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Fascination Issue 027
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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 #27 "Kunya Sobé Maniévo Sadeil!" November 2003
=======================================================================
We're off and running again! You never know what will come up in the
search for information about our favorite circus... an amazing fact,
an previously unseen picture, or an errant statement. Regardless of
what information a search will yield, we always know we'll come across
something interesting.
Take a recent peek at the Garnier website for instance. A link posted
to the Cirque Club forum (www.cirqueclub.com) recently spoke about a
contest that Garnier, a hair-care company, and Cirque du Soleil were
running for the month of October. What the contest was isn't readily
apparent, but being super- slueths here at Fascination we checked it
out immediately. Our investigation quickly turned upside down when we
happened upon the Garnier website and were presented with the shocking
tagline: "Garnier is now proud sleeping partner of Circus of the Sun!"
-- Proud sleeping partner? What?! Of course, that's not what they
meant but, as Keith said, it sure "takes companies 'being in bed
together' to new levels!" And with Zumanity fever still amidst Cirque
fandom, it conjurs quite an image. Garnier doesn't make Herbal
Essence, does it?
There's a ton of great information to share with you this month, from
bigtops to calendars, so I'll dispense with the usual issue
introduction. But let me say that once again we have a packed issue
just bursting with Cirque goodness. I 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:
"A Visit to Cirque's Sanctum: CDS's IHQ Opens Its Doors"
By: Wayne Leung - Quebec City, Quebec (Canada)
* Special Engagement:
"The Third Leg of the Tripod"
By: Gary & Jill Chapman with Keith Johnson
* Behind the Curtain:
"The Houses of Cirque, Part 3: Le Grand Chapiteau"
By: Ricky Russo - Orlando, Florida (USA)
* Cirque Musique:
"Sampler du Cirque Musique"
By: Paul Roberts - Hamilton, Ohio (USA)
* From the Boutique:
"Cirque Calendar 2004"
By: Keith Johnson - Seattle, Washington (USA)
* The Cirque Connection:
"Cirque Creates a Childrens' Book?!"
By: Keith Johnson - Seattle, Washington (USA)
* Parting Quote
* Subscription Information
* Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Solstrom!
---------
It's now official! SOLSTROM, the new 13-episode, 1-hour variety
series will debut at 8:00pm, Sunday, November 30th on the
Canadian Brodcasting Company (CBC). Learn more about SOLSTROM
from the CBC website: <http://www.cbc.ca/cirquedusoleil/>.
[Source: Canadian Broadcasting Company; Ricky Russo]
Fire Within Wins 2 Gemini Awards
--------------------------------
The National Academy of Television Arts and Sciences in the
United States has the Emmy. In Canada, the Academy of Canadian
Cinema & Television award the Gemini, an award cut from solid
brass and mounted on a base of Belgian granite.
The website for the awards describes it as an optical illusion:
"Just as television is an optical illusion, so is the Gemini
Award sculpture, with the leading profile's twin backing it.
This three-dimensional view, profiles the partners behind and in
front of the camera, inseparable, and unable to exist without
each other." Cirque du Soleil was presented with two Gemini's
for "Best Direction in a Documentary Series" and "Best Reality
Based Entertainment Program or Series".
"After an Emmy last month, this honour from the Gemini Awards is
the crowning glory to the exceptional work on the part of Lewis
Cohen and the entire team that took part in this television
project," said Vincent Gagné, Executive Producer of the series
and Vice-President of Cirque du Soleil Images.
Fire Within is the 13-episode documentary series that explores
the creation of Varekai, Cirque du Soleils newest touring
production. The series has aired across Canada, the United
States and currently airs in Europe and Australia. [Sources:
Cirque du Soleil, Canadian Academy of Cinema & Television; Ricky
Russo]
Cirque at Festival of the Masters
---------------------------------
Walt Disney World presents an annual event of arts at the
Downtown Disney West Side and La Nouba will be part of the
festivities. From Friday, November 7th through Sunday, November
9th, take a peek at La Nouba as artists from the show perform
during the weekend event! Admission is free! The event is
crowned with a special Question & Answer session with the cast
of La Nouba on Saturday the 8th, by invitation only. Thanks to
CirqueClub, I have been invited to attend! Check in next month
for my experience at this years' Festival of the Masters and the
La Nouba Q&A! [Source: Cirque du Soleil; Ricky Russo]
Alegría In-Store -- San Francisco
---------------------------------
First Vancouver, then Seattle, and now San Francisco receives a
wonderful treat -- the Alegría band! The band will perform at
the Borders in Stonestown Galleria on Saturday, November 9th at
1:15pm! Borders is located at 233 Winston Drive in San
Francisco. Come by for good tunes and autographs! [Source:
Cirque du Soleil; Ricky Russo]
Quidam Tour Update
------------------
According to recent tour rumors, Quidam may visit more of
Canada, Australia, New Zealand, Korea, Hong Kong and Singapore
between now and 2006. And after that, Quidam may return to
Europe for a second European Tour. As of yet, no third North
American tour has been planned but as the old adage goes, this
information is subject to change at any time. [Sources:
CirqueDad on www.cirqueforum.com; Ricky Russo].
Join us for CirqueCon 2004!
---------------------------
May 22, 2004 is a date you'll want to mark on your Cirque
Calendar, as the Fascination Newsletter and Jeff Tolotti present
CirqueCon 2004 in Vancouver! Quidam is returning to the North
American continent and we've had a wild idea... why not partake
in the show? We've selected Saturday the 22nd as a day we all
can get together, so we hope to see everyone there! For further
information about this very special trip visit, please go to:
<http://members.cox.net/sfogviper/quidam/>.
Update to Last Month's Varekai Review
-------------------------------------
After we went to press with our massive review of Varekai stuff
last issue, we found out that the new 2-CD/1-DVD "special
edition" of the Varekai soundtrack is indeed available in the
Varekai concessions tent. So those of you attending the show
may be able to pick it up there, rather than ordering it through
the online boutique. Thanks to our local kind source for
pointing this out.
Errata
------
Sometimes a little mistake creeps into our text. We wanted to
thank the anonymous person who pointed out that we kept
crediting Johan and Ugo for the "2 Men Tango" in Zumanity, when
it is in fact Johan King Silverhult and Patrick King. Ugo's
moment comes in "Midnight Bath" with Vanessa. In fact, Johan and
Patrick are profiled in the November 11th issue of "The
Advocate" - they even made the cover! (Check our La Presse
section for a link to an article excerpt)
=======================================================================
CRQ-TV -- CIRQUE ON TELEVISION!
=======================================================================
* CIRQUE AND FRIENDS WEEK
-----------------------
Network: Bravo
Footprint: United States
Website: http://www.bravo.tv/
Note: All times are Eastern
* November 24th (Monday):
06:00am -- Nouvelle Experience
03:00pm -- Quidam
05:00pm -- We Reinvent the Circus
06:00pm -- Saltimbanco
08:00pm -- Alegría
10:00pm -- Saltimbanco
* November 25th (Tuesday):
12:00am -- Quidam
02:00am -- Nouvelle Experience
03:00am -- We Reinvent the Circus
04:00am -- Saltimbanco
05:00am -- We Reinvent the Circus
05:00pm -- Alegría
08:00pm -- Varekai
* November 26th (Wednesday):
01:00am -- Varekai
03:00am -- Fire Within Episode 1
03:30am -- Fire Within Episode 2
04:00am -- Fire Within Episode 3
04:30am -- Fire Within Episode 4
05:00am -- Fire Within Episode 5
05:30am -- Fire Within Episode 6
03:30pm -- Nouvelle Experience
05:00pm -- Varekai
08:00pm -- Dralion
10:00pm -- Nouvelle Experience
* November 27th (Thursday):
12:00am -- Dralion
02:00am -- Fire Within Episode 7
02:30am -- Fire Within Episode 8
03:00am -- Fire Within Episode 9
03:30am -- Fire Within Episode 10
04:00am -- Fire Within Episode 11
04:30am -- Fire Within Episode 12
05:00am -- Fire Within Episode 13
* November 28th (Friday):
12:00am -- Quidam
* December 25th (Thursday):
11:00am -- Le Cirque Reinvente
12:00pm -- Saltimbanco
01:00pm -- Quidam
03:00pm -- Varekai
* December 26th (Friday):
05:00am -- Saltimbanco
06:00am -- Le Cirque Reinvente
* NEW YEARS EVE WITH CIRQUE!
--------------------------
Network: Bravo
Footprint: United States
Website: http://www.bravo.tv/
Note: All times are Eastern
* December 31st (Wednesday):
07:00pm -- Quidam
09:00pm -- Varekai
11:00pm -- Alegría
* January 1st (Thursday):
01:00am -- Varekai
03:00am -- Quidam
05:00am -- Saltimbanco
* CIRQUE ON CANADIAN TV
---------------------
Network: CBC
Footprint: Canada
Website: http://www.cbc.ca/cirquedusoleil/
* November 30th (Sunday):
08:00pm -- Solstrom Premiere!
* CIRQUE DU SOLEIL: FIRE WITHIN
-----------------------------
Network: Vitaya
Footprint: Belgium (Europe)
Website: http://www.vitaya.be/
Note: Every Thursday at 9:00pm
Network: Odyssey Television
Footprint: Australia
Website: http://www.odysseytelevision.com/html/default.asp
Note: Every Wednesday at 9:30pm
* NOTE: Check your local listings for complete information. Schedule
is subject to change.
=======================================================================
CRQ.NET -- CIRQUE DU SOLEIL ONLINE
=======================================================================
This Month in Cirque Club
(By: Keith Johnson)
-------------------------
While things continue to be relatively quiet, there are hints of much
to come. Articles this month include a teaser about artists arriving
at the studio to begin work on the new MGM Grand show (the first of
what we think will be many as this show takes shape), a re-appearance
by gymnast Gareth Hopkins (of "Fire Within" fame) on Solstrom, and a
mention (but no details) on La Nouba's involvement in Walt Disney
World's Festival of Masters. The most interesting article is on the
arrival of "official jester" Francois Gourd, whose job is to "inject a
little zaniness into life at Cirque's International Headquarters." It
sounds like things are going to be different around the headquarters
from now on, and we hope CirqueClub will cover it all!
La Presse: Links to the News
----------------------------
1) [Cirque du so Gay -- The Advocate]
< http://www.advocate.com/html/stories/902/902_zumanity.asp >
2) [Life on tour with Cirque du Soleil -- Inside Gymnastics]
< http://www.insidegymnastics.com/news/article.asp?article=00357 >
3) [Cirque Returns to Canada -- Canadian Newswire]
< http://www.newswire.ca/en/releases/archive/October2003/07/
c8761.html >
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
Note that any information in brackets [] is UN-official information
and subject to change.
[Touring Shows]
Alegría:
* San Francisco, California -- Pacific Bell Park
Dates: Nov 6, 2003 to Dec 14, 2003 **EXTENDED**
[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 -- Cumberland Galleria
Dates: Mar 25, 2004 to Apr 11, 2004
[May extend to Apr 18, 2004]
* New York City, New York -- Randall's Island Park
Dates: May 6, 2003 to June 6, 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:
* Mexico City, Mexico -- Gran Carpa Sante Fe
Dates: Oct 2, 2003 - Nov 30, 2003 **EXTENDED**
[May extend to Dec 14, 2003]
* London, United Kingdom -- Royal Albert Hall
Dates: Jan 9, 2004 to Feb 1, 2004
* Amsterdam, Netherlands -- Next to Amsterdam Arena (P2)
Dates: Feb 27, 2004 to May 2, 2004
* Vienna, Austria -- TBA
* Antwerp, Belgium -- TBA
Quidam:
* Fukuoka, Japan
Dates: Oct 22, 2003 to Dec 7, 2003
* Tokyo, Japan
Dates: Dec 24, 2004 to Mar 7, 2004 **EXTENDED**
[May extend to Apr 4, 2004]
* Vancouver, BC, Canada -- Concord Pacific Place
Dates: May 6, 2004 to May 30, 2004
[May extend to June 13, 2004]
* Calgary, Alberta, Canada -- TBA
Dates: June 24, 2004 to July 18, 2004
[May extend to August 1, 2004]
Saltimbanco:
* Zürich, Switzerland -- Glatt Shopping Center
Dates: Sep 19, 2003 to Nov 16, 2003 **EXTENDED**
* Valencia, Spain -- Valencia Port
Dates: Nov 28, 2003 to Dec 21, 2003
[May extend to Jan 04, 2004]
* Seville, Spain -- Recinto Ferial **NEW!**
[Dates: Jan 16, 2004 to Feb 1, 2004]
* Lyon, Spain -- TBA
* Milan, Italy -- TBA
* Nice, France -- TBA
* Basel, Switzerland -- TBA
* Rome, Italy -- TBA
Varekai:
* Los Angeles, California -- Staples Center
Dates: Sep 12, 2003 to Nov 23, 2003 **EXTENDED**
* 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 -- Westworld of Scottsdale
Dates: April 29, 2004 to May 16, 2004
[May Extend to May 23, 2004 /
Tickets may go on sale Early Oct, 2003]
* Denver, Colorado -- TBA
Dates: June 3, 2004 to June 27, 2004
[May extend 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
* 2004 Dark Dates:
- February 1st through 4th
- March 14th through 17th
- May 2nd through 5th
- June 20th through July 5th
- August 22nd through 25th
- October 17th through 20th
- December 5th through 13th
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
Zumanity:
* 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
=======================================================================
-- Did you know that Alegría has the most families touring with it?
Which begs the question... which show has the most single people
touring with it?
-- Did you know La Nouba has 20 motorized line sets, 1400 lighting
instruments (of which 60 move) and 18 cameras that are automatically
controlled?
-- Did you know that "O" and Mystère entertain about 33,000 guests
each week?
-- Did you know that Seattle and Portland were not originally on the
Saltimbanco Asia Pacific tour? Cirque originally planned to have the
show go from Hong Kong directly to Tokyo; however, negotiations for a
site had not been finalized. And, since Cirque would ship the tour
through the Northwestern United States, a decision was made to stop
there!
-- Did you know that the creation process for La Nouba lasted 100
days?
-- Did you know that Cirque's touring shows operate in a completely
self-sufficient "village on the move", which includes the Grand
Chapiteau, artistic tent, box office, kitchen, school, offices,
warehouses and more?
=======================================================================
LE SPECTACLE:
"A Visit to Cirque's Sanctum: CDS's IHQ Opens Its Doors"
By: Wayne Leung - Quebec City, Quebec (Canada)
=======================================================================
As we drove north down 2nd Avenue in Montreal the sky was overcast.
Even though it was raining outside we knew the "soleil" would be
shining inside the Cirque du Soleil's International Headquarters.
As a part of a Québec government initiative called "Les Journées de la
Culture," where cultural institutions throughout the province open
their doors to the public on the weekend of September 27 and 28, 2003,
Cirque du Soleil held its annual Open House at the Company's
International Headquarters.
Being such an avid fan of Cirque du Soleil's live shows I couldn't
refuse the invitation to visit their studio and catch a glimpse of how
the magic is created. So I brought a friend and fellow Cirque fan to
tour the sanctum of this creative empire.
Cirque du Soleil's International Headquarters (IHQ) is a sprawling
complex located in the St. Michel district in the north of Montreal.
The building is a modern fortress, sitting alone on a large plot of
land. At first glance the exterior of the IHQ is very industrial
looking; aluminum siding, large windows and a sprawling parking lot.
However, there are little artistic touches to the exterior that hint
at the work of the buildings occupants; walls painted blue and yellow
(Cirque's company colours), exquisite landscaping including a large
vegetable garden, and artwork such as a large metal sculpture
depicting a chair balancing act.
The interior of the building also has a modern, industrial feel; the
buildings support beams and pipes are visible, there are big bay doors
that lead into the various studios, and aluminum siding is used inside
as well. Though industrial the building isn't cold. It is clean,
comfortable and made quite fanciful by the addition of artwork located
throughout the complex including costumed mannequins and posters from
the various shows as well as non-Cirque art. In fact the IHQ features
an exhibition area for local artisans called Atelier's Alley explained
in the handbill we received; "To provide an inspiring workplace and
show our support for the arts community, Cirque du Soleil regularly
invites visual artists to show their work at our International
Headquarters."
When we first arrived I realized how crowded it was going to be. The
Cirque is one of Canada's foremost cultural institutions and I found
that we weren't alone in our curiosity of the inner workings of the
organization. As soon as we entered the South door we became part of
a large crowd being greeted by costumed employees. Instead of feeling
like Alice in Wonderland I felt more like Alice in
Disneyland...waiting in a huge line for a ride! Nonetheless I was
excited about what the day had in store. A Baroque character from
Saltimbanco soon gave us little handbills that provided brief
descriptions of the exhibits on display for the event.
We followed the crowd to the first exhibit, the Costume Workshop. The
long line of guests made their way slowly through the large
fluorescent-lit workshop where various costume pieces were on display.
Others, partially completed, could be seen strewn amongst the fabric
processing machines in the shop. It was a treat to look at and admire
these works of art close up, and also speak to the costume makers
about their craft.
The first stop in the Costume Workshop was the shoe station where
footwear such as the reptilian slippers of the Varekai creatures and
the muscle-vein boots of the Bateau acrobats from "O" were on display.
We then proceeded to the textile station where a half-made Varekai
Water Meteor costume sat on a bench surrounded by samples of all of
the different fabrics and materials used in the it's creation. Here,
a costume maker explained that most of the fabrics used in the
costumes are dyed and/or printed in house. I took the time to
carefully examine the specimens of iridescent blue and green fabric
and the plumes used for the belt. We were also shown how the suit
itself was padded with foam to give distinctive shape to the legs and
sleeves. I flipped through a thick binder documenting the fabrication
process for the Water Meteor outfit. Every detail of the costume
making process is meticulously documented here with photos and
detailed written instructions as well as samples of all the materials.
The last station of the first area featured some completed costumes
including two exquisite Dralion heads; their fine detail even more
noticeable from up close.
Walking through a narrow thoroughfare to the next exhibit I really got
a sense that this was a workplace when I caught a glimpse of a
bulletin board where, amongst the ads and personal notices, was an e-
mail congratulating the workshop for its excellent work on the
costumes for the recently opened Zumanity.
The next part of the costume workshop featured the headwear station
where all of the hats, masks and wigs are made. Amongst the many
fascinating items on display were African masks worn by the Dralion
hoop divers, the Double Face mask and Taiko Tribe headpieces from
Mystère, several Old Bird masks from Alegría, the large bird beak worn
by a character in "O" and the latex pseudo wigs worn by characters in
Zumanity. The wig station featured the intricate hairstyle worn by
the Washington Trapezist in "O" and the contortionists' wigs from the
same show. The wigmaker informed us that some wigs are made of real
human hair while others are made from strands of synthetic material
(which she showed). Others still are made from horsehair, such as the
leggings worn by Jésus the satyr character in Zumanity on display
behind the wigs.
Next, we made our way down the stairs to the Props Workshop where
half-made items were on display. The latex mold used for making the
head of the Moha-Samedi puppet from Mystère was on display as well as
an unpainted puppet head. The lighted-acrylic chairs used in a dance
sequence in Zumanity were also being made by forming acrylic tubes to
match the shape of a regular wooden chair.
One of the more fascinating pieces was a framework of chrome coloured
exhaust pipes, worn as one of designer Thierry Mugler's fanciful
costumes from Zumanity. The pipes are actually made of rubber so they
are light enough to wear as the costumes belt.
The props workshop is also where all Cirque du Soleil artists go to
get plaster molds made of their heads for costume purposes. All of
the headpieces are tailor-made on a mold of the artist's head to fit
each specific performer exactly. On display were two of the most
recent plaster molds, Flemming and Brigitte Thomsen, the Pacemakers
(acrobatic dance duo) from Zumanity.
Upon leaving the costume workshop, and traversing corridors decorated
with framed advertising posters from previous engagements of various
Cirque du Soleil shows we reached the training studios artists
currently performing for Cirque perfect their acts. The first studio
was set up as a makeshift cinema showing "Sans Filet" (the French-
language version of Fire Within). We sat down and watched for a few
minutes. It was a surreal experience to watch the documentary inside
the building where much of it was filmed. Proudly displayed at the
door to the theatre was the Emmy award the program had won just a few
weeks prior (the statuette is so new they have not even received the
engraved plaque for it yet).
In the common area between training studios costumed employees (a
Corporate Drone from Nouvelle Expérience, another Baroque from
Saltimbanco and a Water Sprite from Dralion) waded through the crowd
between exhibits featuring the advertising and graphic design of
Cirque where programs and television and radio ads were prominently
featured.
I chatted briefly with Aerial acrobatics coach André Simard who told
me he was currently hard at work for the next production (Cirque
2004). He manned a display featuring props and rigging used for
Cirque's aerial acts. He demonstrated a special safety harness rig he
designed for Cirque aerialists to use. Also prominently displayed
dioramas of sets for Cirque 2004, a permanent production at the MGM
Grand in Las Vegas. The model set featured many curvaceous metal
sculptures and large set pieces reminiscent of a ship's mast.
After strolling through a museum-like exhibit on the history of aerial
circus arts, as presented through posters and artwork, we made our way
into the large training Studio A/B to watch the artists in training.
For the benefit of the guests, the training studios were lit with
theatrical lighting rigs and the artists wore (presumably used)
costumes from various Cirque shows. Throughout the day several
different acrobatic acts were being rehearsed; Flying trapeze, Aerial
Hoops, Chinese Poles, Body Skating and Bateau (aerial act from 'O').
For the majority of the time artists simply practiced individual
skills, but a few times every hour they would convene to perform full-
length routines to music (though not to Cirque music and without the
signature choreography that joins all of the acrobatic skills in a
show). I sat in on a presentation from a team performing Korean
Plank, a group of Body Skaters dressed in Varekai costumes and two
guys and a girl performing a beautiful Aerial Hoop number.
In the adjacent Studio E a team was practicing Spanish Webs and
Russian Swings. One swinger jumped off the swing and landed in a
giant pit filled with large foam cubes.
All too soon the time came when the days activities wound down and
Cirque again closed its doors to the public. I found myself wishing I
had more time to explore the headquarters and interact with the staff,
to meet the coaches and some of the artists-in-training.
Though the event was set up with the public in mind; with special
exhibits, costumed staff, carnival atmosphere and halls flooded with
guests, it was hardly indicative of a "typical" day at the
headquarters. Still, I was very grateful to have the opportunity to
admire the artistry and skill behind the creation process of the shows
I love so much. It was a special treat to examine recognizable
costumes and props close up, catch glimpses of future performers, and
meet some of the coaches and support staff at Cirque du Soleil. I'm
already looking forward to next year's open house!
[Check out images from Wayne's journey at the Cirque du Soleil
Headquarters at Fascination's Foto Section at http://groups.
yahoo.com/group/CirqueFascination/ - once signed in click "Photos"
on the left-hand side, then click on "Issue #27" to see the
pictures!]
=======================================================================
SPECIAL ENGAGEMENT:
"The Third Leg of the Tripod"
By: Jill & Gary Chapman (Guests), with Keith Johnson
=======================================================================
While we're all aware of Cirque's artistic side through its shows and
products, and have a tacit understand of Cirque as a business, not
many are aware of the third leg of the tripod that supports the Cirque
du Soleil organization, the "Social Action" side. "One reason Cirque
du Soleil exists at all is that one day, a group of older people chose
to believe in younger people, regardless of their image or the fact
that they came from the street," states Cirque's Cirque du Monde
brochure.
Long ago Cirque as a corporation made the commitment to dedicate 1% of
revenues each year to "Social Action" programs. The key word here is
"revenues," being the amount of money you take in before any
expenses such as salaries or taxes are paid. Many other companies
efforts are based on percentages of "profit" which is money left over
after all costs are paid. With that one small word change, Cirque
guarantees that 1% of whatever it takes in through ticket,
merchandise, and food sales will go to programs, regardless of whether
the company makes profit, breaks even, or loses money. What's more,
their efforts are kept low profile and out of the spotlight.
Their focus is on helping youth at risk, working in partnerships with,
among others, French-Canadian agency Jeunesse du Monde and OXFAM, as
well as through donations, benefit performances, and other
institutional support programs. One of these programs is "Cirque du
Monde."
Created in partnership with Juenesse du Monde, Cirque du Mondeis a
marriage of circus arts and social action. It goes to where kids at
risk are, to all parts of the globe. Its purpose is to enhance
youth's self-esteem through the acquisition of circus skills. Youth
come together under the guidance of an instructor who wants to
practice his/her art in a social intervention context. The
instructors help the children learn skills and put on a performance in
their hometown. For some of these youth it is literally a lifesaver,
where the only other alternative is street life with its violence and
poverty. There is also a new program "Arts du Monde" which takes the
"Cirque du Monde" concept and applies it to other arts outside of the
circus realm.
Cirque du Soleil describes Cirque du Monde as, "an opportunity for a
positive personal experience which can act as a catalyst in terms of
self-esteem and identity." By "holding circus workshops for youth at
risk, in close collaboration with community organizations working with
these young people, Cirque du Monde is an intervention tool aimed at
promoting the personal and social development of youth in difficulty."
The program is "based on a pedagogical approach that brings together
artistic expression and social intervention."
The program was created in 1993 (this year marks its 10th
anniversary!) and held its first workshops in 1995 in six cities. It
was shortly after that that the first documentary about Cirque du
Monde, "When the Circus Came to Town," was filmed by the director of
"Cirque for Life," Luc Cote of Adobe Productions. The program is now
in 39 communities on five continents.
"Cirque for Life" is a document of a Cirque du Monde session, produced
by Adobe Productions (www.adobeproductions.com) and directed by social
documentarian Luc Cote. It recently had its American premiere in
Portland during Alegria's run there, as a fundraiser for local youth-
at-risk agency New Avenues For Youth.
And for that, you can thank Kate Mytron (pronounced "My-tron").
IT WAS ALL STARTED BY A FAN
---------------------------
Kate, like all our readers, is a big Cirque fan. She was fortunate to
get hooked on Cirque early, during their breakthrough performances at
the Los Angeles Arts Festival back in 1987. But it wasn't until she
got the CirqueClub email about Alegria's Portland ticket presale that
she became aware of the documentary "Cirque for Life" (which got a
small mention at the bottom of the email). After checking out the
production company website things began to click in her mind. "Because
I have worked a lot with young people as a volunteer, I thought it
would be great to have a screening for a local non-profit in Portland
during the Alegría run. I worked in L.A. doing movie premiers and
screenings, so I knew I could do it."
So she sent off an email to documentary director Luc Cote - was a
local screening already scheduled? No, came the reply. "Well," she
asked, "Would you mind if I looked into doing one?" Mr. Cote warmed
to the idea, with Kate suggesting it take place during Alegria's run
in Portland.
What about the film, was it worth showing? A preview copy sent to
Kate provided the answer. It was a funny, engaging documentary (which
we review below). But where to hold the premiere? Kate was aware of
"Cinema 21" a downtown Portland theater that was a local independent
art house with a strong audience base that had screened documentaries
in the past. So Kate contacted Tom Ramieri, owner of Cinema 21 to see
if he would be open to the idea of a screening at his theater. After
viewing the preview video, Mr. Ramieri obliged.
So Kate had a time frame, OK from the producers, and a theater willing
to screen it. All she needed was a local agency to benefit from it.
But while she was trying to make that connection, the wheels of
Cirque's Social Action team were turning in another direction...
A SOCIAL AFFAIR
---------------
As part of its Social Affairs program, Cirque believes in being
involved in local communities both in their "home" offices of
Montreal, Amsterdam and Las Vegas, and in cities where they visit. So
even before ticket sales are announced for a city, Cirque looks for
a local partner organization.
In many cases these partnerships have already been established from
previous visits. If not, research is done on the local community for
501c3 organizations (those recognized as not-for-profit by the federal
government) that work with youth at risk. In some cases the local
city government will assist. And in others, the local organizations
know of Cirque's Social Action programs and call them!
Once a partnership is established, programs to help are put in place.
One of the most interesting is ticket donation. Free tickets are
given to the organization to attend Cirque's "dress rehearsal"
(normally the Wednesday before the Thursday "city premiere"). These
are given to the kids who are able to attend a Cirque show for free!
Another program is fundraising, where tickets are donated to an
organization with the stipulation that they are to be sold for more
than face value. All of the proceeds of the ticket sales go to the
organization, and that portion above the face value of the ticket is
considered a "donation" and is deductible on the purchaser's tax
return.
In Portland, Cirques local partner New Avenues for Youth was the
beneficiary of both programs. But what is New Avenues For Youth?
GOING DOWN NEW AVENUES
----------------------
"There's an epidemic in Portland. About 1,500 youth are homeless.
What we do at New Avenues is open the door for them to be successful."
Barb Gorman has been involved with New Avenues for Youth since soon
after it's inception in 1997, first as a counselor and now as
Associate Director of Development. In talking with us, she outlined
the problem and the impact it has on the community.
In Portland, she told us, 40% of street kids have been involved in
Oregon's foster care system. "When people think about street youth in
our quick-fix society, they think if you provide them with food,
clothing, education and housing it's a done deal. But 80% have been
abused by an adult that they've trusted. So it isn't a quick fix to
overcome that betrayal. That takes a long time to heal."
And echoing one of her organizations board members, "When the parents
fail to take care of their city's young, it's the community's
responsibility to jump in."
New Avenues is a non-profit agency dedicated to assisting homeless
youth off the streets of Portland. Their professional staff works
closely with the youth and strives to engage them in a variety of
programs with the goal of enrollment into their clinical case
management program. It is at this stage that counselor and youth work
together to develop a plan to exit street life.
Last year New Avenues assisted over 2,000 homeless and at-risk youth
through their drop-in center, schooling, counseling, housing,
employment training and prevention programs. It is their belief that
homeless youth can overcome tragic childhoods, find alternatives to
the streets and live full healthy lives.
AND NOW BACK TO OUR STORY
-------------------------
It was this organization that Cirque chose as their local Portland
partner. New Avenues was already working with Cirque on donations (90
free tickets for the dress rehearsal given to street youth) and
fundraising (300 tickets for the Friday, October 3rd show which, when
sold at $100.00 apiece, netted $30,000.00 USD for New Avenues),
neither party aware of Kate Mytron's attempts to get a showing of
"Cirque for Live" scheduled for Portland. That is, until documentary
director Luc Cote made Cirque Montreal Social Affairs team aware of
it.
Kate knew of another non-profit agency she felt would be a good
choice, but then got an email from Luc, who had talked with Gil
(pronounced "Jeel") Favreau, Team Supervisor for Cirque's Social
Affairs. She was advised that Cirque had a relationship with New
Avenues and wanted to do the screening with them.
At this point Kate was more than happy to step aside and let Cirque
take over. Their organization was obviously much better equipped to
put together a screening than for her to try and pull it off alone.
She's happy if she can be the one providing the inspiration, if not
doing the actual legwork. "I go with an idea and if things fall into
place it was meant to be. If not and it doesn't work out, that's ok
too. In this case, it worked out."
IT WAS A DARK AND STORMY NIGHT...
---------------------------------
... Monday, October 20th, as my wife LouAnna and I slowly drove the
150 miles from Seattle to Portland to attend the premiere. The
weather had decided to turn nasty, sending down more rain in a 24-hour
period than ever before, soaking streets and flooding roads. Our
tires hydroplaned and our wipers got a good workout as we traveled
south, to the Century 21 cinema in downtown Portland.
The storm bypassed Portland so when we arrived it was cool and calm.
We entered the 492-seat capacity theater to find 150 enthusiastic
Cirque fans waiting patiently for the show to begin. In all the
"donations only" screening helped raise $500.00 for New Avenues!
(Unlike other movie screenings, where more tickets are printed than
there are seats (to account for no-shows and help insure a full
house), Cirque felt uncomfortable "overselling" the venue. They felt
they had to guarantee a seat for everyone who had made reservations,
which filled up quickly when the CirqueClub email went out. As a
result they had to turn people away. *Note to all Cirque fans - Don't
reserve space for something if you don't really plan to go!*)
And now we turn it over to Cirque fans Jill & Gary Chapman, who also
attended the premiere. Take it away, Chapmans!
Before the show we asked Anik Couture (our Master of Ceremonies for
the evening) why they had chosen Portland for the premiere. "All the
stars aligned and here we are!" After a short introduction and
comments from the "special guests" the screening started.
The film focuses on a group of kids from all corners of the world who
put on a show of their own. They must learn to work together and
trust each other, which is difficult when they don't speak the same
language. The group was housed in apartments in Quebec City that
looked like the same apartment building we saw in "Fire Within".
Each of the main "characters" is introduced in short profile segments.
There is Marco, 19, from Chile. He started working with Cirque du
Monde in 1995. He has had a hard life without much parental support.
He was involved with drugs, gangs and street life from a young age.
His life-long friend Pollo is also with him. Pollo has had a better
life, with two parents and a nice house, but he has a drug problem
also.
Then Sibongile, 24, from South Africa is introduced. Her village is
in a war zone and she has seen much violence and death for a girl so
young. She lives in a small house with her relatives and is scared
and nervous a lot of the time. There is no work in the village even
though she has a banking degree.
Then there's Jasper, 23, from Holland. He left home in his early
teens to live on the streets and became addicted to drugs. He is now
a squatter with his girlfriend Miro and enjoys life with the other
street kids. When he saw a circus he knew that's what he wanted to
do, so he picked up juggling.
Next is Karine from Montreal. She has seen many things on the streets
of Montreal such as drugs, crime, and prostitution. She joined Cirque
du Monde in 1995 and has been with them ever since.
And finally we meet their mentor and guide Paul Vachon, also the
narrator of the film. You might recognize him from "Journey of Man,"
where he played the male guide (Floune). He began working with Cirque
du Soleil in 1990 with "Nouvelle Experience" as a performer and
director, and continues to work as their "trainer of trainers." He
has always had a desire to incorporate his art into a socially
positive context, and in 1995 was given the opportunity to join Cirque
du Monde. He jumped at the chance to help underprivileged kids, but
he was a little nervous. Would the kids listen to him? Could he
help make a difference in their lives?
So much to do, so little time - only three weeks to invent their own
show and make it work! All of them were experienced jugglers but
needed to learn to work together to make an act out of it. Marco and
Pollo also had experience with the bicycle and wanted to make it part
of the show.
Sibongile was nervous and needed to learn to trust her new friends.
So she and another young man (who is never introduced) worked out an
African song they could teach the others. But it was difficult to
teach and there was a lot of frustration among the group. Paul tried
to coach and interpret for the group. They had to figure out a dance
routine to go with the song. That helped add some humor and fun to
the project.
The bicycle act was not going well and Marco was upset. It is
difficult to add more and more people to a moving bicycle and keep it
going, everyone must work together. Marco became more frustrated and
felt that no one was listening to his directions.
Only one more week to pull it off...Would it work? The strain of
being away from home, family and friends was taking a toll on the
whole group. Paul tried to help pull them together and give them the
encouragement they needed.
And then, finally, it's Showtime! The kids were nervous but very
excited. The audience was in place and looking forward to the show.
The juggling went perfectly, the kids throwing pins back and forth
between each other in groups of two and three. The music and dance
was just what they had rehearsed. And the finale, the bicycle act,
came off without a hitch. It was a success!! Something they could
all be proud of!
Watching this documentary was like seeing the Cirque du Monde exhibit
we first saw in Montreal come to life. It was an enjoyable evening
and having representatives of Cirque there made it all the more so!!
Thanks Chapmans!
This is Keith again. We also enjoyed the film, and got a good sense
of the Cirque du Monde program from it, how it can be a force for good
in teens lives. But it should be noted that the film isn't an
absolutely accurate reflection of how the program works for street
kids brought into the program for the first time. Normally kids are
not brought to Montreal for training and a show. Rather the trainers
go into the communities, and stay in the communities working with the
kids. It's a "we go to you" rather than "you come to us" approach.
Because of this, the documentary had a "MTV Real World"-type feel to
it. It felt to me as if these teens were chosen as much for their
stories and ability to talk to the camera as their circus talent. And
it did have an effect on the production. At one point Marco is
disillusioned because of what he expected the show to be. Since he
was being flown to Montreal, and it took place in the Cirque's
hometown, he expected it to be a bigger production, with more
resources, performers, and a larger scope. What disappointed him
seemed to be that it was the same scale as his local program.
That doesn't take away from the documentary's impact however. The
program hammers home the point of how teaching circus skills can have
an effect on a teen's self-esteem. And spreading the word on that
kind of effect can only be a good thing.
ALLOW US TO PRESENT OUR SPECIAL GUESTS
--------------------------------------
When the lights came up again, we were re-introduced to our "Special
Guests":
* Anik Couture - Social Affairs and International Cooperation
Coordinator, Touring Shows - America, Cirque du Soleil (who served as
the "host" moving the microphone around the auditorium during the
question and answer session).
* Gil Favreau - Team Supervisor, Social Affairs and International
Cooperation Department, Cirque du Soleil
* Luc Cote - Director, Cirque for Life documentary, Adobe Productions
* Barb Gorman - Associate Director of Development, New Avenues for
Youth
Anik and Gil had arrived in Portland on Friday spending the
weekend checking out, and sometimes getting lost, in Portland (Luc
arrived on Sunday). It was extraordinary that Cirque sent three(!)
representatives to Portland for the premiere.
Speaking of their Social Action program, and why it is low key, Gil
commented, "We want to be involved in the community, not for people to
say how good we are, but because we want to make a business that is
part of the development of the human race. We don't want the
spotlight on us here, we want to spotlight [New Avenues] and the work
they are doing."
Luc described the purpose of documentary as, "To meet these kids who
through the art of circus are transforming their lives." We also
learned the sad news that Marco had gone back to drugs and street
life. He is such a talented kid that it's a shame he couldn't keep it
together. On the other hand, his friend Polo was invited to train in
Belgium with another Cirque du Monde troupe. Karine is still working
with Cirque du Monde. Sibongile has gone home and is teaching circus
acts and performing in her village. Jasper went home to Miro and his
life of squatting, where he is happy and comfortable.
What did the filmmakers learn from the experience? Luc traveled
extensively, and found "the passion, the hope, for these kids. It
seemed through these circus workshops that these kids found something
within themselves and they connected with it. They feel so connected
with the circus. They feel they are becoming somebody. They have
dreams and hope. The only goal of this [program] is to create self-
esteem in these kids. That they can find a passion and feel good
about themselves; that's the beauty of this program to me."
Barb from New Avenues spoke of the value of street kids seeing a
Cirque performance through the donation of dress rehearsal tickets.
"For our kids, who've had such a hard life, it's really nice that they
can have an escape every once in a while. And that escape doesn't
always have to be a negative escape, like they've had in their lives.
That's why the Cirque is so amazing for the kids, because it's an
escape that's just so positive."
Speaking to the goal of increasing self-esteem, Luc remarked, "It
takes about a day to realize that you can juggle with three balls.
Not very long. That's the key. You start working, and after a day
you can juggle with three balls. And you say, 'My god. Look! I'm
good!!' That's the self-esteem, that's the passion. Because we can
get little results right away. And that motivates people. And that
result is very important. It's a drug. But it's a good drug."
AND IT'S ONLY THE BEGINNING
---------------------------
Part of the purpose of making the film was to inspire viewers to get
involved and work with local organizations. And a goal of Cirque's
Social Action team is to use the arts to affect youth in a positive
manner. As with Cirque itself, sometimes all it takes is a little
idea to grow something wonderful.
"It always starts with a dream," said Luc. And because of [Kate
Mytron] we started something, and because of her we have this
screening."
And because of Kate putting two and two together, it has become
something larger. Cirque is now looking to take the documentary
"Cirque for Life" and hold benefit screenings in each city it visits!
All because of a little "Wouldn't it be nice if..." thinking.
Not a bad ending if you ask me. And a great beginning.
(For more information on the Cirque du Monde program, and Cirque's
other Social Action initiatives, see < http://www.cirquedusoleil.com/
CirqueDuSoleil/en/company/socialaction/sevenpgrms/cirquedumonde.htm )
(Our special thanks to Kate Mytron, Barb Gorman and Anik Couture for
their invaluable help with this article.)
=======================================================================
BEHIND THE CURTAIN:
"Houses of Cirque, Part 3: Le Grand Chapiteau"
By: Ricky Russo - Orlando, Florida (USA)
=======================================================================
"In just 150 seconds, 134 side poles will be raised and the mass of
material will rise into the sky and shape itself into an enormous
space..."
Le Grand Chapiteau.
For Cirque du Soleil, their main house of performance has been, is
currently, and will always be the formidable Grand Chapiteau. Over the
years Cirque has performed in a variety of venues, and while perhaps
their most ambitious projects are housed in specially designed
theaters, it's the mobile big top that strikes Cirque's signature
colors. Perhaps it's the smell of popcorn wafting through the air. Or
the sounds of patrons excitedly filling their seats. Or perhaps it's
just the fact that you're under canvas that makes the Grand
Chapiteau's so magical.
Today Cirque du Soleil has a half-dozen big tops roaming the globe
supporting various tours, each with a capacity of more than 2500
spectators. But did you know that in the beginning only 800 spectators
could see a Cirque show in their small blue and yellow big top? And
perhaps more perplexing is the fact that the big top did not have
theatrical-style seats like they do now... spectators sat on arena-
style benches and even folding chairs! Believe it or not the benches
were a staple even through Alegria's first North American tour!
The numbers surrounding the chapiteaus are impressive indeed, but ever
elusive. If it's one thing Cirque du Soleil prides itself on it's not
giving away too many of it secrets. And while dimensions of a big top
may not be something you would consider privileged, information in any
form is held closely nevertheless. However, by piecing together bits
and pieces that have been released through the years in numerous
programmes, press releases and articles, Fascination will conclude its
exploration of the "Houses of Cirque" by reviewing the variety of
signature big tops, whether all white, white and gold, or blue and
yellow (striped or swirled), the Cirque du Soleil has toured the globe
with throughout its history.
By now the famous "make-or-break" story has reached the hearts and
minds of Cirque du Soleil fans everywhere. How Cirque du Soleil had
everything riding on top billing at the Los Angeles Festival in the
summer of 1987, with absolutely no money left to fill the tanks of
their trucks with petrol in order to return home if they failed.
Cirque wagered everything on their success in Los Angeles and luckily
for them (and for us), Cirque du Soleil became an instant hit and thus
history is sewn. Before long Cirque began to spread across the United
States with the as-yet-unnamed Le Cirque Reinvente tour! The tour
sported a blue and yellow-striped big top seating approximately 1700,
which was a big step up from the first touring chapiteau. By 1989, Le
Cirque Reinvente's final year in North America, approximately 1750
spectators could watch the show in all style of benches and folding
chairs.
The dimensions of the big top were quite impressive for its time with
an overall diameter of 40 meters (130 feet). The four masts, or
supporting columns, rose 17 meters (56 feet) into the air with the
cupola, or vaulted ceiling, at a height of 13 meters (43 feet). French
sail makers Voilières du Sud-Ouest of Bordeaux, France made the canvas
tent and Mr. Marcel Rossel, a 40-plus year circus veteran, helped
design the monstrosity. It took dozens of people anywhere from 30 to
44 hours to assemble, but only 14 hours to dismantle, the 18,145 kilo
(40,000 pound) structure. Believe it or not, anywhere from 30 to 58
vehicles were needed to transport the 450 tons from site to site, and
no wonder, with the entire site occupying 8,750 to 15,000 sq meters
(94,185 to 161,460 sq feet)!
In 1990 "Le Cirque Reinvente" was replaced with a darker, more
theatrical style show in "Nouvelle Expèrience". This new experiment
featured many of the same cast and crew, more sophisticated costuming,
a more melodramatic musical accompaniment, and a brand new big top
with a capacity of 2500 spectators. The canvas and masts were
manufactured in various countries, including France, Italy and Quebec,
and it took 50 vehicles to transport the 600-ton site from location to
location. The new big top was so sophisticated (and big) that it took
36 hours to dismantle and pack-up the site and a number of days to set
it up.
"Nouvelle Expèrience" toured North America for approximately 19 months
in a blue and yellow striped big top, but when a shortened version of
the show landed at the foothills of the Mirage resort in Las Vegas the
big top lost its signature colors and adopted a more "desert" motif --
a special white and gold striped version. It was the first (and last)
time this interesting color variation was seen as a Cirque du Soleil
Grand Chapiteau. But it wasn't the last time Cirque would perform in
an interesting venue or setting.
As an example, in 1992 Cirque du Soleil smashed together "Le Cirque
Reinvente" and "Nouvelle Expèrience" to showcase the very best it had
to offer to spectators in the land of the rising sun, Japan.
"Fascination" was a spectacle for the eyes featuring an entirely
redesigned and modernized set, more colorful and sophisticated
costumes, new music and even a brand new venue. The Japanese took the
"theater in the round" concept to new heights -- literally! They
removed the masts that would have obstructed the view and constructed
a multi-level background so artists could appear and disappear at
will.
Seating for Japanese performances was somewhat different than for
other non-Japanese showings, which is why I group Japan differently
into a "more interesting" category. In Japan spectators did not sit in
a 270-degree semi-circle as they would elsewhere; instead the audience
sat on pew-style benches in a square-like pattern in front of and on
either side of the circular stage. This pattern was also used for
Saltimbanco's 1994 Japanese tour in which the contents of the big top
were set under a specially designed "blue special tent" by sponsors
Fuji Telecasting and Nissan at Yoyogi Olympic Plaza. And it was to the
"Yoyogi White Theater" that Alegría came to when it toured Japan in
1996. Yoyogi White Theater and the theater used for Saltimbanco in
1994 were similar, sitting 3600 patrons.
Probably one of the greatest examples of ingenuity is the "New Big
Top" for Quidam's 2003 Japanese tour. This is an all-white dome
structure built by Fuji that contains no masts, so every seat is
unobstructed. There are 2900 seats with a complete 270-degree view.
What's impressive isthe height of this big top at 28 meters (96 feet)
high, and a diameter of 57 meters (187 feet)! I say impressive because
there's nothing supporting the center of this enormous big top except
its steel frame!
Today Cirque du Soleil has five big tops that tour the globe: Alexis,
Bellinya, Funambule, Gaïa and Vivia. Each has its own style and flair.
Some are of the standard yellow and blue striped variety, and some are
of the yellow and blue "swirled" variety, while only two are white as
fresh fallen snow.
Of the standard striped variety there is only one, Gaïa, which
premiered with Dralion in 1999. Gaïa stands approximately 19 meters
(61 feet) high with four 26 meter (85 foot) masts holding it in place.
2500 patrons can catch a show within this 50.5 meter (166 feet)
diameter Grand Chapiteau.
The other two "non-white" chapiteaus are the newer, groovier "swirled"
type, so called for the ice cream-like swirl of blue and yellow
stripes that adorn them. Both Bellinya and Vivia fit within this
swirled category. These big tops feature a venue that is 19 meters
(61 feet) high and 50.9 meter (167 feet) in Diameter with four 26
meter (85 foot) masts keeping them straight and tall. Approximately
2600 patrons can sit inside these structures without breaking a sweat.
Bellinya premiered with Quidam during its second North American Tour
in 2002 (in Miami) the same year Vivia premiered with Varekai (in
Montreal).
Cirque du Soleil has two other big tops in its collection, and these
two are truly are the grandest of the Grand Chapiteau; Funambule and
Alexis. Both are all-white and were originally detailed for tours held
outside of the North American continent. Of the two Alexis is the
eldest, which premiered with Saltimbanco on its European tour in 1995.
Alegría and Quidam also occupied this big top during their European
tours (1997-1998 and 1999-2001 respectively). Funambule also
accompanied Alegría across Australia before returning to the North
American continent for it's current second NAT tour.
These two big tops boast a total area of 20,000 square meters, with
3,500 square meters just for the main tent. They are 50 meters (164
feet) in diameter, 17 meters (56 feet) high and have four masts that
are 25 meters (82 feet) high. Approximately 2500 to 2600 spectators
fill the theatrical-style seats inside. On the outside approximately
450 pegs are hammered into the ground to support the facility with 609
meters (2000 feet) of nylon cord to secure the big top to the asphalt.
Amazingly enough it's pretty self-sufficient. The site is powered by
three 350 kilowatt diesel fuel-powered generators and electricity is
distributed with approximately 3 to 4 kilometers of cable which wire
the site.
There's a lot of technology that goes into today's modern Cirque du
Soleil big tops, which is a topic for another time. However, in
comparison between the white big tops verses the yellow and blue
(striped or swirled) varieties are how the concessions stands differ.
For example, in the yellow and blue variety, the concessions and
boutique are split up amongst two smaller tents with empty space
between them unused (except perhaps for tent anchoring and/or the
ticket truck). But, for the white grand chapiteaus, the concessions
and boutique are one structure with the concessions at both ends with
the boutique running the length of space between them. It may be
something simple, but it sure makes for a magical evening when one can
step outside of the big top and still remain under canvas!
I hope you have enjoyed our three-part series on the Houses of Cirque.
As always there's much, much more to explore, and as time permits and
information becomes available, Fascination! will explore these facets
of tour technology. Regardless of which variety of venue you enjoy
watching Cirque in -- big top or theater -- one thing is certain:
you'll always be welcome in Cirque du Soleil's house.
[The Houses of Cirque has been a three-part series. Part 1: "Les
Théâtres I" explored the Mystère theater in Issue #18, February 2003.
Part 2: Les Théâtres II" explored the theaters for "O", La Nouba and
Alegria Beau Rivage in Issue #22, June 2003.]
=======================================================================
CIRQUE MUSIQUE:
"Sampler du Cirque Musique"
By: Paul Roberts - Hamilton, Ohio (USA)
=======================================================================
Recently my hometown of Cincinnati held one of its greatest festivals
ever called Tall Stacks (no, not a pancake festival, but a riverboat
festival named for the boats' smoke stacks). Included in this event,
that usually takes place every four years was an incredible musical
lineup throughout its five-day span. For a mere $10, one could catch
B.B. King, Los Lobos, The Jayhawks, Ricky Skaggs, Steve Earle, Bo
Diddley, Mary Chapin Carpenter, Shawn Colvin, Keb' Mo', and one of my
favorite artists: Nickel Creek (with their unbelievable bluegrass-on-
steroids style).
My daughter and I ran into one of my oldest and dearest friends,
Randy, who played bass in several bands I also played in. We grew up
together mentally and musically. Whenever we meet the topic of music
always comes up, and after he mentioned that he recently saw Peter
Gabriel twice, I tried to explain the music of Cirque du Soleil. I
said that sometimes the music is similar to Gabriel's World Beat sound
and that I ought to make a sampler CD (which I can't create because I
don't own a burner) that covers the history of Cirque du Soleil and
its many musical styles, like Tall Stacks. So I gave this sampler
some thought, and even though the list does not exactly include all my
favorite Cirque du Soleil songs, it's a fairly good representation of
the full spectrum. Some songs are from actual CDs and some from DVDs.
Original Cirque du Soleil show: I'd have to open with the song "le
Cirque du Soleil" from the earliest known (to me) Cirque recording
played by La Fanfafonie. This pure circus theme is complete with
brass and an oompa-like beat. I can just hear Randy say, "This is
World Beat music?...Pass me the popcorn."
La Magie Continue: The accompaniment to the hand-balancing ballerina
(title unknown) with the song's melancholy synthesizer melody Randy
may say, "This is circus music?"
Cirque Réinventé: "Entr'acte" (from the CDs Cirque du Soleil and
Collection) is an early classical music-like song that features the
future with Benoit Jutras composing and Martine Brisson singing. This
duo are the parents of Audrey Brisson-Jutras, the future original Zoë
in Quidam.
Nouvelle Experience: "Boléro" is the first song I ever heard from
Cirque du Soleil even though I didn't know it at the time. The song
was once featured in the whimsically bizarre TV show, "Northern
Exposure." As the song title indicates, the beat is a boléro.
Saltimbanco: "Amazonia" is a progressive rock masterpiece that reminds
me of the band Yes, who Randy and I used to cover in one of our bands.
This is one of my favorite René Dupéré-composed songs with its many
time signatures and dynamics.
Mystère: "Kalimando" - The song that keeps on giving, which
accompanied a funeral scene in the movie "Bogus," and has also been
used as an accompaniment for ice skater Nicole Bobek. The song's
ending choir is spellbinding.
Alegría: "Malioumba" from the extended CD (actually, I prefer the full
version from the DVD) is similar to the Peter Gabriel or Sting sound.
The lush keyboards and heart-thumping percussion perfectly accentuate
Francesca Gagnon's voice that echoes throughout the Grand Chapiteau.
Quidam: The title track live is my favorite Cirque du Soleil show
ending theme. Chills and tears always consume me whenever I hear Zoë
sing the first lines of the verse. The chorus stays in the mind long
after the final curtain.
Mystère: Live in Las Vegas: "Misha" includes one of Benoit Jutras'
finest moments. During the song's bridge, the harpsichord/oboe/violin
melody line is so beautiful; I often wonder where Benoit found the
inspiration for this composition.
"O": "Désert" is simply a modern symphony classic. My all-time
favorite Cirque du Soleil song - no, concerto (as it should rightly be
called).
La Nouba: "Urban" just rocks and features the only harmonica solo that
I know of in Cirque's repertoire. Plus, this song was used in the
incredible performance at the Academy Awards in 2002.
Alegría le Film: "Love Leaves Someone Behind" is a nice pop ballad
that sounds hauntingly like Over the Rhine, an intriguing and fairly
successful Cincinnati band.
Journey of Man: "Taïko" must be included in this sampler as one of
Cirque du Soleil's trademarks: the Mystère Taïko troupe featured twice
in the show. This percussion theme always has me beating on a table
or my steering wheel or whatever solid object is nearby while I
listen.
Dralion: "Ballare" is one of Cirque du Soleil's most romantic songs
ever and accompanies the passionate Aerial Pas de Deux act. I
especially love the live version from the DVD with Erik Karol
providing an alluring vocal performance. One of Violaine Corradi's
best compositions.
Varekai: "El Péndulo" includes a memorable melody line that I find
myself humming on a regular basis. There are many versions of this
song with my favorite actually being the most current live version.
From the extended "special edition" Varekai CD, I'd include
"Euphoria." This frenzied song is as exciting as the act it
accompanies: The Icarian Games.
Zumanity: "The Rose Boy" from the Foreplay program CD. This sultry
"big band" style song is a new innovation for Cirque with composer
Simon Carpentier providing yet another composer's signature.
Tapis Rouge: The "Solarium" CD given to US VIPers (also available in
Cirque's Online Boutique) has ten remixes of Cirque du Soleil songs.
I'd include "A Tale" - Chilluminati Mix in my sampler to provide the
hip-hop sound that appears occasionally in Cirque music.
To end the sampler, I'd include the re-mixed "Finale" from Mystère's
appearance on the Jay Leno's "Tonight Show" in 1996. I
serendipitously caught this performance a month after seeing Mystère
for the first time, my life-changing first Cirque du Soleil show. A
perfect closing song.
I could probably make a dozen or so of these samplers and none would
be the same! Perhaps this idea will arouse other Cirque du Soleil
music lovers to create their own sampler mixes.
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FROM THE BOUTIQUE:
"Cirque Calendar 2004"
By: Keith Johnson - Seattle, Washington (USA)
=======================================================================
For the second year in a row and third time overall, Cirque has
produced a Wall Calendar. Printed, as are other Cirque books, by
Harry N. Abrams of New York (ISBN# 0-8109-7950-0, UPC# 9-780810-97950-
5) this 12" x 12" 13-panel calendar features 36 photos from the Cirque
archives. And since last year utilized much of the familiar, standard
Cirque images, this calendar has to reach deeper. And they've added a
panel for September-December 2003, so you can begin to use your
calendar now! The images featured are:
Sep-Dec 2003 - La Nouba - The Red Pierrot
Jan - Varekai - Olga in silver in mid balance
Feb - La Nouba - The Fast Track crew with Le Titan (cover shot)
Mar - Alegría - Big & Little Tamir
Apr - Quidam - Boum Boum
May - Saltimbanco - The Ringmaster and the Blue Dreamer
Jun - Mystère - The "Red Bird," one of the Pets
Jul - O - Aurora, face half submerged (cover of the "O" book)
Aug - Alegría - The Black and White Singers
Sep - Dralion - The Four Elements (younger versions of the Elements)
Oct - Mystère - The Mephisto Stilt Demons
Nov - La Nouba - The Male Singer
Dec - Saltimbanco - The Young Child (wearing a jester hat)
Each page also features text, though it's only the credits for each
show's Creative Team (director, choreographer, makeup and so on). It
would be nice to have a short description of who the characters are
and what role they play instead. It would also have been nice to have
a photo from Zumanity, but an appropriate image (and there's lots of
ways of defining *that* for this show) may not have been ready in
time. I also would have liked to have seen the third La Nouba month
given up for something from O, Quidam, or Varekai which only get one
this year.
Here's another way to bring a little bit of Cirque into your daily
life, if only into your kitchen or office. Now maybe they'll think
about making a Flip-A-Day calendar, with images for a whole year!
=======================================================================
THE CIRQUE CONNECTION:
"Cirque Creates a Childrens' Book?!"
By: Keith Johnson - Seattle, Washington (USA)
=======================================================================
It was several issues ago we first mentioned a book to be issued by
Cirque du Soleil called "A Parade of Colors." All we knew was it
would be some kind of children's book, and would be released in the
fall. We now have it in our hands!
The result is "Cirque Du Soleil: Parade of Colors" by Patrisha
Grainger Robertson, Harry N. Abrams, New York, 32 pages, ISBN# 0-8109-
4515-0, UPC# 9-780810-94515-9, $16.95 in US, $24.95(!) in Canada.
While Cirque does have appeal to children, a book specifically
targeted to them wouldn't seem like a natural extension of the Cirque
brand. Yet they try, and for the most part succeed, with the 24 poems
within this 9" x 11" hardbound book. Author Robertson provides the
rhymes and the usual suspects of Al Seib and Veronique Vial, along
with Jean-Francois Gratton supply the photographs.
The format is pretty straightforward. Each page features a character
picture with the characters name and rhyme, which highlights the
costumes predominant color or colors. The rhymes can be quirky, such
as this one for The Dandy from Saltimbanco:
"Hi-dee-ho! Monsieur Le Dandy!
What makes your hair stand up on end? So stiffly stiff, with
no curl or bend?
Not blown about by breeze or sneeze, but upright straight as
a Roman frieze!
Perhaps this 'do keeps wisps off your face as you leap about
with baroque-like grace.
Dapper in your suit of fresh, clear orange."
A Roman frieze? How are kids supposed to know what that means? (A
frieze is a set of up and down decorative bands that sometimes served
as decorations on the horizontal surface above Roman columns in their
architecture.) Another rhyme refers to Big and Little Tamir as
sitting "straight as a skittle." Not exactly sure what she means by
putting those into her text, perhaps to get kids running to the
dictionary. I sure had to.
All of the basic colors are mentioned, and many others too. Though
the text sometimes refers to a minor part of a characters color
(Alegria Angels red noses, as opposed to their silver outfits, for
example).
What might interest Cirque fans most, other than possessing something
you can use to indoctrinate your children into the world of Cirque,
are some of the pictures which are not the set standard images of
these characters one usually gets from Cirque. Some of these seem to
be from the same sessions but have different poses. In any event the
pictures are crisp and clear. Also, the full character names are
given which is a nice touch.
I have yet to try this out on my 3-year old grandson, so it hasn't
been properly "field tested." If you have a child that likes picture
books, this is a good (if a bit quirky) introduction to colors and
Cirque. It's always best to start kids young.
=======================================================================
PARTING QUOTE
=======================================================================
"There is a point when bigger simply stops being
better. The idea is to make the inside, the heart, bigger".
- Mr. Marcel Rossel, 40-plus year circus veteran
who helped design Cirque's Le Grand Chapiteau in 1987.
=======================================================================
SUBSCRIPTION INFORMATION
=======================================================================
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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
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination!
Newsletter." By sending us correspondence, you give us permission
(unless otherwise noted) to use the submission as we see fit, without
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Newsletter." "Fascination! Newsletter" is not affiliated in any way
with Cirque du Soleil. Cirque du Soleil and all its creations are
Copyright (c) and are registered trademarks (TM) of Cirque du Soleil,
Inc., and Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
=======================================================================
