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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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Issue #25 "What if Anything Were Possible?" September 2003
=======================================================================
We're off and running again! It's amazing to think that Fascination!
has been a monthly publication for the past 24-months. When we started
I never thought we'd be as successful and as well appreciated as we
have. We have you, our readers, to thank because without you
Fascination! serves no purpose. So, thank you for making us a big
success.
With this 25th issue our third year begins, and we think that's a
milestone worth celebrating! To mark our celebration we thought a few
changes were in order. One of the first is above, with our new
Fascination! text logo. It's a bit more eye catching than the generic
text we had before, but with the limitation of being a text-based
newsletter, this is about as sophisticated as we can become.
Other changes are awaiting your discovery as well as some wonderful
features this month. Zumanity premiered in August and our Wayne Leung
took a trip and has filled us in! You'll find that, as well as a
special treat -- a transcript of our on-line chat with BJ,
percussionist from Quidam! There are many other great things to
explore as well. Let's get to it!
- Ricky
===========
CONTENTS
===========
* Cirque Buzz -- News, Rumours & Sightings
* CRQ-TV -- Cirque on Television
* CRQ.NET -- Cirque du Soleil Online
* Itinéraire -- Tour/Show Information
* Didyaknow? -- Facts About Cirque
* Le Spectacle:
"A Romp in the Garden of Delights: Zumanity Review"
By: Wayne Leung, Staff Writer
* Special Engagement:
"An Evenings Chat with BJ, Quidam's Percussionist"
By: Ricky Russo, Chief Editor
* Behind the Curtain:
"An Introduction to Automation, Through the Eyes
of the Techie Geek" -- By: Jen Waldman, Staff Writer
* Le Spectateur:
"Fix du Cirque"
By: Paul Roberts, Senior Writer
* The Cirque Connection:
"Cirque Music Hits the Field"
By: Katie Valadez, Guest Writer
* Beyond the Bigtop:
"A Few Parting Words..."
By: Ricky Russo, Chief Editor
* Parting Quote
* Subscription Information
* Copyright & Disclaimer
-----------------------------------------------------------------------
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Varekai DVD Details Released!
-----------------------------
Details of the DVD release of Cirque du Soleil Presents: Varekai
are now available and they're sure to cause excitement within
any fan! Cirque du Soleil Presents: Varekai is slated to be
released on October 7, 2003 with little fanfare, but the disc is
sure to be packed full of fan-friendly features that will
warrant a frenzy:
-- Multi-Angle Performances
-- A "Meet the Artists" Featurette
-- In-depth Interviews
-- The "Making of an Angel" Documentary
-- "Fire Within" Series Previews
-- Cirque du Soleil Promos
-- 115 minute Run Time
-- Anamorphic Widescreen Presentation
-- Dolby Digital and DTS Audio
-- Hi-Definition Video Remastering
You can see the artwork for the DVD at Sony's Website: <
http://www.sonypictures.com/homevideo/catalog/catalogDetail_DVD0
43396017207.html> or pre-order the DVD through Amazon.com: <
http://www.amazon.com/exec/obidos/ASIN/B0000B1A51/qid%3D10624305
87/sr%3D11-1/ref%3Dsr%5F11%5F1/103-5314136-0036604>.
And don't forget, also on that day will be the US domestic
release of Alegría, previously available only in Canada. In
addition, a new version of the Dralion DVD will also be released
as part of Columbia's "Superbit" collection. This process uses
every bit of the available DVD datastream "real estate" to
present the program in the best video and audio quality
possible. Both of these are also available through Amazon.com.
[Source: Rachel Siemens, Sony Pictures; Keith Johnson; Ricky
Russo]
CDS Presents: La Nouba?
-----------------------
Following on the heals of the (as yet to be released) Varekai
DVD, Cirque du Soleil Images (CDSi) currently has an exciting
new entry on its "in-development" slate, one that has taunted
the wills of fans across the globe. "Cirque du Soleil Presents:
La Nouba," appears at first glance to be exactly what fans have
hoped for -- a complete filming of La Nouba that will premiere
on Bravo. But this isn't necessarily the case, Fascination!
learned. La Nouba, Cirque's permanent production at the Walt
Disney World resort in Orlando, Florida, is going to be filmed,
but for a special television production partnered with the BBC.
It is currently not scheduled to air on the BRAVO network, but
this may change. Those interested in owning the full show on DVD
will also have to wait, as we understand the show will
eventually be available for purchase, however, the time frame
for this release has not been set. One would imagine that once
La Nouba was filmed, other permanent shows like Mystère and "O"
would follow suit, right? Wrong. While we are sure Cirque du
Soleil would enjoy capitalizing on its Las Vegas shows, the MGM
Mirage Company controls the marketing for those shows and it is
their wish never to have them filmed for public distribution. So
my friends, it appears we may never get to see Mystère and "O"
in our living rooms, but La Nouba may soon be coming! [Source:
Cirque du Soleil; Ricky Russo]
Cirque du Soleil Open House!
----------------------------
It only comes once a year, but during the Fall, Cirque du Soleil
opens the doors to its formidable fortress in Montreal for
guided tours of its facilities. Those lucky enough to visit
during this time will see the Props, Costume and Set workshops,
where they create all of the wonderful things you see on stage.
And, in addition, you may get to see the artists train in one of
the two huge training bays! Open house is two days only --
Saturday, September 27th and Sunday, September 28th from 12:00pm
until 5:00pm. The Cirque du Soleil's Headquarters is at 8400 2nd
Avenue. To get there, take the Mètro (Orange Line) in the
direction of Henri-Bourassa and get off at Jarry station. From
there, take bus #193.
New Musique Releases?
---------------------
Is a Varekai "Special Edition" CD and a Zumanity Live CD coming
soon to a music store near you? According to a mention on the
Cirque du Soleil website, the answer is... probably. These two
titles have been quietly announced as upcoming projects on the
Musique side of the Cirque du Soleil Images webpage, two
projects that have the tongues of fans wagging. Details about
both projects are scarce, but Fascination! believes certain live
tracks that did not appear on the Varekai studio CD will make
their way onto this "Special Edition" CD (which has been
previously alluded to in the Cirque sites' Music FAQ). As for
the Zumanity Live CD, only good things should come from it! The
release date for the Zumanity CD was released as September 22nd,
while the date for the Varekai "Special Edition" CD is not yet
available. [Source: Cirque du Soleil, Roderick; Ricky Russo]
Les 7 doigts de la main!
------------------------
"Doigts" (dwah) n.pl. - the fingers, the founders... but what
are they? "Les 7 doigts de la main" or "the 7 fingers of the
hand," are a unique performance group that is a success story of
innovative art and performance. Currently, six Cirque du Soleil
alumni are "doigts", Samuel Tetreault (Hand-balancer/Alegría),
Isabelle Chassé (Contortion, Tissu/Saltimbanco, Quidam), Foan-
Shane (Spanish Web/Quidam), Sébastian Soldevila
(Diabolo/Saltimbanco), Shana Carroll (Solo Trapeze/Saltimbanco)
and Gypsy Snyder. Their current tour schedule is:
-- Sep 25, 2003 to Oct 12, 2003: Station Postale C, Montréal
-- Nov 2003 -- Belgium
-- Nov 29, 2003: Viva Quebec en Mexico, Guadalajara, Mexico
-- Dec 15, 2003 to Dec 31, 2003: Palace of Fine Arts, San
Francisco, CA
Visit their web site < http://www.les7doigtsdelamain.com/ > for
further information on each of the founders, the show, and its
upcoming tour schedule! [Source: Roderick, Les 7 Doigts de la
main; Ricky Russo]
Solarium
---------
In the past we reported on a remix album that Cirque du Soleil
Musique was working on that featured lounge remixes of some of
its more recognizable songs. This CD is out and is called
"Solarium." Solarium currently is only available as a VIP gift
for patrons who attend the VIP Experience at Cirque du Soleil
productions, but word has it the CD will be available through
the Cirque du Soleil boutique in the fall. A track listing is
below, however, a full review is forthcoming!
1. "Ombra" - Ibizzare Remix
2. "Alegria" - A Man called Adam's Magical Remix
3. "A Tale" - Chilluminati Mix
4. "El Pendulo" - Fenomenon "Northern Comfort Mix"
5. "Africa" - Cottonbelly Remix
6. "Nocturn" - Christophe Goze Remix
7. "Le Reveur" - Thievery Corporation Remix
8. "Gamelan" - Cantoma Remix
9. "Ombra" - Afterlife Remix
10. "Africa" - Banzai Republic "Equator Bound Mix"
Premiere Date of MGM 2004
-------------------------
According to recent rumors, the MGM 2004 show, which is
currently still unnamed, is scheduled to premiere June 25, 2004
at the MGM Grand Casino-Hotel in Las Vegas, Nevada.
Get your Zumanity souvenirs here!
---------------------------------
With every new show comes - merchandise! And Zumanity is no
exception. In addition to the program ($12.00USD and comes in a
black plastic bag), and the requisite Zumanity-logo'd T-shirts
(4 mens styles, 4 womens, $20-30), there are several other
products. They have a Tank Top, long sleeve T-shirt (Mens $34,
Womens $45) a black dress or sweat pants (both $36), keychains
and candles. Among the more "esoteric" branded items are
Zumanity baby oil ($20), Massage oil ($15), Powder ($29), and a
bar of Zumanity soap made out of chocolate! The shop also sells
several other non-Zumanity-branded items. And all of it is
available mail order! They take Visa/Mastercard/American
Express/Discover cards, and their shipping charges start at
$6.00 and increase with the total dollar value of the order.
Call the Zumanity shop at 1-800-693-6763 and ask for extension
3125 between the hours of 10am and 1am. [Source: Zumanity gift
shop; Keith Johnson]
Psst! Wanna see pictures of Olga, um, fully clothed?
----------------------------------------------------
So what's a Cirque artist to do when they finally want to escape
the big top? In Olga Pikhienko's case, they might try modeling.
A poster at CirqueClub sent out the citation of a site that has
several modeling shots of Olga. To check them out, go to <
http://www.onemodelplace.com/photographer_list.cfm/P_ID/23657 >
(The pictures are on the bottom half of the page - note there
are some topless shots of other models on the page.) They
aren't racy, but the idea of having a *very* flexible athlete
modeling clothes gives us pause. [Source: CirqueClub; Keith
Johnson]
Son of the Alegria Musician In-Store
------------------------------------
They did it again! The Alegría musicians (minus Black Singer
Nathalie Noel, who we heard was sick at the time) made another
in-store appearance, in Seattle, Washington at the Barnes and
Noble Bookstore at University Village on Saturday afternoon,
August 23. The setup was the same as their in-store in
Vancouver (which we covered last month), playing their way
through the store, playing "Vai Verdrai" and "Querer" on a small
makeshift stage, and finally signing autographs and pictures.
Unfortunately, the audience was much lighter than the estimated
200 that attended the Vancouver event. We estimated there were
less than 50 attendees for the performance. However, that led
to a little more one-on-one time with the performers. And yes,
Aplets and Cotlets were in the house! [Source: Keith Johnson]
=======================================================================
CRQ-TV -- CIRQUE ON TELEVISION!
=======================================================================
* CIRQUE DU SOLEIL: FIRE WITHIN
-----------------------------
Network: Bravo
Footprint: United States)
Website: http://www.bravo.tv/
Note: All times are Eastern
* October 3rd (Friday):
01:00pm -- Fire Within, Episode 2
01:30pm -- Fire Within, Episode 3
02:00pm -- Fire Within, Episode 4
02:30pm -- Fire Within, Episode 5
03:00pm -- Fire Within, Episode 6
03:30pm -- Fire Within, Episode 7
* October 10th (Friday):
01:00pm -- Fire Within, Episode 8
01:30pm -- Fire Within, Episode 9
02:00pm -- Fire Within, Episode 10
02:30pm -- Fire Within, Episode 11
03:00pm -- Fire Within, Episode 12
03:30pm -- Fire Within, Episode 13
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.
=======================================================================
CRQ.NET -- CIRQUE DU SOLEIL ONLINE
=======================================================================
This Month in Cirque Club
(By: Keith Johnson)
-------------------------
Just as we went to press last month with our report on the Alegría
musician in-store in Vancouver BC, CirqueClub posted their own report,
including two pictures. In a surprising note, they mention the Aplets
and Cotlets we brought up from Seattle to give to the musicians. They
also cover the creation of show lighting designs (speaking with
designer Luc Lafortune), and new stilts for Mystère (including a
performer profile of Micheline Doucette).
Zumanity adds three new entries in Madame's Diary this month, as well
as a 30-second quick-shot narrated preview video. The small picture
under the "X days to the International Gala Premiere" on the home page
has also been changed every day, a fun small extra.
On The Web
(By: Ricky Russo)
-------------------------
Every now and then, as I wander about the World Wide Web, I come
across something interesting relating to Cirque du Soleil. Usually
it's some fact I can use in an article or an interesting picture that
may get used at a later time. Sometimes, though, I'll come across
something so interesting that mere mention won't do it justice. This
month, I'm pleased to be able to share an interesting creation by a
Cirque fan - the "Myumee Cirque du Soleil Dolls".
What is a Myumee Doll? Myumee Dolls (My + You + Me[plural]) are
crafted by Sean Tataryn, who has been creating these dolls for 15
years in tribute to those who have filled him with inspiration. The
dolls created for Cirque du Soleil thus far represent Alegría, and you
will find them to be interesting tributes indeed. Represented are: a
fast-track artist, the manipulation artist (complete with ribbon), and
a contortionist.
View these interesting dolls at Sean Tataryn's website:
<http://www.seantataryn.com/myumees/html/0023b.htm> and
<http://www.seantataryn.com/myumees/html/0023c.htm>. For more
information on these "Myumee" creations, visit www.myumees.com, but
please no inquiries about purchasing the dolls, they are not for-sale!
La Presse: Links to the News
----------------------------
1) [Sub Steps up for Cirque du Soleil's 'Zumanity Choreographer']
< http://www.reviewjournal.com/lvrj_home/2003/Aug-11-Mon-2003/news/
19343955.html >
2) [Oh the Zumanity: New Show is Kinky]
< http://www.lasvegassun.com/sunbin/stories/sun/2003/aug/15/
515482195.html >
3) [Early Word on 'Zumanity' is: Work out the Kinks]
< http://www.reviewjournal.com/lvrj_home/2003/Aug-22-Fri-
2003/weekly/21977403.html >
4) [Sexy Cirque Show opens in Sin City]
< http://www.cbc.ca/artsCanada/stories/cirque140803 >
5) [Zumanity Faces the Naked Truth]
< http://www.lasvegassun.com/sunbin/stories/read/2003/sep/05/
515573806.html >
6) [Cirque du Soleil -- Featured Artist]
< http://artscanada.cbc.ca/artsNow/index.jsp?label=cirque010802 >
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
This month, we're continuing our 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:
* Seattle, Washington -- Renton Boeing Plant
Dates: Aug 21, 2003 to Sep 21, 2003 EXTENDED!
* 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:
* St. Louis, Missouri -- Highlands at Forest Park
Dates: Aug 23, 2003 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
Dates: Feb 27, 2004 to May 2, 2004
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:
* Zürich, Switzerland -- Glatt Shopping Center
Dates: Sep 19, 2003 to Oct 26, 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:
* Los Angeles, California -- Staples Center
Dates: Sep 12, 2003 to Oct 19, 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 Resort, Orlando
* No performances Sunday and Monday
* 2003 Dark Dates:
- 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:
- 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:
- October 12th through 15th
- December 1st through 16th
* ADDED PERFORMANCES:
Tuesday, October 7th (normally dark on Tuesdays)
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
=======================================================================
DIDYAKNOW? -- FACTS ABOUT CIRQUE
=======================================================================
-- Until Alegría visited, Cirque hadn't been to Vancouver, BC in 17
years.
-- The last Cirque show to visit Vancouver wasn't a show at all, it
was a special performance at Expo 86!
-- Alegría travels with its own laundromat. 4 Maytag commercial
washers and dryers!
-- They also use ERA detergent to wash the costumes.
-- Each "Old Bird" Mask is custom-made and worth about $10,000 CDN.
-- The White/Black Singer's Costumes have more than 1,000 buttons,
Jewels and Pearls on it.
-- The Alegría Soundtrack reached Platinum twice in Canada and was
on Billboard Magazine's "hit parade" for 55 weeks in the World
Music Category.
=======================================================================
LE SPECTACLE:
"A Romp in the Garden of Delights: Zumanity Review"
By: Wayne Leung, Staff Writer
=======================================================================
I've been an avid fan of Cirque du Soleil for years. I've seen almost
every current production live and own practically the entire audio-
visual collection. Just when I thought I had seen it all and nothing
Cirque could do would surprise me, along comes Zumanity.
For those of you in the dark, Zumanity is the daring, provocative and
sexy "other side of Cirque du Soleil" which opened to the public on
August 15, 2003 at the New York-New York Hotel and Casino in Las
Vegas.
From Cirque du Soleil's humble beginnings on the streets of Baie St.
Paul, Quebec, the company has created 14 spectacular live productions
while meticulously honing its style and technique with each subsequent
show. The past few shows especially exhibit a new and different style
(a necessary result of the introduction of new creative teams).
Zumanity continues the trend of trying new styles and themes and takes
its concept of an erotic cabaret version of Cirque du Soleil to bold
new levels. If the past few shows were about the coming-of-age of
Cirque du Soleil, Zumanity is about being of age at Cirque du Soleil.
Zumanity is a show, which celebrates sex and human sexuality. On a
deeper level the show explores themes of love and life and celebrates
both as a physical manifestation by the human body and its interaction
with other humans. It is very risqué and definitely not recommended
for the faint-of-heart or narrow-of-mind. Firstly, it is NOT a
circus. Don't go in expecting one or you'll be disappointed. What
Zumanity is is an erotic cabaret incorporating some circus elements
with music, dance (much are more prominent in this show than in any
other previous Cirque production), costumes/fashion and comedy.
And, to answer the question on everyone's mind; no, there is no actual
full-frontal nudity in the show, however some of the costumes are very
revealing and most of the female cast members perform topless (as do
the males for that matter). Zumanity obviously shows a lot more skin
than before, but the baring of flesh is done in an artistic context,
the performers' bodies are shown so the audience can admire their
beauty. In my opinion the show succeeds in being sexy without being
sleazy.
Immediately after I saw the show I was completely floored and
dumbfounded. It was a complete sensory overload, which is typical of
Cirque shows, but Zumanity seemed to overload different senses than
the other shows. The performance I attended was nearly 2 hours long
(the show ran over time) yet it is one of the most thoroughly
engrossing and intense shows I have ever seen from Cirque du Soleil or
otherwise. Having just opened (I attended the first public
performance), the show does have some rough edges; not all the
performers are entirely into their characters yet and not all the
scene transitions are seamless. However, this roughness gave the
performance a raw quality that didn't entirely detract.
The imagery presented on stage continually evolves, one scene melts
into the next and each tableau is more provocative than the previous
one. Zumanity is a huge departure from what we've come to expect from
Cirque. It's not what I would describe as whimsical or magical, but
the show definitely has its sublime moments and I thought it was
spectacular for altogether different reasons.
Admittedly, at first I wasn't too sure how I felt about it, I was just
so surprised at how different it was. But when I started describing
the show to others I would get very excited and I realized how much I
really enjoyed Zumanity precisely because it is so different.
Let me share with you my show experience with these tiny caveats; the
usual song and dance about spoilers (the following review is replete
with them so skip over to the next part if you want to be surprised),
and the fact that Zumanity has not yet officially premiered (it will
on September 20th). The performances from August 15 until the
premiere are part of the show's "soft opening", they are preview-
performances and the show is still in a state of flux, the creation
process continues so the performance I saw will not be the same as the
performances you will see.
Those warnings aside I invite you to "sit back and relax, open your
mind and your soul and let your senses feast on this garden of
delights."
----------------------------------------------------------------------
** SPOILER WARNING **
The following reveals the intimate details of Zumanity, Cirque du
Soleil's newest production. If you prefer not to know, or are under
18-years of age, please skip ahead. There will be an advisory ending
this spoiler warning.
----------------------------------------------------------------------
Part I: Ambience
----------------
As I made my way down the Las Vegas Strip to the New York-New York
Hotel and Casino I walked past the faux Statue of Liberty, under a
crowd of screaming thrill-seekers riding the looping "Manhattan
Express Roller Coaster", over a scaled-down, ad-covered, pedestrian-
only version of the Brooklyn Bridge and into a hotel/casino just as
campy and over-the-top as any other on the infamous Las Vegas Strip.
Yet this pseudo New York City had a distinctively vibrant atmosphere
pervading from its young (20-something) clientele. This place hardly
seemed like the host for the latest Cirque du Soleil show, but as I
would soon discover, the choice of venue was not the only different
aspect of Zumanity; a very different form of entertainment which
serves as both antithesis and complement to the traditional Cirque
shows.
Discreetly tucked away in a quiet corner of the otherwise bustling
casino complex lies the petite and elegant Zumanity theatre, box
office and gift shop. The lush European décor is more than a hint of
the sensuality within the theatre. By 7:00PM a long line had formed
outside the lobby for the first public performance after the "soft-
opening" of the show the previous night. The first thing that struck
me about the crowd was how utterly ordinary it looked. It was the
typical cross-section of middle-America that usually attends Cirque du
Soleil shows, not a dominatrix or drag queen in site. There was no
distinguishing this crowd from the ones I watched Mystère, Quidam or
Varekai with. . .with one important exception of course, the absence
of children.
Shortly after 7:00PM the theatre ushers, dressed in black t-shirts or
dresses airbrushed with bikinied male and female torsos respectively
(actually not as ridiculous looking as it sounds), escorted us into
the elegant theatre lobby adorned with red upholstery and a crepe-
paper ceiling which allowed the dim ambient lighting to filter
through, creating a dark but sensuous atmosphere. There were small
display areas with little video monitors, the requisite concession
stand and a grand staircase leading to the balcony. Every element of
the theatre was meticulously designed and crafted by Cirque du Soleil.
The theatre itself becomes a character; sleek, feminine and beautiful.
The Zumanity theatre also has a bar where you can order small finger
foods such as sushi (although I doubt its freshness since it comes
pre-packaged in boxes). I ordered the show's signature drink, the
"Zumanitini". It came in a red sugar crystal rimmed plastic martini
glass that you can keep (although it doesn't bear the logo of the show
or company on it, those glasses are available in the gift shop for an
additional $10 each). The Zumanitini had a sweet fruit punch taste to
it although for a $9 drink it wasn't very strong. Real martinis (even
stylized variations of them) are supposed to be all liquor; this one
had way too much bar mix and was served pre-prepared out of a pitcher
(the proper way to serve martinis is to mix them per-order).
But if the refreshments were unimpressive the showroom was anything
but. The theatre has an elegant European (French) Art Nouveau style.
It is very curvaceous and feminine, simply ornamented and highly
stylized. The auditorium is intimate though not quite as intimate as
the Grand Chapiteau (if you've ever sat beside a stranger in the tiny
armrest-less seats in the Big Top you know how "intimate" it can get).
The Zumanity theatre is comfortable and is interestingly laid out with
rows of barstools, traditional theatre seats as well as couches and
love seats for couples dispersed throughout.
The thrust stage used in the performance features a turntable and a
platform that can raise or descend into the stage. The stage is
slightly smaller than the ones used in the touring shows and is framed
by a winding metal sculpture proscenium and staircases on either side
that evoke images of intertwining tree branches and strands of DNA.
The top of the proscenium arch is the bandstand; it can be lowered and
raised to showcase the musicians.
When you walk in, the theatre is dimly lit and there is a baby grand
piano on stage with a candelabra sitting on top. A patterned red
velvet curtain closes off the rear of the stage hiding the large
rotating screens/sculptures used to display photographic projections
during the show.
From the moment you enter the theatre you're enveloped in its sensual
atmosphere, the setting for the show is perfectly established before
the show even begins. Slowly, the theatre starts to come alive, a
pianist walks onstage, lights the candles and starts to serenade us
with soft piano melodies, and characters slowly trickle down the
spiraling staircases and into the crowd. The svelte Venezuelan dancer
Antonio Drija wades through the crowd as viewers are being seated and
flirts with the women, posing for Polaroid pictures with them. "Call
me Papito," he says and the audience obliges every time he walks by.
The full-bodied identical twins, the Botero sisters, Luciene and
Licemar of Brazil, walk deep into the audience. Dressed in French
maid outfits they bear large trays of strawberries to serve to the
guests. Unfortunately while bending over to serve one guest the
sisters inevitable give a neighboring guest a face full of posterior.
A dark and mysterious character (played by Spanish actor Almukatab)
watches the audience from centre stage with a snake draped around his
neck. The piano music continues, there are faint whispers throughout
the theatre, characters slowly emerge. The scene is very similar to
the Varekai pre-show, if you were to replace the Varekai forest with a
burlesque house. The sensuous atmosphere envelops the viewer and sets
the tone perfectly. The impeccable establishment of a show's setting
is one of Co-director Domenic Champagne's signatures.
Part II: Le Show
----------------
Amidst the bustle of the pre-show Madame makes her way onstage. Our
hostess for the evening is played by famed New York drag queen Joey
Arias. She carries a microphone ornamented with a long ponytail of
hair and croons into it with a sultry voice reminiscent of Billie
Holiday. Madame wears a long bottom-baring dress, she greets the
crowd and welcomes them to open their minds and discard their
inhibitions; "Sit back, relax, have a cocktail, because the more you
drink the more beautiful I look. . .and the more f**ked up you get!"
No sooner has Madame welcomed us to Zumanity than the theatre is
invaded by Puritans who are opposed to such wanton displays of carnal
sin. Dressed in pilgrim costumes the show's resident "clowns" of the
British comedy troupe Spymonkey wield pitchforks with protest placards
attached and plead with the audience to leave, "you can still save
your souls. . ." The crowd has a good laugh at the vaguely Monty
Pythonesque antics of the Puritans.
As the prudes are escorted out of the theatre by security the show
begins. The theatre rules are sung to the audience by the powerfully
voiced Lonnie Gordon who shares the shows singing duties with Joey
Arias and Canadian Kinnie Starr. The show begins with a flourish, as
thundering house music fills the theatre we are treated to a fashion
show of characters, but this is no ordinary fashion show. Each
character to come down the catwalk is more strange and exotic than the
last. We meet a centaur character named Jésus, two Las Vegas
showboys, an alien/robot, a slim masked girl and a host of other
fascinating characters.
The fashion show evolves into a dance sequence. Dance is infused
throughout the entire show, not only are the majority of the acts
dance oriented but dance is also used in all transitions and, in
choreographer Debra Brown's signature style, the show flows like a
ballet, each image fading into the next, the show continuously
evolving. One by one, a flamenco dancer, an African dancer (similar
to Dralion's Gaia), and the Dark Lord character (who wears a long
flowing cape) all take the stage. A beautiful contortionist named
Olga rises and descends on a Spanish web apparatus.
As we start to take everything in Madame returns and invites us to
quench our thirst with a drink of water, motioning to the center of
the stage where a clear glass pool rises out of the stage with two
beautiful and slim women swimming inside like sirens in a fishbowl.
The act that ensues is gorgeous and sensual. Our sirens are
Zorigtkhuyag Bolormaa and Gyulnara Karaeva, contortionists from
Mongolia and Russia respectively. They emerge from their small pool
to perform balances and contortion on the edge eventually diving back
in to frolic in the water. While the caliber of the contortion is not
as high as in other Cirque shows what makes this act strikingly
beautiful is the flowing choreography. Characters sit on stage during
the act as if to frame it. The water adds a fascinating element to
the art of contortion.
Next, a deep male voice from the rear of the stage asks, "Who wants
some roses?" The Rose Boy (buff Cuban Alex Castro) struts on stage
and starts stripping to a brassy jazz tune. Bikini-clad female
dancers surround Rose Boy as he strips and tosses roses to ladies in
the audience. The extraordinary physique of the Rose Boy is
contrasted by the absolutely ordinary appearance of the next
performer.
Russian Moukhtar Gusengadzhiev appears wearing boxers, socks and
garter belts. His ordinary appearance gives no hint of his
extraordinary talents. Moukhtar is a dislocation artist. To an
upbeat brass-heavy jazz accompaniment Mouktar performs an act I
describe as extreme contortion, not only do his bones bend in ways
they're not supposed to but the performer has a unique ability to
dislocate some bones altogether to shocked amazement of the audience,
which gasped audibly throughout this act. Mouktar turns himself into a
human pretzel before our very eyes. This is quite literally the most
twisted act of the show and I couldn't shake the feeling that this
performance would be more suitable for Ripley's Believe it or Not
instead of Cirque du Soleil.
Following the extreme contortion comes another dance act, this one a
pas de deux performed by two men to a Spanish tango. Johan King
Silverhult of Sweden and Ugo Mazin of the UK perform an aggressive and
violent dance. Underlying the machismo is a strong homoerotic
undercurrent and the building sexual tension between the dancers
crescendos at the end of the act when the two men share a kiss. This
daring and provocative act is a prime example of Zumanity's use of
dance and movement to convey powerful images and develop a strong
sense of visual lyricism.
This visual lyricism and narrative of movement continues in the next
act. The stage fills with men seated on chairs intently watching a
football game on a television. A female dancer in a red bikini
intensely and passionately dances to attract their attention but the
men ignore her. As Kinnie Starr sings a soft yet edgy rock ballad,
the dancer thrashes on top of the TV and eventually lunges towards the
men who are still oblivious to her creating a lyrical, poetic and
intense dance performance.
When the dust settles, a man and a woman emerge (Americans Stéphan
Choinière and Sara Joel) wearing skimpy costumes so that they appear
to be naked. The two perform an acrobatic dance/hand-to-hand act
called body2body. This act reminded me of the Statue act in Quidam
but with more fluid choreography and an intense sexual passion
expressed in the movement. As Joey Arias sings a love ballad to a
soft brass arrangement, the two dancers intertwine in a beautiful
expression of love.
Up to this point, the show is very intense. For some comic relief the
Puritans return and slowly shed their sexual apprehensions. One of
them carries a blow-up doll on stage. When the others chastise him for
it he runs off, returns carrying a larger doll and takes a seat in the
audience. The doll then comes to life and starts to chase the puritan
around the theatre. The others briefly emerge on stage to quickly
spoof some of the preceding acts with visual gags (much like a short
version of the Dralion clown act).
When all of the silliness subsides it is time to turn up the heat,
literally. As trance-techno music plays, the sado-masochism tableau
begins. A flame erupts from the stage and two sexy leather bikini-clad
fire artists; Americans Jila Alaghamandan and Heidi Good cavort on
stage with fire batons and perform a dangerously seductive dance where
they literally light themselves on fire and eat flame. Following the
dance a cage lowers from the rafters and a man and woman inside dance
violently as masked characters descend from the ceiling and flail
about in chains. This intense scene gives way to the re-emergence of
the Puritans.
This time they are nude carrying only cheerleader style pom-poms
placed to strategically conceal their nudity. In a Vaudeville style
comedy act the four Spymonkeys line up in a row and march to the music
while quickly switching the positions of the pom poms; at times not
quick enough to seamlessly hide their (prosthetic) genitals. The
number elicited a good deal of laughter from a crowd grateful for a
brief repose from the intense show.
The next act is perhaps the greatest Cirque du Soleil aerial act I
have ever seen bar none. It is a romantic aerial dance between a
woman (the strikingly beautiful Russian Olga Vershinina) and a dwarf
(Brazilian Alan Jones Silva). This is the one act that will make your
jaw drop and elicit gasps of awe. The apparatus is a combination of
the Aerial Silks and the Cloud Swing. Olga begins by performing
aerial contortion in the flowing white fabric while incorporating some
extremely dangerous looking Spanish Web style drops on the silk and
the Cloud Swing. Alan performs an Aerial Silk solo with the same
skills as the performers in La Nouba and Dralion. And, to a beautiful
piano melody the pair flies over the heads of the audience in a
touching and romantic moment. This act is by far my favourite of the
entire show.
Then, in a change of pace, the couple from the cage in the S&M
sequence are now in a bathtub and, while they perform a
dance/pantomime the entire cast files onto the stage and sprawls
across the floor. The turntable spins to show the cast in a variety
of seductive poses. Madame then sends two characters to invite a man
and a woman up on stage to join in the "Garden of Delights". Joey
Arias' sharp wit is apparent when speaking to the guests. When the
30-something man pulled up on stage told her that he was a
screenwriter Joey replies, "Oh, so you're a waiter," to the laughter
of all.
The young girls invited on stage (both students) seemed thrilled to be
there. As Madame continues to work the crowd she stumbles upon an
elderly couple (in their 70s) seated on one of the couches in the
front row. She congratulates them for not being scared away by the
content of the show and encourages them to come on stage to slow-
dance. Just when the frail old couple start to dance they pull off the
top layer of their clothes to reveal costumes; they are audience
plants. The crowd cheers with delight as Danes Flemming and Brigit
Thomsen, known as "The Pacemakers" perform an acrobatic dance routine,
which would be impressive for a couple a fraction of their age. Their
dance is a touching reminder of the endurance of love.
As The Pacemakers wind down their dance the cast of Zumanity joins
them on stage for their curtain call. The audience cheers
enthusiastically. The journey through the Garden of Delights is over
but what a memorable journey it was.
----------------------------------------------------------------------
END SPOILER WARNING
----------------------------------------------------------------------
Having seen the show would I recommend it? Definitely. IF you're
interested in seeing something different, an alternative to the
traditional Cirque show and something for those who don't necessarily
enjoy the traditional shows. However, I would warn those who are not
so open to new experiences to stay away. This is certainly not a show
for everyone.
Would I see it again? Definitely. I really enjoyed the show, for
different reasons than I enjoy other Cirque shows. I would love to see
Zumanity again especially down the road to see all of the changes that
the creative team will implement between now and the official opening.
Seeing Zumanity is like making love for the first time. You go in
curious, excited, maybe even a little nervous not really knowing what
to expect. The experience itself is intense on many different levels,
there are surprises and things that are not necessarily what you had
expected or imagined. Then afterwards you're left exhilarated and
wanting more. . .enjoy your stay in the Garden of Delights!
And that's not all! Next month Wayne will be continuing his
examination with further details about the theater, printed program,
gift shop, even the restrooms! So check back for a "deeper
exploration" of some of Zumanity's more "intimate" details.
=======================================================================
BEHIND THE CURTAIN:
"An Evenings Chat with BJ, Quidam's Percussionist"
By: Ricky Russo, Chief Editor
=======================================================================
It was a daunting challenge involving weeks of planning and several
authorizations but we finally achieved our end result... a chat with a
Cirque du Soleil musician! How would it be done? Which communication
program would we use? How would I keep control over the chat? These
and many more questions arose as those weeks began melting away. But,
on August 17, 2003 at 8:00pm Eastern Daylight Time, the chat began and
all the troubles of bringing it together were quickly forgotten. With
a "Good Morning from Japan," our guest, BJ, a percussionist with the
Quidam tour currently in Japan, joined us for about 2 and a half hours
that Sunday night and spoke about who he is, what he's doing, and
where he may be headed next, not to mention that he enjoys Sushi,
Sake, Pocky and a good Irish Pub! At one point the chat was opened up
to everyone in attendance to get a chance to speak directly to BJ - it
proved not only successful, but a highly active time. Now, I would
like to share with you the log of our chat in a more easy to read
Question and Answer format. So, take it away BJ:
BJ: With pleasure.
BJ: As you said, my name is BJ. I am 29 years old and currently
with Quidam in Osaka, Japan. I am the drummer since December
2000 and therefore did parts of the European tour, the entire
second North American tour, and now the Japanese tour. I was
born in Germany; I am German, grew up in Spain for a couple of
years and then moved back to Germany. I also have family in the
Boston area. And my favourite colour is blue.
Richasi: In the Quidam Japan programme, your name is listed as simply
"BJ". Does BJ stand for something? Is it your full name?
BJ: It does indeed stand for something: My middle initials.
Richasi: Fellow Fascination writer Keith Johnson wanted to know: What
first attracted you to drums? Who gave you your first drum kit?
BJ: That is a complicated story. I started drumming when I was
six. My mother is a music teacher and I had a lot of music
around at home. At five she put me in some elementary music
education course. After a couple of months the teacher told us
that she was from a bigger music school and that we could all
learn an instrument if we wanted. I instantly shouted "drums",
ran home and told my mom. She sighed and there we went. It is
not clear what made me say that.
Richasi: Wow, so at a pretty early age then. Were drums the only
instrument you wanted to play? Do you know how to play others?
BJ: I was never really interested in any other instrument until
the age of maybe 15-16. Then I started to learn the guitar and a
little later the piano.
Richasi: Multi-talented then. :) Do you just play drums with Quidam or
do you double with another instrument?
BJ: I hope there's talent involved... I just play drums. In
Quidam that is already a pretty busy job.
Richasi: No doubt. Sometimes twice a night, etc. Do you ever get tired
of it? Do you ever tire of playing the same music all the time?
BJ: That is a deep question because when I feel tired it is
hard for me to tell what I get tired of. I have spent quite a
great deal of time thinking about that one. I still enjoy
playing Quidam. Most mornings I wake up and get really excited
to play on that day. When I get tired of it all it is mostly due
to the circumstances. The travel, the pace of different cultures
that I have to get used to, the unbalanced way of life.
Richasi: Do you enjoy the travel or is it something you'd rather not
have to deal with?
BJ: The drumming part is a pleasure 99% of the time. The
surrounding stress might be hard on us. I love traveling, seeing
things, and exposing myself to different surroundings. But
sometimes the culture in the country we go to is so different
that the adjustment alone will eat a great deal of energy.
Richasi: When you feel the stress, and as you say you enjoy playing
the show, is there a piece you enjoy more above others? One you look
forward to playing each night? If so, what is that piece?
BJ: I used to see the show as a collection of numbers with
individual pieces of music. But as I grew into it my perception
changed. I see and feel Quidam more as two halves with waves of
intensity and energetic levels. I really love German wheel for
the way it gets me into it. If I get through German Wheel all
right then I am pretty much set for the rest of the show. I love
diabolo, Tissue. Gee, just about everything.
Richasi: Most fans would say that as well. Do you find yourself being
caught up in the emotion of the show?
BJ: On certain days I might enjoy Banquine less than Cloud
swing. But generally I try to look at it from a larger
perspective - as one thing. Various emotions. Every day is a new
emotion. Mostly - due to my specific job - I try to feel
intensity. It's not a specific emotion I try to have but I try
to be as intense as possible in my performance. The drums are a
very powerful component of Quidam. I better make it right. ;-))
Richasi: Is the emotion of the performance/music what drew you to
Cirque du Soleil and Quidam in particular or was it something else?
What made you decide to join CDS?
BJ: I did a tour with a German circus in 1996 and there I met
two artists from CdS. Before my experience with the German show
I was not into circus at all. They introduced me to cirque. I
then saw Alegría in Hamburg and soon after that I applied.
Mainly because I liked the music. Then I did not hear from
Cirque until late summer of 2000. I had almost forgotten about
it.
Richasi: Did you audition for Alegría?
BJ: No, I received a specific call for Quidam. They were in need
of a drummer for the rest of the European tour. I guess they
liked my drumming.
Richasi: So, you auditioned for Cirque in general?
BJ: No, I auditioned in Frankfurt, Germany on stage with the
Quidam band specifically for Quidam.
Richasi: Wow, and it must have gone great because you're on tour! :)
BJ: I guess I played a short piece of diabolo and then skipping.
I jinxed them to hire me ;-))
Richasi: Jen (JenJeninLA), who is not here tonight, wanted to know
whether being in Cirque was what you thought it would be...the
experience, the work, the training, the traveling, everything. Do you
feel excited to be part of CDS?
BJ: I remember that I was very confused with the setup and with
the way the music is conducted. I almost had to cheat my way
through it but I eventually made it through. Very much so. It is
a special work environment. I like touring, I like performing
and I like the way most Cirque shows are put together. There's a
bunch of very special people on tour with us. It's a lot of
work. A lot!! But my reward is the fact that people leave the
show with a big smile.
Richasi: I understand you've made some good friends, one of whom is
leaving soon. Does that make you sad? Will you still hear from this
person?
BJ: At present it is his plan to work on a solo project after he
leaves and so far I'll be the drummer. Other than that we are
already scheduled to meet in Ireland and have a pint of Guinness
together. We are indeed great friends and I guess that will
continue.
Richasi: Do you think Quidam will get back to Europe after Japan (and
Canada)? (I know, a hard one to answer)
BJ: very hard to answer. Usually we are the last to know.
Richasi: And we, meaning fans, are usually the first to know - lol!
BJ: That seems to be very true. ;-)) It is not my main
occupation to think about next year or the tour plans for the
rest of the decade. I am very concerned with my everyday
performance. I try to focus on what I do now.
Richasi: Must you renew a contract each year or is it two/three/four
years? A particular tour?
BJ: We sign for specific tours, i.e. the European tour, the
North American tour, the Japan tour. If a tour is longer than
two years it will be divided into shorter contracts. I will
negotiate my next year soon. And I know where we will be going
;-))
Richasi: So, if the tour were going to go to a few Canadian cities
(which we understand is a possibility), this next contract would
probably cover that?
BJ: I believe so. If it did indeed go to Canada. Maybe it does,
maybe not ;-))
Richasi: Albert (Treb, who is online here) wanted to know -- Exactly
how much of the music is live? Is there any bit that is pre-recorded
and played as a track every show? Or is every sound we hear live?
BJ: Most pieces are partially sequenced, i.e. a computer runs a
couple of tracks. Mostly choir, percussion, strings, extra sound
effects. The main structure of each number is played live.
Skipping and some shorter pieces between acts are absolutely
live. Diabolo is sequenced (percussion), hand to hand is
sequenced (strings), so is the opening (choir).
Richasi: Albert also asked, Does the music continue to evolve even
after the show's been on for all these years? And do you find that
you are allowed to make certain changes to fit your style?
BJ: As new artists join their acts and choreography changes we
have to adjust the music. I actually have a great deal of
freedom to play more "in my style". I need to make sure that I
transcend the essence of Quidam. But individual grooves or fills
are left to my taste and style. We constantly try to improve.
The composer visits every once in a while and alters things.
Richasi: What happens if you are ill? Is there someone who can fill
your place? Or, as I know they have for "O" and Mystère, do they have
your performance recorded... do you just get replaced with a recorded
you?
BJ: If I get ill the show is in serious trouble! We had to do
one performance with just recorded music in Tokyo because I was
so ill that I almost collapsed on stage and they literally
pulled me off the stage. I wanted to go on but I guess the fever
clouded my brain.
Richasi: Really? Wow! Did the audience know the difference?
BJ: Well the audience does not know how the show is supposed to
sound. But the artists and technicians feel a great difference.
The acts have to be perfect. A tape cannot react if something in
the act goes wrong.
Richasi: If you don't mind me asking, what did the musicians do? Hang
about? Appear to play but not?
BJ: That's what they did. Perfect playback and never stop
smiling. It only happened once and I hope it will never again.
Richasi: Yeah, it's no fun hearing it taped.
BJ: I was lying backstage and the mere thought of hearing the
show run and not being able to perform drove me crazy.
Richasi: We've had a couple of inquiries about... is anyone looking
over your shoulder right now? :)
BJ: No. I am alone in my room. I guess everybody else is still
sleeping. Craig (the singer) said he might pop in and check on
me but that might not happen. I don't know when he got to bed.
Richasi: Do any of the other musicians/performers get online that you
know of? Are they aware of fan groups and/or keep an ear to what is
said on the official forum?
BJ: Not really. I believe that a few do but generally we are
more concerned with life on tour. We email with friends and
family, some might chat but as far as I know this is the first
ever chat between a performer and fans.
Richasi: Speaking of the tour, what do you think of the new Fuji big
top? Is it better than the regular touring chapiteau?
BJ: It blows my mind. It is huge (2,900 seats) and has no masts.
That means it has no restricted view seats and looks even
bigger. I love it. It's quite a deal to tour it because it
actually is a semi-permanent structure that is set up on a
concrete foundation. There will be photos of it on
www.bjpercussion.de soon.
Richasi: I also assume Fuji placed you in a great housing facility?
BJ: They take good care of us. We live in the middle of the
city. In the heart of a network of shopping streets.
Richasi: I know you've said you've enjoyed touring... is there a
specific tour/city you've enjoyed above others?
BJ: London, Copenhagen, Boston, Pittsburgh, Nagoya. Most cities
have something interesting. Tokyo was hard because of the
culture shock. At the end of thisyear back again in Tokyo that
will be different.
Richasi: AmberrGrey (Carrie) had a quick question: What helps make a
good show so memorable for the artists and musicians?
BJ: Could you rephrase that question a little. I am not sure
what she means.
Richasi: I believe she's asking is there a particular aspect of a
show/performance/city that makes it memorable to you as an artist?
Say, makes you think of that particular city as the tour goes on?
BJ: That usually is linked to the private life on tour. I like
simple things. I like to be in a city with spirit - a heart. And
preferably an Irish Pub. A good hotel also makes things easier.
Richasi: Other than sitting at an Irish Pub during your off hours...
do you have any other hobbies you indulge in?
BJ: I like to spend my time with friends on tour discovering the
city. I read a lot. I also like to write little stories about
tour life and other things. But I don't know if that collection
will ever be published. At present I am reading a lot of books
that are related to Japan. "Memories of a geisha" for example. I
also read Nabokov, or Douglas Adams.
Richasi: Have you, by chance, taken in any Taiko drumming while in
Japan?
BJ: I will soon. A couple of people wanted to do it and we
finally found a possibility to do it. I am really excited about
that.
Richasi: I hope you get to see Kodo. They're just wonderful. I highly
recommend them! :)
BJ: I did see them but I haven't had a chance to try it myself
yet. Other than that: I am currently very busy working on a
couple of projects. Craig Jennings album requires a lot of
attention recently. I have just recorded some overdub drums in
Nagoya. After Osaka Craig will fly to the US and start mixing
the beast. I also work with a couple of people in New York or
L.A. Technology is fascinating.
Richasi: Any specific technology you find fascinating that you work
with on tour?
BJ: I can record drums in Osaka and send them to NY through the
Internet. I don't know how specific I can get with you guys.
You're not all crazy musicians, are you?
Richasi: Some of us might be, and those who aren't here, may be
interested in the details...
BJ: I like a hard disk recording device called Pro Tools. We
have used it for Craig's things. I also like my new mixers that
I have just installed at the beginning of the Japan tour.
Richasi: Kaliwolf wanted to know what kind of music does Craig do?
BJ: That's hard to describe. It is both very electronic and very
acoustic. Every track is different. A great challenge and a wide
range of styles.
Richasi: Any particular type of music you like? Have you listened to
other soundtracks from other CDS shows?
BJ: I know most soundtracks. I recently spent a couple of shows
in the drum booth with La Nouba's drummer Joe. I really love
that music. I also love Saltimbanco's soundtrack. But mostly I
listen to "non-cirque" music. Peter Gabriel, Toto, Miles Davis,
Keith Jarrett, Gino Vanelli, Beethoven, Zepplin, and Green Day -
whatever comes my way and touches me. It keeps me alert and
helps me tolerate different styles and play them.
Richasi: Changing gears a bit -- do you find that the Quidam crew is
tightly knit?
BJ: Extremely! Through thick and thin. We do a lot together.
Mostly smaller groups but if we have a reason to get together
and have a festivity - we sure show up. We stand together. In
some situations the life of someone depends on the reliability
of a fellow artist or technician. You need a great amount of
trust to deal with that.
Richasi: Would you give up your drumming role with Quidam to be with
another Cirque production?
BJ: I will always welcome new challenges in my life. The band
just did a gig together in Nagoya. only the music we liked. A
lot of rehearsing but a great gig. I guess the photos are on
psioui.com. So we do actually spend a lot of time on extra
stuff. Some artists have just started to rehearse for a cabaret
that we will stage at the end of the Japan tour. Only for
ourselves. Just for the sheer fun and excitement.
Richasi: If given the opportunity, would you want to change to another
Cirque show?
BJ: That very much depends on the show. I like some more than
others.
Richasi: Other than Quidam, do you have a particular favorite?
BJ: La Nouba. And Alegría. I have not had the chance to see any
of the Vegas shows but I hear that they are really good. Being
on tour does not really allow me to see the rest of our shows.
Richasi: What about La Nouba do you like? And Alegría?
BJ: I like the poetry of Alegría. It is a joyous and beautiful
show. And I love the soundtrack. In La Nouba I love the power.
It reminds me of Quidam. It is a bright and fast version of
Quidam. The creative team behind it was the same so you
recognize the trademark.
Richasi: Speaking of other shows, have you heard any buzz on Zumanity?
Interesting concept I must say... Have any thoughts on it?
BJ: None whatsoever. I know almost nothing about it. We
discussed it in the kitchen yesterday. We are trying to get more
information but Japan is far from Vegas. Of course I hope that
they are doing fine.
Richasi: All of the people (fans) I've spoken with thus far about the
show have glowing reviews of it. Looks as if Cirque has another hit on
their hands.
BJ: We did send them our best wishes for their premiere. But
that happens between most shows for every premiere in every
city.
Richasi: Random question: Do you get any time off on tour?
BJ: Between cities I usually have 8-12 days off. Depending on
the tour. The Japanese Big Top takes longer to tear down and set
up. I think we tour with 60+ trucks. They need six big auto-
cranes to set it up. It's the biggest structure Cirque has ever
toured with.
Richasi: Fans were able to see the big top being constructed in Tokyo
over a webcam. It fascinated me. Hopefully I'll get to see it someday.
I hear they'll use it for all Japanese Cirque tours.
BJ: I love it (but I said that already). Yes. They will use if
for all further Japanese Cirque tours. Have you seen photos of
the outside?
Richasi: I have, I think on your website if I'm not mistaken (but I
might be). Might be Pascals as well (psioui.com). I'm sure he has
some. It's a great looking bigtop. I bet it has a state-of-the-art
sound system in there, right? :)
BJ: The sound system is basically the same we used in the States
and in Europe. But we had to alter it slightly and add some
speakers and amps. The Dome is bigger than the Big Tops in the
US or Europe so we need more power.
Richasi: Nadia (Morpheus, who is with us) asked: Is there a marked
difference in the Japanese audience with relation to other cultures
that's he's perform to, ie, the reaction to certain acts or clowns
that is quite different than what they had anticpated?
BJ: The Japanese have a totally different way of reacting. They
are very quiet and polite. They find parts of the show exciting
that are considered "normal" or "unspectacular" in other
countries. Applause is generally much quieter. But that is not
related to the excitement they feel.
Richasi: Do you find that changes your perspective of the performance?
As in, I know some performers become unsettled if an audience doesn't
react to what they do.
BJ: We have a greater amount of people crying out of emotion
here than anywhere else. I certainly appreciate it if an
audience reacts. It gives me energy. In our case I had to learn
to take the Japanese way of admiring and reacting. Some people
have more problems with that than others. Our clowns can suffer
sometimes. They need participation.
Richasi: I remember hearing a remark that they didn't like coming to
the US because of that fact. And yet, audiences in the US seem to
react to just about everything (not always, though). Japanese are
reserved.
BJ: Japanese like to watch and silently take it in. US audiences
are very loud but I sometimes ask myself what that indicates. It
is not the volume of the applause that reflects the
appreciation. It is unusual for Japanese audiences to get on
their feet at the end of the show.
Richasi: And for the last moderated question, what type of equipment
do you use in the show?
BJ: I use Sonor drums, Sabian cymbals, Pro-mark sticks and Remo
heads. Micophones are mostly Shures with a couple of AKGs. I mix
on two digital Yamaha desks. For the electronic stuff I use
mostly Roland gear and samplers.
(At this point, the chat was opened up.)
KaliWolf: I was wondering, what was the composer's idea behind the
music? What was the core sound he was trying to convey?
BJ: The main idea behind the music of Quidam is eastern.
Ukrainian, Baltic music.
Treb: Do you know for sure if Richard will be compiling his
independent work any time in the near future? If so, will you have
any involvement in the project?
BJ: I will probably drum a few tracks on the album. But I cannot
say when that will be. He will leave soon and then take his time
to approach it.
Richasi: Katie (who isn't here I don't think) wanted to know about
your schooling background. As in a particular college/field of study?
BJ: Well I studied philosophy and German literature. For the
drumming part of my life: I was in music school for 9 years when
I was 8-17. The rest is pretty ramdom and always slightly
chaotic.
Pedro: What happens in the process of a new "Zoe" joining the show?
BJ: New Zoe's will do training in Montreal for several months
after they have been cast and join us about three weeks before
they start performing in the show. They then start to perform
the show with an "old" Zoe standing backstage singing and always
ready to jump in. So they lipsync. The next step would be to do
one half and then the entire show.
Treb: What happens when singers themselves become sick?
BJ: On the Japanese tour we have both Craig and Richard with us
and both sing in every show. Some shows Richard will sing most,
the next day they switch. That helps them save their vocal
chords. If one is out the other takes over but we've never had
that so far.
Treb: Is there a particular piece that you LEAST like to play?
BJ: The exit of the clowns right before cloud swing is not
always my favourite pat But it's only 20 secs so I guess it's
not so bad. The precision of the music with the acts comes from
a rather complicated system of cues behind the music.
Amberrgrey: For instance, what kind of cues? From watching the
artists?
BJ: Our bandleader wears a head microphone and counts in
individual parts of the music when he sees that the artists are
ready to move on to the next segment of their act. We can cut,
extend or repeat individual parts of every piece.
Treb: Do you find yourself struggling to communicate on your off hours
sometimes? Like, finding the right bus, etc
BJ: Communication here is really not easy. especially because
they also have a different way of body language. And my accent
is probably terrible.
Pedro: Has anyone ever offered money to get a Cirque band to play for
them privately, maybe at a party?
BJ: I have never heard of such an offer. But I guess that would
be really expensive.
Treb: You have mentioned that some parts of the music are pre-
recorded. If you have to repeat a segment of the music due to a
mistake in the act, how do those pre-recorded segments "work" out for
the whole music?
BJ: We work with a system called RPS. Realtime Programmed
Sequence.
Treb: Can you explain how that works? Maybe elaborate a bit?
BJ: Each number is cut into 5-20 pieces that are assigned to
individual keys on the keyboards. The keyboard player can - at
anytime - name the cue that comes up and "punch" it in with the
groove. It is my job to make it sound rythmical and logical.
Most cues have a fixed order so he does not have to announce
them. He just counts them in. Banquine is quite a bit of talking
behind the music.
Amberrgrey: Wow- how long did it take you to get used to that?
BJ: It took me nine days to learn it but I stopped having heart
attacks after two months.
KaliWolf: This may have been asked, I'm not sure. Do you have a
favorite act or segment of the show (not a favorite song)?
BJ: I do not see the show as individual numbers put together.
For me it is more loke a wave.
Treb: Do the acts every become "boring"? Does it get to the point
where any of the acts just become, "Eh, okay, I've done this a million
times -- this is just work now." Does it get to a point where it just
seems routine, or do you feel the magic every day?
BJ: Some get tired but we always find ways to motivate ourselves
and our colleagues. Most people get really excited when it is
time for them to perform.
A few moments later we ended the chat on a high note. I wish to extend
my thanks once again to BJ and his associates for making this chat
happen and to BJ himself for taking the time out of his busy schedule
(not to mention getting up early in the morning) to speak with us. On
October 3, 2003, BJ will celebrate his 1000th performance with Quidam
and in his words... "It's getting better and better."
BJ: Mesdames et Messieurs: Bonsoir!
=======================================================================
BEHIND THE CURTAIN:
"An Introduction to Automation, Through the Eyes
of the Techie Geek" -- By: Jen Waldman, Staff Writer
=======================================================================
Your friendly, yet occasionally clueless Techie Geek columnist was
asked to discuss the role of automation in Cirque du Soleil shows. I
say "occasionally clueless" because I've never worked with automation.
This article will be a bit general and a bit rough. Future articles
will be more specific and concise. I'm learning as I go, and each
time I research for this series I learn more and have more questions.
Of course, Techie Geeks are always eager to learn that which they
don't already know, so let's get started.
This is the definition for "automation" from dictionary.com:
Automation -- n : A highly technical implementation; usually involving
electronic hardware; "automation replaces human workers by machines."
For Cirque, that means that any revolving stages, flying scenery, or
other mechanisms for movement done by machines instead of people.
Among other technologies, Cirque du Soleil uses a lot of automation.
(In case you readers were wondering, this requires a BIG budget.)
As Cirque uses automation systems for so much, there is a lot to
discover. Today's article will be an overview of some of the
automation for Cirque du Soleil's "O" at the Bellagio Hotel in Las
Vegas. "O", of course, is the spectacle presented over a stage of
water. One of the companies involved with the automation for "O" is
Fisher Technical Services, Inc. (FTSI). FTSI's role in the automation
for "O", included, but is not limited to, supplying:
*) Several high-speed "Flying Man" winches and controls
*) A lower-speed "Aurora" winch
*) Rigging for the closing curtain system
*) A DMX cue light distribution system.
A winch is "A stationary motor-driven or hand-powered machine used for
hoisting or hauling, having a drum around which is wound a rope or
chain attached to the load being moved" (This definition comes from
dictionary.com). Winches run off of computers can run at higher speeds
and more smoothly than winches turned by people.
Previous Techie Geek columns have discussed DMX distribution systems,
dimmer packs, and other lightning apparatuses. For many theatres,
automation refers to movement of the stage and/or scenery. For Cirque
du Soleil it also refers to some audio and lighting equipment, and of
course automation is used to carry performers.
The automation technicians of "O" lift and carry the artists and their
apparatuses using a Téléférique. The Téléférique (French for
"cableway"), as we have learned in the past, is the wonderful system
of catwalks and tracks that hangs above the stage. The automation
techicians operate the Téléférique through computer systems, and on
this Téléférique we find the winches that lift the artists. Neat,
huh?
There is a lot more to cover. A lot! But every answer raises more
questions, so I hope that you will consider this a "nice little
introduction" and send any questions you may have about automation to
techie_geek@anonymous.to (in the past, I have been delinquent with my
responses, but I am now able to check it every Tuesday and Friday). I
will continue to research the use of automation in Cirque du Soleil's
productions, and I will see you next month armed with more knowledge.
=======================================================================
LE SPECTATEUR:
"Fix du Cirque"
By: Paul Roberts, Senior Writer
=======================================================================
Ten months had elapsed since my last Cirque du Soleil experience
(Quidam in Cleveland) resulting in one of the longest absences of this
obsession. I needed a fix! I had been hoping for years that a show
might come to my hometown of Cincinnati, Ohio, and Dralion was
originally scheduled to come here. Instead, they wisely moved it to
Columbus, the hometown of one of their main sponsors, American
Electric Power. The eight-day week of August 8th through the 16th (my
daughter's birthday) would consist of my Cirque du Soleil show numbers
24 and 25 (so I thought) with Dralion in Columbus and Varekai in
Chicago.
A first for me occurred: taking a date to a Cirque du Soleil show. I
warned Mary-a Cirque newbie-beforehand that I might cry a few times
and I'm fairly certain that she cried with me during the emotional
Aerial pas de deux act. I can think of no better place to take a
date; at times she needed a reassuring hug to ease the exhilarating
and sometimes frightening action. I felt thrilled to see the Chinese
acrobats Troup A perform, especially Luan Leilei, since the prior two
times I saw Dralion we watched Troup B. Afterwards, we met a gracious
Viktor Kee, capping off an incredible number 24.
However, I woke up the following Monday with an empty feeling and
realized that the only cure loomed a mere 100 miles away. I purchased
a ticket for Wednesday night's Dralion performance. My friend, Kimba,
already had a ticket and I decided to surprise her. As she strolled
in the front gate with her recently engaged friends, Michelle and
Dennis, I approached her and screamed "Loser"-mimicking the Quidam
clowns-returning a surprise tactic she pulled on me in Cleveland.
The show was virtually the same as Friday's except for a vital
absence. During the intro I shockingly noticed the female voice was
absent and at intermission the head usher told me that Agnès Sohier
had become sick. Male vocalist, Calvin Braxton, filled in admirably.
Another first for me in a Cirque du Soleil experience occurred when I
heard feedback from the speakers. As expected, the soundman made a
quick frequency adjustment for the vocal part usually sung by Agnès.
I also hoped to see the Aerial Hoop (replacement) act, which I assumed
would be included during a weekday performance. No such luck. The
usual post-Cirque emptiness did not return because of the upcoming
excitement of traveling to one of my favorite cities. Show number 25
cured the blues.
Originally, I had planned the trip to Chicago for daughter Tara's 15th
birthday, but unfortunately band camp also took place then. I invited
my friend, Carl (now a Cirque veteran after seeing Quidam), who
exclaimed that he needed to get away from reality. Another good
friend decided to join us and purchased a single seat three rows in
front of our row. I really wanted Jim to like Varekai because for
years he has had to endure the endless enthusiastic ranting of my
obsession.
When we entered the Vivia tent, Jim looked around speechless then said
something like: "This is freakin' incredible. Are we really inside a
tent?" I felt an energy-not only from him, but from the crowd-like
none I have ever felt before. Without much delay, I knew that he was
enjoying himself when after an intense Icarian Games performance he
stood up and applauded. Giddy at his reaction, I playfully screamed,
"Down in front," to my six-foot, six-inch friend. After the first
act, which included one of the final Water Meteor performances from
Bin He, Junping Yang, and Siguang Li (my, how they've grown since
Montreal, I thought) Jim reiterated his fascination by saying, "I have
a full beer still sitting under my seat."
The second act included some of the most powerful performances I have
ever witnessed. In place of the recovering Vladimir "Vova"
Ignatenkov's Solo on Crutches act, I marveled at the brilliant new
Aerial Hoops Act, performed by Stephanie Gasparoli. The unmistakable
Violaine Corradi-written song packed as much emotion as anything she
has ever composed. Fortunately, the beautiful Olga Pikhienko
performed the Balancing on Canes act that has apparently become a
rarity as her rumored departure continues. And Cirque du Soleil's
most intense act, the Russian Swings, stilled my heart once again.
Maxim Levantsevich, a.k.a. Mad Max, flipped from one swing to the
other with his headdress still intact. I guess he no longer needs to
remove it for this dangerous stunt.
During the show I thought it funny (literally) that how the last three
Cirque du Soleil shows I have seen featured characters created by the
great John Gilkey: John in Quidam, played now by Mark Ward; Bowling
Ball Clown in Dralion, played by Colin Gee; and le Viggie in Varekai,
played by Gordon White. All us John Gilkey fans say he can never be
replaced, but all three of these performers have taken on John's roles
splendidly.
Afterwards, we luckily met a few artists and crewmembers. I told
drummer, Paul J. Bannerman, how much I loved the Hoops act
accompaniment and he said that it still needed work. I wanted to
scream, "Don't change a thing." The clowns, er, comedians, Claudio
Carniero and Mookie Cornish are as zany in person as they are on
stage. Mookie commented on how great a show they had just delivered
because of the audience's energy. Adrian Porter (coach), who was very
surprised that I knew him, said that Gareth Hopkins (of "Fire Within"
fame) got into a little tiff upon his return to London. And the
greatest of all Cirque du Soleil crewmembers, Pascal Sioui, laughed as
he told us that he controls Claudio and Mookie's magic act's bunny. A
torrential downpour kept us from immediately leaving the Varekai
complex, but I welcomed the extended time as I realized I had received
a great fix with number 26.
The next morning, as we reluctantly packed, Kim looked at the TV in
time to see a M*A*S*H show's ending-credits roll by and noticed the
name, Mako. "Hey, there's a Cirque connection." Following M*A*S*H
was a movie called "Bogus," that featured Whoopie Goldberg (yet
another Cirque du Soleil connection) and Haley Joel Osment, whose Las
Vegas-magician-assistant mom (Nancy Travis) died in a car accident.
As a dove flew overhead during the funeral scene, "Kalimando" (from
Mystère) amazingly played in the background. Tears filled my eyes
because of the significant coincidence at the end of our trip and
because I crave Cirque du Soleil music at my funeral. As my ashes are
to be celebrated, my soul would like to hear the vocal part of
"Séisouso" (from Quidam), "Berceuse Chinoise" (from Réné Dupéré/Élise
Velle's "Voyage"), and the live version of "Moon Licht" (from
Varekai).
Kim's adventure continued the next day as she arrived in Columbus in
time to see the final breakdown of Gaïa, Dralion's tent. She then
realized that "Journey of Man" was playing at COSI's theatre and made
it just as the movie began. She said she cried through the whole
thing. To continue my magic, I bought a six-pack of Chicago-brewed
Goose Island Honkers' Ale and watched Varekai, taped from Bravo.
Reliving one of my most incredible Cirque du Soleil experiences helped
me deal with getting back to reality.
So, will I have to wait another ten long months for my next Cirque
experience? I don't think so. There's a sultry voice in my head that
keeps whispering, "Zumanity, hee hee hee, Zumanity"...oh yeah, and "O"
and Mystère (the show that started it all for me).
=======================================================================
THE CIRQUE CONNECTION:
"Cirque Music Hits the Field"
By: Katie Valadez, Guest Writer
=======================================================================
I was very fortunate this summer to attend a DCI (Drum Corps
international) competition where The Madison Scouts performed a
wonderful show containing music by Benoit Jutras. For those of you
who don't know, Drum Corps are basically the ultimate marching band.
They use only horns and percussion (no Woodwinds). Very rarely does a
Corps decide to take up Cirque music, especially a major one like the
Madison Scouts.
When I arrived at the location it started raining. Because of this the
field was soggy and the corps were only allowed to play at a
standstill. But that didn't matter. It was mainly the music I cared
about. After a two-hour delay, the Exhibition began! Out came the
different corps, one by one performing their show for the audience.
Everyone did a spectacular job...but it seemed like something was
missing. Finally, the Madison Scouts came out. Right away, I knew this
was going to be something special. Here is a list of the songs they
were about to perform:
1. Jardin Chinois/Distorted
2. Atmadja/Urban
3. Reve Rouge
4. Incantation
When they started I was brought into a state of awe. The sound that
any Drum Corps makes is so full. They also create amazing dynamics.
"Jardin Chinois" was a great way to start off the show; they used a
lot of percussion so that when "Distorted" started, there was such an
aesthetically climactic section that I just wanted to sing out (but of
course I didn't).
When the song finished, they received a huge cheer (This isn't
biased..the crowd did cheer louder for them than the other corps that
had already performed). Next was "Atmadja." It started out like the
opening with just random percussive sounds, then a Horn burst out
with... something that wasn't "Atmadja." It was an entirely different
song! Though I don't know the title, it was well known and completely
unrelated to Cirque.
Then "Atmadja" truly started with a single trumpet solo of the chorus.
All the other horns joined in quietly and almost apprehensively; it
was beautiful. Next was "Urban," and what a great way to get the crowd
started! Just like everything else it was very well done. Once again
the crowd gave wonderful applause.
"Reve Rouge" came next. I would have to say this was the best of them
all. They created a false climax that made you think the rest was
downhill... but then came an even bigger, but shorter climax. It was
so well done and amazing. This was one song I wish I had seen the
Marching and Color guard perform with.
Finally they ended it with "Incantation." I felt they could have made
more out of it, or arranged it a different way, but it was still
wonderful! They used the part of music that was the transition between
German Wheel and Marelle, which was surprising. When they finished
they received a full standing ovation.
Then something interesting happened. The Drum Major suddenly lifted an
umbrella into the air (It was not raining). I'm not sure, but it may
have been a reference to Quidam, even though their theme was not
related to Cirque at all (It was celebrating their 65th anniversary).
They received such applause that they played an encore piece... but
sadly it was not cirque related. The only other corps that played an
encore was the first place corps. This truly was a spectacular show!
It was also a crowd favorite. I left the competition a very happy
person.
The Madison Scouts made it to finals and placed 8th overall. This is
actually quite an achievement considering all of the changes they have
been through these past few years. If you would like to hear the music
for yourself, check out these links:
1)) <http://www.dci.org/allaccess/view.cfm?mode=1> -- Scroll down
until you see The word "Madison Scouts" written... There are six
samples of their songs. 2 are "Reve Rouge", 2 are "Distorted", 1 is
"Jardin Chinois", and the other one I couldn't quite tell.
2) <http://www.madisonscouts.org> -- They should have some coverage on
this site eventually. And they will be selling a CD sometime at some
point in the future.
=======================================================================
BEYOND THE BIGTOP:
"A Few Parting Words..."
By: Ricky Russo, Chief Editor
=======================================================================
Every time I think about it, it amazes me even more -- two years. For
two whole years we have been producing Fascination! for Cirque du
Soleil fans. We started out rather small but have grown to cover every
facet of Cirque du Soleil; from its past, to its present and into its
future. To close out this very special issue I thought it would be
interesting to take a second look at the quotes we have used to close
out each and every one of our issues since the very beginning. Perhaps
we can begin to understand where we've been, where we are, and where
we have yet to go.
-- "Only when the questions become more important than the answers
will the solutions emerge." (Mystère Program, Issue #1)
-- "The journey is about to begin..." (Journey of Man, Issue #2)
-- "Welcome to a place where all the world is water and the
stage is all the world." ("O", Issue #3)
-- "Once everything has been said and done, who says you can't start
over?" (Alegría, Issue #4)
-- "Where Magic and Fantasy are a Daily Event!" (Le Magie Continue,
Issue #5)
-- "The Range of Possibilities are always open..." (Guy Laliberté
1988, Issue #6)
-- "Will I ever have the courage of my imagination?" (Quidam, Issue
#7)
-- "I am celestial and eerie. Playful and mischievous. Subtle and
striking. Magnificent. Androgynous. I am Saltimbanco."
(Saltimbanco, Issue #8)
-- "Brotherhood: The way to take part in something greater than one's
self" (Varekai, Issue #9)
-- "YOU, get out!"; "Awwwwww"; "YOU ALL GET OUT!" (Moha Samedi in
Mystère, Issue #10)
-- "The potential of Las Vegas is still vast. We believe there is room
for continued growth." (Guy Laliberte, Issue #11)
-- "We cannot work on a show without a purpose, a content, a vision of
the world." (Franco Dragone creating Nouvelle Experience, Issue
#12)
-- "You can't remove the soul from the Machine" (Dralion, Issue #13)
-- "Give your soul to touch their hearts..." (Director Dominic
Champagne on Varekai, Issue #14)
-- "I want people to be intimidated" (Franco Dragone on Cirque du
Soleil, Issue #15)
-- "Cirque du Soleil is the most wonderful of dreams!" (1987 Coloring
Book, Issue #16)
-- "Behind each perilous leap there is a purpose, an intention, an
individual, an emotion." (Guy Caron and Franco Dragone on Nouvelle
Experience, Issue #17)
-- "Even when you're in pain, life goes on..." (Franco Dragone, Issue
#18)
-- "You've got to believe that you're going to live in a better
future... and that you can be part of that future." (Gilles Ste
Croix on Saltimbanco, Issue #19)
-- "Failure can be just as big as success" (Luc Lafortune on Nouvelle
Experience, Issue #20)
-- "You have to go too far before you know what too far is." (Director
Andrew Watson on Zumanity, Issue #21)
-- "Creativity is a volatile process" (Lorraine Turpin on Nouvelle
Experience, Issue #22)
-- "Our work tools have always been our emotions, our spontaneity, and
our child-like imagination." (Michel Crête, Issue #23)
-- "Where magic is pure and fantasy real!" (Cirque Réinventé, Issue
#24)
And...
=======================================================================
PARTING QUOTE
=======================================================================
"There's no reason why the circus can't change with the times."
- Guy Caron, 1987
=======================================================================
SUBSCRIPTION INFORMATION
=======================================================================
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Have a comment, question or concern? Email the Fascination!
Newsletter staff at: < CirqueFasincation-owner@yahoogroups.com >.
We are anxious to hear any and all comments!
=======================================================================
COPYRIGHT AND DISCLAIMER
=======================================================================
"Fascination!" is Ricky Russo, Keith Johnson, Paul Roberts, Jen
Waldman and Wayne Leung.
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2003 Ricky Russo, published by Vortex/RGR Productions, a
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