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Fascination Issue 024
=======================================================================
Fascination! Newsletter
Issue #24 - August 2003
"Live to Cirque; Cirque to Live"
=======================================================================
Bonjour et bienvenue! The last few weeks of July have been heated with
a press release that Cirque du Soleil has committed an act of
discrimination against a potential artist for one of its shows. Inside
we reprint the press release from Lambda Legal (the organization
representing the artist) regarding this issue. Fan response has been
impassioned and mixed, both for and against each side in the matter.
Join in the discussions about this issue on the fan-created and run
Cirque Forum (www.cirqueforum.com) or the Cirque du Soleil Yahoo!
Group (http://groups.yahoo.com/group/cirquedusoleil/).
Zumanity, a provocative and sultry show from Cirque du Soleil, is
unveiled this month (August 14th), which has also drawn some sharp
criticism from fans. Love it or hate it, we'll get our first glimpse
of this new concept in next month's issue. And at press time, Cirque
du Soleil released two more 'works in progress' musical tracks for
their new show. Listen at the following address:
<http://www.zumanity.com/en/music/wipmusic.asp>.
Inside this issue is a wonderful look at the VIP Experience Keith
recently partook with Alegría in Vancouver. Check out the Fascination!
Yahoo Group page (http://groups.yahoo.com/group/CirqueFascination/ -
once signed in click "Photos" on the left-hand side, then click on
"Issue #24") to see his photos! Also, our musical genius Paul Roberts
wonders exactly what category of music Cirque's belongs in, and our
Techie Geek is back, but just how techie is she this month? Take a
look!
Speaking of next month's issue, for those keeping track, next month
will be our 25th issue and the start of our third year! We'll
celebrate in style with reviews of the new show (Zumanity) as well as
sport a refreshed look! So, look for all that and more from
Fascination!
- Ricky
============
Contents:
============
* Cirque Buzz: News, Rumours & Sightings
* CirqueTV: Cirque du Soleil On-Screen
* Oyez, Oyez!: Cirque Online
* Itinéraire: Tour/Show Information
* Historie: This Month in Cirque History
* Anniversarie: Birthday Wishes to Cirque Alumni
* Special Engagement:
"Cirque du Soleil Unlawfully Denied Gymnast 'Dream Job'
Because He Has HIV" - Special Reprint from Lambda Legal
* Cirque Musique:
"Genre du Cirque du Soleil Musique" (By: Paul Roberts)
* Behind the Curtain:
"Techie Geek: Francesca" (By: Jen Waldman)
* Le Spectateur:
"Alegria Musicians Meet the Public" (By: Keith Johnson)
* Le Spectacle:
"To VIP or not to VIP - Secrets of the Alegria Tapis Rouge
Exposed!" (By: Keith Johnson)
* Parting Quote
* Subscription Information
* Copyright & Disclaimer
-----------------------------------------------------------------------
=======================================================================
CIRQUE BUZZ: NEWS, RUMOURS & SIGHTINGS
=======================================================================
Cirque Nominated for Emmys
--------------------------
The 2003 Emmy nominations have been released and once again
Cirque du Soleil finds itself honored, this time for Fire
Within, their revolutionary 13-episode behind-the-scenes series.
Cirque du Soleil has been nominated in the Outstanding
Nonfiction Program (alternate) category, up against some very
well-known and respected cable programs/networks:
-- Antiques Roadshow * PBS * WGBH Educational Foundation
-- Cirque Du Soleil Fire Within * Bravo * Galafilm and
Creations Musca in association with Bravo Network
-- Da Ali G Show * HBO * Talkback Productions in
association with HBO Original Programming and C4
-- The Osbournes * MTV * MTV Networks
-- Trading Spaces * TLC * TLC/Banyan Productions
The 55th Annual Emmy Awards will be presented at the Shrine
Auditorium on September 21, 2003. The ceremony will be telecast
on the FOX network beginning at 8:00pm EST. [Source: Academy of
Television Arts & Sciences, Keith Johnson; Ricky Russo]
More DVD's on their Way!
------------------------
U.S. Cirque fans, mark Tuesday, October 7th on your calendar.
On that day, Cirque brings their video releases up-to-date with
the domestic release of Alegría, and the video premier of
Varekai!
But wait a minute you ask, wasn't Alegría already released?
Yes, but only in Canada through Cirque itself. This marks the
Columbia-Tri Star Home Video (www.cthv.com) U.S. release, and
now leaves "Inside La Nouba" as the only release Columbia isn't
handling domestically. (Alegría was recently re-released in
Canada by DEP Distribution (www.dep.ca)).
From what we can tell, the Alegría DVD will carry the same
material as the original Cirque DVD release, which was very
nicely filled. And what of Varekai? The CTHV site says it's
length will be 115 minutes, which suggests it will be longer
than what was shown on Bravo - perhaps Body Skating will be
restored! We can also say it's currently planned to be a two-
disk set - a first for Cirque. (We wonder whether the 2-disk
part will stick - the show isn't so long that all of the program
and bonus material couldn't fit on one disk, and two disks might
raise the price.)
This is all subject to change, as no decisions have been
finalized. But we understand the second disk will contain all
the "bonus" features, such as a "Meet The Artists" section (a
concept first appearing on the Alegría DVD), seven bonus
interviews, the half-hour special "Making of An Angel," and a
20-minute documentary made up of excerpts from the "Fire Within"
series!
When we know more, such as catalog numbers and pricing, we'll
pass it along. And before you ask - no, we don't know anything
about releasing "Fire Within" to video yet, it was a challenge
just to get the information we have! [Source: Columbia Tri-Star
Home Video, Keith Johnson]
Carnivale
---------
Beginning September 14, 2003, HBO will begin broadcasting
"Carnivale," a new series set during the Great Depression.
Carnivale focuses on "two characters who represent good and
evil: a mysterious 18-year-old (Nick Stahl) taken in by an
Oklahoma Dust Bowl carnival, and a charismatic radio evangelist
in California called Brother Justin (Clancy Brown)." Cirque du
Soleil fans may wish to take note, as this 12-episode series
also features Cirque veteran performers Karyne and Sarah Steben
(Duo Trapeze in Saltimbanco and "O"). Catch the series every
Sunday evening on HBO. [Source: HBO, Roderick]
Cirque and Disney - again?
--------------------------
We saw this Cirque mention over at one of our favorite Disney
sites, www.mouseplanet.com (specializing in all things Disney
park-related, and much more) in their "Disneyland Update" for
August 4, 2003. With the kind permission of the good folks at
MousePlanet, we present it to you verbatim.
"Cirque du SeeAiy? [a takoff on DCA, the acronym for Disney's
California Adventure]
"From the what-will-they-think-of-next file, we've heard rumors
that Disneyland Resort President Cynthia Harriss has a novel
idea for Disney's California Adventure park's next summer
promotion. If aging surf bands and high-flying motorcycles won't
pack them in, what about clowns and acrobats? According to our
source, Disney has approached Canadian-based Cirque du Soleil to
produce a summer entertainment program for Disney's California
Adventure. No word yet where the show, which has a working title
of "Cirque DCA," would be presented in the park.
"Staging may prove difficult. The Hyperion Theater [a large
Broadway-style theater in the park] would be an ideal venue, but
it's unlikely that Disney would be willing to scrap the ultra-
expensive Aladdin production so soon. The Pacific Wharf
Amphitheater [an outside venue], which has hosted the Summer
Concert Series and some of the X Games events, seems too small
for a stage the size that Cirque productions usually require.
"If all else fails, Disney could probably raise a medium-top in
the Timon parking lot, where the X Arena is currently located."
By the way, be sure to check out their main page,
<http://www.mpimages.net/mp/compressed/tile_graphics/
tile030804dlr.jpg > which has a really cute take-off on the "O"
signature image! [Source: MousePlanet.com - Lani Teshima, Keith
Johnson]
Check out Sisaundra
-------------------
Sisaundra Lewis, current lead female singer in Cirque du
Soleil's La Nouba at Walt Disney World, has her own website --
two of them! Find out all about her, where she's going to be and
how to obtain her music at the following addresses:
<http://www.sisaundra.com> and <http://www.sisro.us>. [Source:
Roderick; Ricky Russo]
Quidam Tour News
----------------
A new Hand-to-Hand duo is soon to join the tour. Daniel and Asa,
who are alumni of Cirque du Soleil, will be joining the tour
soon. Daniel recently performed in Saltimbanco and Asa comes to
Quidam from Formation, Cirque du Soleil's training program. They
replace Yves Decoste and Marie-Laure Mesnage who currently
perform the act. Don't worry, however, they're just taking a
break and will return. Tissue artist Isabelle Vaudelle is
returning to Montreal for a break, which means Marie-Michelle
Faber (Aerial Hoops artist) will perform the tissue act in five
shows and perform hoops in rotation. And, according to Cirque
Dad, the hoops act is currently using only two girls in its
performance. Last, but not least, in order to give the Diabolo
girls a break, Cirque is currently staging two girls per act
with Target (Philippa Hayball). [Source: Cirque Dad,
www.cirqueforum.com; Ricky Russo]
New Cirque Collectibles
-----------------------
These new Cirque collectibles come from Judie Bomberger, who has
brought Cirque fans wonderful sculptures and ornaments from
Alegría, Mystère, Quidam, "O", La Nouba and Dralion. Now, she
brings us three new images from Varekai!
-- "Georgian Dancer"
- Sculpture: 13-inch by 10-inch, $68.00 US
- Ornament: 5-inch by 4-inch, $16.00 US
-- "The Muse" (Singer)
- Sculpture: 13-inch by 7-inch, $68.00 US
- Ornament: 5-inch by 3-inch, $16.00 US
-- "Valcano Leaper"
- Sculpture: 14-inch by 12-inch, $68.00 US
- Ornament: 5-inch by 5-inch, $16.00 US
You can order these excitingly new items directly from Judie at
her website: <http://www.judiebomberger.com/>. To see her entire
Cirque du Soleil inspired catalog, go to:
<http://www.judiebomberger.com/interior/cirque/index.htm>.
=======================================================================
CIRQUE TV: CIRQUE DU SOLEIL ON-SCREEN!
=======================================================================
* CIRQUE DU SOLEIL: FIRE WITHIN
-----------------------------
Network: Vitaya
Footprint: Belgium (Europe)
Website: http://www.vitaya.be/
Note: Every Thursday at 9:00pm
Network: Odyssey Television
Footprint: Australia
Website: http://www.odysseytelevision.com/html/default.asp
Note: Every Wednesday at 9:30pm
* NOTE: Check your local listings for complete information. Schedule
is subject to change.
=======================================================================
OYEZ, OYEZ!: CIRQUE ONLINE
=======================================================================
This Month in Cirque Club
(By: Keith Johnson)
-------------------------
The cards are back! Those "Virtual Cards" that once made an
appearance on Cirque Club have returned in a more modest form. Under
Cirque Club "Goodies," the system allows you to choose one of eight
graphics and type your own message. There's one from each current
show, though we'd like to see them show-labeled on the initial
thumbnail image page for those not familiar with Cirque imagery (they
are labeled on the card, though). A feature of the original E-Cards
we miss was the ability to tailor the "mood" of the card, which
applied an appropriate Cirque-ey "inscription" and in some cases
changes to the graphic. We felt this was the feature that made the
original E-Cards unique and would love to see that feature restored.
But we welcome the return of Virtual Cards in any form!
Cirque Club news items this month include Opening Night for Quidam in
Osaka, and two more in their series of "acts" articles, where the
history of an act is discussed, with related profiles of Cirque
artists who perform that act. This month we get histories of Trapeze
and meet the Baziliy twins from Saltimbanco, and High Dive with
profiles of the divers of "O." And over in Press Releases they
trumpet their Emmy nomination for Fire Within.
Zumanity.com has been relatively quiet this month, with only two
entries in Madame's Diary, and a new 1:22 video "The Secret Art Of The
Eyebrow Pencil" showing a young artist being made-up into a delicious
vamp. Of course, this should certainly change this month with the
show's premiere!
Finally, a quick E-factoid that just boggles us. The largest
unofficial Cirque du Soleil email discussion group is "Cirquedusoleil"
on Yahoogroups with 770+ members. A close second is our own humble
subscribers list checking in at 670+ members (and we appreciate each
and every one of you!).
But we can't hope to hold a candle to the "Official Fanclub" and
discussion group of Cirque Club itself, which has registered over
600,000 members! Amazing!!
On The Web
(By: Ricky Russo)
-------------------------
One can find amazing slivers of information to Cirque du Soleil if one
just looks. And on one of my more recent treks through the Internet I
ran across this month's topic -- Guitar chords for the song "O" in the
show of the same name and "Alegría", also of the same name. Now, some
of you may have seen this on your own searches, but for those of you
musically-inclined who haven't, this is an interesting find. The
chords have been chekced by our resident musician Paul Roberts and
they're A-OK. Source: <http://www.guitarists.net/tab/bands.cfm/
cirque_du_soleil.html>.
"O" - Benoit Jutras
-------------------
[D] [A/C#] [Bm] [F#m/A]
[G] [D/A] [A]
[D] [A/C#] [Bm] [F#m/A]
[G] [Asus4] [A]
[F#m] [G] [Em] [F#sus4] [F#]
[Bm] [G] [Asus4] [A]
[D] [A/C#] [Bm] [F#m/A]
[G] [Asus4] [A] [D]
[D] [A/C#] [Bm] [F#m/A]
[G] [D/A] [A]
[D] [A/C#] [Bm] [F#m/A]
[G] [Asus4] [A]
[F#m] [G] [Em] [F#sus4] [F#]
[Bm] [G] [Asus4] [A]
[D] [A/C#] [Bm] [F#m/A]
[G] [Asus4] [A] [Bm]
[D] [G] [Asus4] [A]
[D]
"Alegría" -- Réné Dupere/Franco Dragone
---------------------------------------
Intro:
[Dm] [F] [C] [Dm]
Verse:
[Dm]
Alegria!
[F] [C]
I see a spark of life shining
[Dm]
Alegria!
[F] [C]
I hear a young minstrel sing
[Dm]
Alegria!
[F] [C] [Dm] [Bb]
Beautiful Roaring Scream of Joy and Sorrow
[Gm]
So extreme
[F] [C]
There's a love in me raging
[Dm]
Alegria!
[F] [C] [Dm]
A joyous, magical feeling
=======================================================================
ITINÉRAIRE: TOUR/SHOW INFORMATION
=======================================================================
This month, we've decided to try an experiment. Using our trusty calendar,
previously published tour rumours, our fair-to-middling knowledge of Cirque
touring patterns, and conversations with some friends, we've incorporated
into this month's listings speculation on some possible extensions to
currently announced engagements, and some approximate dates that have yet to
be "officially" announced.
Don't worry, everything we're speculatng on is CLEARLY marked with brackets
[]. Of course, as we always say, Cirque is ever-changing and these dates
could change (extensions especially, as they are dependant on ticket
sales).
Note that any information in brackets [] is UN-official information
and subject to change.
[Touring Shows]
Alegría:
* Vancouver, BC -- Concord Pacific Place
Dates: July 10, 2003 to Aug 10, 2003
* Seattle, Washington -- Renton Boeing Plant
Dates: Aug 21, 2003 to Sep 14, 2003
[May extend to Sept 21, 2003]
* Portland, Oregon -- SW Moody Avenue
Dates: Oct 2, 2003 to Oct 26, 2003
* San Francisco, California -- Pacific Bell Park
Dates: Nov 6, 2003 to Dec 7, 2003
[May extend to Dec 21, 2003]
* Miami, Florida -- Bicentennial Park (Downtown)
Dates: Jan 9, 2004 to Jan 25, 2004
[May extend to Feb 8, 2004]
* St. Petersburg, Florida -- Tropicana Field
Dates: Feb 19, 2004 to Mar 7, 2004
[May extend to March 14, 2004]
* Atlanta, Georgia -- TBA
[Possible Dates: March 25, 2004 to April 18, 2004 /
Tickets may go on sale about Late Sep 2003]
* New York City, New York -- TBA
[Possible Dates: April 29, 2004 to June 13, 2004 /
Tickets may go on sale Early Oct, 2003]
* Philadelphia, Pennsylvania -- TBA
[Possible Dates: June 24, 2004 to July 25, 2004 /
Tickets may go on sale Early Dec, 2003]
* Toronto, Ontario -- TBA
[Possible Dates: Aug 5, 2004 to Sep 12, 2004 /
Tickets may go on sale Early Dec, 2003]
[* Japan
Possible Dates: Oct, 2004 to Nov 2005]
Dralion:
* Columbus, Ohio -- Arena District
Dates: Jul 24, 2003 to Aug 17, 2003 **EXTENDED**
* St. Louis, Missouri -- Highlands at Forest Park
Dates: Aug 23, 2003 to Sep 7, 2003
[May extend to Sep 14, 2003]
* Mexico City, Mexico -- TBA
Dates: Oct 2, 2003 - Nov 2, 2003
[May extend to Dec 14, 2003]
* London, United Kingdom -- Royal Albert Hall
Dates: Jan 9, 2004 to Feb 1, 2004
* Amsterdam, Netherlands -- TBA
Quidam:
* Osaka, Japan
Dates: Jul 19, 2003 to Sep 30, 2003
[May extend to Oct 5, 2003]
* Fukuoka, Japan
Dates: Oct 22, 2003 to Dec 7, 2003
* Tokyo, Japan
Dates: Dec 24, 2004 to Feb 8, 2004
[May extend to Apr 4, 2004]
[* Vancouver, BC, Canada -- TBA
Possible Dates: May 6, 2004 to June 13, 2004 /
Tickets may go on sale Mid Oct, 2003]
[* Calgary, Alberta, Canada -- TBA
Dates: June 24, 2004 to Aug 1, 2004 /
Tickets may go on sale Mid Oct, 2003]
Saltimbanco:
* Oostenade, Belgium -- Media Center
Dates: Jul 24, 2003 to Aug 21, 2003
[May extend to Aug 31, 2003]
* Zürich, Switzerland -- Glatt Shopping Center
Dates: Sep 19, 2003 to Oct 19, 2003
[May extend to Nov 16, 2003]
* Valencia, Spain -- Valencia Port
Dates: Nov 28, 2003 to Dec 21, 2003
[May extend to Jan 04, 2004]
Varekai:
* Chicago, Illinois -- The United Center
Dates: Jul 17, 2003 to Aug 31, 2003 **EXTENDED**
* Los Angeles, California -- Staples Center
Dates: Sep 12, 2003 to Oct 5, 2003
[May extend to Nov 23, 2003]
* Pomona, California -- Fairplex
Dates: Dec 4, 2003 to Dec 28, 2003
* Orange County, California -- Orange Co Fair Grounds
Dates: Jan 16, 2004 to Feb 8, 2004
[May extend to March 7, 2004]
* San Diego, California -- Qualcomm Stadium
Dates: Mar 18, 2004 to Apr 4, 2004
[May extend to Apr 18, 2004]
* Phoenix, Arizona -- TBA
[Possible Dates: Apr 20, 2004 to May 23, 2004 /
Tickets may go on sale Early Oct, 2003]
* Denver, Colorado -- TBA
[Possible Dates: June 3, 2004 to July 11, 2004 /
Tickets may go on sale Mid Oct, 2003]
* Boston, Massachusetts -- TBA
[Possible Dates: July 28, 2004 to Sep 5, 2004 /
Tickets may go on sale Early Dec, 2003]
* Washington, DC -- TBA
[Possible Dates: Sep 16, 2004 to Oct 24, 2004 /
Tickets may go on sale Mid Mar, 2004]
* Dallas, Texas -- TBA
[Possible Dates: Nov 10, 2004 to Dec 19, 2004 /
Tickets may go on sale Early Dec, 2003]
[Resident Shows]
La Nouba:
* Two shows Nightly - Tuesday through Saturday
* Times: 6:00pm and 9:00pm
* Location: Walt Disney World, Orlando
* No performances Sunday and Monday
* 2003 Dark Dates:
- September 7th through 9th
- October 26th through 29th
- December 7th through 15th
Mystère:
* Two shows Nightly - Friday through Tuesday
* Times: 7:30pm and 10:30pm
* Location: Treasure Island, Las Vegas
* No performances on Wednesday or Thursday
* 2003 Dark Dates:
- August 5rd through 8th
- October 7th through 10th
- December 3rd through 18th
"O":
* Two shows Nightly - Wednesday through Sunday
* Times: 7:30pm and 10:30pm
* Location: Bellagio, Las Vegas
* No performances on Monday or Tuesday
* 2003 Dark Dates:
- August 10th through 13th
- October 12th through 15th
- December 1st through 16th
* ADDED PERFORMANCES:
August 5th and October 7th
Zumanity: (Unveiled August 14, 2003)
* Two Shows Nightly - Tuesday through Saturday
* Times: 7:30pm and 10:30pm
* Location: New York-New York, Las Vegas
* No performances on Sunday or Monday
* 2003 Dark Dates:
Not Available
=======================================================================
HISTORIE: THIS MONTH IN CIRQUE HISTORY
=======================================================================
* August 01, 1986 -- Le Magie Continue opened Saint-Sauveur
* August 01, 1990 -- Nouvelle Expérience opened San Francisco
* August 02, 1984 -- 1984 Tour opened Magog
* August 04, 1987 -- Le Cirque Réinventé opened Saint-Sauveur
* August 07, 1992 -- Fascination opened Yokohama
* August 08, 1989 -- Le Cirque Réinventé opened San Francisco
* August 09, 1984 -- 1984 Tour opened Hull
* August 14, 1986 -- Le Magie Continue opened Longueuil
* August 14, 1987 -- Le Cirque Réinventé opened Longueuil
* August 14, 2003 -- Zumanity opened Las Vegas
* August 15, 2001 -- Dralion opened Boston
* August 16, 1984 -- 1984 Tour opened Sorel
* August 16, 1985 -- 1985 Tour opened Niagra Falls [CP Skylon Tower]
* August 16, 2001 -- Cirque wins 3 Emmys for Dralion on Bravo
* August 17, 2000 -- Dralion opened Minneapolis, Minnesota
* August 18, 1992 -- Fascination opened Sendai
* August 18, 2000 -- Alegría: Le Film premiered in Italy
* August 21, 2001 -- Alegría opened Brisbane, Australia
* August 21, 2003 -- Alegría opened Seattle, Washington
* August 23, 2003 -- Dralion opened St. Louis, Missouri
* August 25, 1994 -- Alegría opened San Jose
* August 26, 1984 -- 1984 Tour opened Montréal
* August 27, 1992 -- Fascination opened Kita-Kyushu
* August 27, 1992 -- Saltimbanco opened San Jose
* August 28, 1986 -- Le Magie Continue opened Ottawa
* August 31, 2001 -- Quidam opened Düsseldorf
=======================================================================
ANNIVERSAIRE: BIRTHDAY WISHES TO CIRQUE ALUMNI!
=======================================================================
* August 05, 1965 -- Roxane Potvin (Singer/"O")
* August 11, 1964 -- Eugen Brim (Eugen/"O")
* August 24, 1973 -- Gaston Elie (Synchro Trapeze/Alegría Biloxi)
* August 29, 1984 -- Chimed Ulziiboyar (Contortion/Alegría)
* August 25, 1960 -- Agnès Sohier (Singer/Dralion)
* August 29, 1985 -- Anton Tchelnokov (Adagio/Saltimbanco)
=======================================================================
SPECIAL ENGAGEMENT:
"Is Cirque Biased?"
* * Special Reprint from Lambda Legal * *
=======================================================================
Cirque du Soleil Unlawfully Denied Gymnast 'Dream Job'
Because He Has HIV
(Los Angeles, July 15, 2003) - Arguing that Cirque du Soleil violated
state and federal laws by denying a highly qualified gymnast an
integral part in its "Mystere" show this spring, Lambda Legal Defense
and Education Fund filed a federal discrimination complaint against
the company in Los Angeles today.
Cirque du Soleil hired gymnast Matthew Cusick last summer to train for
its popular show, "Mystere." Cusick spent several months training for
the performance and went through extensive medical exams with Cirque
du Soleil's own doctor, whose notes said Cusick was a "healthy
athlete" who "should be able to perform." But shortly before he was
scheduled to begin performing, Cirque du Soleil told Cusick that
because he has HIV the company would not continue to employ him.
"Matthew is a healthy and vibrant man in top physical condition who is
living his life to the fullest with HIV," said Hayley Gorenberg,
Lambda Legal's AIDS Project Director. "Matthew is perfect for this
job, which is why Cirque du Soleil hired him in the first place and
why we're fighting to get his job back."
Cusick was hired to be a High Bar Catcher, who would perform on the
Russian High Bar and the Chinese Poles. On the Chinese Poles, gymnasts
perform individually and do not interact with each other. On the
Russian High Bar, the performer hangs by his legs from a swinging
structure and catches other performers coming off of a bar.
In a letter this spring responding to Lambda Legal's formal request to
reinstate Cusick in the performance, Cirque du Soleil's attorneys said
the company was acting as a "socially responsible employer" that has
an obligation to avoid "known safety hazards."
"It's preposterous for Cirque de Soleil to call Matthew a 'known
safety hazard,'" Gorenberg said. "Cirque du Soleil denied Matthew this
job not because of sound science or rational concern for other
employees, but because of unfounded fear. It defies both common sense
and science to think that Matthew would exchange bodily fluids with
another gymnast while flying through the air." In the complaint filed
with the U.S. Equal Employment Opportunity Commission's Los Angeles
office today, Lambda Legal said Cirque du Soleil denied Cusick a job
without a valid reason, since he does not a pose a health risk or
safety threat to himself or anyone else. Federal and state laws
prohibit discrimination against people with disabilities if they pose
no real risk to themselves or others and if the illness doesn't
interfere with their ability to do the job.
Cusick, who has been living with HIV for 10 years and whose viral load
was undetectable in two comprehensive medical exams by Cirque du
Soleil's doctor, disclosed his HIV status without incident before
beginning any training with Cirque du Soleil. After spending four
months training in Quebec, he was set to complete some final last-
minute training before starting in "Mystere," when Cirque du Soleil
officials told him that he no longer had the job and the income he had
been counting on.
"For any gymnastics performer, working for Cirque du Soleil is a dream
job," said Cusick, who also works part time as a personal trainer.
"Maybe it's naïve, but I never thought I'd be kept from pursuing my
dreams because I'm HIV-positive. I thought society had gotten beyond
thinking that people with HIV can only do desk jobs and never come
into contact with people."
According to Gorenberg, Lambda Legal's AIDS Project regularly receives
calls and letters from people who are denied employment or basic
services because of unjustified fear of HIV transmission. "We've come
a long way since the beginning of this epidemic, but people like
Matthew still face irrational discrimination all across the country,"
Gorenberg said. "Today, the HIV/AIDS community is incredibly diverse.
Matthew may have HIV, but he is in better physical shape than most
people who don't have HIV. At the same time, new HIV medications and
complications with the virus are wreaking a tremendous physical toll
on many people."
###
About Lambda Legal's AIDS Project:
Lambda Legal was founded in 1973 to advance the civil rights of
lesbian, gay, bisexual and transgendered people, and began working on
behalf of people with HIV and AIDS at the onset of the epidemic in the
1980s. Lambda Legal filed the first AIDS discrimination case in the
nation in 1983, and later successfully forced hospitals to treat
people with HIV and pushed prescription drug companies to lower the
cost of HIV and AIDS treatments. Lambda Legal's AIDS Project has won
critical victories on behalf of people with HIV and AIDS to be treated
equally and with dignity in employment, medical services, public
accommodations, parenting and other areas of life.
[Source: Lambda Legal - www.lambdalegal.org]
See the original release at the following address:
http://www.lambdalegal.org/cgi-bin/iowa/documents/record?record=1290
And, as we all know there are two sides to every story. Within the
comments directory regarding this article, we find that the performer
was possibly offered other roles in the show, but turned them down and
that Cirque currently employs other artists that are HIV positive.
Read these comments first hand at the Data Lounge:
<http://www.datalounge.com/datalounge/forums/
index.html?thread=1981082&stack=2,1,1:thread>.
=======================================================================
CIRQUE MUSIQUE:
"Genre du Cirque du Soleil Musique" (By: Paul Roberts)
=======================================================================
Whenever I visit a music store I always search for the stocked Cirque
du Soleil soundtracks. Even though I own all the CDs, I like to see
what's available. This can be somewhat difficult as each store tends
to place their music in different areas. Cirque du Soleil soundtracks
can be found in the Soundtracks section, in the World Music section,
in the Showtunes section, in the New Age section, in the Popular Music
section, they can be mixed into several sections within one store, and
sometimes even placed alphabetically by show name in different
sections. Argh!
So, what is the appropriate genre for Cirque du Soleil's diverse
music? In the early days the accompaniments consisted mainly of
synthetic keyboards with live drums and the occasional saxophone or
guitar. The music was often labeled as New Age. But as Cirque du
Soleil matured, the music took on a life of multiplicity that still
exists with the latest Cirque du Soleil creations.
Saltimbanco's music features a mostly upbeat sound, heavy with rocked-
out instrumental solos that follow the show's energy. Mystère
provides a dreamlike score to enhance the surreal extravaganza.
Alegría's theme intertwines 16th Century pageantry with a modern-day
visualization. Quidam's music has an eclectic/contemporary feel that
matches the fantasy world of Zoë on her quest. "O" shrinks the Earth
with a liquid World Music accompaniment. La Nouba's party-on
atmosphere includes modern-day dance themes and even a little rap.
Dralion fuses East with West and the music mirrors this element.
Varekai has a strange conundrum as the CD's "stand alone" techno sound
is not present live, but both styles offer lush landscapes to
accompany the creatures of the forest.
Even with the constant themes in each show, individual songs tend to
be set apart from each other. Following is a sampling of many
classifications that I find in Cirque du Soleil's music, and there are
so many others.
Asian Influences: "Taïko" (Mystère), "Taruka" (Alegría).
Ballads: "Let Me Fall" and the vocal segment of "Séisouso"
(Quidam), "Liama" (La Nouba), "Ballare" (Dralion).
Classical: "Misha" (Mystère), "Misère" (Quidam), "Désert" ("O"),
"Ninkou Latora" (Dralion).
Electronic: "Icare" (Alegría), "Ephra" and "Terre Aride" ("O").
Euro-Techno: "El Péndulo" and "Kèro Hiréyo" (Varekai).
Hip Hop: "A Tale" (La Nouba).
Jazz/Fusion: "En Ville" (Mystère), "Nocturne" (Alegría).
Latin America Beat: "Tzelma" ("O"), "Lubia Dobarstan" and
"Emballa" (Varekai).
Middle Eastern Influences: "Egypte" (Mystère), "Ravendhi " and
"Hinkò" (Dralion).
Opera: "Il sogno di volare" (Saltimbanco), "Vai Vedrai"
(Alegría), "Nostalgie" ("O"), "Patzivota" (Varekai).
Pop Rock: "Kumbalawé" (Saltimbanco), Alegría" (Alegría),
"Quidam" (Quidam), "Rêve rouge" (La Nouba), and several songs from the
Alegría le Film soundtrack.
Progressive Rock: "Amazonia" (Saltimbanco), "High Bar"
(Mystère).
Scottish Overtones: "Kamandé" (Dralion).
Traditional Circus-like Music: "Jeux d'enfants" (Alegría), "La
Nouba" (La Nouba).
Upbeat Rock: "Barock" and "Saltimbanco" (Saltimbanco), "Urban"
(La Nouba).
A bit of Cajun flavor: "Zydeko" (Quidam).
Yet to be determined: Zumanity. Sultry Music?
And what about the song "Trip Hop" that closes out the Journey of Man
soundtrack? This petite piece covers many of the above categories and
even includes Gregorian chants.
On the cover of the Saltimbanco video, The New York Times is quoted as
saying, "When a Circus is not a Circus." The same can be said of the
soundtracks, "When Circus Music is not Circus Music." Since the music
is virtually impossible to classify, stores should just create a new
category for the soundtracks of Cirque du Soleil: The Ultimate Diverse
Music.
On a side note; for those who crave music circa Saltimbanco, Mystère,
and Alegría, I highly recommend the Xotika CD by René Dupéré and Élise
Velle. This incredible soundtrack for Holiday On Ice closely
resembles Cirque du Soleil's early nineties music, especially Mystère,
and features quite a few veteran Cirque du Soleil musicians.
Ironically-considering this article-the sales receipt from Media Play,
says CIRQUE DU SOLEIL/XOT.
=======================================================================
BEHIND THE CURTAIN:
"Techie Geek: Francesca" (By: Jen Waldman)
=======================================================================
The 1980's. People wore a lot of fluorescent colors, video games made
their way from Atari to Nintendo, and anything even mildly disgusting
was greeted with "Grody to the max!" (For some reason, this was
considered "cool" - very few of us remember why.)
As most of us know, Cirque du Soleil started in 1984. And in 1988 a
singer by the name of Francesca Gagnon released an album titled
"Francesca."
This CD would probably be considered excellent by all if it was still
1988. Of course '80's music is still popular today, but there is an
aura of quaintness and perhaps nostalgia when it is heard now. After
all, the culture that produced this style of music is gone. The Me
Generation has, for the most part, been forced to look outside itself.
So listening to it now, it is a bit hard not to be critical of
Francesca for singing '80's style pop songs and ballads, which do not
show off her voice to her best advantage. Until we remember that this
is what sold well in stores. With that in mind, this is not a bad
little album. It does not pack the emotional wallop nor the range of
musical styles that is present in her later "Au-dela des Couleurs,"
but as a novelty, if you like Francesca and late '80's "lite pop," it
is worth a listen. Kate, who sent the album our way, said that
several of the songs reminded her of a type of '80's music video which
showed people working out in a gym, usually in slow motion. She's
right. (For some reason, that was also considered "cool." Some still
think so but some get the giggles at the thought of such a video.)
Think back to 1988. Those of you who weren't born yet or weren't old
enough to now have memories...pretend. Here we go back in time (with
Kate's song comments in quotation marks)!
Nuits Magiques avec Toi: "Pop love ballad from movie soundtrack"
The love ballad from "Top Gun" was "Take My Breath Away." From
"Footloose" we got "She's Like the Wind" This song belongs right up
there with those and other songs of the same style. A search on the
Internet Movie Database did not confirm that "Nuits Magiques avec Toi"
was ever used in a movie. It would have fit in rather well...
Double Jeu: "Workout video."
See Kate's comments above. Nice bouncy beat, but does nothing to show
off Francesca's voice.
Sable Chaud: "Bleah!"
Mid-tempo ballad. It seems that nobody was certain whether the focus
of this song was to be Francesca's voice or the synthesized
accompaniment. The use of saxophone is typical for the time and style
of the song. Unfortunately, this is indistinguishable from other
ballads of a similar style. Sorry, Francesca.
Dis Moi: "Love ballad. Not bad, actually."
This is by far the best ballad on this recording. Francesca's
powerful, emotional style, while not used to its fullest, is used
pretty well. She is able to make this song her own. The song itself
is not distinctive, but Francesca's rendition is.
Clip: "Boogie!"
Go to your local club on '80's night, and bring a copy of Clip for the
DJ. Then all you funky party people get down, and don't forget to
rate other clubbers' outfits as "totally awesome" or, yes, "grody." Or
whatever the French equivalent was. This song is quite fun, quite
uptempo, quite of the Me Decade.
Tout Dans un Regard: "This is the dance for the prom queen and king."
Slow ballad. Nothing remarkable, though again Francesca occasionally
gets to show off.
Ou Aller: "Oh look, it's the 1980's Montreal Madonna!"
Madonna had an uptempo dance song, "Borderline." This song is in a
similar vein, and Francesca really does sound like a young Madonna on
this one. Scary. Or cool. It's all how you look at it.
Galapagos: "This one goes under the closing credits of a romantic
movie." No lyrics on this one, just vocalizing. Mid-tempo. This song
is quite pleasant.
This CD is fairly hit-and-miss both as a pop CD and as a Francesca CD.
She was (of course) younger, so perhaps the style of singing for which
she is now known had not yet come to fruition. But for people who
expect to hear her singing as she did in Alegria, "Francesca" may
prove a disappointment. It did not, however, make this reviewer wish
to gag herself with a spoon. B-/C+
If you are curious about the CD "Francesca" and would like to obtain a
copy, try eBay or perhaps Montreal-area used record shops. It was
published by "Disques Cubes" with the participation of Musicaction,
and distributed by Groupe de Musique Trans-Canada, Inc.
(For personal reasons, the Techie geek has had to take a break from
being a Techie Geek. She shall geek again next month).
=======================================================================
LE SPECTATEUR:
"Alegria Musicians Meet the Public" (By: Keith Johnson)
=======================================================================
The city of Vancouver, in the province of British Columbia, Canada, is
a sprawling seaside city just north of the border between Washington
State and Canada. Yet even with its cosmopolitan nature, Cirque has
long considered it a "B" city, and preferred to strike their tents 200
miles to the south in Seattle. But with their decision to explore the
potential of smaller metropolitan areas, Vancouver became an
attractive tour stop. So for the first time since they appeared in
Vancouver at Expo '86 (17 years ago), Cirque struck its white
"Bellinya" tent in Concord Pacific Place, a smallish lot near BC Place
Stadium, just north of the Cambie Street Bridge on the shores of False
Creek.
Cirque publicists are known for creative ways of publicizing Cirque's
arrival in town, from inviting local media to watch the tent raising
to other local television and media coverage. From what we could tell
during our visit there, it was working - Cirque was a Big Deal. The
location of the site, clearly visible from two major arterials into
downtown, meant you couldn't miss it. Many stores on Robson Street (a
major shopping thoroughfare) had Cirque posters or Cirque-related
displays in their windows. The CN Imax Theater at Canada Place was
showing "Journey of Man" in IMAX 3-D. And Vancouverites ordered
tickets in droves; by the time we arrived on Friday, July 18, the
entire run through August 10th was Sold Out! This certainly speaks to
the pent-up demand for Cirque du Soleil in this "secondary" market.
In addition to the displays and other media mentions, one of the most
unique attempts at publicity we've seen from Cirque came recently
during their stay in Vancouver - an in-store appearance by the entire
musical contingent! The performance took place on a sunny Friday,
July 18, at the Virgin Music MegaStore at the corner of Burrard and
Robson. It's a major fixture on trendy Robson Street with its
metallic mirrored face. The store is huge, with departments on three
levels connected by escalators, and even has its own in-store "Radio
Station" with live DJ.
My wife Lucy and I had planned to travel from Seattle to Vancouver on
Saturday, July 19th to take in Alegria using the Tapis Rouge VIP
package (see article below). Then on Monday the 14th someone on the
Yahoogroups discussion board mentioned the in-store appearance. At
first I thought Lucy wouldn't be too interested, as changing our plans
at this late date just for this would be, well, kind of "geeky Cirque
fanboy-ish." But she was enthusiastic; "How often do you get a chance
to see those costumes from that close?"
This was assuming they came in costume. Having once worked in a major
record store, I knew of several possible pitfalls to announced artist
appearances. Nothing is ever guaranteed - they may show up on time or
not (sometimes not at all), they may play music or not, they may be in
costume or not, it may be the entire group or only part. Still, the
appearance had been announced on local media, and a representative for
the store informed us they would be playing and talking with the
public. So we changed our hotel reservations (a sordid tale best left
to another time), arranged for the day off, and headed up to Vancouver
on a bright July morning.
Upon arriving in downtown Vancouver and entering the Virgin MegaStore
at around 12:30pm (45 minutes ahead of their 1:15pm scheduled
performance), we found the place bustling with activity. There was an
employee at the entrance with small handbills announcing the
appearance and directing folks downstairs to the performance area.
The in-store DJ was plugging the appearance between songs. And there
were display placards at the entrances advertising the Alegria CD and
DVD/VHS, and encouraging patrons to enter to win tickets to an
upcoming performance. There was almost no way a customer could miss
it.
The performance area was set up in the center of the downstairs floor
of the store. A large "Virgin MegaStore" banner served as a backdrop.
There were two microphones on stands in front, connected to a small
mixer feeding two speakers on stands on either side of the "stage."
And there was a table off to the right-hand side where the performers
would sit. A store sound tech was busy doing final clean-up work as
we got off the escalator. This far ahead of time the crowd was
sparse, with only about 8 people milling about. Soon after we came, a
television cameraman set up his tripod and camera. A second cameraman
arrived 10 minutes later (a good media turnout). We took our places
close to the stage, along with other Cirque fans, and awaited the
appearance.
By 1pm, a good-sized crowd had gathered downstairs, mostly made up of
women who looked between 13-25 years of age. At 1:05pm, the musicians
appeared from a back doorway, in full costume and makeup, and
proceeded to make their way to the stage. They were playing the
"Alegria serenade" song from the beginning of the show, stopping every
once in a while to shout "Alegria!" But they didn't go to the stage.
Instead, they proceeded up the escalator, flanked front and rear by
store and Cirque personnel, and followed closely behind by the
television cameras. They then serenaded store patrons as they made
their way out the ground-level entrance doors to the street! They
paraded around the front of the store, turned the corner, came in the
other entrance and descended on the down escalator. After another run
around the aisles, they came and took their positions at the makeshift
stage.
Being mere feet from them was exciting! Their costumes were almost
glowing, and you could pick out design details and see construction.
The group included vocalists Eve Montpetit (as the White Singer) and
Nathalie Noel (as the Black Singer), and musicians David Pelletier
(the bandleader, playing a large acoustic guitar), Suzie Gagnon
(Accordion), Bruno Dumont (playing a tiny saxophone), Frederic Charest
(who had a small drum and cymbal attached by a strap), Charles
Dennard, Jr. (with a melodica (small mouth keyboard)) and Ron Feather
(playing a small triangle).
They then proceeded to play "Vai Verdrai." It was a small, intimate
arrangement, adapted for these more portable instruments. Eve sang
solo using one of the microphones. The rest of the band was un-miked,
the sound rebounding off the interior walls of the store. Since it
wasn't a big top, where the sound has been massaged and sculpted to a
fine edge, the song took on the raw, vibrant quality of a live
concert. Surprisingly, the sound of the band in this uncontrolled
environment was well balanced (speaking to the skill of the musicians)
and the tune was, of course, unmistakable. They followed it up with
the tango-infused "Querer" where Nathalie took lead. The large crowd
that had gathered greeted each song with rapturous applause.
After the two songs, the artists removed their instruments and took
their places at the red-tablecloth table. White Singer Eve took the
seat on the right, nearest the line that had formed. Black Singer
Nathalie took the seat on the extreme left, with the musicians in
between. Patrons slowly made their way down the line, and the artists
signed programs, CD booklets, small flyers, even shirts and a mans
forearm(!). They also talked with folks answering questions politely.
Some posed for pictures - White Singer Eve was especially popular. I
made sure to get a picture of her with my wife, as my wife's wedding
dress was inspired by the White Singers costume. When we mentioned
this, Eve, in a French-Canadian accent, said, "When I saw the costume
I knew I had to sing in this show." The media cameramen, meanwhile,
took various shots of the singers and the patrons.
Since their next stop would be our hometown of Seattle, we came
prepared. When we reached the end of the line, we presented them with
packages containing Seattle Tourist Maps and samples of Aplets and
Cotlets, a local candy delicacy - enough samples and maps for each.
Accordion player Suzie and Black Singer Nathalie started hoarding and
fighting over them, creating a small humorous ruckus. After also
presenting packages to the Cirque liaison personnel, we suggested they
be watched over to make sure the musicians shared.
After they had signed all the autographs, they took some final
pictures and remounted their instruments. They again started to play
the "Alegria serenade" tune and away they went, back up the escalator
for another trip through the store and around the street corner. When
we last saw them, they were proceeding back into the building to
descend the escalator and leave.
All in all, it was a rare opportunity to visit with Cirque artists up
close and personal. Hats off to the Alegria publicity team for making
this appearance a reality!
[Note - We have pictures! Check out the Fascination! Yahoo Group page
(http://groups.yahoo.com/group/CirqueFascination/ - once signed in
click "Photos" on the left-hand side, then click on "Issue #24") to
see the "InStore" photos!]
=======================================================================
LE SPECTACLE:
"To VIP or not to VIP - Secrets of Alegría Tapis Rogue Exposed!"
(By: Keith Johnson)
=======================================================================
"Tapis Rouge - the ultimate Cirque VIP Experience! A unique and
exciting way to experience Cirque du Soleil before the show has even
begun! From the entertainment to the décor, from the ambiance to the
catering, everything comes together to whisk you away into the
unforgettable world of Cirque du Soleil."
One of the more popular topics on the Cirque discussion boards is the
benefit or value of the "Tapis Rouge VIP Experience" for Cirque shows.
What do you get, is it really worth the extra money? There have been
several reviews posted and opinions are mixed. It seems which show
you attend (and even which performance) has an effect on the kind of
VIP Experience you receive.
Being the intrepid investigators we are, and being curious as to what
the Tapis Rouge would be like, my wife Lucy and I finally decided to
take the plunge and splurge for a pair of VIP tickets. We picked the
Vancouver, BC run of Alegria, but not only because of the generally
good reviews of its Experience by others. Coming from the US, we
could take advantage of our stronger US Dollar to pay for tickets
(which ended up costing about $138.00 USD each, versus $165.00 USD if
we waited until they came to Seattle). We decided on a Saturday night
8pm performance, mostly since we understood that's when the "A" list
performers are almost guaranteed to appear. It would also make for a
nice romantic weekend for the two of us, without having to lay out a
lot of cash.
WHAT WE SAW WON'T BE WHAT YOU'LL GET - Before going any further, we
need to stress that this is only our experience at this show on this
night. Cirque is always changing, and things could be much different
for your show in your city on your night. Tapis Rouge is different
for each show - a different tent, displays, ambiance, and
entertainment. So the Experience you get will be different than what
we saw. Still, by providing lots of detail we hope to provide you
with an idea of what kind of value it might be for you.
We should also point out that Cirque created Tapis Rouge partly to tap
into the market for corporate business. Quoting from their corporate
brochure:
"Tapis Rouge, a totally new concept in corporate entertaining! Tapis
Rouge takes VIP entertaining to new heights. It's an exciting and
original way to show your appreciation to your most valued clients,
associates, suppliers and employees. You'll thrill and delight your
guests for an entire evening with the ultimate VIP experience... And
they'll applaud your every move!"
"Tapis Rouge is unlike anything you've ever experienced before! Your
guests get a unique, upclose look at the extraordinary universe of
Cirque du Soleil in an ambiance that suggests all the splendor and
excitement of a true VIP night on the town."
Cirque even makes it possible for a company to rent out the entire
Tapis Rouge for a performance. As such, the value of Tapis Rouge may
not be geared so much for the fan as for corporate clients.
"The Tapis Rouge VIP Experience includes:"
PARKING - "Reserved Parking" - The Alegria Vancouver tent was pitched
just next to BC Place Stadium, a large domed stadium on the east end
of the downtown core. From our hotel just south of the city, it was
an easy drive north over the Cambie Street Bridge to the site. But
this is where a bit of confusion occurred. We had gone the previous
evening to find the VIP parking so we could go straight there and not
waste time the next day. This was a good plan but proved fruitless,
as they had removed all of the signs leading to the parking lot
shortly after the 8pm performance began (after all, everybody was
already there, right?). Only after asking someone on the site were we
told where the parking lot was. And strangely enough, while it has
been close to the front entrance in other cities, here it was across
the street and all the way on the far end of the site, completely
opposite the entrance. At least, suggested the Cirque person who
assisted us, parking was free and wouldn't cost an additional 20
dollars CDN.
Even knowing where it was, we still found few signs directing patrons
to the lot on the night we went. Strangely, even though they included
instructions to the site that referenced heading north on the Cambie
Street Bridge, there were no signs telling VIP'ers that, once they got
off the bridge, they had to circle around BC Place Stadium and go back
under the bridge to get to the parking lot. Only with the help of our
previous nights research and careful observation did we see the A-
frame signs pointing the way. Once we got to the lot, though, we were
treated nicely by the attendant and told to park anywhere we wished.
The lot wasn't large, just the right size for the amount of folks
utilizing VIP; we can see why Cirque chose that further-away lot from
some other lots closer but less suitable. In any case, we strongly
suggest Cirque provide signs pointing to VIP Parking for all roads of
entry, not just the major one(s).
Hint - Find where the VIP Parking lot is located ahead of time if at
all possible, preferably with a "fly by" on the evening of a show (so
you can find the directional signs). It may be right next to the main
entrance, but it may not. A little time spent ahead of time may save
a lot of wasted time that could be spent in the VIP tent.
We arrived early, with several minutes before the Tapis Rouge opened
one hour prior to showtime. The first thing of interest we saw was
the "CIBC Wall of Inspiration." CIBC (Canadian Imperial Bank of
Commerce, a major Canadian bank and "proud presenting sponsor of the
Cirque du Soleil Canadian Tour 2003-2005") had erected several
Plexiglas panels with pictures of Alegria performers in and out of
makeup. They also provided silver and gold erasable markers. Patrons
were encouraged to write "personal messages to the Cirque du Soleil
artists" on the boards, and a donation was made for every inscription
to "Vancouver non-profit organizations Arts Umbrella(.com) and
Cirkids(.net) who use the arts to inspire young people." Since the
boards are erased each day, donations could mount up! Many people
took advantage of the boards to write their thanks to Cirque
performers for bringing such unique entertainment into their lives.
Other people, meanwhile, were waiting for their Experience to begin;
in fact a line had begun to form. Most folks were in nice evening
dress, with even a formal gown or two in our midst. It being a warm
summer evening, several folks were dressed more casually.
Promptly at 7pm, we were admitted to an outside patio area, dotted
with tables and chairs under umbrellas and rimmed with benches. Our
tickets were taken and we were presented with our VIP passes. At the
end of our black "Cirque du Soleil" lanyard was a small version of the
Alegria poster art that said "VIP." This is the way we would be
identified as "different, special."
----------------------------------------------------------------------
** SPOILER WARNING **
The following reveals secrets of the Tapis Rouge in detail (perhaps
too much detail for some). If you prefer not to know, please skip
ahead. There will be an advisory ending this spoiler warning.
----------------------------------------------------------------------
SERVICE - "Access to the Tapis Rouge suite via an exclusive entrance
one hour before the show and during intermission" - The tent itself
didn't open until about 7:05. When the white canvas door was finally
drawn back, we were greeted by two rows of servers flanking the
entrance holding silver trays bearing glasses of red and white wine
and champagne. This is where the VIP Experience really started! The
servers were costumed in a white wispy jacketpiece worn over a white
T-shirt. Their heads were covered with white caps that curved
forward, similar in style to the hats seen in the main graphic for
Saltimbanco. They welcomed us with smiling faces, encouraging us to
take a free glass of wine. Throughout the evening, we found everyone
we talked to in the tent to be very helpful, cooperative and nice,
showing a high degree of customer service. These folks are picked
from the local temp labor force for their extensive customer service
experience, and it showed.
Hint - Bring your camera! While no pictures are allowed in the big
top, they are allowed in the VIP tent and main concession tent.
VIP TENT - The Tapis Rouge was moderately large, supported by one
center pole with pink lighting hung high casting a rosy glow on the
interior. But how to describe what was inside so you can have an
accurate picture? Visualize looking down from the top of the tent at
the VIP Experience below. Then visualize a clock on the floor, with
the "12" of the clock at the entrance to the tent from the outside.
Using the clock face, we'll describe the contents of the tent in a
"clockwise" fashion, and then describe the various offerings in
detail.
As we mentioned, the entrance/exit to the courtyard is at 12:00. At
1:00 is one of the two video kiosks (more on those in a moment). At
2:30 is the round two-tiered hors d'oeuvre table. At 3:00 is the red
velvet-curtained entrance to the main part of the concession tent,
where VIP'ers would exit to take their seats and return at
intermission. Unlike some other shows, the white "Bellinya" tent
Alegria is currently using is all physically interconnected, so you
don't have to completely exit the tent to access the big top or
regular concessions (helpful if it's raining). At 4:30 is the exit to
the exclusive restrooms, it was also the accessway to the kitchen. At
5:00 is the bar, from which drinks were served and refreshed. At 6:00
are prints and pictures along the walls, with some on easels, and a
small calliope. From 7:30-10:30 is the concession area, with cash
registers in the middle. And at 11:30pm is the other video kiosk. A
set of benches (the only areas to sit) formed a square around the
center pole. There were also some small stand-up tables spaced about
for people to lay their drinks upon.
And there was music emanating from speakers on the center pole. The
music we heard for the first hour was from Quidam, for the
intermission it was from La Nouba. It sounded like somebody just put
theshow soundtrack in the CD player and hit "Shuffle." We'd heard
there might have been a special music mix for Tapis Rouge, but if
there is it wasn't heard here.
Now that we've described the Tapis Rouge to you, how was the
Experience? For that we have to describe the elements inside - they
make up a large part of the value of Tapis Rouge. The ambiance Cirque
seemed to be going for was a large "cocktail party," or as Cirque puts
it, "an ambiance that suggests all the splendor and excitement of a
true VIP night on the town." Since we attended a Saturday evening
performance during a sold-out run, we suspect they sold close to their
limit of 220 VIP Experience packages. It was crowded, but not so much
that you couldn't move around. This is, we suspect, about as "bad" as
it would get. If you attend on other nights, especially weeknights,
there will probably be fewer VIP'ers, and thereby more character
interactivity/ambiance/food for you!
DISPLAYS - "Unique décor, ambiance and live entertainment (especially
designed for Tapis Rouge) that welcome you into the imaginative world
of Cirque du Soleil." - Attached to the four corners of the center
pole and behind the concession stand were framed costume pieces. A
white singers bodice in one, her headpiece in another. A black
singers bodice in another. A slipper, shirt and small headpiece from
other acts were in other frames. While you couldn't touch, you could
admire their construction and materials from up close. Also along one
wall of the tent were larger prints of the "Man's Unlimits" series of
photos of Cirque acts taken by Montreal-based photographer Michel
Pilon.
There were also two curious video display "desks" flanking the outside
entrance to the courtyard. These had a small desk and chair in front,
with Zumanity and Alegria "postcards" pushpinned to the sides of the
display. The video displays were both different. One had a woman
putting on her Cirque Nymph makeup, looking straight at the viewer.
The other had a man, presumably also prepping for a show, but the
display locked up and froze part way through, leaving the man in mid-
shave. During intermission these were changed to displays showing
Cirque du Monde. We found them very interesting, though hard to
concentrate on for long periods of time as there was so much else
going on.
One thing we missed were waste receptacles - there were none to be
found. A few servers moved through the crowd offering to take refuse,
but you had to hold onto your garbage until you could find one. While
this might befit a "cocktail party" atmosphere, we would have
preferred some discretely placed (perhaps Cirque-ey decorated?)
garbage cans.
FOOD - "An array of gourmet hors d'oeuvres and refreshments followed
by desserts during intermission." - The food table was the first place
we and everybody else headed. There was only one table, a twin-tiered
affair with a lantern in the middle. Since it wasn't overly large, it
was continually congested with folks looking for tasty morsels. (We
wondered if a second table might have been called for given the number
of people, but that might have made the tent feel crowded with too
much cross-traffic from people wondering if there was better food on
the *other* table.) And since it was round and busy, it took some
standing on tiptoes to get a look at all they had to offer. Further,
there were no plates offered, and patrons had to grab what they could
hold in a paper cocktail napkin.
The items offered initially were of the snack-ish variety. Several
items had descriptive placards. The offerings included:
* Cold London broil
* California rolls topped with ginger served with soy sauce and
wasabi
* Smoked chicken pate atop tart apple slices (This mixture of
smoked chicken, honey, almonds and apples pureed in a food processor
and daubed atop Granny Smith apple slices was the tastiest, most
popular item on the table)
* Asparagus spears
* Olives
* Marinated mushrooms
* Shrimp skewars
* Sushi
* A large basket of assorted breads including breadsticks, pita,
rye and wheat bread
* Several kinds of spread such as herbal balsamic butter,
rosemary shallot butter, roasted garlic & pine nut butter, crab mousse
and creamed artichoke dip.
But these weren't the only items offered. Servers worked their way
through the crowds, offering other little tidbits, such as sate beef
with peanut sauce on long picks, shrimp bisque, special cheeses on
crackers, and other tasty items. Some items were even served in the
hollowed-out bodies of acoustic guitars, an interesting presentation.
The quality of the food was excellent and delicious, as would be
expected. Cirque has sub-contracted the Tapis Rouge catering to
Spectrum Catering of Houston, Texas, and has worked with them to
create the menu. They are responsible for Tapis Rouge at all the
North American shows. They and the VIP staff kept the trays (mostly)
full throughout the whole first part of the evening. And they needed
to - the table was always busy. It you wished, you could go back
enough to get a good meal out of it, but it was intended to be finger
food, as it would be in the "cocktail hour" before a formal dinner is
served. Only the dinner here is a Cirque show!
During intermission, the hors d'oeuvres were replaced with dessert!
The selection included:
* Shortbreads
* Chocolate mousse
* Pie shaped tarts
* Lemon wedge tarts
* Cheesecake bites
* Cheese atop crackers as well as un-topped crackers
* Fresh strawberries
* Large white chocolate, chocolate chip, and oatmeal raisin
cookies taking the space previously occupied by the breads.
BAR - The long bar offered several alternatives to the red and white
wine and champagne we were initially offered, though they had refills
of that too. Various types of soft drinks, sports drinks, and bottled
water were freely dispensed. The bartenders were kept busy throughout
the evening gladly serving VIP'ers. There was no hard alcohol served.
We've been told that beer/wine/food availability may depend on local
ordinances, so what you get may be different than what's described
here.
Finally, we note that there was no popcorn available, for free or
otherwise, in the Tapis Rouge. To get that,or more traditional circus
fare such as hot dogs, you had to exit the VIP area and go to the
standard concession tent, having to temporarily "mingle with the riff
raff."
CONCESSIONS - "Priority purchasing of Cirque du Soleil merchandise in
the Tapis Rouge Boutique." - After grabbing some food we ventured
forth, first to look at the Boutique. We had heard that the
Experience included the possibility to purchase special Cirque
merchandise, but such was not to be. The Boutique carried a more
modest selection of what was also offered in the main tent. It did
prominently display some of the higher-priced items such as the ever-
widening selection of masks and Judie Bomberger metallic figurines,
but even then some of them had no prices displayed. The main tent,
with its greater floorspace, carried all the items in the Tapis Rouge
and more.
We were really hoping to find more expensive, unique items available
in the Tapis Rouge. Though there were copies of the "Man's Unlimits"
set of prints by Michel Pilon on the walls of the tent, it wasn't
clear whether these were for sale or just display. How special it
would be to have more rare items for sale, such as framed signed
posters, art prints, or perhaps even a bit of well-used costuming in a
rich brown frame with a very premium price.
Fortunately, "Personalized will-call service" was offered at the
register tables. VIP'ers could have their purchases held behind the
counter until the end of the evening. This was a nice alternative to
having to lug them around with you, or make the long trek back to our
"reserved" parking.
RESTROOMS - One of the things provided for VIP'ers, but not
specifically publicized, was a separate set of restrooms. These were
available just outside the Tapis Rouge, reached by the same exit that
the kitchen staff used. The location was unmarked and we had to ask.
There was one set of portable toilets, two for men and two for women.
And typically, when we visited there were two men waiting in line as
opposed to eight women! (Why manufacturers don't design units with
three women's stall and two men's stalls escapes us.) Since the Tapis
Rouge holds 220 people max, the ratio of people to bathrooms is at
most 1:55. This contrasts with the rest of the site, with 44 total
stalls for the remaining 2338 people (2558 minus 220 VIP'ers) for a
ration of 1:53. So it seems the ratio isn't that much better for
being VIP, especially if it's a popular Tapis Rouge night. (So then
why is it the VIP stalls had short lines, while the sites other stalls
had dozens of guests waiting? Beats us!)
ENTERTAINMENT - Ah, now here it gets interesting! Others had
mentioned "clowns" being part of the Tapis Rouge. We were anxious to
see what Cirque would provide. And what we got was almost...
indescribable. But we'll try.
There were no "clowns" in the traditional, or even the Cirque du
Soleil sense. We think the better word for them would be "characters"
as they were every bit as thought out and complete as Fleur, the Old
Birds or Big Tamir. When we entered the tent the two were already in
place and in character. On one of the benches ringing the center pole
a woman dressed in a tattered bird costume lay, with a bald cap that
also sported a long beak nose. She was made up to look old, but her
face was exposed; she wasn't wearing a mask like the Old Birds. She
convulsed spasmodically on the bench, as if her character was having a
nightmare. We initially thought that was odd, but knew all would
become clear with time - or through the actions of the other
character.
And what a character he was, standing in a corner next to the entrance
to the main tent, eyes closed, frozen in place. He stood seven feet
tall, with six-inch platform shoes and a large transparent bowler hat
adding an extra foot to this already six-foot plus personage. He wore
an all-white gown, with electric lighting throughout and an internal
sound system that made wind noises wherever he walked. Eventually he
opened his eyes and began to slowly lumber toward The Bird, using a
tall multi-tipped walking stick to steady himself. When he reached
The Bird, he slammed his walking stick down on the floor. This woke
The Bird up (she must have been "sleeping") who then stood and thanked
her waker. Then the game was afoot!
For the rest of the first hour The Bird mingled with the VIP'ers,
making a big deal out of having patrons drop ice cubes down a hole in
her costume. This would excite her and she would flap her wings
wildly. Meanwhile, The Giant slowly strolled around the tent, glaring
down at patrons. When he reached the bar, he proceeded to pick up one
of three colored bottles placed at the end of the bar (specifically
for him). He would smile at their intoxicating smell, but instead of
drinking from them, he proceeded to pour them down the collar of his
gown! The liquid would flow through various tubes, until finally
filling up bladders on the gown itself. He did this several times,
each time filling up a different section of the gown. His face would
show the exquisite or anguished feeling of each "drink" as it streamed
through his garment.
At one point toward the latter half of the hour, The Giant approached
the small calliope. After having some difficulty, he finally managed
to get it to work. A sweet arrangement of "Vai Verdrai" emanated from
it, bringing joy to The Giant and enticing The Bird to dance with
nearby patrons. The characters, of course, stayed behind in the Tapis
Rouge when it came time to take our seats for the show.
As if close interaction with real Cirque characters wasn't enough,
they returned at intermission out of costume and character! Their
costumes had been placed in the center of the room on display. And
the artists, still in makeup and clad in bathrobes, gladly talked with
anyone who came up to them! We took a moment to meet and talk with
both of them.
The Bird, Valerie-Marie, was a stage actress in France before
auditioning for Cirque. The Giant, a wonderfully personable man by
the name of Stephane, hailed from Montreal where he was a stage actor.
From our perspective, this was the most unique aspect of the Alegria
Tapis Rouge Experience. To witness a performance by a Cirque
character close-up, and then in that same evening be able to talk with
the artist about that performance was unique. It turns out Stephane's
character is called the "Dream Drinker." He gets joy out of the
"dreams" he "drinks." Now there's a concept that wasn't immediately
obvious to us, but seems to be typical Cirque, doesn't it?
Stephane told us they had both been with Alegria three months, after a
month of intense training at the Cirque headquarters in Montreal. The
Tapis Rouge was their stage. Valerie-Marie commented that sometimes
it was a challenge to get VIP'ers into the "Cirque mood," but that was
their mission. Unfortunately, Stephane and Valerie-Marie won't be
with the troupe when Alegria arrives next in Seattle. For both of
them, it's off to Varekai to be the entertainment for the Varekai VIP
Experience. According to Stephane Varekai needs these well thought-
out characters, and Alegria will become a "testing ground" for new
Tapis Rouge character ideas with several people being "auditioned" as
the tour winds its way down the West Coast.
We were initially concerned that "clowns" would be distracting in the
atmosphere of the Tapis Rouge - too "common," too "pedestrian" an
entertainment for this type of special, upscale Experience. But we
found these "characters" to be totally appropriate and unique, as the
VIP Experience should be. We thanked them both for helping to make
the Experience special.
SEATS - "Preferred Seating (Sections 101 and 102)" - Our seats were in
Section 102, Row A, right on the aisle. We dallied for so long in the
Tapis Rouge that we had just a few minutes to take our seats. We
entered during the pre-show Animation, with the clowns wreaking havoc
with guests and their popcorn. This brings up another conundrum for
the VIP'er, to stay in the Tapis Rouge as long as possible, missing
most of the Big Top Animation, or move into the Grand Chapiteau and
risk missing something in the VIP tent. We decided that staying in
the VIP tent was preferable, since it was what we paid the extra money
for.
Being so close to the stage, we could easily make out costume details,
watch facial expressions and even feel the heat of the Fire Dancer's
batons. But it also meant looking up high for the duo trapeze and
aerial high bar routines, craning our necks. This gave us both stiff
necks. Lucy prefers sitting further back in order to get a better
overall view of the show, also so she doesn't have to crane her neck
for the aerial acts. But VIP'ers pay for the best seats in the house,
and those are the ones up front.
PROGRAMS - "A Souvenir Program" - There were stacks of the regular
Alegria Programs on either side of the Tapis Rouge concession stands
register tables. You take what you need, and are told they are free,
but there are no signs pointing this out, and they are only in that
one location. There's also little "portion control" - we took our
allotted two at the beginning, then took another one at intermission
for erstwhile editor Richasi. It might be better, in our view, if
each person is given one as they enter the tent at the beginning of
the Experience (though that would mean holding onto them for the
entire evening).
INTERMISSION - During intermission, we made our way back to the Tapis
Rouge for our desserts. We also spoke with the character artists. We
were reminded, as we left the tent to take our seats for Act II, to
come back to the tent afterwards for our "special gift."
GIFT - "A Tapis Rouge Gift" - We were anxious for this part of the VIP
Experience. We had heard that the gifts were miniature versions of
the Alegria lanterns used in the show. We were hoping to use two of
these cute reproductions to help decorate our downstairs rec room.
But the ever-changing world of Cirque surprised us once again.
When we returned to the Tapis Rouge after the show, the gifts were
stacked on a table near where the hors d'oeuvres table was. It was
good to note that they also had gifts for youngsters (a color-it-
yourself Cirque shirt) for whom the gift might not be appreciated.
Other than that, each gift was the same.
And what was the gift? A framed and matted print by Michel Pilon of
Vis Versa (Marie-Laure Mesnage and Yves Decoste) from Quidam, titled
"Evolution," from his "Man's Unlimits" collection. Other photos from
this set adorned the insides of the VIP tent. The frame and
construction throughout were high quality. The 3.5" x 5.5" bronze-
tinted print was matted in white, surrounded by a recessed deep red
outer matte, all surrounded in a 6.75" x 8.75" x 1.25" silver frame,
which could stand on its own or be hung from the wall. We understand
Cirque purchased quantities of two prints from Mr. Pilon and may not
be using them at all their shows. (More from this series can be found
at www.lespelleteursdenuages.com.) Since they are not offered in this
framed format anywhere else, they are unique to Cirque du Soleil.
But the disappointment here was only partially that we didn't receive
the small lanterns. The VIP Experience should never be the place for
something generic - Cirque du Soleil is too special a brand. And
there should always be at least some gift (we've heard that Varekai
has had none for VIP'ers in the past). But we feel the gift should be
show-specific and reflect the uniqueness of the show a Tapis Rouge
guest attends. Our gift would go perfectly for Quidam, where the
pictured Vis Versa couple performs. But we'd prefer something
pertaining to or marked as being from Alegria (such as the lantern
reproductions), as we would something saying Dralion for that show (a
Dralion lantern for instance), etc. Perhaps these photos were only a
temporary replacement for a true Alegria souvenier (other shows have
had their own unique VIP gift), we don't know.
----------------------------------------------------------------------
END SPOILER WARNING
----------------------------------------------------------------------
OVERALL IMPRESSIONS - At the end of the evening, we had a fun time
discussing the the Experience on our way back to the hotel. We can
say without doubt that there is no better way to put yourself in a
"Cirque-ey" mood for attending a show. From the moment you enter, the
entire environment and special interactive characters envelop you.
The VIP Experience speaks to the magic and high customer service that
has been a hallmark of Cirque du Soleil. There's just that high
admission price....
DOES IT ADD UP? - As we mentioned before, much of the reason behind
the creation of the Tapis Rouge VIP Experience is to attract corporate
business. As such, prices can be set that reflect not only actual
value, but have a bit of a "snob factor" built in. A standard (non-
VIP) Category 1 ticket costs $65.00 USD. The same ticket with VIP
costs $165.00 USD, a $100.00 upgrade. What do you get with that and
how much is it worth? We figured it this way...
Parking - $10.00 value, since the lots are (usually) close to the
entrance. Program - $12.00 value. Gift - $25.00 value, we have to
approximate but this is what we think it's worth. Practically, that's
it - $47.00 worth of value. Hardly comes close to the $100.00 premium
they charge, does it? But we also need to add the value of things
that aren't so easy to quantify. Food and beverage - We'd call this a
$20.00 value. It's all-you-can-hold-in-your-hand, basically
unlimited, and of high quality. There's something for every palette
and comes with dessert, too. Displays and ambiance - We'd value this
at around $15.00. Your "Experience" lasts around 90 minutes in
addition to the show (60 minutes beforehand, 30 minutes intermission
and after). We equate it to the cost of a museum or some other
similar attraction.
Where does that leave us? Around $82.00, still about $20.00 shy. We
chalk this $20.00 up to the name "Cirque du Soleil" across the top.
This is the premium Cirque charges because it's Cirque - in the same
way an official Disneyland T-shirt costs more than an official
Universal Studios T-shirt. They charge more because they can.
Because there are plenty of people willing to pay the extra charge.
Consider it the cost of "Cirque Magic."
FINAL THOUGHTS - We encourage any Cirque du Soleil fan that has not
tried the Tapis Rouge VIP Experience to try it once if they can at all
afford to. Yes, with that money you could pay to see the show twice.
But what a wonderful introduction to a special evening of
entertainment!
Special thanks go to Reggie from Cirque Alegria Publicity, and Ashley
and Catherine at Spectrum Catering.
[Note - We have pictures! Check out the Fascination! Yahoo Group page
(http://groups.yahoo.com/group/CirqueFascination/ - once signed in
click "Photos" on the left-hand side, then click on "Issue #24") to
see the "BcVIP" photos!]
=======================================================================
PARTING QUOTE
=======================================================================
"Where magic is pure and fantasy real!"
- Cirque Réinventé (1987)
=======================================================================
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=======================================================================
COPYRIGHT AND DISCLAIMER
=======================================================================
"Fascination!" is Ricky Russo, Keith Johnson, Paul Roberts, Jen
Waldman and Wayne Leung.
"Fascination! Newsletter" Copyright (c) 2003 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 #24a}
