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Fascination Issue 013
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Fascination! Newsletter
Issue #13 - September 2002
"Live to Cirque; Cirque to Live"
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Bonjour et bienvenue! Within this issue you will find that the seeds
of the second year of "Fascination!" have been planted. For within its
pages, and in those issues to come, a series of articles will be
released in monthly installments. Within this issue we begin with a
series entitled "The Techie Geek" presented by Jen Waldman. Jen works
behind the scenes in a theatrical setting and has knowledge in this
subject, which she shares with us! In issues to come Wayne Leung will
be providing a play-by-play episode synopsis of "Fire Within", the new
Cirque du Soleil 13-episode series that begins its run on Canadian TV
this month. "Le Grand Tour" by Ricky Russo will be making its final
stops this year as his adventures chasing Cirque around the world for
a year come to an end. And many more surprises will make their way
into these pages through the year. So, welcome to the beginning of the
second year of "Fascination!" (We're excited, can't you tell?)
============
Contents:
============
* Cirque Buzz: News, Rumours & Sightings
* Itinéraire: Tour/Show Information
* Historie: This Month in Cirque History
* Anniversarie: Birthday Wishes to Cirque Alumni
* Le Spectacle:
"Miracula Dralion" (By: Paul Roberts)
* Special Engagement:
"Le Grand Tour: A Dragon, a Lion
and a Headless Man" (By: Ricky Russo)
* Cirque Musique:
"Cirque's Newest Extended CDs"
- Alegría: "I Hear a Young Malioumba Sing"
(By: Paul Roberts)
- Saltimbanco: "Juzoom, Joozoom!"
(By: Ricky Russo)
* Behind the Curtain:
"The Techie Geek: Acrobatic Rigging" (By: Jen Waldman)
* Beyond the Bigtop:
"EVEN MORE Coverage on that Wallpaper" (By: Keith Johnson)
* Le Spectateur:
"Journey to Quidam" (By: Wayne Leung)
* From the Boutique:
"Cirque 2003 Calendar" (By: Keith Johnson)
* Parting Quote
* Next Issue
* Subscription Information
* Copyright & Disclaimer
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CIRQUE BUZZ: NEWS, RUMOURS & SIGHTINGS
=======================================================================
Varekai Filmed
--------------
Back in May we published a rumor that Varekai was to be filmed
early in its run, possibly in Toronto. Thanks to a patron who
took in the show over the Labour Day holiday weekend, that rumor
has been validated. Beginning on Sunday, September 1st and
continuing through the first week of September, Varekai has gone
under the camera. It is not clear when the show will be released
on DVD or whether it will make its normal Bravo appearance
first. We will, as always, keep you updated as this develops.
[Thanks to Andrew Pearen!]
New York, New York Show Signs Up
--------------------------------
Cirque fans have been having heated debates on the direction the
new "cabaret-style" show (at the New York-New York Hotel &
Casino in Las Vegas) will be taking. Now, several signs posted
around and inside the hotel seem to give us more of a clue. The
largest by far is attached to a parking structure on Tropicana
Avenue, measuring a whopping 50 X 60 feet! All of the signs say
the same thing:
"Opening / July 2003 / a more / intimate expression of / Cirque
du Soleil / at New York-New York" (The word "intimate" is in
larger type than the rest of that line, showing emphasis.)
What makes these signs interesting isn't just the "more intimate
expression" tagline. The image in the center of the picture is
somewhat hazy and mysterious, but further gazing reveals it to
be a nude woman's torso, turned slightly to her left. The
camera angle is based below the right hip, aiming upwards. Her
left breast is visible, though the nipple has been airbrushed
out. The right breast has been airbrushed entirely and is
further obscured by the word "Opening." Her navel is clearly
visible in the lower right. The bottom of the shot is cropped
several inches below that on her body - any further down and
you'd be in trouble!
What this means, of course, is any fans guess. Publicists are
notorious for promising the sky, especially when the show is
only in the planning stages. But it seems to lend credence to
the idea there will be more "exposed" than in previous Cirque
productions. As a special service to our readers, a photograph
of the sign is available and can be seen at the "Fascination!"
Yahoo Groups Pictures page at: < groups.yahoo.com/group/
CirqueFascination/ >. (You will need a Yahoo! ID to visit the
Photo's section). You can also see an image on the NY-NY website
at < http://www.nynyhotelcasino.com/pages/ent_cirque.asp >.
[Source: NY-NY Hotel Casino; Keith Johnson]
Varekai CD Release Change?
--------------------------
Varekai, Cirque du Soleil's newest spectacle, was due to have
its soundtrack released to fans on September 10, 2002, but that
may be changing. The online Canadian media store HMV (HMV.com)
currently has the Varekai CD listed for pre-sale only, noting
the release date as October 22, 2002. According to sources
familiar with the tour, the date they're releasing to fans who
ask is September 10. Who to believe? We know that the recording
has been completed and is currently in the mixing process. This
would suggest that the latter date, October 22nd, is a more
plausible date for release. [Source: HMV; Wayne Leung; Ricky
Russo]
Dralion Closing Early
----------------------
The Cirque du Soleil touring show "Dralion" will end its
extended run in Renton (Seattle, Washington) a week early.
Instead of playing in a giant circus tent next to Renton's
Boeing Plant through Sept. 22, as previously announced,
"Dralion" will offer its final performance there Sunday, Sept.
15. We've been told that Admission Network (the Cirque ticket
seller) will be calling those with tickets to advise them of the
change). Cirque du Soleil made an announcement on their Cirque
Club discussion board regarding this change: "Cirque du Soleil
would like to inform Dralion ticket holders that the final week
of Seattle performances has been cancelled (from Sept. 17 to
Sept. 22 incl.) due to unforeseen logistical issues requiring
additional transportation and set up time on our next tour stop.
We apologize for any inconvenience this may cause and assure you
that our ticketing agency is working to contact all ticket
holders affected by this last minute change. If you have any
further questions please contact us at 1-800-678-5440."
[Source: Seattle Times; Cirque du Soleil; Keith Johnson]
Cirque TV: Cirque du Soleil - Fire Within
-----------------------------------------
For anyone who's ever dreamt of running away and joining the
circus, or anyone who's ever experienced a live Cirque du Soleil
production and was left wondering how such a meticulously
crafted work of art came to be, Cirque du Soleil presents its
newest creative venture; a 13-part documentary miniseries
entitled "Cirque du Soleil: Fire Within" that aims to take
viewers behind-the-scenes as it chronicles the creation of the
company's newest live production, Varekai. Unlike past Cirque
behind the scenes features such as "Alegría: The Truth of
Illusion", "Full Circle: The Making of Quidam", "Inside La
Nouba: From Conception to Perception" or "In the Heart of the
Dralion" each of which provided only a tiny taste of the entire
creative process, "Fire Within" promises a more in-depth and
personal look. For this co-production between Creations Musca
(a subsidiary of Cirque du Soleil Images) and Galafilm (a
Canadian film company renowned for its documentaries) a camera
crew filmed the daily activities of Cirque du Soleil creators,
crew members, performers and administration over a one-year
period as they busily worked toward the premiere of the new
show.
Varekai will complete its Canadian tour in early September.
Shortly thereafter, Canadian broadcaster Global TV will premiere
"Fire Within". The Canadian premiere is officially set for
Sunday, September 15th at 7PM EST. U.S. audiences will get
their chance to see the series starting in early 2003 on Bravo.
As always Fascination! will be watching and reporting details to
our readers. Upcoming issues will feature episode-by-episode
synopses, observations, reviews and background information by
Wayne Leung on this exciting and unique television series. Stay
tuned. [Source: Global TV; Wayne Leung]
New Varekai T-Shirt
-------------------
For the first time since the tour began in Montreal, new
Varekai-themed merchandise is beginning to make its way into the
boutiques under the big top. At first, the raised magnet,
"puppet" poster and the Creators Notebook were the only Varekai
items available. Word comes from within the big top that a red
T-shirt has been created, with the full insignia and logo on the
front. The back features a small, white Cirque du Soleil logo
that is positioned between the shoulder blades. On the left
shoulder the words "Freedom" and "Liberté" appear. The T-shirt
is also available through Cirque's Online Store
(www.cirquestore.com). [Source: Wayne Leung]
New Director for New York, New York Show
----------------------------------------
In June 2002, Cirque du Soleil and MGM Mirage announced a multi-
year partnership to create two new shows in Las Vegas. One at
the New York, New York Hotel/Casino to be staged in 2003 and the
other at the MGM Grand, City of Entertainment, beginning in
2004. At that time, the NY-NY show was set to be under the
direction of Philippe Decouflé. In an abrupt change, Cirque du
Soleil announced on August 14th that René Richard Cyr will
direct the show instead. According to the press release, "René
Richard Cyr has been an active player in Quebec's cultural scene
for over 20 years. He's an accomplished theatre director who has
created over 100 shows." We wish him the best as he takes up a
new challenge with Cirque du Soleil. The NY-NY show is scheduled
to open in July 2003. [Source: Cirque du Soleil]
The Mystère Situation
---------------------
A stir has been created among some fans regarding whether or not
the curtain is due to fall on Mystère in Las Vegas. Hoping to
bring order to the chaos surrounding this unrest, we'll attempt
to clarify statements made within the pages of "Fascination!" in
the past as well as comments made in the press.
The basis for Mystère ending in 2003 lies within its original
contract with the Treasure Island Hotel/Casino. In 1993, Cirque
du Soleil and Mirage Resorts signed a 10-year contract to stage
Mystère. This means that without an extension, Mystère would
indeed fold at the end of 2003 - if held to its original
contract. Mystère has received a contract extension (who would
let such a successful show go?!); however, its length has not
been released.
Guy Laliberté has been quoted in the French-Canadian press (La
Presse) saying that Mystère will indeed fold in Las Vegas and be
transplanted to one of several worldly cities. Both Hong Kong
and London have been mentioned, but again, that decision has
not yet been made and is not likely to be made for quite some
time.
The possible factors for Mystère closing in Las Vegas are the
opening of the 2003 show at New York, New York Hotel/Casino and
the 2004 show at the MGM Grand. But we do not see this happening
until at least 2005, by which time the two new shows will have
been established.
What then are we to make of it all? Like Mystère, the truth
remains mysterious, shrouded in doublespeak and oft quoted
lines. The official word from Cirque du Soleil is... nothing. So
until you hear an official press release from Cirque du Soleil
advising that Mystère has a closing date on it, we must assume
it'll keep on going on in Las Vegas. At least for now. Besides,
Cirque wouldn't pull the show without advance notice.
Cirque Looking For Singers
--------------------------
On September 4th at the Wellesley Sound Studios in Toronto,
Canada, Cirque du Soleil held casting auditions seeking singers
for La Nouba, Dralion and Alegría. They're looking for a slim,
small female R&B-soul mezzo-soprano; "for Dralion, a tall
counter-tenor comfortable in the baritone register; for Alegría,
a female mezzo-soprano with a strong, husky voice." Each are to
be comfortable with ethnic appoggiaturas. With new singers
already hired for La Nouba and Dralion, does this signal another
cast change in the immediate future? [Source: National Post]
New Merchandise Online
----------------------
Some of the merchandise that has been available exclusively under
the Grand Chapiteau is finally being made available online at
the Cirque du Soleil boutique (www.cirquestore.com). The newest
items are:
- Quidam Poster Shirt ($25.00 US):
A navy-blue colored crew-neck t-shirt is now available in
Small, Medium, Large and Extra Large. The shirt is 100%
cotton and is unisex.
http://store.yahoo.com/cirquestore/quidpostshir.html
- Varekai Key chain ($7.00 US):
A pewter key ring with a raised Varekai logo. Size is
approximately 1 1/2 inches by 1 3/8 inches. $7.00 US.
http://store.yahoo.com/cirquestore/varkey.html
- Quidam Key chain ($7.00 US):
A pewter key ring with a raised Quidam swirl "target"
logo. Size is approximately 1/2 inches by 1 3/8 inches.
$7.00 US.
http://store.yahoo.com/cirquestore/quidamkeychain.html
- "The Black Series":
Previously only available under the Big Top, this line of
black Cirque logo accessories are 100% nylon lined and feature a silver-colored Cirque du Soleil logo.
* Messenger Bag ($35.00 US):
http://store.yahoo.com/cirquestore/messengerbag.html
* Slouch Bag ($29.00 US):
http://store.yahoo.com/cirquestore/slouchbag.html
* Backpack ($19.00 US):
http://store.yahoo.com/cirquestore/backpack.html
* Notepad Binder ($35.00 US):
http://store.yahoo.com/cirquestore/notepadbinder.html
On the Pier...
--------------
Residents of the Tampa Bay Area were excited by the pending
arrival of Cirque du Soleil's Quidam on Saturday, August 25th,
when two of the troupe's members paid a visit to the St.
Petersburg Pier. Both Mark Ward (who plays principal character
"John" in the show) and Shayne Courtright (German Wheel)
attended the festivities in the Pier's parking lot. Even St.
Pete Mayor Rick Baker got in on the act when he tried his hand
at the German Wheel. The appearance was special as Cirque du
Soleil has never brought their bigtop to the Tampa Bay area.
Residents are patiently awaiting Quidam to appear under the
Grand Chapiteau at the Tropicana Field beginning Wednesday,
November 13, 2002. [Source: St. Petersburg Times]
Imaging Cirque
--------------
Cirque du Soleil Images has expanded its role since its initial
inception in 1988 (previously known as Télémagik). Not only is
the media arm of Cirque du Soleil currently producing "Fire
Within", a 13-episode documentary about its productions, but
they also have two other specials in queue. One, entitled "Run
Before You Fly", is a one-hour special documentary on the Cirque
du Soleil company. The Second, "Making of an Angel", is a look
at Varekai, Cirque's latest production. These newest productions
will join a growing list of documentaries, productions and shows
already in Cirque du Soleil Images' catalogue. In fact, a few
strange titles turned up on that catalog that many fans may not
be aware of. One that caught our attention were: "What a
Circus!" produced in 1990. Called "Quel Cirque!" in French, the
production was a behind-the-scenes documentary of Nouvelle
Expérience featuring a small making-of with comments by the
performers. Another was "Saltimbanco's Diary" produced in 1992,
which is also a making-of production. Both items are no longer
available, however, as with "The Truth of Illusion" and "Full
Circle", these documentaries would have made wonderful special
features on the DVD's released back on October 30, 2001.
[Sources: Cirque du Soleil; Martin Frenette]
Rene Bazinet in the United States!
----------------------------------
Ever wonder what happened to Rene Bazinet, former clown and
assistant director for Cirque du Soleil? Once again we've caught
up with him and he's scheduled to appear in the United States.
Fans of the mime can find him at this year's MotionFest (East
Coast), which is a Physicality and Performing Arts Festival.
What's he doing there? Teaching! Catch him in Baltimore,
Maryland from November 6th through November 13th, 2002. For more
information on MotionFest, visit their website at: <
http://www.motionfest.com >. [Thanks to Lynn Nakayama!]
This Month At CirqueClub
------------------------
Actually two months, as we missed an update last time. Cirque
Club has been busy, with several article postings (found in
their "News" section). They cover the big top raisings in
Boston, Brussels and Renton, WA (with an interesting aside on
washing the big top). But they've also written interesting
pieces on putting on a performance during a labor strike in
Barcelona, and about guests from the Hungarian Circus School
visiting Saltimbanco in Vienna. They also have a link to the
video from the "Got Milk?" ad we discussed last month. (And
over in the Press Releases section is a release talking about
Rene Richard Cyr directing the new NY-NY Las Vegas show.)
=======================================================================
ITINÉRAIRE: TOUR/SHOW INFORMATION
=======================================================================
[Touring Shows]
Alegría:
* Minneapolis/St-Paul, Minnesota: 8/21/02 - 9/22/02
Venue: Riverfront, Downtown Minneapolis
* Mexico City, Mexico: 10/10/02 - 11/10/02
Venue: Gran Carpa Santa Fe
Dralion:
* Seattle, Washington: 8/1/02 - 9/15/02
Venue: Next to Renton Boeing Plant
* Sacramento, California: 10/4/02 - 10/20/02
Venue: Cal Expo
* Phoenix, Arizona: 11/13/02 - 12/8/02
Venue: Temple Diablo Stadium
Quidam:
* Boston, Massachusetts: 7/25/02 - 9/15/02
Venue: Suffolk Downs
* Cleveland, Ohio: 9/26/02 - 10/13/02
Venue: Nautica Entertainment Complex
* Tampa/St. Petersburg, Florida: 11/13/02 - 12/8/02
Venue: Tropicana Field
* Tokyo, Japan: 2/7/03 - 5/5/03
* Nagoya, Japan: 5/31/03 - 7/6/03
* Osaka, Japan: 7/19/03 - 8/31/03
* Fukuoka, Japan: 10/22/03 - 12/7/03
Saltimbanco:
* Brussels, Belgium: 9/4/02 - 10/19/02
Venue: Tour & Taxis
* Madrid, Spain: 10/31/02 - 12/1/02
Venue: Recinto ferial de Moratalaz
* London, England: 1/7/03 - 1/26/03
Venue: Royal Albert Hall
Varekai:
* Toronto, Canada: 8/1/02 - 9/8/02
Venue: Ontario Place
* Philadelphia, Pennsylvania: 9/19/02 - 10/6/02
Venue: Avenue of the Arts
* San Francisco Bay, California: 11/7/02 - 12/8/02
Venue: Pacific Bell Parking Lot
* San Jose, California: 1/16/03 - 2/9/03
Venue: Water Company at Delmar Avenue
* Other Confirmed/Rumored Stops:
- Chicago, Atlanta, Miami, Jersey City
Boston, Houston and Dallas.
[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:
- 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:
- 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:
- October 14th through 15th
- December 4th through 19th
=======================================================================
HISTORIE: THIS MONTH IN CIRQUE HISTORY
=======================================================================
* September 03, 1987 -- Le Cirque Réinventé opened Los Angeles, CA
* September 08, 1989 -- Le Cirque Réinventé opened Santa Monica, CA
* September 08, 1995 -- Alegría opened Boston, Massachusetts
* September 09, 1988 -- Le Cirque Réinventé opened Washington DC
* September 09, 1993 -- Saltimbanco opened in Boston, Massachusetts
* September 09, 1999 -- Saltimbanco opened in Perth, Australia
* September 11, 1990 -- Nouvelle Expérience opened San Jose, CA
* September 12, 1986 -- Le Magie Continue opened Toronto, Canada
* September 13, 1991 -- Nouvelle Expérience opened Chicago, Illinois
* September 13, 1996 -- Saltimbanco opened Zurich, Switzerland
* September 14, 2001 -- Quidam opened in Zurich, Switzerland
* September 15, 1995 -- Saltimbanco opened Düsseldorf, Germany
* September 21, 2001 -- Saltimbanco opened in Yokohama, Japan
* September 23, 1999 -- Dralion opened in Santa Monica, California
* September 25, 1996 -- Quidam opened in Santa Monica, California
* September 27, 2001 -- Dralion opened in Philadelphia, Pennsylvania
=======================================================================
ANNIVERSAIRE: BIRTHDAY WISHES TO CIRQUE ALUMNI!
=======================================================================
* September 07, 1959 -- Francine Poitras (Ex-Singer/Saltimbanco)
* September 10, 1965 -- Steven Ragatz (Ex-Manipulation/Quidam)
* September 19, 1955 -- Michael Deschamps (Clown/La Nouba)
* September 27, 1955 -- Vasily Dementchoukov (Chairs/La Nouba)
* September 30, 1975 -- Sébastien Coin (Character/Mystère)
=======================================================================
LE SPECTACLE:
"Miracula Dralion" (By: Paul Roberts)
=======================================================================
I admit that when I first heard about the new Cirque du Soleil
production in 1999, I had reservations that the beautiful imagination
of the past may be destroyed. Gone was the creative team that had
designed the past seven shows. How could anyone replace François
Bergeron, Debra Brown, Michel Crête, Jonathan Deans, Dominique
Lemieux, and especially Benoit Jutras and Franco Dragone? Luc
Lafortune, the lighting designer, however, remained onboard. Plus,
when I heard that a major part of this new show would be based on
Chinese circus arts, I really did not know what to expect.
I purchased the "Dralion" soundtrack CD on the first day of release
and initially found it hard to believe that this was Cirque du Soleil.
After a few listenings, however, the CD really grew on me. My
favorite songs became "Stella Errans", "Miracula Æternitatis",
"Hinkò", and "Kamandé". Although composer Violaine Corradi's style
differed from René Dupéré or Benoit Jutras', her music included
an unusual element of inspiration. The music of "Dralion" can
certainly be labeled in the World Music category. Even though the
show carries a heavy Asian theme, there are influences that can be
heard from African tribal beats to Middle Eastern sitar-like themes,
or from Italian expressions to Scottish overtones, and there's even a
little disco thrown in.
By the year 2000, I had only seen Mystère and "O". For my daughter,
Tara's 12th birthday, I made plans to travel to Minneapolis along with
my mother to see "Dralion." Disappointedly, her first Cirque du
Soleil experience had to be this non-Cirque du Soleil-like show.
When we arrived at the Grand Chapiteau, my first experience under the
big top, I felt excited at seeing the faded blue and yellow stripes
exhibiting a lot of usage. I imagined seeing ghosts from past great
Cirque du Soleil performers that had graced this venue. To add to the
history, Tara and I heard the song "Alegría" playing just as we filed
in line.
After several clowns in tuxedos teased the audience, the opening to
"Dralion" immediately extinguished my earlier fears. The Four
Elements danced and the opening theme proved that Cirque du Soleil's
signature imagination was present. Then as I heard the beginning of
"Stella Errans", my heart beat in time to the hand-balancing act's
song. As the character, Oceane (water), along with several Chinese
girls, sat in the background and swayed to the beat of the song, I
felt mesmerized to their rhythm.
Yao (fire) next introduces the Bamboo Pole act that is appropriately
accompanied by the song "Bamboo." The song features a lot of heavy
percussion and screams that could easily be found in the plains of
Africa. At times, the bamboo performers bang their poles on the stage
in time with the music that embellishes this ancient Chinese ritual.
Yao also dances with an imposingly sharp teeth-chattering weapon to
conclude the act.
Following the bamboos is the first clown acts. When I saw Dralion in
Minneapolis, Les Voila (Johnny Filion and Soizick Hebert) performed
the hilarious contrabass and ukulele skit, which is one of my all-time
favorite Cirque du Soleil clown acts. Joe de Paul then attempted to
scare off the ancient demons with an audience member's smelly shoe.
Juggling virtuoso, Viktor Kee, brought his own song to the show,
titled "Kee Momma" featuring an upbeat tempo suitable for Club 54.
The song's sampled screaming, rapping and jabbering voices, are
triggered from the keyboards and are perfect for Viktor's crazed
juggling-ball break dance.
"Ravendhi" rings in for the Teeterboard act. The song has an Asian
theme and is highlighted by an intricate fast-paced vocal line of "la
la las" going up and down the tonal scale. To give authenticity,
several ethnic instruments are used, such as: Oud, Rigg, Daff,
Darbuka, Chalemie, Log drums, and (believe it or not) Banjo.
The song "Spiritual Spiral" is used as a set up to the Double Trapeze
act and once again characterizes a Middle Eastern theme with sitars
and tabla drums providing the background for low range, nasally
vocals. When I saw "Dralion" the first time, singer Erik Karol stood
directly in front of me and I could hear his actual voice over the
microphoned voice. His range is like no other vocalist I have ever
heard.
With an array of strings, brass, and tympani, the Double Trapeze's
song "Ninkou Latora" renders a classical music voicing. The shuffle
beat, brass strikes, and the delirious string intonations attribute to
a subconscious essence that matches the act's intensity.
"Ombra" had originally accompanied the Umbrella Foot Juggling act (an
alternate act), but when the second phase of Chinese artists arrived,
the song was used for the Contortion with Bowls act. Beautifully sung
by Agnès Sohier, the lyrics are an interesting combination of Italian
and English. This may be the most traditional-Cirque du Soleil-
sounding song of the show. It reminds me a little of the "Alegría"
song "Querer" with the use of accordion and strings.
Intermission allows the audience to catch their breath. Upon return,
a stage-covering lantern that houses ghostly floating images treats
the eyes. When the shade lifts, a troupe of girls are revealed
standing on a platform made of light bulbs. The Ballet of Lights is
an act never used before in a Cirque du Soleil production. The song
"Hinkò" accompanies the act and has a Middle Eastern flavor.
Surprisingly, the guitar riff showed up in the Mandy Moore song "In My
Pocket" and I'm not sure if Cirque du Soleil opposed this, but "Hinkò"
had been rearranged to include mainly the bridge from the original
studio version. On the soundtrack version, the high energy bridge
lasted only 8 bars, but the live version has the bridge as the main
theme.
The Dralions act features a song not found on the soundtrack CD. The
frolicking fiddle solos, the harmonically filtered synthesizer bass
melody, and the upbeat cadence gives the song as playful of a feel as
the cuddly Dralion creatures romping onstage. Another clown act
follows (luckily, the second time I saw "Dralion" John Gilkey had
joined the troupe for a humorous lit-belly act) and then like most
Cirque du Soleil shows, a darkness transcends into the spectacle.
The chilling "Miracula Æternitatis" accompanies the Spirits act.
According to the CD liner notes, the text was inspired by the first
verse of the "Tabula Smaragdino" (Emerald Tablet) that is as
mysterious as the act. As the Spirit Flyers soar through the air, the
vocals reach similar heights that lead directly into the next act (the
highlight of "Dralion" to me). The beautiful Aerial Pas de Deux is
accompanied by the equally beautiful ballad, "Ballare." The smooth
flow of the song is as smooth as the silk used in the act. Is this an
actual love song for Azala (air)?
The pace then picks up for an exciting traditional Chinese circus act.
With Indian chants (sampled from Zakir Hussain and Ustad Allarakha's
"Lineage") included, "Aborigenes Jam" is a great accompaniment to the
Hoop Diving act. Gaya (earth) dances in a frenzy as the heavy
percussion provides the tribal beats to enhance the chanting. When
the final hoop is conquered, a trap door in the stage opens and one of
the clowns climbs up carrying a cheaply-made lantern. What's the
meaning of this?
I have read and heard many people claiming that Cirque du Soleil is
pretentious and takes itself too seriously. In Dralion, their beliefs
are squashed by the Parody act provided by the clown troupe. This
caricature re-enactment of the show is filled with extreme humor
causing tears of laughter and disbelief that they actually get away
with the mimicking of cast fellow members.
When the laughter dies, a Chinese Drum solo sets up the finale of
"Kamandé" as the Skipping Ropes act takes place. The song has the
feel of an up-tempo Scottish folk dance and even features bagpipes.
When I first listened to the studio CD, I felt like this song seemed
out of place. But as the ending to the show, the blissful feeling
represents a wholehearted conclusion.
After two curtain calls, my mother mentioned that she loved how the
performers returned and gave the audience a standing ovation;
something I had never noticed before. To surprise Tara, I had made
arrangements to meet singer Erik Karol after the Minneapolis show and
he seemed as thrilled in meeting us as we were in meeting him. We
also met clown Joe de Paul and his parents, who came in from Montreal
to proudly see their son act crazy. In Chicago, we also met several
performers, and as always they seemed pleased with the recognition.
A lot of my friends wonder why I am so obsessed with Cirque du Soleil.
I guess it is because "Dralion" had provided an evening that neither
Tara, my mother, or I will never forget. The following year when we
saw "Dralion" again in Chicago (my father included) we experienced
another wonderful evening that only Cirque du Soleil can provide. And
at each and every show I have been taken to an extravagant place that
only the most imaginative minds could create. Even when a brand new
Cirque du Soleil creative team is on the job.
=======================================================================
SPECIAL ENGAGEMENT:
"Le Grand Tour: A Dragon, a Lion,
and a Headless Man" (By: Ricky Russo)
=======================================================================
Dralion is said to be the fusion of ancient Chinese circus tradition
with the avant-garde approach of Cirque du Soleil. Its creativity
draws on the culture of two worlds, personifying their civilizations
with two icons - a Dragon, representing the east; and a Lion,
representing the west. The combination of these separate philosophies
- Dralion - is thrust into a plane of existence that is neither past
nor future. This realm is maintained by the four natural elements: air
(Azala), water (Oceane), earth (Gaya) and fire (Yao). Together they
weave a haunting tale on this ethereal plane, a celebration of life,
where the seeds of creation are sewn and our imaginations born.
Yo! Put down the incense Ricky and get your head out of the clouds
because you're headed to Seattle!
On Friday, August 16th, I hopped a plane from Orlando to Seattle to
take part in an awesome, once in a lifetime event - it also just so
happened that Dralion was also playing there. Convenient, no? I'd
never been to Seattle before, nor anywhere in the Northwest corner of
the United States, so this trip was an exciting proposition right from
the start. Cool air and blue skies greeted me when I stepped from the
airplane and it was refreshing indeed.
Okay, who am I kidding - it was dark, late, and by the time I landed
in Seattle I'd been in the air for seven hours. I was tired, grumpy
and my neck. Ever try sleeping on a plane? Makes you feel like a
contortionist doesn't it? By the time I picked up my luggage at the
Seattle-Tacoma International Airport (Seatac), I had been up for the
equivalent of 24 hours (give or take thanks to the change in time
zones). But, Keith Johnson was there to lend a helping hand, orienting
me to the Northwest and steering me in the right direction - to a bed!
Keith (one of the writers) was the reason why I went to Seattle in the
first place. You see, Keith was getting married to his fiancée,
LouAnna, and his wedding was going to be far from ordinary. Taking
inspiration from Cirque du Soleil, and with Cirquey costumes, music
and a story line, the wedding was going to be unlike anything I had
witnessed before or took part in. And indeed it was - complete with an
appearance by a headless man named Quidam (played by me!) There's so
much to tell about the wedding, from its origins to staging, that we
plan to present the whole story in future issues of "Fascination!".
For now, what I can mention is that the costumes were hand-made and
represented elements of the cosmos. LouAnna (who made the costume) and
Keith (who used an ingenious method to make me appear headless)
brilliantly brought Quidam, the character I played, to life. Music was
sampled from various Cirque du Soleil sources and piped in through a
sound system and timed to allow the theme of the wedding to marry with
the music.
Having been the only person unable to attend the rehearsal the weekend
before (and hadn't been able to practice any motions in costume before
hand), I was unable to even think about sleep until I had heard the
music queues, tried on and fitted the costume, and seen the other
costumes and final concept pieces. When I was finally able to get to
bed all I could think about was the wedding... hoping I didn't mess
up!
The wedding "backstory" was crafted by me and edited by Keith and
LouAnna. It was presented in an 8-page full-color Program, patterned
after a Cirque program book (it even had "Cast Photos" in the back)
and was simply marvelous! And the cake! The cake looked like the
Varekai big top (complete with blue and yellow swirls, merchandise
tents, and patrons). It was unreal (and delicious)!
The ceremony was held in their back yard the following afternoon
(Saturday). The weather throughout the day was wonderful (a big worry
for Keith). The morning was crisp and cool; the skies clear. The
afternoon reached about 80 degrees Farenheight with little to no
humidity (Oh did I enjoy that!). By nightfall, the weather turned a
lot cooler than I was used to (good thing I packed warm clothes!) but
I enjoyed it ever the same.
On Sunday the entire wedding party was treated to a spectacle of a
different sort. With Dralion in town, the happy couple had arranged to
attend a performance to cap off our Cirquey weekend. The entire
wedding party reunited (out of costume, of course) to share in the
experience. It would be a first time viewing of a Cirque show for many
of the wedding party's compliment, and a first Dralion viewing for the
Bride and Groom. Since I was able to catch Dralion twice when it swung
through Miami, Florida in the winter of 2001, I already knew what to
expect.
While Dralion was my first live touring show (I've since seen Quidam,
Alegría, and Varekai on the road) it has not always been revered as
the most exciting. This is a sentiment echoed by many long-time Cirque
du Soleil fans. That's not to say that Dralion isn't a fun show,
because it is, it's just not always on the level of some of their
previous shows. Regardless of my thoughts about the show, I was
anxious to experience it again and see what changes - if any - had
occurred. And there were changes; many of them "Fascination!" has
detailed in previous issues.
Agnès Sohier still has authoritative control over the singing duties,
despite the fact that a new male singer has been hired and is singing
in the show (the programme credits his name as Beaver). Having heard
Erik Karol and Frank Irving sing the parts in their distinctive
falsetto voices, her renditions of certain songs didn't translate
well. Songs like "Stella Errans" and "Miracula Æternitatis" didn't
seem to project under her feminine, though powerful, voice.
Other noticeable changes were in the clown trio. The clown in the
beige overcoat has changed and is now being played by a man named
Philippe Aymard (France). He does an excellent job of picking up the
role originated by Joe De Paul (Canada) and played by Blas Villalpando
(Canada) in Miami. In fact, the entire wedding party was treated to
some of his antics when he taped us all up (in his mind, creating a
safety bar) from one end of the row to the other! The other clown duo
consisted of a bald headed man (Colin Gee - United States) with a tuft
of hair parted in a comb-over. He is dressed in a suit and appears to
be fat (he has a belly). Attached to his left hand is a bowling ball,
which he has a devil of a time trying to get off. His friend (Gonzalo
Muñoz Ferrer - Chile) is a scruffy looking man who also appears "fat".
Both have been with Dralion for a while; Gonzalo Ferrer originated
that role when he joined Dralion during the Miami engagement.
Interestingly, his bald headed sidekick was then played by John Gilkey
(who later left to partake in Varekai).
They weren't the funniest of clowns but they were effectively able to
tickle my funny bone in a humorous and touching original skit. Colin
Gee, who has taken over John's old role, takes center stage in this
particular piece where his character is repeatedly hit in the face by
his protruding belly. The exaggerated motions he goes through (and
replays in slow-motion) were enough to bring the house down. But the
act turns from laughter to confusion when he "dies" from this apparent
attack and his partner fusses over him. During this fuss (and attempt
to resessitate the clown), Colin's stomach begins to glow and he
"rises from the dead". At this point I lost the entire purpose of this
skit until he began to ascend into the sky (via the rotating ring that
is a prominant feature of the set). The clown act ended on an
emotional low note but its purpose became clear with the next act -
the haunting Spirits.
One of the least applauded acts of Dralion is the Spirits I think due
to its placement between the clown act and the Aerial Pas de Deux. It
was almost as if the act was not meant to be applauded. The music for
the clown act quickly changed to "Miracula Æternitatis" then quickly
into "Ballare" for the silk act. I know the audience was confused; I
was sore because I wanted to give them a nice round of applause!
Unfortunately that, in combination with a lot of little things,
tainted my overall view of this performance. Things like... the
absence of the Teeterboard act, a lack of a cohesive start to the show
(the kid with the lamp is missing - probably thanks to the theft in
Portland), only one "dralion" climbing onboard the ball to roll it
from one side of the teeterboard to the other (when all four of them
had done so in previous viewings), and a general overall lack of
enthusiasm by the performers. Of course, there were many positives
that came out of the performance too. Things like... finally being
able to see the Handbalancing Act live and hear the song accompanying
it (in Miami, it was replaced with the Aerial Hoops act by Geneviève
Bessette), seeing the Umbrella Act live (which was replaced with the
Contortion with Bowls act in Miami), watching the bald Victor Kee do
his thing and then perform in solo drum act at the end!
The merchandise tent also had a few new items: a new Programme, a new
Poster T-shirt (in line with the new Alegría, Quidam and Varekai
shirts), and the 3D Raised Magnet - all of which I purchased. As I
left Dralion and Seattle I couldn't help but feel a little like Guy
Laliberté (Cirque's leader). There's a statistic in one of the earlier
programmes stating that in one specific year he boarded 92 planes and
spent 311 hours in the air. While the "Grand Tour" won't equal that
figure, I couldn't help but be reminded of that as I had boarded my
15th plane of this journey... with many more to come!
[Pictures of this leg of "The Grand Tour" as well as other stops on
this incredible journey can be found on Richasi's homepage at: <
http://www.azlance.com/~richasi/Pictures/GrandTour/ >]
=======================================================================
CIRQUE MUSIQUE:
"Cirque's Newest Extended CDs" (By: Paul Roberts & Ricky Russo)
=======================================================================
Beginning with Quidam in February 2002, continuing with Saltimbanco
and most currently with Alegría, Cirque du Soleil and BMG Classics
Music have begun to re-issue their catalog of Cirque music under the
label "Cirque du Soleil MUSIQUE". Each release brings with it new
material, new graphics, and new music for fans to enjoy. Ever since
the Quidam release, the "Fascination! Newsletter" has been on the
trail of the new music ever since. Which brings us to this dual
effort! Here are reviews of the two newest Cirque du Soleil MUSIQUE
releases -- "Alegría" and "Saltimbanco".
Alegría: "I Hear a Young Malioumba Sing"
(By: Paul Roberts)
----------------------------------------
The music of Cirque du Soleil provides the soul for the show. At
times the performance-accompanying themes go unnoticed but provide a
subliminal controlling of the audiences' emotions. Every show has had
a soundtrack CD released (except "Varekai", which is coming soon) and
even though the studio recordings are incredible, nothing compares to
the live music. In 1996, Cirque du Soleil re-released a live
"Mystère" soundtrack that included newer songs written by Benoît
Jutras to go along with original compositions by René Dupéré. But no
other show has had the soundtrack re-released live. Not in its
entirety anyway.
One of the latest extended CDs is "Alegría" (BMG Canada/Cirque du
Soleil MUSIQUE; 74321-93442-2) that includes two René
Dupéré-written songs previously unavailable anywhere: "Cerceaux"
(4:00) and "Malioumba" (4:16). The CD package has been updated with a
new cover picture, which matches the new North American Tour poster.
The CD insert, however, is basically the same as the original release,
with only updated track information for the new cuts. The CD itself
has a picture of Little Tamir in full, vibrant color. But it's the
tracks that I was most interested in.
A few years ago someone had downloaded a complete "Alegría" show on
Napster and I remember hearing "Cerceaux" for the first time. I
instantly fell in love with the song and as word spread around about
the Napster downloads it had been revealed that the song accompanied
Elena Lev's Hoop act. Now the song accompanies Maria Silaeva's
Manipulation act. The song is an unusual mixture of classical
music-like melody lines over a Latin beat-like rhythm. The White
Singer and Black Singer echo each other using the famous Cirque du
Soleil imaginary language. The ending crescendos with a rapid
acoustic guitar chord progression as an accordion provides a musical
scale of notes. Unfortunately, about three minutes had been cut out
of the song (I had gotten used to the live DVD version) and feels a
little rushed.
"Malioumba" accompanies the Flying Man act and I had never heard this
song until I saw the "Alegría" broadcast on Bravo. Singer Fancesca
Gagnon receives composing credit and I assume she wrote the lyrics.
This has become one of my favorite Cirque du Soleil songs and reminds
me of something Sting might record. There is quite a bit of low
percussion and string-synthesizer chord progressions over a slow
tempo. The airy vocal sonnet provides a floating sensation and you
can hear the high notes echo throughout the big top. One of the
highlights for me is the bridge, where bassist David Pelletier plays
a gliding melody line on his fretless bass that leads back to the
chorus-lyric of "Malioumba." I get chills at each listening of this
tune. But once again, the CD version is edited and this time, I think
way too much.
With the two new additions, the CDs total play time has been extended
to 69:26. Hopefully, Cirque du Soleil will continue the extended CD
trend with "O", "La Nouba", and "Dralion". But I really wish that
they had followed the "Mystère" lead and re-released complete live
recordings of each and every show. I know of at least one person
who'd buy them all!
Saltimbanco: "Juzoom, Joozoom!"
(By: Ricky Russo)
-------------------------------
On October 2001, the "Fascination! Newsletter" reviewed a little known
but highly sought after re-release of a Cirque du Soleil musical CD -
the Saltimbanco soundtrack (BMG Funhouse/RCA Japan - BVCF-31076;
74321-82877-2). At first glance there was nothing special about its
release; the show was touring the Japanese islands at the time. But it
contained something that made our hearts flutter: two bonus tracks!
That release (1/24/01) contained two new cuts: "Adagio" (5:43) and
"Arlequin" (7:27).
The only problem with the release stemmed from the fact that these two
tracks did not adhere to the general quality of the other previously
released selections. Keith Johnson, who reviewed the CD for us back in
our second issue, said it best when he commented that the two pieces
seemed "sloppy and 'last minute'". And indeed they do seem that way;
unfeeling, uninspired, and lacking the quality of a re-mastered audio
recording.
Further listening of the tracks lead to discoveries about their
origins and where the recordings actually came from. It was determined
that the new tracks weren't simply copied from the video release; but
if not, where did they come from? Later we learned that the two cuts
actually came from a recording made by the musicians for the artists
of Cirque du Soleil to enjoy at Christmas time. In fact, the cuts were
recorded in Amsterdam in 1996 on Saltimbanco's original European Tour.
But not until 2001 had the two tracks been released for the general
public to enjoy.
Why am I telling you this? I do so because almost a year after the
release of the Japanese Saltimbanco CD, Cirque du Soleil has done it
again with the re-release of Saltimbanco in the western world.
Sporting an all new cover and a completely digitally re-mastered
soundtrack, the new CD also contains the tracks "Adagio" (accompanying
the Adagio Trio act) and "Arlequin" (accompanying the Juggling act).
But what is most exciting about this release is that both tracks have
been completely re-sampled and re-mastered, differentiating themselves
from their Japanese counterparts!
This new Saltimbanco CD (BMG Canada/Cirque du Soleil MUSIQUE; 74321-
91655-2) is a wonderful package. The CD insert features an all-new
cover; Yellow with a picture of the cavalier on the left-hand side,
holding a tray with a little seat on top. The inside consists of a
foldout style insert with color pictures splashed about, notes about
the album and other releases available. As for the music... the tracks
seem to take flight under the new digital master; they're vibrant and
full.
Adagio (5:47) accompanies the Adagio Trio act at the beginning of the
show. The song is simple and subtle and makes for a great opening cut.
This piece differs from its Japanese release in many ways but most
importantly it's been completely re-mastered. Unlike its Japanese
counterpart this track begins with a thunderous applause from an
audience (very much similar to the two new Alegría tracks), but
otherwise it is exactly the same. The end of the cut also features
audience applause that leads right into the next track: Arlequin.
Arlequin (7:36) accompanies the Juggling act and features an upbeat,
cuban-ish style of sound. This piece has also had some re-mastering
treatment done with an overlay of audience applause at the beginning
(lead in from the previous track - Adagio) and features an extended
ending that does not suddenly drop like the Japanese version did. The
song's ending, however, is slightly masked by an audience applause
overlay that feels like it doesn't belong there.
It comes as no surprise to this reviewer that the two cuts were
recorded "Live under the Big Top in Amsterdam, 1996" and are actually
taken from the cast recording I spoke about earlier. The tracks
feature the vocal talents of Laur Fugère and the European Tour band:
Marc Sohier (Bass/Band Leader), Yvon Cloutier (Guitar), Marc Delorme
(Keyboards), Gillse St-Amand (Drums), and David Bellamare (Saxophone).
Interested parties may note that the album's two newest tracks were
edited and mastered by Denis Normandeau at Studios Piccolo, in
Montréal.
All in all the new Saltimbanco CD is a welcomed addition to my Cirque
du Soleil Musique portfolio and is a must purchase for anyone who
enjoys not only Saltimbanco but Cirque du Soleil music as a whole.
More please!
=======================================================================
BEHIND THE CURTAIN:
"The Techie Geek: Acrobatic Rigging" (By: Jen Waldman)
=======================================================================
"I feel that I have succeeded in my mission when the audience doesn't
realize that there are up to nine tons of equipment hanging from the
rafters of the big top. To achieve this, I have to make sure that all
the technical and acrobatic mechanisms blend in perfectly with the
look of the show." --Jaque Paquin, Rigging Designer for Varekai.
Wow! I am a theatre techie (apprentice). That's why I wanted to write
this article. The Cirque du Soleil acrobats, clowns, and musicians
are wonderful and I am usually enthralled by their performances, but
it is the lighting, sound, and set that interest me most. The above
quote really caught my attention and I got to wondering about the
behind-the-scenes work that goes into Cirque du Soleil shows. So, as
with anything that interests me, I decided to write about it. And who
knows? Maybe this will help me decide what to do when my
apprenticeship is over. This month lets explore the high-flying world
of acrobatic rigging.
Acrobatic riggers, in general, are the circus version of the theatre
set crew. Riggers raise and lower sets and trapezes, inspect and
fasten safety wires, attach all the pulleys and ropes to the "ceiling"
area, and generally make sure that no acrobat is going to crash to the
floor because of faulty equipment. As one might expect, Cirque du
Soleil puts a more artistic spin on rigging. For quite a while Cirque
used traditional stationary rigging procedures (i.e. the trapeze stays
where it is placed and is only moved up and down) or visible cables,
though the transitions between acts were usually artistic. As late as
"Alegría" this was still the case. But for "Quidam," the Cirque du
Soleil technical crew designed a new kind of aerial conveyor, which
they call a "Telefrique."
This conveyor both brings the performers and equipment out to the
front of the stage and makes the proper height adjustments (most
obvious at the beginning of Aerial Hoops and Cordes Lisses acts). The
rigging is made of five aluminum railings that are just short of the
tent size, plus 10 wheeled dollies. It is controlled by computer and
the curved truss is based on lighting trusses. "Quidam" was the first
circus show (and one of the first theatre shows) to have a rigging
system this big. The designers nixed having the acts brought in from
different angles, so all of the aerial acts enter from a single point
backstage-- the "garage." And it's not just people. The "Quidam"
rigging was built so that up to 1,000 lbs could be placed on each
dolly. This aids in movement of props and equipment, but limits some
of the circus creativity. (The set is designed before the show is
finished, so the rigging can limit entrances and exits.) The "Quidam"
rigging gave as much flexibility as it could while also leaving room
to fly in set pieces.
"La Nouba" improved on the rigging truss. In this show, a trapeze net
is lowered and secured with no visible stagehands. The 25x60 foot
net, able to support 5,000 lbs, was designed by Cirque's Doug Kiddell
and was another first for Cirque. The counterweight system can also
hold more weight, perhaps because "La Nouba" is in a specially-built
theatre. The computer control system controls 45 motors, including
five stage lifts (each built for a 3,000 lb maximum weight) as well as
the telefriques. Cirque du Soleil does most of its own rigging and
automation design, but Westsun Scenic Edge was responsible for the
computer control system. There are over 300 automated cues in the show
(treat the stage manager with the greatest respect!) all of which are
executed by the Dynatrac computer program.
In addition to designing new ways to carry people and props onto the
stage, the rigging designers can change and invent new ways of safety
rigging. Once an acrobat complained that the safety wire chafed his
leg an hour before the show, and the riggers brought in a new harness
made of another material with plenty of time before the act. Riggers
and rigging designers must be able to come up with alternative
solutions to every problem. They must know acrobatic materials,
weights and pulleys AND conceptual physics. It's a theatre techie
geeks dream. Wait 10 years; maybe I'll be designing a new and improved
telefrique that can carry 10,000 lbs!
[A big thanks to the Techie Geek's mom for sending hoarded old issues
of TCI and Theatre Week magazines.]
=======================================================================
BEYOND THE BIGTOP:
"EVEN MORE Coverage on that Wallpaper" (By: Keith Johnson)
=======================================================================
Back in June (Issue #11) we told the story of how Cirque du Soleil
wallpaper came to be, as relayed to us by the instigator, Mr. Pierre
Cousineau, Vice-President of Distribution for Montreal's Beauport
Wallcoverings. We also mentioned that the currently available book
("Cirque du Soleil Collection, Volume A; A Fantastic Journey"
distributed in the US by Seabrook Wallcoverings
(www.seabrookwallcoverings.com)) was actually the second set of Cirque
du Soleil wallcovering designs put on the market.
Thanks to the kindness of Mr. Cousineau, we've had the good fortune to
look at the very rare first wallcovering book! These designs, in
their raw form, were the ones that Cirque President Guy Laliberté
regarded in silence for a "record" 10 minutes before proclaiming,
"These guys get it." Come on in as we crack the spine for an
exclusive sneak peak!
This first book, entitled "Cirque du Soleil: A Feast of Colors and
Passions" was published in June 1998 under the Vintage First Edition
Collections banner by The International Group Ltd., with the
wallcoverings distributed by Decorlux in Canada and Brewster
Wallcoverings in the USA. (UPC # for the book 7-73391-01592-1). The
papers were available until June 2001.
As with the current book the stuff was pricey, available in rolls
20.3" wide by 23.8 feet total and retailed for between USD $34-38.
Five-yard-long borders sold for between $32-36 per roll. Fabrics were
also available, with a yard of the 54" wide fabric selling for $50.00.
The cover is a montage of images. While the Cirque name and logo mark
are at the top in yellow, the main image is that of the ceiling of the
Mystère stage. Surrounding it are images from the four shows
represented within - Mystère, Saltimbanco, Alegría, and Quidam.
There are eight "series" or "groups" of designs in the book, two for
each of the four shows. Each series has between 3 and 8 sets of
"coordinates" each (a coordinate is two or more wallpapers that
coordinate with each other in color or design). While its impossible
to properly convey what the designs look like, here's a quick summary:
MYSTERE, ACT I - 6 coordinates - Here is a tribute to Cirque acrobats,
as trapeze and Chinese pole artists are depicted on the borders and
wallpaper. In addition to hearts and stars, the words "Cirque du
Soleil", "Mystère du temps", and "les artists" are scribbled
throughout. The designs are presented in shades of red, green, blue
green, and ivory.
MYSTERE, ACT II - 4 coordinates - Evocative of the Las Vegas desert,
these earth-colored papers containno words, but have hieroglyphics
and images of Mystère characters perched on rocky landscapes. The
papers come in brown, gray, light blue and rust red.
SALTIMBANCO, ACT I - 5 coordinates - This would look great in a
breakfast room. While not containing Cirque-specific images, it does
have images of flowers, fleur de lis and sun-like circles. It is
presented in yellow, green, and two very striking sets in vivid reds
and yellows, and vivid blues and greens.
SALTIMBANCO, ACT II - 8 coordinates - Childish and playful, with
scribbled hearts and designs and caricatures of the silver and
black-caped character. The words "Ego!" and "Cirque du Soleil" make
an appearance, as do various letters. The paper is in tones of yellow
and blue.
ALEGRIA, ACT I - 6 coordinates - The flowery and fleur de lis-based
designs of Saltimbanco Act I make another appearance here.
Interestingly, the borders are die cut and very striking. Presented
in blue green, yellow and orange.
ALEGRIA, ACT II - 3 coordinates - The same fleur de lis and flower
designs as above, again with the striking die cut borders, but in deep
blue and light orange.
QUIDAM, ACT I - 3 coordinates - Reminiscent of theater curtains, with
the banners looking like gathered top curtains, and the wallpaper
having the vertical fold lines of closed curtains. Presented in
yellow, blue, and red.
QUIDAM, ACT II - 3 coordinates - Similar to the playful style of
Saltimbanco Act II, this has images of a sun face, scribbling and lots
of other writing. One of the phrases I can make out is "joy in the
creative and artistic." Available in gray, brown, and blue.
As with the current book, the designer was Vicky Butler. In these
earlier designs the concepts are bold, colorful, using Cirque images
and words very distinctly. In my opinion these designs are better
than in the second volume. They break more new ground and are more
striking than the newer book, which seems to evoke a Cirque feeling
without as much direct reference.
Unfortunately, these papers are no longer available. But I've been
told there is a very slight chance that the US Distributor, Brewster
Wallcoverings (1-800-366-1700/1), may still have stock on a few of the
patterns. But you have to know the number of the pattern for them to
check, and what's the likelihood of finding another copy of this book?
Ah well. You can, of course, order any of the designs in the
currently available book. But, thanks again to Mr. Cousineau, we've
had a fascinating glimpse into a rare curio of Cirque-licensed
merchandise history!
=======================================================================
LE SPECTATEUR:
"Journey to Quidam" (By: Wayne Leung)
=======================================================================
From the moment I first watched the DVD of the "Cirque du Soleil
presents Quidam Live in Amsterdam" television special I've been
fascinated by Quidam. In my opinion it is the most moving, dramatic
and thought-provoking of the Cirque du Soleil productions and the
sheer artistry that is Cirque's signature is taken to dazzling new
heights in this show. Quidam has inspired me greatly. So, when I
discovered that it was performing a run in Boston, a relatively nearby
city, I jumped at the opportunity to finally see a live performance of
what I already considered my favourite Cirque du Soleil show.
This also happened to be my first visit to Boston and I found it to be
a vibrant city, despite the fact that downtown seems like one massive
construction site. I enjoyed walking the Freedom Trail of historic
landmarks, shopping at Faneuil Hall marketplace, visiting the hallowed
halls of Harvard University in Cambridge and sampling some of the
finest seafood including the famous New England clam "chowdah".
Boston definitely has a "New York Lite" feel but also carries a
distinct flavour, a combination of its maritime tradition, historic
properties and cultural and ethnic diversity, a sign of a truly
cosmopolitan city.
However, having paid due respect to the host city, the highlight of my
trip was my visit to Cirque du Soleil. I had the fortune of seeing
two Saturday performances of Quidam, the early one with a friend and
the late one by myself. For the Boston run the Grand Chapiteau is
pitched at Suffolk Downs, a horse racing track hidden in the boondocks
of East Boston, though fortunately just a short walk from a subway
station.
Unexpectedly, seeing two performances of the same show yielded two
completely different experiences. My first performance was marred by
several factors. Firstly our seats were in row A of section 103 were
much too far to the side of the stage; at times I felt I was looking
through the acts instead of at them (most noticeably during the
formations created in the Diabolos number). Also, watching from the
side view the spectator misses so much of the character interaction
presented at the back of the scene during the acts and loses the depth
of the staging. I noticed a world of difference when viewing the show
for a second time from dead centre in section 200 - the choreography,
the visual effects and even the music really come alive when framed in
the centre view. I would definitely recommend to anyone seeing a
Cirque show to sacrifice a closer seat for the better sight lines the
centre sections provide.
Much to my dismay, the audience for the afternoon show received the
show coolly, sometimes even coldly, and were rather unappreciative of
the performers. I was more than a little disappointed with the crowd
because they did not provide the energy to fuel the performers for a
great performance. At one point, after completing a routine that
fizzled with the audience, the "John" character shrugged off the
crowd's lack of appreciation as if to say, "Ah, you guys just don't
get it, let's move on." However, the artists still did their best to
put on an inspired performance despite the tough crowd. I have
nothing but heightened admiration for these consummate professionals.
The poor reception may have been due to the presence of many parents
with young children in the audience who were probably expecting
something more traditional and were caught off guard by the
emotionally charged, highly artistic and intensely theatrical
experience that is Quidam. Quidam is not necessarily a show that
would be enjoyed by small children who may be frightened by some of
the darker imagery. I could almost feel the shock and parental
disapproval at the end of the Aerial Contortion in Silk when Isabelle
Vaudelle "hangs" herself. After that act there was stark silence but
I could tell it wasn't out of awe. Even Elena Lev's command Hoop
Manipulation performance garnered only polite applause. Perhaps it
was a little too provocative for the conservative family crowd.
During intermission I overheard people saying the show was too
"European and sinister" or too "dark and weird". "There was a lot of
unnecessary moving around," one woman remarked. I was left thinking
maybe Bostonians couldn't appreciate art and weren't as cultured a
crowd as I had thought.
Fortunately, my opinion was changed by the audience at the evening
performance which consisted mostly of couples, college students,
business professionals and older families. This crowd received the
show much more warmly. In contrast to the subdued crowd reaction in
the afternoon, at the end of the Aerial Contortion act of the evening
performance, when Isabelle Vaudelle's body slid down the swath of red
silk, there was a moment of revered silence, then thunderous applause,
a cry of "Bravo!" from the back and a small group of VIPs even rising
on their feet to show their approval. Seeing the act a second time
gave me chills, I even shed a single tear at the end because I was so
moved. Isabelle Vaudelle's version of the Aerial Contortion is
starkly different from Isabelle Chassé's. Both are haunting and
evocative and I'm very glad I finally got to see the original Isabelle
Vaudelle version. I was also glad that the meaning of the show wasn't
entirely lost on the evening crowd. Overall the performers gave a
much more energetic and inspired performance because the audience was
more "into it". Almost every aspect of the performance was heightened
and I was completely drawn in by the magic of the performance.
The show itself has undergone some changes since the 1999 filming.
Most noticeably much of the cast has changed. Mark Ward replaced John
Gilkey in the role of "John" and plays the role with just a little
less quirkiness but with a touch of balletic grace, a refreshing new
angle for the character. Zoë is played expressively by 14 year-old
Denise Gonzales. Her soft and tentative voice works well for her
character although I do miss Audrey Brisson-Jutras' rich and full
voice. The new clown trio, Les Frères Velasquez (The Velasquez
Brothers), play the same characters and perform the same balloon-laden
numbers created by Les Macloma. Though they are a necessary
counterpoint to the deliberately ominous feel of the show, I thought
the clown routines were used a tad excessively. However, the clowns
do provide a few genuinely funny moments, and the biggest surprise
comes at the end of the show when we discover that two of the
"brothers" are actually women! The new clowns are Argentinean Gabriel
Buendia, Belgian Marie-Élizabeth Cornet and Spaniard Begoña Gomez.
Other show highlights include the German Wheel, performed very nimbly
by Shayne Courtright, and the Spanish Webs, amazing as always. Plus
for the second show a "super" version of this act, featuring seven
performers instead of the usual five, was performed. Elena Lev is
also a recent addition to Quidam and she is absolutely dynamite. She
performs the Hoops Manipulation act with sexy writhing choreography
and a revealing new costume that shows off her alluring physique and
thigh band tattoo.
My all time favourite Cirque du Soleil act is Quidam's Banquine. I
believe this number most effectively combines the disparate elements
that make up the Cirque du Soleil aesthetic; acrobatics, choreography,
music, costumes and dramatic context. This display of impeccably
timed acrobatic prowess alone was worth the trip. The troupe is still
very much in top form. Also, to my surprise, Dimitro Sidorenko, the
male flyer in white, is back in the show. I was informed by a trainer
that he was out recovering from an injury and had just returned at the
beginning of the Boston run. Dimitro is only performing a small part
of the Banquine act with the other two male flyers Igor Strijanov and
Vladimir Fomine performing the rest of the flying.
All in all, Quidam turned out to be the surreal and magical experience
I had envisioned, and seeing it live made the show much more powerful.
I left blissfully content at the surreal experience with a bag full of
souvenirs to remember my odyssey. I was so immersed in Quidam's
universe that I got lost, since I was no longer with my local
companion, and hiked about half a mile in the opposite direction from
the subway. I finally did find the station and even though it was
quite a while after the show had ended there were still many people
waiting for the train. I couldn't help but reflect on director Franco
Dragone's theme; I thought about how all of those people on the
platform were quidams to me. The show's set represents a train
station, a place of anonymous comings and goings. I thought about my
fellow quidams on the platform, how they each have their stories, but
if I looked hard enough I could recognize individuals in the anonymous
crowd. . .and I literally did. I glanced beside me and realized I was
standing right next to Mark Ward ("John") and Shayne Courtright, the
German Wheel performer. I made eye contact with Mark, he smiled at
me, I approached and told him and Shayne that I was a fan and
congratulated them on an excellent job. I shook their hands and the
train arrived.
I got on board and saw somebody familiar sitting across the way. I
almost did a double take when I realized it was Elena Lev right there
across the subway car! She looked even more stunningly beautiful
without the make-up. I hesitated but figured this might be my only
chance, so I pulled out my souvenir programme and a pen. Somebody
beside me, who I later found out was a Cirque du Soleil crew member
said, "Go for it." I approached Elena, apologized for disturbing her
ride home and asked her for an autograph, saying how big a fan of hers
I was. She politely obliged even though she must have been exhausted
from the two shows. I felt bad about bothering her but I'm enormously
grateful that she was gracious enough to make a fan very happy. I
asked Mark and Shayne for autographs as well and they were extremely
friendly and courteous. Not only are they exceptional artists and
athletes but great people as well. For the rest of the ride I struck
up a conversation about life behind the scenes at Cirque du Soleil
with the crew member and another gentleman who I would later learn was
Serge Roy, Artistic Director for Quidam. It was like a private little
journey into the universe of Cirque du Soleil and it was a dream come
true for me.
With Quidam, Cirque du Soleil aims to turn an anonymous society into a
place of hope and connection. It was fitting to the theme of the show
that I met these cast and crew members while lost in the crowd in a
place as anonymous as a subway. It was a wonderful complement to my
experience. Being moved by the live show's intense artistry and drama
and my serendipitous encounter with the cast and crew secures Quidam
as my favourite Cirque du Soleil show. I'm now left with a signed
souvenir programme and fond memories of my journey to Quidam.
=======================================================================
FROM THE BOUTIQUE:
"Cirque 2003 Calendar" (By: Keith Johnson)
=======================================================================
With such a strong visual sense, one wonders why Cirque du Soleil
hasn't previously issued a wall, desk, or daily calendar (perhaps
there's been one in the past we're unaware of, please let us know(!)).
For 2003 they finally have, and the results are a must-have for any
devoted Cirque fan's wall! (And yes, they would also make great
Christmas gifts!)
The "Cirque du Soleil 2003 Calendar" (with a cover featuring a trio of
Mystère's orange flower-sprouting Palmiers) was released at the
beginning of August by Harry N. Abrams, Inc. of New York
(www.abramsbooks.com). The 12" x 12" calendar (which unfolds to 24"
high by 12" wide) retails for USD $12.95 (UPC# 9-780810-97684-9, ISBN#
0-8109-7684-6). Designer Heather Zschock has assembled mostly well-
known images from the "current" shows for the 13 months of the
calendar (which includes January 2004). Here's a listing of which
shows are highlighted each month.
- January: Saltimbanco - "The Sleeper" (Guennadi Tchijov)
- February: La Nouba - Diabolo Girls
- March: Alegría - Russian Plank Troupe with Big Tamir
- April: La Nouba - The Chair Balancer (Vasily Demenchukov)
- May: Mystère - Character and Chinese Pole artist Sébastien Coin
- June: Mystère - Moha Samedi (the MC) and his puppet friend
- July: La Nouba - The Bird (Elena Day)
- August: "O" - Comet on horse
- September: Dralion - Yao the Fire Element with flag
- October: Quidam - A leaping Karl/Fritz/Target
- November: "O" - A group of Zebras
- December: "O" - One of the many background characters
- January 2004: Mystère - The Palmiers (also the calendar's cover)
The back of the calendar has thumbnail pictures of all the monthly
images. Some of the pictures, such as the La Nouba Diabolo girls and
the O Comet are a bit blurry when enlarged. Most of the others are
crystal clear and vibrant.
Unfortunately, the calendar portion itself is pedestrian with the only
items listed being the standard holidays and moon cycles; nothing
Cirque-specific. They missed a bet here and could have included
important dates in Cirque history, such as major show premiere dates
or when Cirque won major awards. However, you always have our own
"Historie-This Month in Cirque History" column so you can add whatever
you please on your own!
In summary, this is a welcome product with a built-in fan base. It's
a good overview of the "greatest hits" of Cirque imagery, printed well
with solid colors. It would have been nice to have seen less familiar
imagery, and more "on this date" kind of comments, but that might have
made it less appealing to the masses.
As of 8/30, neither CirqueStore or Amazon.com listed it, but
www.bn.com did (though the image they show is April's (La Nouba)).
You can order it at < http://search.barnesandnoble.com/booksearch/
isbnInquiry.asp?userid=0BVPK1R81I&isbn=0810976846 >. We also saw it
available at www.calendars.com.
=======================================================================
PARTING QUOTE
=======================================================================
"You can't remove the soul from the Machine"
- Dralion, www.cirquedusoleil.com
=======================================================================
NEXT ISSUE...
=======================================================================
We're kicking off our second year in style! Ahead are amazing series
on the early elements of Cirque du Soleil, variations on Cirque du
Soleil recordings and "Fire Within!" to name a few. And, we might even
throw in a surprise or two... you never know! Join us for future
issues of "Fascination!"
Thank you for reading!
Have a comment, question or concern? Simply email the Fascination!
Newsletter staff at: < 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. To subscribe, please send an email to: < CirqueFascination-
subscribe@yahoogroups.com >. If you wish to unsubscribe, please send
an email to: < CirqueFascination-unsubscribe@yahoogroups.com >. If
you have any questions, feel free to email us at: < CirqueFascination-
owner@yahoogroups.com >.
=======================================================================
COPYRIGHT AND DISCLAIMER
=======================================================================
"Fascination!" is Ricky Russo, Keith Johnson, Paul Roberts, Jen
Waldman and Wayne Leung.
"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.
