "puppet man", in
its depiction of the album cover.
There isn't much about the "Icarus" storyline here, no real
representation of the Aerial Strap act by the English Atherton
brothers, and only one picture (in negative image) of John Gilkey,
who has a prominent role in the show.
Overall, this is an interesting concept for a Cirque "program".
What makes it most interesting for Cirque collectors is the
likelihood that, as the show "settles down," this "Creator's
Notebook" will be replaced with a more-traditional "Program" for
it's North American Tour. So this has more of a "collectible" taste
to it from our perspective.
And then there's that "Bonus Sampler CD....
The CD contains both color video and audio excerpts, for both PC and
MAC, and requires Macromedia and QuickTime 5 (which is included if
needed). All pages except the main menu page have a "back" button.
The video interface has a volume control, pause button, time bar,
and fast forward and fast rewind buttons. There are two sections -
French and English (of course).
The most interesting thing about the CD is that the interviewees
speak French on the French side and English on the English side, in
effect giving unique answers each time. We can only assume they are
giving the same answer in French as they are in English. (If a bi-
lingual fan would check and confirm this, we would be most
appreciative.) For this review, we'll be looking at the English
side. From bottom to top, the CD's sections are:
--Visual Identity - A static shot of the Varekai poster. It would
be nice to have the ability to make this into a screen saver without
having to go to a lot of trouble. Of course, if would be nice to
have other Cirque images available as Screen Savers, oh Cirque
Club??
--Act Preview Aerial Straps (video length :40 seconds) - The
Atherton brothers rehearsing their act in the Cirque headquarters
rehearsal hall. The music, "Straps", features an ethereal female
vocal.
--Act Preview Icarian Games (:40) - Also taped in the rehearsal
hall, the Russian and Ukraine body-flippers almost miss, showing
camaraderie at the end. The music used here is different from the
music clip of "Icarians" described below.
--Violaine Corradi, Composer interview (1:13) - She discusses the
simplicity of the melody lines and how they imprint on the "soul of
the audience." She also mentions her desire for the music to not be
melded to any one culture.
--Andrew Watson, Director of Creation interview (1:02) - Discusses
getting the creative team together, and his efforts to "create a
different way of creating."
--Dominic Champagne, Director interview (1:00) - Explains how they
wanted to start at the end of the Icarus myth, with Icarus "falling
inside a family of survivors, like circus performers are."
--Guy Laliberte, Guide-President and Chief Executive Officer-Founder
(whew, got enough positions there Guy?) (1:52) - He explains how
Dominic comes from a theater background, the differing rhythms
between theater and Cirque, and how Dominic and Andrew interfaced.
--Music Excerpts ("Exclusive Excerpts Selected by Violaine Corradi")
- Here is where the interface lacks. These are not accessible from
a standard CD player, having been encoded as QuickTime files. You
can only click to start them; no pause, no volume controls. In order
to manipulate them further, you'd have to do it in another player.
Both clips are in stereo.
--"Gitans" (1:59) - This is the music that starts Varekai, a slow
march featuring violin, tuba sounds, and tambourine. It's much more
"filled out" here than in performance.
--"Icariens" (5:54) - This is played during the Icarian Games body-
flipping act and, as with "Gitans", is fully orchestrated. It is
heavy with drums, percussion and chanting. A nice, long piece, it
ends very suddenly.
It would be nice to have a performer interview here, but this might
go against the Cirque philosophy of not "featuring" performers
(though a John Gilkey interview would have been fun). The
interviews that are featured could have been longer, but taken in
total this is a novel extension of a standard program book. One
wonders whether these interviews will appear on some "making of"
video later.
Overall this is a good program, given that by press time there was
probably not much to work with. The "bonus" CD is something I'd
love to see continued (and given my completist tendencies, expanded
upon). But in it's short 15 minutes of programming, it gives a good
sampler of the show and the impetus behind it.
=======================================================================
LE SPECTATEUR:
"A NOUVELLE LAS VEGAS EXPERIENCE" (By: Mimi Roscioli-Greco)
=======================================================================
When I originally sat down to write this article, my plan was to
write a concise, day-by-day travelogue. I then realized that chances
are this would not be what my reading audience, a group of devoted
Cirque du Soleil fans, are interested in hearing about. They
aren't interested in hearing all of the sordid details, like what
time the plane took off, etc. They want important information
that can be used in the future. They want to know the hotspots
of the 24-hour city. They want to know about my personal encounter
with Cirque du Soleil. Most of all, they are interested in the
experience.
When: March 29, 2002, a warm Friday evening. Where: The bustling
Treasure Island Resort and Casino. What: A 7:30pm performance of
Mystère. When my family and I headed to Treasure Island, I was
ecstatic to find a Cirque du Soleil boutique. Trés cool! I stayed
there for a good hour while my parents ventured elsewhere to get
some Starbucks before the show. I parked myself in front of a CD
listening station for quite a bit of time and eventually a nice
couple came over by me and asked if they could share the other set
of headphones. Sure why not, I figured.
As we were listening to the Nouvelle Experience soundtrack I
noticed that the woman made a little bit of a face so I changed it
to O and told her that it's music was absolutely phenomenal.
"Oh I saw this last night," she said, her enthusiasm growing.
I told her that I had tickets for the 10:30pm Sunday performance and
she really got into talking about the show. We talked a little more
and I found out that they were visiting from France! We never
exchanged names but it was a pleasant encounter nonetheless.
When we were seated inside the theater, I was absolutely amazed by
the architecture. While I was expecting the show to be really good,
I never figured that the theater itself would be nice looking as
well!
About fifteen minutes before the show, Brian le Petit, Brian
Dewhurst's character, came out to begin the pre-show. I couldn't
believe it! Brian Dewhurst was standing right before my very eyes.
Unbelievable! I must say that he really put on a good pre-show, too.
He began "seating" people. Well, actually no one really made it to
their seat. He sort of gave up halfway along. He also included
several other antics in his performance.
Next, a puppet-toting Nicky Dewhurst came out and the show began.
"And now, ladies and gentlemen, sit back, relax and enjoy...
MYSTERE!!!!" The lights dimmed, Taïko drummers dropped from the
ceiling, fog rolled onto the stage, and the show began. While the
entire show was absolutely phenomenal, I think I enjoyed watching
Nicky and Brian most of all. They clearly showed a special father -
son chemistry on stage. Other highlights of the show included the
opening number, the taiko drums, and the bungees. The show also
included a good deal of modern dancing, which made me very happy.
When set against the music to "Kalimando", a pas de deux dance moved
me to tears. The whole show went by so fast, I could hardly believe
it. In a way, it was almost sad to see the artists bid farewell.
Fast forward 48 hours to March 31, 2002: Easter Sunday. Time for the
most anticipated show of the entire trip: a 10:30pm performance of O!
The minute I entered the theater, the smell of chlorine hit me and I
couldn'thelp noticing that it was slightly more humid than normal.
The temperature, however, was still very comfortable. I watched
as the theater quickly filled. Sure enough, a sold out performance.
At exactly 10:30, the clowns came out for the pre-show. How
adorable! A leak had sprung in the theater and the comic duo was
determined to stop it.
Soon after, Guifa came out and was lured behind the red curtain by
Eugen, an old, hunched-over theater manager. Peeking out once more,
Eugen instructed Guifa to read all of the theater rules (no smoking,
flash photography, etc...). Guifa flew into the air and the red
curtain was whipped away by a gust of wind, revealing to the
audience the mysterious world of O. The rest of the show flew by and
totally surpassed my expectations. While I thoroughly enjoyed every
moment of the performance, there were a few acts that definitely
stuck out to me. The Russian swing is a pendulum type of apparatus
that looks very similar to a playground swing, hence the name. When
swung by two riding artists, it has the capability of catapulting an
artist thirty feet into the air, sending them plunging into the
water. Secondly, La Barge, the Banquine acrobat troupe, performs.
Director Franco Dragone, who has always practiced a multidimensional
mode of staging (or having several things going on stage at once),
also blocked synchronized swimmers into this portion of the show.
Cerceaux is a aerial hoop act. The hoops continually raise and
lower, causing the performers to sometime skid the surface of the
water. When set to the beautiful "Svecounia", it is absolutely
incredible.
Perhaps the most interesting and pivotal scene of O was the finale.
Eugen, who made a complete transition from the dark to the light,
appeared serenading a beautiful young girl on the piano. As Eugen
continued to play he, the girl and the piano slowly disappeared into
the water. Being a sensitive type, this bold image struck a chord
with me and I couldn't help but get teary-eyed. Meanwhile, in the
background, all of the artists gathered together in one big group,
simply watching, waiting. A large wicker basket from a hot air
balloon dropped into the water. In the blink of an eye, the red
curtain was drawn from the basket by a gust of wind and blown back
into it's original position, once again hiding the world of O.
{To read more about Mimi's wonderful trip to Las Vegas, including
what she liked, disliked, found to be "hot" and "not so hot", visit
her website at: http://seoul-du-le-cirque.cjb.net/}
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PARTING QUOTE
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"Brotherhood:
The way to take part in something greater than one's self"
- Varekai
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NEXT ISSUE...
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Our coverage of Varekai isn't over yet - in fact, it's just beginning!
Our next issue will explore the musings of John Gilkey and Varekai's
two clowns: Mooky Cornish and Claudio Adalberto Carniero. We'll also
take a peek into Dralion and many other exciting areas related to
Cirque du Soleil!
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 9a: August 01, 2002}
