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Fascination Issue 037
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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
=======================================================================
Issue #37 "Mystère de la beauté" September 2004
=======================================================================
We're off and running again!
I apologize for the lateness of this issue; it was entirely my fault.
I was traipsing around Japan for two weeks when I should have been
putting the next issue together. For that I apologize, but it sure was
fun! For those who have never been to Japan it really is an amazing
experience. It's hard to describe how everything is similar, yet
equally different. Entirely Japanese, as most would say, and they
would be correct. The experience has opened my eyes that much more
wider to the ways of the world. And that is something I find
invaluable.
So, where did I go? I spent a good amount of time in Tokyo, Japan's
capital, and a few days in Kyoto (with side trips to Nara and Osaka).
I was able to see (from a distance at least) the Fuji tent that
Alegría will occupy when it hits Japanese soil, and met a very
important Cirque du Soleil fan -- Rie (and some of her friends)! Many
might know Rie from her website or through CirqueTribune and I will
say right now it was a pleasure to meet her. I had such a great time!
(Hi Rie!) I won't even tell you how much sake I had...
I shant bore you with tales about my Japanese trip within the confines
of the Newsletter, though if you are interested in hearing more about
it, feel free to drop me a line using the email address at the end of
this message. This month we continue our belated coverage of CirqueCon
2004 in Vancouver, take a quick peek into KA, and listen as Wayne
discusses with us his adventures on-stage with Cirque du Soleil. Of
course, the biggest news this month is the press releases involving
KA, Cirque du Soleil's show at the MGM Grand in Las Vegas. We will
cover this new emerging show more in-depth next issue, since we were
pressed for time this month.
We hope you enjoy this issue of Fascination! If you have any questions
or comments please feel free to email them to us using the following
address: < CirqueFascination-owner@yahoogroups.com >.
- 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:
"CirqueCon 2004: Spectacles Abound"
By: Ricky Russo - Orlando, Florida (USA)
* Le Spectateur:
"Stepping into the Light"
By: Wayne Leung - Ottawa, Ontario (Canada)
* Parting Quote
* Subscription Information
* Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
The Newest Cirque -- KA!
------------------------
On September 15, 2004, the newest spectacle from Cirque du
Soleil was revealed -- KA. Since then, the media and fans have
been abuzz with many questions as the media campaign is kicked
off. Text from Cirque's recent press release involving the show
illuminates some of the better-hidden aspects of KA:
KÀ combines acrobatic performances, martial arts, puppetry,
multimedia and pyrotechnics to illustrate the nature of duality.
Created and directed by acclaimed theatre and film director
Robert Lepage, the show applies the visual vocabulary of cinema
to a live spectacle creating a vibrant narrative that conjures
an entire empire on stage.
KÀ tells the epic saga of separated twins-a boy and a girl-who
embark on a perilous journey to fulfill their linked destinies.
As the plot unfolds, danger lies in wait for them at every turn.
Archers and spearmen hunt the twins relentlessly, as their quest
takes them through a succession of challenging landscapes, from
mysterious seashore through menacing mountains and foreboding
forests.
Cirque du Soleil Founder and CEO, Guy Laliberté, describes KÀ as
"the most theatrical show we've ever done." It is scripted with
a strongly defined almost cinematic narrative, with clearly
identified characters and story arcs. The execution of that
narrative called for more technologically advanced visual
effects than Cirque du Soleil has ever attempted. "That's why I
wanted Robert Lepage to write and direct the show. With his vast
experience in theatre and film, his knowledge of the technology
and his curiosity and innovative spirit, he was the only man for
the job."
The KÀ Theatre is an astonishing performance space, seating
1,951 guests. "The arrival of KÀ is the crown jewel in the
renaissance of MGM Grand," says Gamal Aziz, MGM Grand president
and COO. "Throughout our reinvention, we have strived for the
best in dining, entertainment and service. With the unveiling of
KÀ, MGM Grand is taken to a new level."
The show's title, KÀ, is inspired by the ancient Egyptian belief
in the "ka," an invisible spiritual duplicate of the body that
accompanies every human being throughout this life and into the
next. That concept is also reflected in the show's visual
signature, which evokes the central theme of duality as
personified by the twins and the symbolic use of fire. The logo
is influenced by Asian iconography.
Special preview performances begin on November 26, 2004 at
8:00pm. One show per evening will be held from November 26th
through December 7th, where at that time a two show per-night
schedule will begin at 7:00pm and 10:30pm (though this may
change). KA is scheduled to perform Friday through Tuesday (Dark
Wednesday/Thursday). Children under five-years of age are not
permitted into the theater and guests under the age of 18 must
be accompanied by an adult.
Tickets are currently available for purchase at www.ka.com in
three categories. Section 102 (front and center) commands a
$150.00 US price, Sections 101, 103, 202 are $125.00 US and
Sections 201 and 203 are $99.00 US. All prices include tax.
So, who brings KA to us?
* Guy Laliberté - Guide
* Robert Lepage - Creator and Director
* Guy Caron - Director of Creation
* Mark Fisher - Set Designer
* Marie-Chantale Vaillancourt - Costume Designer
* René Dupéré - Composer and Arranger
* Jacques Heim - Choreographer
* Luc Lafortune - Lighting Designer
* Jonathan Deans - Sound Designer
* Holger Förterer - Interactive Projections Designer
* Michael Curry - Puppet Designer
* Patricia Ruel - Props Designer
* Jaque Paquin - Acrobatic Equipment and Rigging Designer
* André Simard - Aerial Acrobatics Designer
* Nathalie Gagné - Make-up Designer
For more information visit www.ka.com!
[Source: Cirque du Soleil Press Release]
More on the "Cirque Meets Beatles" Show
---------------------------------------
Thanks to Timothy McDarrah, intrepid reporter for the Las Vegas
Sun (and with the translating skills of fellow reporter Molly
Ball), we have more to report on plans for the Beatles-inspired
Cirque-produced show that will go into the Siegfried & Roy
theater at The Mirage. Among other interesting tidbits, the
article reveals that Dominic Champagne will indeed direct the
show, which will debut in early 2006. We'll quote some of the
material below from his article, which appeared September 10 in
his "Vegasbeat" column.
"According to a report this week in a French-language Montreal
newspaper, and confirmed to VegasBeat by two additional sources,
the new Cirque show will feature music by the Beatles, but will
definitely not be a production show similar to "Mamma Mia!,"
which wraps a plot around a popular music catalog. "It will
embrace the imagery and spirit of the Beatles, and the best of
what Cirque has to offer," Stephane Baillargeon of the newspaper
Le Devoir told us in a phone conversation Thursday.
The unnamed Beatles-themed show began life several years ago in
Cirque founder Guy Laliberte's Montreal living room when he was
visited by George Harrison after a Formula One race. The two
struck up a friendship and hit upon bringing a Cirque show to
London based on "Yellow Submarine," the psychedelic 1968
animated film. After Harrison died, Laliberte convinced Paul
McCartney, Ringo Starr and Yoko Ono to take in some Cirque
productions, and Laliberte eventually got from them permission
to use Beatles music in a show, Baillargeon explained. "In the
end they decided 'Yellow Submarine' as a show was too '60-
themed, and they wanted to do something that was more current."
Le Devoir reports that the deal is done. The contract, it
reports, "authorizes the creators of Cirque du Soleil to pick
from the richest catalog of the most famous rock band in
history. Even better, according to documents obtained by Le
Devoir, Cirque also got authorization to remix musical passages
at will. The Beatles have never before authorized sampling of
their catalog." [Source: Le Devoir, Las Vegas Sun, Keith
Johnson]
News on the Book Front
----------------------
While we're patiently waiting for the November release of the
English translation of the "20 Years Under The Sun" book, the
French-language version has already hit the stands. And in a
sad note, we've been told by the publisher that an English-
language translation of Jean Beaunoyer's tell-all "Dans les
coulisses du Cirque du Soleil" (Quebec Amerique ISBN#
2764402422) will not be forthcoming. Seems they haven't had any
inquiries into doing an English version, and nobody willing to
distribute it stateside.
Looking around the Web we saw some other Cirque-related titles
we thought would be of interest. "Franco Dragone, une
improbable odyssée" by Yves Vasseur is currently available from
Labor (Inconnue) (ISBN# 2804016455). This $28CDN book should be
of interest to any French-reading fans of Dragone's directing
work. But more interesting still is a forthcoming tome by Mark
Schreiber, "Dreams of the Solo Trapeze: Offstage with the Cirque
du Soleil" (Canal House ISBN# 0975466402). According to
Amazon.ca this book should be published around the first of next
year. We've tried to locate both the publisher and the author
but have had no luck so far. If this actually makes it to the
racks it might be quite interesting and, for most of us, easier
to read! [Sources: Amazon.ca, Quebec Amerique, ebay.com]
Cirque, New Years Style
-----------------------
La Nouba is on the ball with plans for New Years Eve - it's
already selling tickets for "special performances" at 6 and 9
pm. Patrons will receive a champagne toast, a limited-edition
full color souvenir program and a special show finale. Tickets
are also appropriately "special" with Category 1, 2, and 3
tickets going for $105, $93 and $79 respectively. [Source: All
Ears Net, Keith Johnson]
=======================================================================
CRQ-TV -- CIRQUE ON TELEVISION!
=======================================================================
* CIRQUE DU SOLEIL: FIRE WITHIN
-----------------------------
Network: Vitaya - Belgium (Europe)
-- Thursday's at 9:00pm
Network: Odyssey Television - Australia
-- Wednesday's 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)
-------------------------
Things have been busy over at Cirque's Internet division. The "Ka"
website has opened up (accessible off the main Cirque Club page) with
photos, videos, even musical samples! Cirque claims it to be "highly
interactive" so one should look through it with a keen eye. Some have
complained that the site is slow to load up, we suspect that might
have been because of heavy initial usage, though the images are Flash-
heavy. You can also find an article announcing the forthcoming show
in the Press Release section.
In addition Cirque had fan contests to attend record release parties
for their new CD compilation "Le Best Of" in Montreal and New York,
though the deadlines for entering have passed - sorry. And not
mentioned in Cirque Club proper, Cirque is again offering tours of its
facilities September 25-26, this time along with the entire
Tohu/National Circus School complex, as part of "Les Journées de la
culture".
But the highest compliments this month go to Cirque for its revamping
of their Boutique. And it's a complete transformation, from
formatting to the way products are organized. Many new products are
available, including show posters, collectibles and other memorabilia,
even merchandise from "Kà". We'd like to see a "coming soon" section
where you might be able to pre-order soon-to-be-released merchandise
(such as the Fire Within and La Nouba DVD's or the 20th Anniversary
book in English). We'd also like to see a revamping of the draconian
shipping charges, based on dollar value of the order rather than true
weight. We'd end up paying $20 dollars in shipping for the lovely-
but-light $195 Varekai Structure Necklace, yet the considerably
heavier $35 "O" book would only cost us $7 in shipping. Go figure.
If you had the old Boutique in your Internet Favorites you might want
to go to the Cirque site and copy in the new page. The old pages are
still up and don't re-direct.
In Cirque marketing messages:
Karina, Varekai crew member wrote of leaving Boston:
"After tear down in Boston, and saying goodbye once again to one of my
favourite cities in the States, we headed by car to Washington, D.C.
After a nine-hour drive on a short night of sleep, it was time to
raise the Grand Chapiteau once again! Because of serious weather
conditions - specifically Hurricane Frances, which struck Virginia,
less than an hour and a half away - the big top raising was delayed.
It's a little intimidating to realize how much our lives on tour
depend on the weather. It may be a trivial subject for some, but for
us, it dictates how and if operations will run smoothly.
The day started cloudy and we thought we might be lucky enough to
escape the rain for the raising. Despite a tornado watch for the
Washington, D.C. area the crew charged full steam ahead, and as luck
would have it, despite a little bit of rain every half hour or so our
tent crew managed to raise the Grand Chapiteau successfully and
safely. Thankfully we were spared the winds and dangerous conditions
of a tornado.
I know I may be repeating myself, but even after two and a half years
on tour raising the Grand Chapiteau amazes me. Seeing how we pull
together as a team to make everything happen reminds me how very lucky
I am to be able to work on tour."
Above text courtesy of Cirque Club.
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
Note that any information in brackets [] is UN-official information
and subject to change.
[Touring Shows]
Alegría:
* Toronto, Ontario -- Ontario Place
Dates: Aug 19, 2004 to Sep 26, 2004
* Tokyo, Japan:
Dates: Oct 29, 2004 to Jan 23, 2005
* Fukuoka, Japan:
Dates: Feb 9, 2005 to Apr 3, 2005
* Nagoya, Japan:
Dates: Apr 20, 2005 to Jun 12, 2005
* Osaka, Japan:
Dates: Jun 25, 2005 to Aug 10, 2005
Cirque 2005:
* Montreal, Quebec, Canada -- Jacques-Cartier Pier
Dates: Apr 21, 2005 to May 29, 2005
* Quebec City, Quebec, Canada -- Galeries de la Capitale
Dates: Jun 30, 2003 to Jul 10, 2005
Dralion:
* Antwerp, Belgium -- Gedempte Zuiderdokken
Dates: Aug 12, 2004, to Oct 3, 2004
* Madrid, Spain -- Recinto Ferial, Casa de Campo
Dates: Oct 15, 2004 to Nov 21, 2004
* London, England -- Royal Albert Hall
Dates: Jan 6, 2005 to Jan 30, 2005
* Rotterdam, Netherlands -- TBA
* Barcelona, Spain -- TBA
* Oostende, -- TBA
Dates: Jul 21, 2005 to Aug 7, 2005
Quidam:
* Sydney, Australia -- The Showring, Fox Studios
Dates: Aug 12, 2004 to OPEN
* Brisbane, Australia -- Kingsford Smith Drive
Dates: Nov 4, 2004 to TBA
* Auckland, New Zealand -- TBA
Dates: Dec 31, 2004 to OPEN
* Melbourne, Australia -- TBA
Dates: Mar 4, 2005 to OPEN
* Adelaide, Australia -- TBA
Dates: May 12, 2005 to OPEN
* Perth, Australia -- TBA
Dates: June 30, 2005 to OPEN
Saltimbanco:
* Frankfurt, Germany -- Next to the Jahrhunderthalle
Dates: Aug 20, 2004 to Sep 25, 2004
* Rome, Italy -- Viale Cristoforo Colombo
Dates: Oct 7, 2004 to Oct 31, 2004
* Lille, France -- Esplanade Champ de Mars
Dates: Nov 25, 2004 to Dec 26, 2004
* Manchester, UK -- Trafford Centre
Dates: Jan 6, 2005 to Jan 23, 2005
* Birmingham, UK -- TBA
Varekai:
* Washington, DC -- Grounds of RFK Stadium
Dates: Sep 16, 2004 to Oct 24, 2004
* Dallas, Texas -- Fair Park
Dates: Nov 4, 2004 to Dec 5, 2004
[May Extend to Dec 19, 2004]
* Houston, Texas -- TBA
* Austin, Texas -- TBA
* Pittsburg, Pennsylvania -- TBA
* Baltimore, Maryland -- TBA
* Hartford, Connecticut -- TBA
* Columbus, Ohio -- TBA
* Detroit, Michigan -- TBA
* Tampa, Florida -- TBA
* Miami, Florida -- TBA
[Resident Shows]
La Nouba:
* Two shows Nightly - 6:00pm and 9:00pm
* Performs: Tuesday through Saturday, Dark Sunday/Monday
* Location: Walt Disney World Resort, Orlando (USA)
* 2004 Dark Dates:
-- October 17th - 20th -- December 6th - 13th
Mystère:
* Two shows Nightly - 7:30pm and 10:30pm
Beginning June 13th: Except Sundays; 4:30pm and 7:30pm
* Performs: Friday through Tuesday, Dark Wednesday/Thursday
Beginning June 9th: Wednesday - Sunday, Dark Monday/Tuesday
* Location: Treasure Island, Las Vegas (USA)
* 2004 Dark Dates:
-- October 3rd, 6th -- November 28th
"O":
* Two shows Nightly - 7:30pm and 10:30pm
* Performs: Wednesday through Sunday, Dark Monday/Tuesday
* Location: Bellagio, Las Vegas (USA)
* 2004 Dark Dates:
-- October 11th - 13th -- December 6th - 21st
Zumanity:
* Two Shows Nightly - 7:30pm and 10:30pm
* Performs: Tuesday through Saturday, Dark: Sunday/Monday
* Location: New York-New York, Las Vegas (USA)
* 2004 Dark Dates:
-- October 10th - 13th -- December 1st - 20th
-- November 28th - 30th
KA:
* Two Shows Nightly - 7:00pm and 10:30pm
* Performs: Friday through Tuesday, Dark Wednesday/Thursday
* Location: MGM Grand: City of Entertainment, Las Vegas (USA)
* Note: One show nightly at 8:00pm from Nov 26 to Dec 7.
=======================================================================
DIDYAKNOW? -- FACTS ABOUT CIRQUE
=======================================================================
In the last three years we've had the honor of meeting and talking
with many current and former Cirque artists about a variety of
subjects. While we can't reveal identities, since several of them
still work for Cirque, we think some of the things they have to say
would be interesting to fans and aspiring artists and musicians. So,
over the next several months, we'll feature some questions we posed to
Cirque performers and their answers -- "In Their Own Words".
We asked a Cirque artist on the mobility of being a professional
musician:
"I have had a very mobile life due to the ever-changing nature of the
business. But I don't think that being mobile is an exclusive trait
to the music business. I am starting to discover that to be truly
successful in any business or career, you have to be willing to be
"liquid" and not get too comfortable in any one place forever. The
people that I have seen not do this have stagnated or missed
opportunities that would never come again. The fact that I have been
open to change, and being "uncomfortable", has led me to this place in
my life. I look back on the toughest, most uncomfortable times in life
and they were when I was "on the move". But they were also the times
when I was playing at my peak and composing my best stuff. So it's a
trade-off. But being "willingly mobile" is a vital factor for anyone,
not just musicians, to be truly successful and long-lasting."
=======================================================================
LE SPECTACLE:
"CirqueCon 2004: Spectacles Abound"
By: Ricky Russo - Orlando, Florida (USA)
=======================================================================
It's 6:30pm on Saturday, May 22nd and what a day it's been up to now.
I started our drizzling morning down in Stanley Park, a large green
center in Vancouver, with Keith, Lucy and the rest of his party, who
wanted to take a horse and carriage ride around the park. I was
certainly up for that; it actually turned out to be quite nice even in
the rain. Getting a chance to see the skyline was great, as well as
the totem poles Vancouver is so well known for.
The horses Moses & Jim (a Clydesdale and a Belgian breed) led the
charge through an hour or more ride through Lord Stanley's Park (the
same Lord Stanley who owns that nice shiny silver cup; Hockey fans
will know what I mean). The ride was very relaxing, however, even
though it was a nice distraction from the city, we ended up running
into trouble on the way to our next gig -- the merchandise meeting,
which was changed at the last moment to a conference room at the
Georgian Court Hotel instead of being on-site as originally planned.
One of the surprises Cirque du Soleil had in store for us was a focus
group meeting with Geneviève Bastien, Project Manager of Licensing at
Cirque. She flew all the way from Montreal to ask our opinions on new
and exciting licensing avenues Cirque may be interested in exploring.
It became one of the most fascinating aspects of our gathering
because, as I see it, most fans don't get a chance to speak with
Cirque on this level, and we were privileged enough to speak with
Geneviève on the types of merchandise we wanted to see! For example,
we spoke about authentic show collectibles, home decor, "cirque like"
adult clothing, behind the scenes books, clothing/items for pre-
schoolers, etc. We spent about an hour discussing individual topics
from action figures to video game licensing; it was such an
interesting experience! And, of course, one of the most requested
items was more live audio recordings of Cirque du Soleil's
productions.
At 1:30pm, we were all met with red clown noses and black Barron hats
(from Saltimbanco), at the big top for our extensive behind-the-scenes
tour of the site, our second big surprise from Cirque du Soleil. The
media was on hand and for a while it truly felt like a circus. Jeff
Tolotti, Keith Johnson and I (Ricky Russo) -- the organizers of
CirqueCon 2004 in Vancouver -- became lost in this sea of mass
confusion, as we had microphones thrust upon us, our pictures taken at
will and questions asked randomly. For a few moments it was
overwhelming, but once the tour began I forgot all of that, and
prepared to be astounded. And what an amazing tour of the site we had
too; to places I would not have thought possible...
* The kitchen, where we saw Mark Ward ("John"), André (the new
male singer), and various other cast and crew in different
stages of show preparedness taking in some nourishment.
* The Technical Trailer, where the crew keep the various
technical aspects of Quidam in top form. The trailer is aptly
named too - the "Phoenix". The old one, as the story goes,
burned down in Europe and the current one rose from its ashes.
* Behind the Stage, where show props like the German Wheel,
various ropes, skateboards, the house door and the big red
balloon are parked in what they call the "garage." We were even
given a chance to peek under the stage and see exactly how the
artists see to get to and from their marks -- snake lighting!
Inside was buzzing with activity; the technicians were testing
the lighting cues and the téléphérique, the long track structure
atop the big top.
* And, the Artistic Tent, where the performers loosen up, dress
and apply their make-up. You'll find the artists here during the
show when they're not on cue. The artistic tent is the second
largest structure besides the main venue and doubles as a
training facility and massage parlor. A few of the artists were
even practicing as we went through!
We had barely recovered from our Behind the Scenes tour, when Cirque
announced their third surprise -- Tapis Rouge. Tapis Rouge, which
literally means "red carpet" in French, is Cirque du Soleil's VIP
experience, reserved exclusively for patrons who wish to experience
Cirque du Soleil to the fullest. As Cirque Passionates, the Tapis
Rouge was the ultimate social gathering. For over an hour we were able
to mingle with Vancouver's elite, talk with the Canadian press and
enjoy Cirque du Soleil's gracious hospitality. Inside this special
yellow-and-blue stripped tent was an array of delicious foods,
exceptional wines & champagnes, and a wonderful atmosphere. Video
projections of Quidam, Dralion and other Cirque du Soleil productions
were strewn upon a remarkable circular screen suspended from the
ceiling in the middle of the Tapis Rouge Chapiteau and were
accompanied by pulsing music from the Solarium CD.
Tapis Rouge was simply awesome.
The media was still buzzing around and I was being pulled in several
directions at once, which was a very disconcerting experience.
CirqueMom and CirqueDad, the parents of Catherine Downey (one of the
current Zoë's) and BJ, the show's drummer, came by to say hello as
well. Fans had chatted with BJ online twice from Japan and it was a
real treat to finally meet the man behind all those words! And let us
not forget about those reporters, who pulled me aside to talk about my
website (Richasi's Le Grand Chapiteau --
www.azlance.com/~richasi/Cirque/), the newsletter (The Fascination!
Newsletter), and, of course, about CirqueCon. All too soon though our
Tapis Rouge experience was over and another CirqueCon special event
came to a close.
But as they say, the party isn't over until its over... and we
continued our celebration at the Old Spaghetti Factory down in
Gastown. Imagine 30 Cirque fans from across North America slurping
pasta together! Which is where I've just come from. It was definitely
a treat to dine with 30 cirque fans as we slurped pasta. André
Bellanger joined us as well as some independent reporter for Radio
Canada, who was shoving a mic in everyone's face throughout the meal.
And so, with a little more than an hour to spare, I find myself on my
bed at the B&B, awaiting the curtain call for tonight's show! Thus
far, I must say, even with the last minute problems and changes in
schedule, things have turned out better than I expected. Cirque has
really gone all out for us, and for that I tip my hat -- a baron's hat
-- at them, which they also gave to us as a gift. Tonight, after the
show, we have a Q&A with some of the artists and a possible (though
its very tentative yet) hangout session with BJ (Quidam's drummer)
after that. So, there's still some great Cirque events to come!
(To Be Continued...)
=======================================================================
LE SPECTATEUR:
"Stepping Into the Light"
By: Wayne Leung - Ottawa, Ontario (Canada)
=======================================================================
After reading Keith's account of being picked from the audience at La
Nouba to participate in the bike jump stunt (in last month's issue of
Fascination!) I felt compelled to write about a couple of my own
experiences "up close and personal" with Cirque du Soleil.
Cirque director Franco Dragone once wrote a speech for Alegría the
Film, one that was probably based on a speech he himself had given to
cast members, "We do the show for the people in the dark, they need
us. You know, life is very tough. Life is very hard, it's very
cruel. When you step over that line into the light you have a certain
responsibility to the people in the dark. You've got to be strong.
You've got to take all your pain and bury it inside your costume. For
twenty-two hours you can be just like them . . but for two hours
every night, you're not allowed to let life in."
The purpose behind Dragone's speech is to motivate the cast members to
create a magical universe for the show, an alternate reality that will
allow the audience to escape from the woes of everyday life. But what
if it were possible for a regular audience member, one of the "people
in the dark," to step over that line from the dark into the light and
enter Cirque's magical universe, if only for a few fleeting moments?
Indeed, a few lucky individuals have the opportunity to do just that.
For me, it all began a little over a year ago; I was in Las Vegas on
assignment for Fascination!, covering the premiere of Zumanity.
Immediately after the show I ran into the college-aged girl who was
selected to go up on stage to participate in the group orgy scene.
She was still on cloud nine after the show. She was aflutter, busily
calling all of her friends and excitedly telling them about her romp
in Zumanity's "Garden of Delights." I remember thinking she was so
lucky, that it must have been such an amazing experience to
participate in a Cirque du Soleil show.
The night after the premiere my friend Matt and I attended a
performance of Mystère at the Treasure Island Resort. As the show
began Bébé François, a giant, diapered baby character emerged and
began bouncing a massive red ball. Eventually, he faced us and
bounced the ball in our direction. The big red ball landed square in
Matt's lap. Matt caught it and looked at me with a confused "what do
I do?" look. "Throw the ball back to him" I instructed, knowing full-
well what the consequences would be. Matt, a shy guy who's wary of
the spotlight, nervously got up, rolled the ball back to Bébé François
and quickly sat down to avoid further audience scrutiny. Bébé Fran
çois caught the red ball but rolled it right back to Matt. It landed
in the little gutter between the stage and the protective railing,
again right in front of my friend. The baby gazed forlornly at Matt
who was then reluctantly coaxed to get up and return the big red ball
a second time. I watched excitedly as Bébé approached and, with arms
reaching out to Matt uttered the word, "Papa!" The audience laughed,
spotlights trained on Matt and the baby. Matt stood frozen in the
spotlight with a mortified look of terror on his face. This was an
absolute riot for me and I was laughing hysterically. Bébé François
reached for his new-found "Papa", and eventually Matt reached back
only to have Bébé squirt him with water. The baby retreated and Matt
sat back down, wet and red-faced from embarrassment. I was still
laughing as the show began. Matt was breathing heavily, relieved that
his reluctant 15-minutes of fame were finally over.
Little did he know that Bébé François would be back during the
transitional sequence after the Bungee act when Bébé emerged driving a
golf cart through the thoroughfare between the lower and upper-tier
seats. He stopped at the top of our section and I saw Matt nervously
diverting his gaze. The audience was already laughing it up. The
baby cried "Papa!" and waved at Matt to come up and join him in the
golf cart. "Come on, go up there!" I commanded. He got up, climbed
the stairs and got into the cart only to be sped away out of the
auditorium into the backstage area. The audience applauded; the
archangel characters emerged on stage and began setting up for the
Fast-Track/Trampoline and Korean Plank number. As they were about to
begin the act the golf cart rolled onto the stage with Bébé François
and Matt, now also dressed like a baby! The audience was eating it
up; they laughed and applauded as the car drove off stage. Moments
later the cart re-emerged, only now it had apparently broken down and
poor Matt was left to push the golf cart across the stage while Bébé
François laughed intently.
A little later, while the act was in full-swing, Matt was discretely
ushered back to his seat. He was giddy with delight and we quietly
commented on how awesome the experience was. The usher returned a few
moments later with a souvenir photo of Matt on board the cart with
Bébé.
After the show Matt excitedly described his backstage adventure. He
briefly chatted with François Dupuis (Bébé) before being instructed by
a stage hand for his quick costume change. He said it was strange to
see cast members lounging backstage out of character, that it was very
surreal. He described the exhilaration of being on stage in the
spotlight surrounded by performers. He was so excited that he called
his friends and family back home to tell them that he had just
"starred" in a Cirque du Soleil show.
Later that night, we stopped at a bar called Tabu at the MGM Grand
while we were club-hopping around town. Some complete strangers waved
at us and started saying "Papa! It's Papa." It seemed that Matt's
encounter with the Cirque had turned him into a celebrity. I was
immensely jealous.
Almost exactly a year later the two of us were watching Alegría in
Toronto. I had the good fortune of securing seats front and center.
The show experience is very intense from that perspective. We were
able to observe every detail in the costumes and make-up, the
performances were so close that we felt a part of them. I remember
feeling the wind created by the trapeze artists as they flew directly
above my head, feeling the heat of the fire knives as the artist lit
them right in front of me, and feeling the full fury of the snowstorm.
Alegría, being a touring show, has a much more intimate stage set-up
than Mystère, and sitting in the front row actually puts you within
arms reach of the performers at times. Being up close allows for more
interaction with the characters on stage; the Old Birds nod at you,
Fleur will give you a scowl, the Nymphs smile and wink at you. The
experience draws you into the performance that much more.
For some mysterious reason, my friend and I have some unexplained
magnetism that attracts big red balls at Cirque du Soleil shows.
During one of the clown numbers in the first act, one clown (Vladimir
Olshansky) was trying to keep a big red ball away from the other clown
(Bouchon). Vladimir kicked the ball into the crowd and audience
members volleyed it about until I inadvertently punted the ball back
on stage. Vladimir approached me with mock annoyance and I looked
back with a guilty smile. My smile failed to appease the clown, who
then proceeded to come down the stairs, grab me by the collarbone and
mock-strangled me. I played along by miming exaggerated gagging
motions and flailed my head back and forth to the laughter of the
audience. I had a good laugh and was content that I finally had an
opportunity to interact with a character during a Cirque du Soleil
show. Little did I know that my encounter with the clown was not to
be my only character interaction of the evening.
Upon returning from intermission the house lights dimmed, the Old Bird
characters grabbed the lanterns and paraded around the scene, and the
White Singer (Joan Bluteau) waded into the crowd while singing her
song and flirting with the men in the audience. She made her way down
the aisle toward me and stopped to flirt with the guy across from me.
"Oh surely, he's the one she'll pick," I thought. But then she turned
around, gazed down at me and extended her hand. My heart jumped, it
was racing a mile a minute. I took her hand and rose from my seat.
The Angel characters stood in a circle around centre-stage and Joan
lead me through the opening they formed while still singing.
I could hear her un-amplified voice as we made our way to the middle
of the ring of Angels. Actually being on the Alegría stage surrounded
by the characters was such a surreal experience, standing in the
bright spotlights it felt as if I had stepped into a movie. I clasped
Joan's outstretched hand and put my arm around her waist, she put her
arm on my shoulder and we began to dance. I'll never forget the image
of gazing into her smiling face as we spun around in a circle while
listening to the sounds of the music and the crowd applauding in the
background. It was a sublime and magical moment.
Before I knew it I heard M. Fleur behind me muttering the command for
the Strong Man to take me away. All of the sudden I felt this strong
arm reach around my waist and pull me up and away from the singer.
The audience roared with laughter and I displayed a look of surprised
incredulity on my face. The Strong Man proceeded to carry me around
the stage and shook me like a rag doll. He spun me around for one
last look at the singer who was still singing to me. I played along
reaching back towards her, which elicited laughter and applause from
the crowd. I hadn't been picked up and carried like that since I was
a small child, and the experience was very disorienting. I had no
idea where I was relative to the scene, the spotlights so bright that
the audience was enveloped in a large swath of black. Eventually the
Strong Man plopped me down at the edge of the stage and I reclaimed my
seat. I was on a high for the rest of the night. I had a huge grin
on my face for the remainder of the show, which grew larger when Joan
smiled and winked at me while singing Alegría during the show's
finale.
As a spectator, being given the opportunity to step from the dark into
the light of Cirque du Soleil's stage is an exhilarating experience.
I hold a special place in my heart for Alegría and my magical
encounters with the characters of that show.
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PARTING QUOTE
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"I've worked on rock shows and things that have been quite
big, but never anything as big as this."
- Director Robert LePage on the Creation of KA.
=======================================================================
SUBSCRIPTION INFORMATION
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COPYRIGHT AND DISCLAIMER
=======================================================================
"Fascination!" is Ricky Russo, Keith Johnson, and Wayne Leung.
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2004 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
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