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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 7, NUMBER 4 JUL/AUG 2007 ISSUE #54
=======================================================================
I invite you to visit our website for the latest news, rumors and
information about Cirque du Soleil. What you're reading here is only a
collection of what was posted daily on the Fascination website for a
specific period of time (in this case July, August and September.) For
more current information about Cirque du Soleil's activities, please
visit < www.cirquefascination.com >.
And if you're interested in having our daily postings sent directly to
you, don't hesitate to take advantage of our Really Simple Syndication
(RSS) feed! Simply use the following URI with your favorite email/news
program: < http://www.cirquefascination.com/?feed=rss2 >.
- Ricky "Richasi" Russo
===========
CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
o) Compartments -- Information on Tour, Online & on-Screen
* Télémagik -- Cirque du Soleil on Television
* Itinéraire -- Tour/Show Information
o) Columns -- Behind the Curtain
* Didyaknow? -- Facts About Cirque
* Historia -- Cirque du Soleil's History
* CirqueTech -- The Technical Side of Cirque
o) Fascination! Features
* "The John-Paul Interview"
By: Keith Johnson - Seattle, Washington (USA)
* "CirqueCon 2007: Orlando Updates (Part 2)"
By: Ricky Russo - Orlando, Florida (USA)
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Cirque at the top Iconic Canadian Brands List
{Jul.04.2007}
----------------------------------------------
CBC News recently quipped, "The top 10 list of iconic brands,
released several days ago in a report, is intended to
demonstrate 'brands that are part of the history, heritage and
culture of Canada: Brands that have shaped Canada's current
landscape.' The report sees brands as another Canadian symbol."
Can you guess where Cirque du Soleil, the star of all things
Quebec, ranked? Why at the top of the list, of course!
Here's the list of 10 iconic brands of Canada:
01. Cirque du Soleil
02. Ski-Doo
03. CBC
04. Roots
05. Toronto Maple Leafs
06. Montreal Canadiens
07. Calgary Stampede
08. IMAX
09. CN Tower
10. Terry Fox
{SOURCE: CBC / Brand Finance Canada}
More Articles to Enjoy
{Jul.10.2007}
-----------------------
Every once in a while we run across an article that uncovers a
factoid or two that even those of us highly familiar with
Cirque's workings may not know. Thanks to various posters at
Cirque Tribune (though we forget exactly who in most cases) we
stumbled across these, and wanted to share. It's always nice
when an article about Cirque makes us say, "I didn't know that!"
< http://www.wired.com/culture/design/magazine/15-06/ff_cirque >
"The Dizzy Heights" - While it might have started out to be a
puff piece about Varekai's debut in Adelaide, Australia, this
visit to IHQ by a reporter turns into an interesting exploration
of it's businesses, with a focus on the Social Action group.
< http://www.viamagazine.com/top_stories/articles/clown03.asp >
"On Las Vegas Stages, Daring Feats of Engineering Steal The
Show" - Focusing on "Love" as well as "Le Reve", this article
focuses on the technology of the shows.
< http://www.viamagazine.com/top_stories/articles/clown03.asp >
"The Years Of A Clown" - This older article (from 2003, so some
facts are out of date) is a portrait of longtime Cirque clown
Brian Dewhurst.
Enjoy!
C|NET Visits KÀ
{Jul.18.2007}
----------------
LAS VEGAS - I just got back from a backstage tour of Cirque du
Soleil's Ka theater, and I'm still a little dumbstruck by the
technology that's built into the show and the infrastructure
that runs it. The servers that control the lighting systems at
Cirque du Soleil's Ka show in Las Vegas. I'll write much more
about this-as well as some of the tech behind the Cirque's Love,
as part of my Road Trip 2007 coverage-but one of the things that
came out of my tour that I thought warranted a quick blog was
when Keith Wright, the operations production manager for Ka,
mentioned to me in an aside that he's in need of some new
network-savvy technicians.
Read more of Daniel Terdiman's Road Trip at the following URL:
< http://news.com.com/8300-10784_3-7-0.html >
C|NET Reviews Cirque's Inner Workings
{Jul.19.2007}
--------------------------------------
From the C|Net Studios:
As part of Road Trip 2007 through the Southwest, CNET News.com
reporter Daniel Terdiman is getting a behind-the-scenes look at
the technical underpinnings of Cirque du Soleil's Ka, which
plays at the MGM Grand in Las Vegas.
View the Photo slide show at the following URL:
< http://news.com.com/2300-13576_3-6197599-1.html >
CORTEO Nominated for EMMYS
{Jul.20.2007}
---------------------------
Earlier this morning the Academy of television Arts & Sciences
announced a list of nominees for the 59th annual Primetime Emmy
Awards and Cirque du Soleil's CORTEO on Bravo has been nominated
in two categories!
o) Category 6: Art Direction for a Variety, Music Program
or Special
o) Category 28: Picture Editing for a Special (Single or
Multi-Camera)
So, who is the competition?
In Category 6 - Art Direction for a Variety, Music Program or
Special:
- 79th Annual Academy Awards, ABC
- Cirque du Soleil: Corteo, Bravo
- Desperate Crossing: The Untold Story of the Mayflower,
The History Channel
- Engineering an Empire: Egypt, The History Channel
- Hell's Kitchen: Episode 210, Fox
- MADtv: Episode 1209, Fox
- Tony Bennett: An American Classic, NBC
And in Category 28 - Picture Editing for a Special:
- 79th Annual Academy Awards, ABC
- Cirque du Soleil: Corteo, Bravo
- Lewis Black: Red, White & Screwed, HBO
- Tony Bennett: An American Classic, NBC
- A Tribute to James Taylor (Great Performances), PBS
The Primetime Emmy Awards will be presented on the evening of
Sunday, September 16th from the Shrine Auditorium in Los Angeles
and telecast on the FOX Network at 8:00pm Eastern Time.
Good Luck Cirque du Soleil!
C|NET Reviews the "Many Stages of 'LOVE'"
{Jul.21.2007}
------------------------------------------
As part of Road Trip 2007, CNET News.com reporter Daniel
Terdiman earlier this week took a peek at the technical
underpinnings of Cirque du Soleil's Ka, which plays at the MGM
Grand in Las Vegas. This time, Terdiman goes behind the scenes
at Love. The Cirque du Soleil show, which made its debut in June
2006 at Las Vegas' Mirage, is a homage to the Beatles. It is the
troupe's only show that is entirely in-the-round.
View the Photo slide show at the following URL:
< http://news.com.com/2300-13576_3-6197839-1.html >
Venetian Macao Set to Open
{Aug.02.2007}
---------------------------
Just in case you missed it, the Venetian Macao Resort Hotel will
open its doors for the first time on August 28, 2007. What makes
this significant is that the resort also holds a 1,800-seat
Cirque du Soleil theater.
Saltimbanco Media Opportunities in St. John
{Aug.16.2007}
--------------------------------------------
A press release from CNW Telbec regarding a media day at
Saltimbanco in St. John:
WHO: Cirque du Soleil prepares for the August 23-26 St.John's
performances of Saltimbanco, its first "classic" Cirque du
Soleil touring show to be presented in arenas, at Mile One
Centre. You are invited behind-the-scenes to see the artistry
and creativity first hand.
WHEN: Thursday, August 23 from 1 to 4:30 PM. - Media are invited
to capture images and interviews.
WHAT: Cirque du Soleil photo and filming opportunities include:
From 1 to 2 PM - Technical set-up of the stage, interviews
possible with Saltimbanco crew member. (possibility of
coming to venue before 1 PM upon request)
Between 2 to 4:30 PM, interviews with Saltimbanco
performers and staff as well as rehearsal and training
sessions held on-stage and/or inside the arena;
WHERE: Mile One Centre - Media Entrance
RSVP: Media must RSVP to Sylvie Brunetta at this address
sbrunetta@brunettaetc.com before Monday, August 20.
<http://www.cnw.ca/fr/releases/archive/August2007/16/c7250.html>
{SOURCE: CNW Telbec}
Digital Journal on Koozå
{Aug.17.2007}
-------------------------
Digital Journal is an online network where professional and
citizen journalists cover news and debate issues and get paid
for their work. One such writer, David Silverberg, dared to
debate the question Why Cirque du Soleil's Kooza Upholds the
Company's Promise to Awe and Inspire. It's fascinating and I
encourage all of you to read it.
After 23 years of bringing circus arts to the world, the Quebec-
based Cirque du Soleil continues to be worth the buzz and ticket
price. The Toronto show of Kooza displays the troupe's trademark
acrobatics and clowning, but also creates a beautiful language
of movement. ... Although Cirque shows pop up as often as Black
Eyed Peas concerts, there's no mistaking the unique sensation of
absorbing each delectable sequence after another.
Read this fascinating article here:
http://www.digitaljournal.com/article/215985/Why_Cirque_du_Solei l_s_Kooza_Upholds_the_Company_s_Promise_to_Awe_and_Inspire
And if you're interested in more of Digital Journal's Cirque du
Soleil coverage, check out this other article "Cirque du Soleil
and the Future of Entertainment"(http://www.digitaljournal.com/
article/35715/Cirque_du_Soleil_and_the_Future_of_Entertainment)
by Christopher Hogg, which ran on January 10, 2006.
{SOURCE: Digital Journal}
Meyer Sound Named Official Supplier
{Aug.17.2007}
-----------------------------------
It's official, Meyer Sound has been named the official sound
equipment supplier for Koozå, Cirque du Soleil's latest touring
production! Some interesting excerpts from the press release
include:
The Meyer Sound loudspeaker system, provided by Montreal-based
Solotech, features 12 M'elodie ultracompact high-power
curvilinear array loudspeakers and 14 M1D ultracompact
curvilinear array loudspeakers, with additional Meyer Sound
components strategically located to add specific ambience and
dimension to the mix.
The sound system also employs Meyer Sound's LCS Series Matrix3
audio show control system, paired with both the CueMixer compact
and CueConsole modular control surfaces, to create an innovative
spatial aspect for every seat in the house.
Read the full press release here:
http://news.etnow.com/etnews.nsf/0/61669918c4c518228025733900352
644?OpenDocument
{SOURCE: Entertainment Technology Press}
Cirque: The Greatest Canadian Company?
{Aug.31.2007}
---------------------------------------
The Globe and Mail printed a fascinating article this morning
about Cirque du Soleil and how they feel it is the Greatest
Canadian Company Ever. An excerpt:
For Canada's biggest cultural export, a somersault is never just
a somersault-it must mean something. In Kooza, now half-way
through a two-month run in Toronto, the flip might represent
"the duality between good and bad." In Quidam, the 11-year-old
touring show that just made history by playing in China-the
acrobatic equivalent of fruitfully carrying coal to Newcastle-it
might connote the "nameless person who lives lost amidst the
crowd in an all-too anonymous society." Indeed, there is no
concept too lofty for the Cirque. Not even this one: Best.
Canadian company. Ever.
Read the full article here:
http://www.theglobeandmail.com/servlet/story/RTGAM.20070829.rmci
rque0829/BNStory/Business/columnists/?pageRequested=all
{SOURCE: Globe and Mail}
=======================================================================
COMPARTMENTS -- INFORMATION ON TOUR, ONLINE, AND ON-SCREEN
=======================================================================
o) ITINÉRAIRE - Tour/Show Information
================
ITINÉRAIRE
================
NOTE: The information presented below is for historical purposes only.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit our website < http://www.CirqueFascination.com/ >.
[Touring Shows]
Alegría:
London, UK -- Jan 5, 2007 to Feb 11, 2007
Barcelona, Spain -- Feb 22, 2007 to Apr 29, 2007
Saint-Denis, France -- May 10, 2007 to July 15, 2007
Gijon, Spain -- Jul 26, 2007 to Aug 26, 2007
Curitiba, Brazil -- Sep 14, 2007 to Oct 7, 2007
Brasília, Brazil -- Oct 19, 2007 to Nov 11, 2007
Belo Horizonte, Brazil -- Nov 22, 2007 to Dec 16, 2007
Rio de Janiero, Brazil -- Dec 27, 2007 to Jan 27, 2008
Sao Paulo, Brazil -- Feb 7, 2008 to May 4, 2008
Porto Alegre, Brazil -- May 15, 2008 to Jun 8, 2008
Corteo:
Atlanta, Georgia -- Dec 15, 2006 to Jan 28, 2007
Dallas, Texas -- Feb 9, 2007 to Mar 11, 2007
Houston, Texas -- Mar 22, 2007 to Apr 29, 2007
Columbus, Ohio -- May 11, 2007 to Jun 10, 2007
Denver, Colorado -- Jun 22, 2007 to Aug 5, 2007
Los Angeles, California -- Aug 23, 2007 to Oct 28, 2007
Orange County, California -- Nov 8, 2007 to Dec 23, 2007
San Diego, California -- Jan 11, 2008 to Feb 3, 2008
Portland, Oregon -- Mar 4, 2008 to Mar 30, 2008
Seattle, Washington -- Apr 24, 2008 to May 18, 2008
Vancouver, BC -- Jun 12, 2008 to Jul 6, 2008
Calgary, Alberta -- Jul 31, 2008 to Aug 10, 2008
Ottawa, Ontario -- TBA
St. Petersburg, Florida -- TBA
Miami, Florida -- TBA
Dralion:
Neuss, Germany -- Dec 7, 2006 to Jan 7, 2007
Tokyo, Japan -- Feb 7, 2007 to May 6, 2007
Sendai, Japan -- May 23, 2007 to Jul 8, 2007
Osaka, Japan -- Jul 25, 2007 to Oct 14, 2007
Nagoya, Japan -- Oct 31, 2007 to Jan 6, 2008
Tokyo, Japan -- Jan 25, 2008 to Mar 2, 2008
Fukuoka, Japan -- Apr 23, 2008 to Jun 15, 2008
Koozå:
Montreal, Quebec -- Apr 19, 2007 to Jun 24, 2007
Quebec City, Quebec -- Jul 5, 2007 to Jul 29, 2007
Toronto, Ontario -- Aug 9, 2007 to Oct 21, 2007
San Francisco, California -- Nov 16, 2007 to Jan 20, 2008
San Jose, California -- Jan 31, 2008 to Apr 16, 2008
Hartford, Connecticut -- Apr 1, 2008 to Apr 20, 2008
Philadelphia, Pennsylvania -- May 8, 2008 to May 25, 2008
Chicago, Illinois -- June 26, 2008 to July 27, 2008
Boston, Massachusetts -- TBA
Quidam:
Dubai, UAE -- Jan 4, 2007 to Feb 28, 2007
Seoul, South Korea -- Mar 20, 2007 to Jun 3, 2007
Shanghai, China -- Jun 28, 2007 to Aug 26, 2007
Guadalajara, Mexico -- Oct 12, 2007 to Oct 21, 2007
Mexico City, Mexico -- Nov 16, 2007 to Dec 30, 2007
Monterrey, Mexico -- Jan 17, 2008 to Jan 27, 2008
Lisbon, Portugal - April 2008
Varekai:
Auckland, New Zealand -- Jan 5, 2007 to Feb 18, 2007
Canberra, Australia -- Mar 15, 2007 to Apr 8, 2007
Melbourne, Australia -- Apr 19, 2007 to Jun 24, 2007
Adelaide, Australia -- Jul 5, 2007 to Aug 4, 2007
Perth, Australia -- Aug 17, 2007 to Oct 17, 2007
Antwerp, Netherlands -- Oct 30, 2007 to Dec 2, 2007
London, UK -- Jan 10, 2008 to Feb 3, 2008
Amsterdam, Netherlands -- Feb 29, 2008 to May 4, 2008
Antwerp, Belgium -- Oct 25, 2007 to Dec 2, 2007
London, United Kingdom -- Jan 6, 2008 to Feb 3, 2008
Amsterdam, Netherlands -- Feb 29, 2008 to May 4, 2008
Berlin, Germany -- Jun 5, 2008 to TBA
Vienna, Austria -- Sep 26, 2008 to TBA
Dusseldorf, Germany -- TBA
[Arena Shows]
Delirium:
Detroit, Michigan - Jan 24, 25 & 27
Grand Rapids, Michigan - Jan 31, Feb 1 & 2
Moline, Illinois - Feb 7 & 8
Minneapolis/St-Paul, Minnesota - Feb 9 & 10
Fort Wayne, Indiana - Feb 14 & 15
Chicago, Illinois - Feb 17, 18 & 19
Kansas City, Missouri - Feb 21, 22 & 23
Ames, Iowa - Feb 24 & 25
Green Bay, Wisconsin - Feb 28
Peoria, Illinois - Mar 1 & 2
Madison, Wisconsin - Mar 4
Indianapolis, Indiana - Mar 7, 8 & 9
Wichita, Kansas - Mar 12, 13 & 14
Oklahoma City, Illinois - Mar 15 & 16
Charlotte, North Carolina - Mar 21 & 22
Birmingham, Alabama - Mar 24 & 25
Shreveport, Louisiana - Mar 27
Batton Rouge, Louisiana - Mar 28
New Orleans, Louisiana - Mar 29 & 30
Raleigh, North Carolina - Apr 1 & 2
Miami, Florida - Apr 4, 5, 6 & 7
San Antonio, Texas - Apr 20, 21
Corpus Christi, Texas - Apr 22
Monterrey, Mexico - Apr 27, 28, 29 & 30
Saint Louis, Missouri - May 4, 5 & 6
Saskatoon, Saskatchewan - May 10, 11, 12 & 13
Spokane, Washington - May 16 & 17
Salt Lake City, Utah - May 19 & 20
San Diego, California - May 23, 24 & 25
Glendale, Arizona - May 26 & 27
Little Rock, Arkansas - May 31
Nashville, Tennessee - Jun 1 & 2
Greenville, South Carolina - Jun 6 & 7
Atlanta, Georgia - Jun 8 & 9
Charleston, South Carolina - Jun 10
Richmond, Virginia - Jun 12 & 13
Buffalo, New York - Jun 15, 16 & 17
Albany, New York - Jun 19 & 20
Washington DC - Jun 22, 23 & 24
Machester, New Hampshire - Jun 26, 27 & 28
Boston, Massachusetts - Jun 29, 30 & Jul 1
Rotterdam, Netherlands - Sept 13, 14, 15 & 16
Hamburg, Germany - Sep 18 & 19
Helsinki, Finland - Sep 22, 23 & 24
Stockholm, Sweeden - Sept 27, 28 & 29
Oslo, Norway - Oct 1 & 2
Mannheim, Germany - Oct 5 & 6
Manchester, United Kingdom - Oct 8 & 9
Birmingham, United Kingdom - Oct 10, 11 & 12
Sheffield, United Kingdom - Oct 13 & 14
Munich, Germany - Oct 19 & 20
Vienna, Austria - Oct 22 & 23
Prague, Czech Republic - Oct 26 & 27
Budapest, Hungary - Oct 30 & 31
Cologne, Germany - Nov 2 & 3
Zurich, Switzerland - Nov 5, 6, 7 & 8
Pesaro, Italy - Nov 10 & 11
Milan, Italy - Nov 13, 14, 15 & 16
Turin, Italy - Nov 18, 19, 20 & 21
Lisbon, Portugal Nov 28, 29, 30, Dec 1 & 2
Madrid, Spain Dec 4, 5, 6, 7, 8 & 9
Valencia, Spain Dec 13, 14, 15 & 16
Barcelona, Spain Dec 19, 20, 21 & 22
Saltimbanco:
London, Ontario - Jul 31, Aug 1, 2, 3, 4 & 5
Ottawa, Ontario - Aug 8, 9, 10, 11 & 12
Halifax, Nova Scotia - Aug 15, 16, 17, 18 & 19
St. Johns, Newfoundland - Aug 23, 24, 25 & 26
St. John, New Brunswick - Aug 30 & 31, Sep 1 & 2
Syracuse, New York - Sep 5, 6, 7, 8 & 9
Wilkes-Barre, Pennsylvania - Sep 12, 13, 14, 15 & 16
Greensboro, North Carolina - Sep 19, 20, 21, 22 & 23
State College, Pennsylvania - Sep 26, 27, 28, 29 & 30
Norfolk, Virginia - Oct 3, 4, 5, 6 & 7
East Lansing, Michigan - Oct 10, 11, 12, 13 & 14
Peoria, Illinois - Oct 17 & 18
Champaign, Illinois Nov 9 & 10
Green Bay, Wisconsin Nov 13, 14 & 15
Dayton, Ohio Nov 21, 23, 24 & 25
Montreal, Quebec - Dec 19 30
2008 Dates:
Quebec City, Quebec - Jan 3, 4, 5, 6, 7 & 8
Chicoutimi, Quebec Jan 16, 17, 18 & 19
Detroit, Michigan Jan 23, 24, 25, 26 & 27
Cleveland, Ohio Jan 29, 30, 31 & Feb 1
Memphis, Tennessee Feb 20 & 21
Charlottesville, Virginia Feb 26, 27, 28, 29 & Mar 1
Little Rock, Arkansas Mar 4, 5 & 6
Shreveport, Louisiana Mar 8 & 9
San Antonio, Texas Mar 12, 13, 14, 15 & 16
Laredo, Texas Mar 18 & 19
Corpus Christ, Texas Mar 21 & 22
Edmonton, Alberta Jun 18, 19, 20, 21 & 22
Winnipeg, Manitoba Jul 9, 10, 11, 12 & 13
Toronto, Ontario Aug 13 24
Hamilton, Ontario Aug 27, 28, 29, 30 & 31
[Resident Shows]
NOTE: (*) Prices are in United States Dollars (USD) unless otherwise
noted.
(*) Price reflected in brackets [] is inclusive of 10% Las Vegas
Entertainment Tax where applicable, but does not include
Sales Tax.
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tue through Sat, Dark: Sun/Mon
Two shows Nightly - 6:00pm and 9:00pm
2007 Ticket Prices (adults) / (child 3-9):
o Category 0: $112.00 / $90.00
o Category 1: $97.00 / $78.00
o Category 2: $79.00 / $63.00
o Category 3: $63.00 / $50.00
2007 Dark Dates:
o January 14 to 22
o March 18 to 20
o May 30 to June 4
o July 29 to July 31
o September 23 to October 1
o November 25 to 27
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:30pm
EFFECTIVE JANUARY 20, 2007 (for performances January 21st on)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly -
o Saturday: 7:00pm & 9:30pm
o Sunday: 4:30pm & 7:00pm
o Monday - Wednesday: 7:00pm & 9:30pm
2007 Ticket Prices:
o Category 1: $95.00 [$104.50]
o Category 2: $75.00 [$82.50]
o Category 3: $60.00 [$66.00]
2007 Dark Dates:
o January 4 to 19
o February 4
o March 21
o May 3 to 11
o July 11
o September 1 to 7
o October 31
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:30pm
2007 Ticket Prices:
o Orchestra: $150.00 [$165.00]
o Loggia: $125.00 [$137.50]
o Balcony: $99.00 [$108.90]
o Limited View: $93.50 [102.85]
2007 Dark Dates:
o April 9 to 17
o June 10 to 12
o August 6 to 14
o October 7 to 9
o December 3 to 18
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 7:30pm and 10:30pm
2007 Ticket Prices (18+ Only!):
o Sofas: $129.00 USD [$141.90 USD] (Sold in pairs)
o Seats: $99.00 USD [$108.90 USD] (Lower Orcestra)
O Seats: $79.00 USD [$86.90 USD] (Upper Orchestra)
o Balcony: $69.00 USD [$75.90 USD]
o Stools: $69.00 USD [$75.90 USD]
2007 Dark Dates:
o February 4
o April 2 to 10
o June 4 to 6
o August 1 to 7
o October 15 to 17
o December 4 to 19
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Friday through Tuesday Tue, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 10:30pm
EFFECTIVE JANUARY 23, 2007 (for performances January 24th on)
Performs: Fri through Tue, Dark Wed/Thu
Two Shows Nightly - 7:00pm and 9:30pm
2007 Ticket Prices (adult) / (child 5-12):
NOTE: Category locations change based on Early vs Late Show
o Category 1: $150.00 [$165.00] / $75.00 [$82.50]
o Category 2: $125.00 [$137.50] / $62.50 [$68.75]
o Category 3: $99.00 [$108.90] / $49.50 [$54.45]
o Category 4: $69.00 [$75.90] / $34.50 [$37.95]
2007 Dark Dates:
o January 9 to 22
o March 20
o May 15 to 19
o July 17
o September 11 to 15
o November 13
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 10:30pm
2007 Ticket Prices:
o Lower Orchestra: $150.00 [$165.00]
o Upper Orchestra: $125.00 [137.50]
o Lower Balcony: $99.00 [$108.80]
o Middle Balcony: $93.50 [$102.85]
o Upper Balcony: $69.00 [$75.90]
2007 Dark Dates:
o January 18
o February 11 and 12
o March 5
o April 19 to 23
o June 14
o August 16 to 20
o October 11
o November 29 and 30
o December 1 to 10
Wintuk:
Location: Madison Square Garden, New York City (USA)
Performs: Wednesday through Sunday, Dark Monday/Tuesday
Multiple Shows Daily -
Wednesday: 2:00pm, 7:30pm
Thursday: 11:00am, 7:30pm
Friday: 2:00pm, 7:30pm
Saturday: 11:00am, 3:00pm, 7:00pm
Sunday: 11:00am, 3:00pm, 7:00pm
2007/2008 Ticket Prices (adult) / (child 2-12):
Wednesday & Sunday:
o Category 1: $99.00 / $89.55
o Category 2: $65.00 / $59.95
o Category 3: $40.00 / $36.45
Thursday, Friday & Saturday:
o Category 1: $200.00 / $180.45
o Category 2: $110.00 / $99.45
o Category 3: $75.00 / $67.95
o Category 4: $50.00 / $45.45
Previews for the 2007 season will be presented from
November 1 to 4. The official season will run from
November 6, 2007 to January 6, 2008.
=======================================================================
COLUMNS - BEHIND THE CURTAIN
=======================================================================
Within...
o) DIDYAKNOW? - Facts About Cirque
o) HISTORIA - Cirque du Soleil History
o) CIRQUETECH - The Technical Side of Cirque
=================================
DIDYAKNOW? - Facts About Cirque
=================================
DidyaKnow? - "Quidam's Costumes at a Glance"
{Jul.13.2007}
---------------------------------------------
This week in DidYaKnow? we're dipping into the Cirque du Soleil fact
archives for a little insight into costumes for Quidam:
The fabrics and textures used in Quidam reflect the variegated hues of
a megalopolis inhabited by street people. Working in close
cooperation, the costume designer and the director have created
characters and costumes that reflect the performer personalities.
Fabrics - Basic costume and lining materials include leather, jute,
linen, crepe, wool, velvet, lycra and 42 varieties of silk and 30
varieties of cotton from England, France, Italy and California.
Colors - The color scheme relies heavily on grey, accented by rich,
warm colors and metallic tones.
There are approximately 250 costumes, 500 costume items and 200-300
shoes in Quidam.
Each artist has between 2-7 costumes each.
Each costume is specifically designed for the artist and there are two
spares of every costume.
The costumes of the Banquine troupe in Act One and Act Two are the
same design but in different colors. In Act One they are more colorful
representing characters in real life. In Act Two the colors of the
costumes are muted representing life after war, after tragedy.
There are 20 wigs in the show which are made from natural hair and are
washed and styled for every show! These wigs are hand made
specifically for the artist in the costume workshop in Montreal.
All the shoes are hand painted to blend in with the colors of the
costume. These shoes are re-touched and painted everyday. The paint
colors need to be exact and are mixed in the costume department on
tour.
There are 30 hats in Quidam including the bowler hat of the Quidam
Character which the character Zoe uses to enter the magical world
All the costumes that touch the skin must be washed everyday and
depending on the fabric they are either machine washed, dry-cleaned or
hand washed.
As the artists are so physical there are a lot of repairs to be done
on the costumes. The costumes from acts that have friction with
apparatus such as Aerial Hoops and Spanish Webs have to be replaced
and repaired more often. Costumes last anywhere between 6 months to
two years.
Each costume design goes through at least 10 drafts before the final
one is selected.
Eighty percent of the fabric is custom dyed. These fabrics are usually
white and are hand-dyed and printed in custom colors in the costume
shop in Montreal.
DidyaKnow? - What is Cirque's Current Video Catalog?
{Jul.27.2007}
-----------------------------------------------------
From the CirqueFAQ:
There are currently many Cirque du Soleil productions available
for purchase to view at home. Some have been released in the
past while others are new releases. This list showcases what
titles are currently available. All titles may not be available
in all regions. Each title is delimited by its name, the year
in which it was filmed, in what location it was filmed and its
running time:
[Productions]
o) La Magie Continue (1986, Toronto) - 90 min/50 min
o) Cirque Réinventé (1989, Montréal) - 56 min
o) Nouvelle Expérience (1991, Toronto) - 78 min
o) Saltimbanco (1994, Atlanta) - 78 min
o) Quidam (1999, Amsterdam) - 90 min
o) Dralion (2000, San Francisco) - 89 min
o) Alegría (2001, Sydney) - 90 min
o) Varekai (2002, Toronto) - 112 min
o) La Nouba (2004, Orlando) - 90 min
o) Corteo (2005, Toronto) - 110 min
[Documentaries]
o) A Baroque Odyssey (1994, Montréal) - 56 min
o) Inside La Nouba (2000, Orlando) - 45 min
o) KÀ Extreme (2005, Las Vegas) - 46 min
o) Lovesick (2006, Las Vegas) - 97 min
[Out of Print Documentaries (VHS Only)]
o) Quel Cirque! - 22 min
o) Saltimbanco's Diary - 22 min
o) Illusion of Truth: Alegría - 22 min
o) Full Circle: The Making of Quidam - 22 min
[Special Films/Television Series]
o) Alegria: Le Film (1998) - 90 min
o) Journey of Man (2000) - 41 min
o) Fire Within (2002) - 390 min
o) Solstrom (2004) - 585 min
o) Midnight Sun (2004, Montreal) - 95 min
Note: These productions were also released in VHS format, but have
since been discontinued: Le Magie Continue, Le Cirque
Réinventé, Nouvelle Expériencé, Saltimbanco, Quidam, Dralion,
Baroque Odyssey, Inside La Nouba, Quel Cirque, Saltimbanco's
Diary, Illusion of Truth: Alegría, Full Circle: The Making
of Quidam, Alegria: Le Film, and Journey of Man.
The following were also released in VideoCD (VCD) format in
select Asian markets: Cirque Réinventé, Nouvelle Expérience,
Saltimbanco, Quidam, Dralion, and Baroque Odyssey.
The following title was also available in LaserDisc (LD)
format: Le Cirque Réinventé.
DidyaKnow? - Why is "La Magie Continue" Listed at 90/50 min?
{Aug.10.2007}
-------------------------------------------------------------
From the CirqueFAQ:
In 1988, Cirque du Soleil made "Le Magie Continue" available
for purchase on VHS in its full 90-minute run-time. This VHS was
available for $29.95. Unfortunately, and it is unclear why,
Cirque du Soleil considered it necessary to cut-down the show
for it's DVD release. It is also not clear if a full version of
this show will ever be released to DVD, but considering its age
and the missing footage being only a curiosity to fans, the full
recorded version of "Le Magie Continue" will probably never
see the light of day again.
DidyaKnow? - Lyrics for Nostalgie
{Aug.10.2007}
-------------------------------------------------------------
A few months back we received an email from a talented young singer
auditioning for Cirque shows who happened across our site who then
emailed us the lyrics for Nostalgie, from "O". We misplaced that
email but recently found it... and would like to present these
lyrics to you now! (To protect the artists' identity, we're
withholding their name.)
Nostalgie
svodé es sova
kolya es nyabo
své dalya ko es tolyo krounya te svédjabo
nyatel déounya'
kolya es tolyou
své kalyé déné
kra kolé svékouya
sonyo es kronya
kraya es tanyou
né yaka soyé
dvosi kraya kounyé toulou
svodé es sova
kolya es nyabo
své dalya ko es tolyo krounya svédjabo
Here's contortion from O:
so bé ko na do sé
ko lé donima ya kou doto
s bé ko na do sé
ko lé donima sounké
makolé so bé ko na dosé
ko lé soé bono ya ni ma to
so bé ko na dosé
ko lé donima ya vé dja
I don't have more, because I studied just this part of the song.
And to debbie:
Né lo va ya son
né va ya so ya be kore nou
Der ché lo va ya son
né morkala vé né i lou
né lo va ya son
né va ya so ya bé korenou
dedja lo va ya son
ne morkala vé né va yombre
der ché lo va ya son
né morkala vé né i lou
and then a repeat of verse 1.
====================================
HISTORIA: Cirque du Soleil History
====================================
[July]
* Jul.01.1990 -- Cirque Réinventé (Vol 2) CD Released (Nâga)
* Jul.02.2002 -- La Nouba Boutique pepper spray incident forces
evacuation
* Jul.04.2007 -- Cirque named top Canadian Brand by Brand Finance
Canada.
* Jul.05.1984 -- 1984 Tour opened Rimouski
* Jul.05.1985 -- 1985 Tour opened Québec [Vieux-Port de Québec]
* Jul.05.1986 -- Le Magie Continue opened Québec
* Jul.05.1990 -- Nouvelle Expérience opened Seattle
* Jul.05.1996 -- Quidam opened Ste-Foy
* Jul.05.2007 -- Koozå opened Quebec City
* Jul.05.2007 -- Varekai opened Adelaide, Australia
* Jul.06.2000 -- Saltimbanco 2000 opened Seattle
* Jul.06.2006 -- Quidam opened Philadelphia
* Jul.07.1987 -- Cirque Réinventé opened Québec
* Jul.08.2004 -- Alegría opened Philadelphia
* Jul.10.2002 -- Saltimbanco opened Vienna
* Jul.10.2003 -- Alegría opened Vancouver
* Jul.11.1990 -- Cirque Réinventé opened Montréal
* Jul.11.1997 -- Alegría opened Berlin
* Jul.12.1984 -- 1984 Tour opened Saint-Jean-Port-Joli
* Jul.12.1994 -- Alegría opened San Francisco
* Jul.13.2003 -- Cirque nominated for 1 Emmy - 55th Emmy Awards
Outstanding Nonfiction Program Alternate - Fire Within
* Jul.14.1992 -- Fascination opened Osaka
* Jul.14.1992 -- Saltimbanco opened San Francisco
* Jul.14.2006 -- Alegría opened Amsterdam
* Jul.14.2006 -- Corteo opened Chicago
* Jul.16.2003 -- Varekai opened Chicago
* Jul.18.2002 -- Cirque nominated for 2 Emmys in 54th Emmy Awards
Outstanding Variety, Music or Comedy Special - Alegría
Outstanding Choreography for 74th Academy Awards
- Debra Brown
* Jul.19.1984 -- 1984 Tour opened Baie-Saint-Paul
* Jul.19.2003 -- Quidam opened Osaka
* Jul.20.2004 -- Varekai CD released in Canada (CDS Musique)
* Jul.20.2004 -- Alegría CD released in Canada (CDS Musique)
* Jul.20.2007 -- Corteo Nominated for Emmys
o) Category 6: Art Direction for a Variety,
Music Program or Special
o) Category 28: Picture Editing for a Special
(Single of Multi-Camera)
* Jul.21.1995 -- Saltimbanco opened Berlin
* Jul.21.1999 -- Saltimbanco opened Adelaide
* Jul.21.2005 -- Dralion opened Oostenede
* Jul.22.1998 -- Alegría opened Antwerp
* Jul.22.1998 -- Quidam opened Chicago
* Jul.23.1988 -- Cirque Réinventé opened Toronto
* Jul.23.2006 -- Varekai NAT 1 Ends (2002-2006)
* Jul.24.1992 -- Fascination opened Sapporo
* Jul.24.2003 -- Saltimbanco opened Oostenede
* Jul.24.2003 -- Dralion opened Columbus
* Jul.25.2002 -- Quidam opened Boston
* Jul.25.2007 -- Dralion opened Osaka, Japan
* Jul.26.1984 -- 1984 Tour opened Québec
* Jul.26.1985 -- 1985 Tour opened Toronto [Harbour Front]
* Jul.26.1991 -- Nouvelle Expérience opened Toronto
* Jul.26.1995 -- Alegría opened Chicago
* Jul.26.1996 -- Saltimbanco opened Angers
* Jul.26.2001 -- Quidam opened Copenhagen
* Jul.26.2007 -- Alegría opened Gijon, Spain
* Jul.27.2004 -- Varekai opened Boston
* Jul.27.2004 -- Varekai CD released in US (CDS Musique)
* Jul.28.1993 -- Saltimbanco opened Chicago
* Jul.29.1999 -- Dralion opened Toronto
* Jul.31.1990 -- Cirque Réinventé opened London
* Jul.31.1997 -- Quidam opened San Jose
* Jul.31.2003 -- Zumanity Begins Preview Performances
* Jul.31.2004 -- Quidam celebrated 3000th performance
[Sat, 1:00pm/Calgary]
[August]
* Aug.01.1986 -- Le Magie Continue opened Saint-Sauveur
* Aug.01.1990 -- Nouvelle Expérience opened San Francisco
* Aug.01.2002 -- Dralion opened Seattle
* Aug.01.2002 -- Varekai opened Toronto
* Aug.02.1984 -- 1984 Tour opened Magog
* Aug.03.2004 -- Alegría CD Released US (CDS Musique)
* Aug.03.2006 -- Saltimbanco opened Sao Paulo
* Aug.04.1987 -- Cirque Réinventé opened Saint-Sauveur
* Aug.04.2005 -- Saltimbanco opened Monterrey
* Aug.04.2005 -- Corteo opened Toronto
* Aug 06.2006 -- Mystère celebrated 6000th performance [Sunday, 7:30pm]
* Aug.07.1992 -- Fascination opened Yokohama
* Aug.08.1989 -- Cirque Réinventé opened San Francisco
* Aug.08.1996 -- Quidam opened Toronto
* Aug.09.1984 -- 1984 Tour opened Hull
* Aug.09.1990 -- Nouvelle Expérience CD Released (Nâga)
* Aug.09.2007 -- Koozå opened Toronto
* Aug.10.2006 -- Varekai opened Sydney, Asia-Pacific Tour Begins
* Aug.10.2006 -- La Nouba Celebrates 5,000,000th guest!
* Aug.11.2005 -- Varekai opened Columbus
* Aug.12.2004 -- Dralion opened Antwerp
* Aug.12.2004 -- Quidam opened Sydney
* Aug.13.2006 -- Corteo celebrated 500th performance
[Sun, 5:00pm/Chicago]
* Aug.14.1986 -- Le Magie Continue opened Longueuil
* Aug.14.1987 -- Le Cirque Réinventé opened Longueuil
* Aug.14.1993 -- Saltimbanco opened Washington DC
* Aug.14.1996 -- Mystère Live CD Released in Canada (RCA/Victor)
* Aug.15.2001 -- Dralion opened Boston
* Aug.16.1984 -- 1984 Tour opened Sorel
* Aug.16.1985 -- 1985 Tour opened Niagra Falls [CP Skylon Tower]
* Aug.16.2001 -- Cirque wins 3 Emmys for Dralion on Bravo
* Aug.16.2005 -- "O" CD released in Canada (CDS Musique)
* Aug.16.2005 -- La Nouba CD released in Canada (CDS Musique)
* Aug.16.2005 -- Mystère (Live) CD released in Canada (CDS Musique)
* Aug.17.2000 -- Dralion opened Minneapolis, Minnesota
* Aug.17.2007 -- Varekai opened Perth, Australia
* Aug.18.1992 -- Fascination opened Sendai
* Aug.18.2000 -- Alegría: Le Film premiered in Italy
* Aug.19.2004 -- Alegría opened Toronto
* Aug.20.2004 -- Saltimbanco opened Frankfurt
* Aug.21.2001 -- Alegría opened Brisbane, Australia
* Aug.21.2002 -- Alegría opened Minneapolis
* Aug.21.2003 -- Alegría opened Seattle
* Aug.23.1984 -- 1984 Tour opened Montréal
* Aug.23.2003 -- Dralion opened St. Louis
* Aug.23.2007 -- Corteo opened Los Angeles, California
* Aug.24.2006 -- Quidam opened Cincinnati
* Aug.25.1994 -- Alegría opened San Jose
* Aug.27.1992 -- Fascination opened Kita-Kyushu
* Aug.27.1992 -- Saltimbanco opened San Jose
* Aug.28.1986 -- Le Magie Continue opened Ottawa
* Aug.30.2004 -- Zumanity celebrated its 500th performance
* Aug.30.2006 -- Dralion opened Berlin
* Aug.31.2000 -- Quidam opened Düsseldorf
* Aug.31.2006 -- Alegría opened Brussels
* Aug.xx.2001 -- Dralion celebrated 500th Show
[Minneapolis, Minnesota]
==========================================
CIRQUETECH: The Technical Side of Cirque
==========================================
CirqueTech: "KÀ SoundScape: Speakers, Mixing & Mics"
{Jul.07.2007} & {Jul.21.2007}
-----------------------------------------------------
I was poking around the Internet for the odd fact about KÀ the other
day and came across a nice list of sound equipment for Cirque du
Soleil's KÀ at MGM Grand in Las Vegas. As I began browsing the article
it came as no surprise that it was one from LiveDesign Magazine. They
also have fabulous articles reviewing the many techincal aspects of
live, creative performances. Therefore, in this installment of
CirqueTech, I'm gonig to take a moment to highlight the equipment list
(in two parts) they published that allows us to hear from the depths
of KÀ's abyss. And if you're interested in reading the full article -
and I highly recommend you do - you can do so at the following URL: <
http://livedesignonline.com/venues/show_business_abyss/index.html >
LiveDesign Magazine always has fabulous articles reviewing the many
technical aspects of live, creative performance. In this installment
of CirqueTech, we're going to take a moment to highlight the equipment
that allows us to hear from the depths of KÀ's abyss:
KÀ Soundscape, Part 1: Speakers
-------------------------------
o) LEFT AND RIGHT LINE ARRAYS
.) 24 Meyer Sound MILO-65
.) 26 Meyer Sound MILO-90 (self-powered)
o) SUBWOOFERS
.) 8 Meyer Sound PSW-2
.) 24 Turbosound TSW-721
o) SURROUND SOUND
.) 6 Meyer Sound M1D
.) 6 Meyer Sound M2DPS-15
.) 8 Meyer Sound SB-2, 4 CQ-1
.) 6 Meyer Sound UPA-1P
.) 5 Nexo PS-8TD
.) 16 EAW KF 850
.) 36 EAW AS300i
.) 10 Tannoy IW8TDC (custom enclosure)
o) STAGE EDGE
.) 10 Nexo PS-8
KÀ Soundscape, Part 2: Mixing & Mics
------------------------------------
o) SIGNAL PROCESSING
.) 8 EAW MX800i,
.) 5 Klark Teknik DN98-48
o) POWER AMPLIFIERS
.) 24 Crest 8001
.) 36 Crest 7301
.) 8 Crest 3301
.) 10 Crest 7001
.) 16 Crown CTS-2000
o) MIXING CONSOLES
Level Control Systems (LCS) Cue Console Mixing and
Processing System with: LX-DSP frame, DSP modules, Cue-
Station software, Apple G5-Dual computers, Cinematic
monitors Aphex 1788 mike preamplifiers
o) SIGNAL PROCESSING AND EFFECTS UNITS
TC Electronic, Leitch, Mackie, Presonus, Klark-Teknik,
Aphex, Avalon, Symetrix
o) SAMPLERS AND MULTITRACK PLAYBACK
.) Akai Z8, Tascam MX-2424
.) Sierra Automation Switchers
.) Yamaha 02R Auxiliary Console
o) WIRELESS MICROPHONES
.) Sennheiser EM 3532-U series mike receivers (computer
display software, active antenna system and
accessories)
.) Sennheiser SKM 3072-U and SK 5012-U mike transmitters
o) IN-EAR MONITOR SYSTEMS
.) Sennheiser SR 3056-U
.) Sennheiser 3053-MT
.) Shure P6HWE1 Wired In-ear Monitor
{SOURCE: LiveDesign Media, "Into The Abyss of KÀ" -
http://livedesignonline.com/venues/show_business_abyss/index.html}
CirqueTech: "Delirium Equipment: Lighting & Control, Part 1/2"
{Aug.03.2007} & {Aug.17.2007}
-------------------------------------------
Once again I found myself on LiveDesign's website, poking around for
information on Cirque du Soleil sound equipment when I came across
this list of Lighting and Projection equipment. It comes from an
article entitled "Past Tents" and is a fabulous read all about
Delirium's technical merits. I highly recommend you give it a read!
The URL: <http://livedesignonline.com/mag/past_tents/index.html > In
the meantime, please enjoy this brief list of the equipment installed
for Delirium:
Delirium Equipment, Part 1:
Lighting, Control, Rigging & Projection"
----------------------------------------
o) LIGHTING
.) 24 Vari-Lite VL3500(tm) Spot
.) 30 Vari-Lite VL3000(tm) Spot
.) 34 Vari-Lite VL3000 Wash
.) 16 Vari-Lite VL2500(tm) Spot
.) 7 Syncrolite SX3K-2
.) 8 Clay Paky Stage Scan
.) 100 AC Lighting Chroma-Q Color Block
.) 196 Color Kinetics iColor(r) Cove MX Powercore
.) 2 Mole-Richardson Maxi-Spacelite
.) 6 Altman 48" ZS-2 MR16 Zipstrip
.) 36 ETC Source Four(r) PAR
.) 4 Robert Juliat Ivanhoe Followspot
.) 4 Altman 1000 Q Followspot
.) 24 AC Lighting Chroma-Q Color Changer
.) 4 Martin Atomic 3000 Strobe
.) 5 Luminous Swings (Custom)
.) 1 Emballa Shadow Light (Custom)
.) 4 Mega 12V FlashLight
o) LIGHTING CONTROL
.) 2 ETC Sensor SR48 Touring Dimmer Rack
.) 1 MA Lighting grandMA
.) 1 MA Lighting grandMA Light
.) 6 MA Lighting NSP
.) 8 Wireless Solutions Wireless DMX Transmitter
.) 14 Wireless Solutions Wireless DMX Receiver
.) 8 Theatre Wireless DMX-4WL-HO 12V Dimmer
.) 1 Cast Lighting WYSIWYG Perform Station
Delirium Equipment, Part 2:
Rigging & Projection
---------------------------
o) RIGGING
.) 64 CM 1-ton hoist
.) 52 CM 1/2-ton hoist
.) 4 Chain Master 1/4-ton hoist
.) 22 Show Distribution SD-800S Motor controller with
remote
.) 2 Crestron Rack-2 Digital controller for SD-800S
.) 1 Crestron touchscreen with custom design software
o) PROJECTION & CONTROL
.) 12 Christie Roadie 25K Projector
.) 6 Christie Roadster 16K Projector
.) 2 Sharp Video 3K Projector
.) 12 Coolux Pandoras Box(r) Video Server
.) 2 MA Lighting grandMA Light Console
.) 3 VYV Light System (Realtime Video Effect)
.) 3 Sony DXC-637 Camera 3 CCD
.) 4 Sony DXC-950 Camera
.) 7 Sony CCU Remote
.) 4 Fujinon Robotic Head
.) 1 Ross RVS-316 Video Switcher
.) 2 Verint Nextiva(tm) S1100 Smart-Link Wireless Video
System
.) 1 AutoPatch 16×16 Matrix
.) 1 Ross 16×32 HDSDI Matrix
.) 1 Leitch 10 DA Frame
.) 2 Evertz VIP(tm) Twelve Input Video Monitoring and
Display
.) 12 Doremi Labs XDVI-20
.) 1 12-1 Routing Switcher
.) 6 UltraVaio Downscaler HD to Composite
.) 1 1×2 DA Composite
.) 1 1 in × 8 out DA Composite
.) 1 Vector Waveform
.) 1 Black Generator
.) 6 LCD Screen
.) 6 3Com 1 Gigabit Switch
.) 3 PC Laptop
{SOURCE: LiveDesign Media, "Past Tents" -
http://livedesignonline.com/mag/past_tents/index.html}
=======================================================================
FASCINATION! FEATURES
=======================================================================
------------------------------------------------------
"The John-Paul Interview"
By: Keith Johnson - Seattle, Washington (USA)
------------------------------------------------------
We first met John-Paul Gasparrelli with a short interview in our very
first issue. At the time (September, 2001) he had just become the
Musical Director/Keyboardist for "O" in Las Vegas. So it's only
proper we close Fascination's sixth year with a long-dormant (2002)
fuller interview.
John-Paul comes with an extensive resume. Primarily self-taught, he
first came to LA in 1985, playing in many different groups and
situations. From '94-'96 he was the Musical Director/keyboardist for
"The Carolina Opry," a musical variety show in Myrtle Beach, SC. He
then returned to LA until mid-2001, when he ventured to Vegas and
became keyboardist for Bellagio Casino/Hotel act Dian Diaz. It wasn't
soon after that the Cirque came calling.
Though only Musical Director until Spring 2003, his story of how he
became a musician, his climb up the ladder, and his thoughts on music
are inspiring.
# # # # #
--What first attracted you to the piano?
Well, from the age of 10 to 14 I was an accomplished singer and actor
in musical theater in San Jose and Sacramento community and summer-
stock theater, which is where I started as a performer. After
appearing in productions like "West Side Story", "Damn Yankees", "Tom
Sawyer", "The King and I", etc., I discovered that I had a naturally
good singing voice, so much so that I was being scouted as a child
performer for Broadway shows. But my mother wouldn't let me fall into
the "child star" thing, as too many of those end up _not_ having a
career as an adult. So, I was this child singer/actor in Sacramento,
performing in productions with people like Molly Ringwald, who later
went on to be a big star.
--You say you were being scouted by Broadway. Did *you* want to do
that at the time?
Boy, and how! I had caught "the fever" as they say, and because it
was so much fun and it was something that I could do successfully I
was really into it. But my Mom and Dad, being the wise people they
were and are, put "the brakes" on that situation. At the time I was
unhappy about not having my parents be the "stage mother and father"
that so many of my peers had pushing them. In retrospect, I am so
thankful that I didn't end up a Hollywood casualty child-star.
Practically all of the child performers that "make it" have _no_
career after they are children. And my parents didn't want that for
me, as much as they knew that I wanted it as a child. I'm very blessed
to have such wise and caring parents. I probably wouldn't be where I
am today if I had gone the "child-star" route.
--Many musicians it seems initially turn to music as an escape.
Trying to get away from something uncomfortable, be it a hard home
life, or school, or whatever. Would you say that was true for you?
Well, without going into too much detail, if you knew my early
childhood you would know that from the time I was 6 to 10 years old, I
had a very bad time. From ten years old and up, it became a very good
time. I started performing when I reached my 10th year, and I think it
was both a celebration of my "exodus" to a new life and probably also
an escape from my previously horrible years. So I would say it was
both an escape _and_ a chance to find a way of expressing myself for
the future.
--How did the piano come into the picture?
As I was being hired to sing at various events I had to frequently
hire a pianist to play for me. So, after a friend's mother who played
at her church showed me a couple of chords on the piano, I started
figuring out, by ear, how to play music from people like Billy Joel,
Barry Manilow, etc. Also, as I had played clarinet from the 2nd to
10th grades, I knew how to read music and I transferred this knowledge
to the piano. So I had the ear thing going, as well as music training
from the clarinet.
As I got older, I started teaching myself jazz, R&B, pop and anything
else I wanted to learn. I always had a good ear for copying things so
most things I was studying came fairly easy. As I went into junior
high and high school I became more and more interested in learning
jazz and the singing thing, while still a strong focus, took a back
seat to the piano, which had taken over my primary efforts.
In high school I became the "school pianist" playing for anyone and
everyone that needed a pianist, from the school choirs to the jazz
band. You name it - I was there, and hungry to get as good as I could
in all styles. From there I applied and was accepted to the Berklee
College of Music in Boston. My high school jazz band teacher was an
alumnus so he recommended that I go there. I went very briefly and
returned to Sacramento shortly after to begin playing in dance bands.
--Who gave you your first keyboard?
My first keyboard was a small upright acoustic piano which my mother
and father gave to me. I was about 12 when they bought it (the first
of three acoustic pianos), and they also bought my first electric
keyboard setup, which consisted of a Rhodes Stage 73 electric piano
and a Korg Poly 61 synthesizer. I was so excited to get these
keyboards - this was very big stuff for a blossoming keyboardist just
starting to gig in 1983. My how times and technology have changed!
--What was your first paying musician job?
In 1980, when a drummer friend and myself (playing keyboards) were
hired for a dinner party. Talk about a small repertoire - I think we
knew about 12 songs then, and for four hours of music there were lots
of repeats! As for my first paying gig as a performer, period, I was
hired at the age of 12 to sing at a function in Sacramento. That was
one of the ones when I had to hire a pianist (before I knew how to
play!). This gig made me think that I should teach myself the piano
and avoid the outlay of money. Ah yes - greed is indeed the mother of
invention!
--What attracted you to making music your career?
Well, as a child, I always admired kids on T.V. that were performing,
and wondered if I could do the same. I think the fact that singing and
playing music has always come very naturally to me, without a lot of
stress and difficulty, and the fact that (hopefully) what I play/sing
sounds halfway decent, encouraged me to make it my career. (Not to say
that it's been an easy road, because it most certainly has not been!)
--How did you first become involved playing keyboards in LA bands?
After returning from Berklee in Boston I was anxious to start playing
"for real" and not just studying it in a classroom somewhere. I joined
a local band in Sacramento, "cutting my teeth" with this and a couple
of other local groups. After a few years I started looking to L.A. as
somewhere I could play with great musicians _and_ find more
opportunities than Sacramento could offer. So one day I packed up
everything, moved to L.A. and started "making the rounds." It was a
long process (as any effective networking process can be), but after a
few years of playing with as many people as I could I started being
able to make a decent living just doing music.
Around 1987 I moved to Long Beach after getting married, and met a
singer named Derek Bordeaux. Derek had just started his own group at
the time and he heard me playing with an excellent band in Newport
Beach. He called me for a gig one day and things just snowballed from
there. He ended up having the top R&B group in Orange County at that
time (Derek and the Diamonds), they ended up being the "All-Star"
R&B/Jazz cover-group of the time, attracting all the great players in
that area.
This is the kind of thing that happened throughout my time in Southern
California; you start getting a reputation (good or bad) as you play
more and more in the area, and you start becoming a part of the
network. By this process, I really got the opportunity to hone my
playing and musicianship with some of the best players in the world...
--What lead you to start playing keyboards as backup for touring acts
such as Expose and Debarge?
Again, by exposing (no pun intended) myself to as many opportunities
as possible, by being "hungry" to get "good," and playing for
sometimes very little money gave me a decent reputation in the area.
This led to lots of "word-of-mouth" situations, where out of the blue
I would get calls from groups like DeBarge and Exposé to work with
them. It really was a "climbing up the ladder" sort of thing; one
thing always seemed to lead to another. Sometimes better, sometimes
worse, but my playing skills and business sense always grew from
whatever I was involved with at the time.
--Your involvement in the Carolina Opry is an interesting note on your
resume. How did this opportunity come about? What did you take away
from the exprience?
Actually, during the country music boom of the early 90's, a guy I had
become friends with in the 80's, and had stayed in touch with over the
years, ended up moving to Nashville and becoming the musical director
and keyboardist for superstar Garth Brooks. He and I had been friends
before his big break, and when I found out he had started working with
Garth I contacted him in Nashville to congratulate him. I had been
working with, ironically, vocalist Johnny Lee ("Lookin' For Love In
All The Wrong Places") at the same time, so we had something in
common.
When we finally got back in touch, he told me that I should consider
moving to Nashville, as the "country craze" was hot at the time and
there were many opportunities to work in this arena. So I took a
chance and made the move to Nashville. (This was also because he had
set me up for an audition with Wynonna Judd, which I flew out to and
did great on, but didn't get the job because I was "from L.A.".) So,
hopeful to get into this market, I once again packed up the truck and
moved to Nashville.
When I got there, my friend set me up with lots and lots of auditions
with many of the country stars of the day. But nothing really
materialized with them, although I could play the material
effectively. About the time I was considering giving up on Nashville,
I got a call from the producer/director of The Carolina Opry in Myrtle
Beach, SC. He had gotten my resumé from a mutual friend, and was
looking for someone with my background to add to his show. He flew me
out to Myrtle Beach, and I was impressed with what I found. I was
offered the job, and not having anything to hold me in Nashville I
moved to Myrtle Beach and joined The Opry. A high-budget show and
slick production, it was a great experience and gave me lots of
valuable insight on how to be an effective musical director. It wasn't
the level of show that Cirque du Soleil is, but it was very effective
training and experience. And of course, living at a beachfront condo
was great, too!
--After working in Los Angeles for many years, you moved to Las Vegas
to play keyboards for Bellagio Bar act Dian Diaz. How did this
opportunity come up, and why did you decide to make the move away from
Los Angeles?
After I stopped working with Steve Oliver, Jeff Kashiwa and The Art Of
Sax in L.A., I took a hiatus from playing music at all. I was
increasingly becoming jaded with respect to the over-inflated
politics, false promises, and the "much ado about nothing"-ness of the
smooth-jazz world. You wouldn't believe all the nonsense that goes on
in "elevator-music"-land, but it does and did, and I finally had had
enough of all the phonies and such. So I took six months off to think
about which direction I wanted to go in, as the smooth-jazz thing,
IMO, had become a dead-end market.
One day I got a call from old friend Bruce Conte (the founding
guitarist of Tower of Power) to play with his band on their regular
"run to Vegas." Bruce had been in and out of The Art of Sax over the
years and we had become good friends. So off to Vegas I headed! Once
there I ran into another former bandmate that had moved there, and he
told me that Cirque du Soleil was looking for a keyboardist for the
"Mysterè" show. He got the contact info for me, and I immediately
became interested in the organization. I sent them my newly-released
CD and promo kit, and hoped for the best.
A day before the end of my run with Bruce in Vegas I received a call
from Cirque, inviting me to audition. I accepted and they Fed-Ex'd me
the material. Two days later I went to audition and did well. I went
back to L.A. hoping to hear from them, but never did. So I decided to
take a chance and move to Vegas and hope for the best.
Once in Vegas I started looking for work. Within a couple of weeks I
heard that vocalist Dian Diaz was looking to replace her keyboardist
in her house band at the Bellagio. Wanting to work I made arrangements
to audition, and was offered the job. It turned out to be a great
experience and gave me the opportunity to work with many of the
current great Vegas players, including Dian, herself a wonderful
vocalist.
Then,three months after my audition with Cirque, I got a phone call
from Montreal asking if I would be interested in becoming the musical
director of "O". Of course I said "Yes!", and a week later they
offered me the position.
It's amazing what happens when you just "throw yourself out there,"
and do your best. I'm very grateful for all the great things and great
people I have been involved with. A wonderful career, to be sure.
--You produced your own CD, "Moonlight." Why did you decide to
produce an album?
For the longest time I felt the need to officially realize my musical
ideas and abilities into a tangible medium. Just to have my playing
ability and ideas just "floating around out there" is not a good idea
if you're serious about making the most of your career. So I decided
to make the commitment to do a CD _for real_, and not to compromise on
any part of it, putting as much into it as my resources and ability at
the time would allow. I knew many people that I was playing with that
had taken halfway "stabs" at making their own CD and they always
seemed very "homemade" to me. This was something that I wanted to
avoid as I really feel, when you make your own CD, that it is truly
your "calling card" and that people get the gist of who and what you
really are with regards to your talent, your attention to detail, and
your self-image. There is a saying - "You only get one chance to make
a first impression". I think, especially when producing your debut CD,
that this is a true statement.
Also, when you want people in the industry to take you seriously as a
viable candidate for whatever they may be needing someone for, having
a well-done CD is vital. It really is your "calling card", and that's
why I spent so much pain-staking effort in making it the best I knew
how at the time.
--How long did the album take to put together as a project?
From start to finish the CD took about a year and a half. The good
thing was that I was able to figure out on my own how to do everything
to produce it. I literally did everything from the recording,
composing, arranging, playing, singing, producing, engineering,
mixing, etc. The things that I did not do were the saxophones, some of
the vocals and guitars, and some of the drum fills. The photography
was from an ace guy in L.A., and the design work was done in
partnership with a graphics guy in L.A. as well. It's amazing what
can be done with enough time, energy, some great keyboards, a good mic
and a Macintosh G4 computer!! It really is limitless if you invest
the time into it. I think all in all it was a very good first effort.
--I agree with you, the CD is a very good "calling card." How much did
the album cost you to produce? How many copies did you have made?
The album cost about $3000 in actual money spent. That obviously
wouldn't be taking _my_ time into account as there were hundreds of
man-hours involved on my part. The fact that I was able to do most
everything myself with the Macintosh computer really made a huge
difference. I had about 1200 copies made. To be honest, I never had
any illusions about "making it big" with this CD - it really was
intended to be a good "calling card" to show my abilities as a player,
writer and producer. And I think it succeeded in this context.
--When did you start recording, and were you also working during that
time?
I started at the beginning of 1999. The actual recording of the parts
went pretty fast once the arrangements and parts were there. That was
the part that took the longest. Creating arrangements and parts that
worked correctly were the toughest thing to make happen. It really
takes a period of time to "age" parts and arrangements that you come
up with. What may sound correct and exciting one day may (and often
did!) sound dumb the next. So being patient and letting time pass
really makes the difference. If I can listen to something over and
over again over a long period of time then it works. But if I listen
to something over the same period of time and it starts bugging me, or
I get bored, then it's time to change it. Obviously you can't wait
forever, but I think you start realizing when something is right and
when it's not.
I was indeed gigging and working in L.A. during the time I was
producing my CD. I was living in Pasadena and was playing with some
great jazz players, which really fueled my input into the album and
sharpened my "chops" for when it was time for me to play on it as
well.
--How long did the actual recording and mixing take?
The recording took about four months total, but the mixing is where
the work really is!.. I spent SO much time mixing, remixing,
relistening in cars, people's homes, other people's sound systems,
etc. to be able to make sure that the arrangements and mixing would
translate correctly in as many environments as possible. What sounds
good or powerful in one environment may sound lame and weak in
another. My mixing concept is one thing that will change on the next
CD. I think that my CD would have been even better if I had mixed it
in a pro commercial studio instead of my various apartments at the
time. And having a "real" engineer, which I would never consider
myself as, is a must. There are so many tricks and things that a real
recording engineer can do that I, being a musician primarily, will
never know. What I did have when mixing were my ears. As they are
pretty good, and I have a strong idea of arrangement, this is what
saved my CD from my ignorance of "real" engineering.
--Which aspect gave you the most pleasure?
Writing and playing the piano stuff. Being a piano player first and
foremost I'm fairly proud of the piano playing on the CD. Not the best
in the world to be sure, but I still think it's pretty good.
Also I had fun, and am proud of, the synth bass parts. Playing bass in
a song correctly is one of the hardest things to do, and coming up
with the right part is tough. You have to have the right sound and be
strong, but not _so_ strong as to be noticed. If you notice the bass
over the song then it's too much. But if you notice how much the bass
_isn't_ noticeable, but is subliminally carrying the song and
grooving, then you're doing it right. I think the bass stuff is really
good on this CD.
--Do horn arrangements come easily for you?
Actually, I love making horn section stuff with keyboards. I am very
much influenced by groups like Chicago, Earth Wind and Fire and the
big bands, and am an avid admirer of genius horn arranger Jerry Hey. I
have studied their horn arrangements for years and really have made an
effort to discover what makes them work and how to create them. One of
the things I was hired a lot for in L.A. was my ability to simulate a
live horn section with keyboards. I have one of the best horn section
sounds in my keyboard rig that you'll hear. Playing with all the jazz
and R&B groups that I did in L.A., you start figuring out how to make
keyboards sound like a real horn section.
--What do you think makes your keyboard horn sound so good, and how
have you modified it to make it so? In other words, what makes a good
horn patch sound? Is it more the sound, or the way it's played?
It really is a combination of things, but I think it comes down to how
you phrase what you play. The basic sound is very important, but once
you have a good sound, if you don't understand how real horn sections
phrase things and what they _wouldn't_ play, then you get into
trouble. Understanding the limitations of ensembles and implementing
that when you are simulating them is really the key. Having all the
technique in the world doesn't make any difference as a keyboardist if
you don't first understand what these ensembles play and what they
don't. Dynamics, harmonic content, voicing patterns and articulations
are all so vital when trying to create a believable horn section (or
string section, for that matter). I often hear players trying to play
horn stuff on keyboards that is just plain embarrassing, because they
just haven't taken the time to really study what's going on.
THE MUSIC BUSINESS:
--Being a professional musician can tend to be a very mobile career,
meaning you move where the work is, more often than other professions
might. Has that been true for you?
Yes 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.
--Can you be steady location-wise? Can you settle in Las Vegas and
expect to play for 20-25 years?
I've met people here that have been playing Vegas since the early 60's
(with Elvis no less!) and are still going strong. Vegas, for all of
it's craziness, is a great place to be a musician. There is so much
entertainment here and it's only getting bigger.
--What changes have you seen in the musical performance business since
you started?
When I started playing in L.A. nightclubs in the early 80's it was a
booming time and very popular. Jazz, R&B, Funk and Pop were very
viable things in that town and you could make a decent living playing
that stuff. Today I know so many musicians that have had to quit music
because that whole scene in L.A. is now gone. Times and music do
change and it certainly has in L.A. It's like the jazz scene in NYC in
the 30's and 40's - by the 50's that scene with Bird and Gillespie was
over and Rock had replaced it.
--What is the scene in L.A. like now?
As far as I hear from my friends that are there it's a tough scene. I
mean, who wants to hear a third-rate version of "Brick House" or
"Mustang Sally" yet again for the millionth time? Most people do not.
And club-owners are not attracting paying customers with that at their
clubs.
To these people that are there for their art, I take my hat off to
them. But to me life should be a balance, not an extreme of any
direction. I think that you can be great at something in your life
without it having to be at the expense of having a prosperous and
somewhat "normal" thriving existence. So many people I know think that
to be good and "real" they have to lead a forever struggling way of
life. If you have integrity and are true to what's honest and real
then things will come your way eventually.
--Which gets more jobs in your opinion - niceness, attitude (or self-
confidence, some might call is arrogance), or talent? I know they may
all factor in to some degree, but which is primary?
In my opinion, to be really successful you have to have the total
package. If you're a nice person but have no real talent or skills,
you can only go so far. People hire people that can deliver "the
goods" more or less. Likewise, if you're amazingly great at what you
do but have lousy people skills, are dishonest, mean, or are bad in
handling business, then as great as you may be talent-wise you will
only go so far as well. I think you can be confident and very able
without being a jerk or dysfunctional. But unfortunately I've found
that most of the bad rap that musicians get is well-deserved. A lot of
musicians are one way or the other - either amazingly talented but
impossible to count on and/or work with, or are really easy to work
with but cannot do the job correctly and have very little talent. Then
you have the nightmare person - the person who is a jerk, is mean
and/or dishonest, and also cannot play or perform. And amazingly
enough these people are working a lot. It's a strange brew. Personally
I have learned from many over the years how _not_ to be or act. I'm
not perfect by any stretch of the imagination, but my goal has been
and is to be the best person I can be, deliver the best possible
product, and help as many as possible _whenever_ possible. I think
with this combination and philosophy success will follow _you_!
--Have your job experiences changed your outlook on music, how it is
used, or how you may use music in the future? If so, how?
It's funny - when you get "outside your box", and go out into the
world _without_ a safety net you start realizing just how many amazing
opportunities there really are out there but had been invisible until
you made the choice to see and investigate new ideas and ways of
thinking.
--Which has more "staying power" in the industry, singers or musical
instrument players?
It really depends upon how resilient your body and mind are. Some
singers can sing great for their whole lives and some burn-out in 2-3
years. Some instrumentalists play through their 80's and 90's, and
then there are those who get carpel-tunnel syndrome or some other
malady that stops their craft. It really depends upon how you treat
your body and mind and how careful you are in life.
--Do you ever get Carpel Tunnel symptoms (I've always wondered how
working musicians care for their hands)?
Yes, I have it and it is irritating sometimes. But working out every
other day in the gym makes it less noticeable. It really doesn't
affect me or my playing, knock on wood!
--Another musician-health question: Do you have tinnitus (ringing in
the ears, often caused by repeated exposure to loud noises)?
I have been fortunate to not have developed it, although why I haven't
is a good question. For years I stood next to a very loud saxophonist
(who shall remain nameless), and the volume really took it's toll on
my ears. Thankfully my ears have stood up against that punishment from
years past. I don't think I will ever (knock on wood) have to worry
about playing music at such loud levels again.
MUSICAL PHILOSOPHY:
--How would you characterize your music? What would you call it?
I think that forcing your music into one or another category can
border on taking yourself too seriously from the consumer's point of
view. Sure, you have to have an identity of what and who you are, but
I think that if you just go with the initial idea of your sound it
will find it's way by itself, without you having to force it down
anyone's throat. I think music can be seen in many stylistic ways, and
why limit yourself? I think it's funny and self-indulgent for jazz
musicians to try and reclassify themselves as "rock" for legitimacy's
sake. It's like those guys in wedding or lounge bands that are balding
but have ponytails, and are still "rocking out" on guitar or whatever
- the image that _they_ have of themselves and what others see are
totally different. Same thing with music; you really have to have the
honesty and the _courage_ to see yourself as realistically as
possible.
But I think it's good driving-around-in-your-car music. It's kind of
the "smooth-jazz" thing, for better or for worse !
--"Smooth Jazz" - That's exactly what I thought when I first heard the
"Moonlight" CD. How do you feel about that characterization, is it
bothersome?
Well at one time, like anything else, it was a compliment to be
considered "smooth-jazz". Now I believe it is definitely not. Just
like when country music was hot with Garth Brooks, now it isn't
anymore. You can't get stuck in one style, you have to move and grow.
I know so many people that refuse to change with life. They stick with
one thing that is comfortable and then rationalize their determination
to be stagnant and lazy. I have to admit that it's an easy thing to
get stuck in if you aren't careful. But it's dangerous, and the times
when I have had the most success are the times I tried to re-invent
myself and what I wanted to do. For example, I'm not a big Madonna
fan, but I admire the fact that she's always looking to improve and
refine what she is doing. She didn't get stuck in one thing and then
tried to live on that forever. I couldn't tell you the last hit she
had or sing the melody of her last single, but as a performer and
artist I commend her on not getting complacent. She is a great example
of what someone can do if they try to think "outside the box".
Some people I know try to formulate their musical output and I think
that's ridiculous, like producing musical "fast-food". The "smooth-
jazz" market and artists that I know are just making glorified
"elevator music" in my opinion. I know that will put some people off
by me saying that, but the truth is the truth.
For my next CD I will be very conscious of not being "smooth-jazz" as
I think it's an easy thing as a musician to sell-out and default
stylistically. Especially if you've ever had the delusion of grandeur
of being the next Kenny G, David Benoit, or Boney James. It's time for
all the smooth-jazz drones to find something else to do and quick!
THE CIRQUE GIG:
--Have your job experiences changed your outlook on music, how it is
used, or how you may use music in the future? If so, how?
I think my entrance into Cirque made me realize that there are so many
other possibilities in music than I ever realized. It's funny - when
you get "outside your box", and go out into the world _without_ a
safety net you start realizing just how many amazing opportunities
there really are out there but had been invisible until you made the
choice to see and investigate new ideas and ways of thinking. The
music of Benoit Jutras in "O" really struck me as an amazing example
of how combinations of instruments previously thought of as
"uncombinable" have been combined to create an amazing tapestry of
sound and emotion. Benoit is a modern-day genius. What he has done
with the art of composition is really something, and has opened my
eyes a little more to the amazing possibilities of composition and
arranging.
What I think I will get from Cirque on a musical level is a deeper
insight as to how to discover my talents on writing for film and
theater, which is something I have been considering trying my hand at.
It won't be in any way as strong a focus as my work with "O" and won't
be for some time to come. I don't think at this point I could ever
seriously consider a paying career in that but you never know what the
future may hold. In any case, my exposure to the music in Cirque, and
the longer I am around it, will give me more and more education and
initiation into the complex world of film and theater scoring, the
next frontier for me, personally...
--What is the most challenging thing (about being a musician)?
Lately it's been to keep the "O" band in tip-top shape with regards to
making sure that things always stay on the top level quality and
consistency-wise. It's a tough show to play 10 times a week, and
making each one sound as precise and fresh as the very first - it's
harder than you would think. But it's a great challenge and one that I
really enjoy and feel I am successful with.
--You say you've taken much time getting the "O" show together. What
were the difficulties you had to overcome regarding your Musical
Director's job at "O", other than learning how to work the keyboard
setup?
The show was indeed together quite properly. As with the addition of
any new band member, or myself, there was the initial "fitting-in" to
the situation, and that does indeed take some time to settle. I took
quite a bit of time, and still do, to make sure that I continually
study the various acts on stage so that I can more effectively call
the musical sections to them. The better you study the many variations
of what can happen with the acts during a show the better prepared you
are when strange and inevitable things occur (which they sometimes
do!) I don't think you can 100% anticipate what each and every
situation will be like during a show so you constantly try and learn
as much as you can, so that you aren't caught too off-guard when
something out of the ordinary happens.
When I first began the show the whole concept of "calling" sections of
the music verbally to the band as the action occurs was quite new to
me, and completely different from anything I had ever done. Although I
learned the show in about 4-6 weeks time, and was conducting it alone
after 8 weeks, it was quite a challenge to take on the responsibility.
Gaining the confidence of knowing that you can handle with calmness
and control _any_ situation that may arise is the biggest challenge.
Also, getting the rest of the band to trust and have confidence in my
decision-making was something that was very important to establish
from the very start, and I am happy that we all have a very good and
mutually supportive relationship. The band is made up of very
wonderful people. Each member really brings something special and
different to the show and it's the chemistry of the band that really
makes the music work as smoothly as it does. I am very priviledged to
be working with such gifted and wonderful people.
--How do you keep the O band in "tip-top shape"?
Even the L.A. Lakers need constant practice and attention to detail. I
like to think that no matter how great people are doing there is
always something to improve. I take this concept to myself as well.
This band is wonderful and to stay wonderful it requires someone who
cares and tries to always bring out the best in them, both as people
and as musicians. I think that I have been successful in doing this
for the band of "O" and they have been successful in doing that for
me.
--What is the best thing about being a musician?
Sleeping in as late as you want, although I do get up every day at
9:30 A.M. or much earlier lately - insomnia, go figure! Seriously
though, I do feel truly blessed to be able to make a good living doing
this - playing my instrument and making music for money as well as
pleasure. Being a musician has introduced me to the most amazing
people and situations as well.
--What inspires you?
The fact that my professional life has become so successful inspires
me to trust and believe that my personal life will follow suit. I've
always hoped that, professionally, things would go this well.
--What recommendations would you give to young folks just starting
out, musicians who are interested in a *career* in music (as opposed
to those who think they'll make the rare "big splash")? My interest
here is on what one can do when young to make a sustainable living
performing music.
As with anything getting a real foundation in the basics of a craft is
essential to having longevity in the chosen industry. These kids that
just want to "be a star" are living very dangerously. They have no
real skills at the craft, and as a musician I think it's more reliable
and desirable to have a real, tangible ability to perform a service
that cannot be subjective in it's inherent worth. For example; you may
think you're going to be the next Madonna but not everyone else will
think so. But if you spend 20 years becoming a great pianist no one
can dispute that you are a great pianist, if that's what happens from
it. You will most likely always work. But as the next Madonna you may
work, but most likely you will not. It's about choices and about how
much time and effort you are willing to put into something.
I always thought that investing in developing content and quality as a
musician was much smarter than trying to figure out how to fool people
with image and glitz. What I do and what I am as a musician may not be
as "sexy" as what Billy Idol, does but I'm not complaining. I take
great comfort in knowing that, despite what trends may come and go, no
one can dispute that I am a competant player and that I know my stuff.
And this is because of the _time_ and work I have put in and nothing
more. It was a _choice_.
But this has definitely come at a price, a lot of time, sacrifice and
work. But I wouldn't have it any other way. To me you either do
something right or you don't do it at all. To think that you can
depend upon what's "trendy" at the moment to propel you and yourself
to riches and fame is a crapshoot at best.
So - in my long-winded way, to aspiring musicians wanting to have a
long, enjoyable career in the arts I say this: learn the fundamentals,
learn the basics, and learn them well. Do it right from the beginning
and you won't regret it. There is no shortcut. Even if you become an
amazing musician it is still a hard, tough road, full of uncertainty.
And that's where you need to hone your people skills. You need both -
hard work at the basics of your craft and great people skills. One
without the other and you won't make it. And then be prepared to spend
20 years making it happen. And then _keeping_ it happening. I never
let my guard down for a minute. The time I do someone will come in and
move me out. And one more thing to remember: have fun and don't take
it too seriously. Important words. But by all means - learn music and
your craft FOR REAL, not a shortcut via image and fads.
------------------------------------------------------
"CirqueCon 2007: Orlando Updates (Part 2)"
By: Ricky Russo - Orlando, Florida (USA)
------------------------------------------------------
CirqueCon 2007 was held on August 9th through 12th in Orlando, Florida.
As such the updates during this period were quite numerous. In order
to capture the feel of what was originally posted but without
repeating ourselves (and collecting a bunch of unnecessary text), the
update pieces presented here are topical: meaning only certain topics
from the updates, rather than the entire update, is presented here:
°o°) A QUICK NOTE {Jul.02.2007}
This is just a quick note to let everyone know that this Friday
- July 6th - is the deadline to receive our special CirqueCon
rate at our Headquarters Hotel: Port Orleans French Quarter!
after Friday the rate is history - and so are the group ticket
discounts! So if you haven't gotten your room yet, and you're
coming to CirqueCon in Orlando, don't delay!
In our next update, which from this point on will be weekly
(even if we haven't anything new to say), we'll announce the
menu and pricing for our Epcot Dessert Party. We won't have
enough passionates to have dessert 4 catered to us, but if you
still have a preference between desserts 1, 2 and 3, please let
us know. Friday is also the deadline for the dessert party - so
please let us know if you wish to join us!
We also know you're anxious about La Nouba seating and tickets -
we are too! We're waiting for the final decision about prices
from Cirque du Soleil. Just as soon as we know, you'll know!
°o°) LA NOUBA TICKETS - GET'EM NOW! {Jul.17.2007}
We thank everyone for their patience with regards to the
purchase of their seat to La Nouba, we know you've been
anxiously awaiting the news - so wait no longer!
Seating - Where Are We?
-----------------------
As you may know, Cirque du Soleil has had a number of seats
on reserve for our group these past few weeks. And while we
have probably tested your patience mentioning that as often
as we have, permit us to review them for those who may be
new to our group since our last update:
Our seats exist in two sections - 103 (front and center) and
204 (around the sound booth).
Why two? We were advised section 204 represents the best seats
in the house for sound quality and show visuals but we also
recognize there are a great many of you who also like that front
and center experience; therefore, we've reserved seats in both
areas to accommodate everyone's taste! A win-win situation!
So, how many seats do we have available? We have...
42 seats in Category 0, Section 103, Front & Center
27 seats in Category 1, Section 204, Row AA - DD
35 seats in Category 2, Section 204, Row EE - KK
The exact placement of seats in these categories and rows has
not been provided to us; except we can say we do have at least
Row A and C in section 103 and the first few rows in 204 as
part of our block.
Pricing - Okay, How Much?
-------------------------
Because the seating is spread across three different pricing
categories, as you may expect, so is the cost. The prices below
reflect the cost of adults & children (there is no distinction
between the two, sorry) with all taxes added in. And thanks to
Cirque du Soleil, some of our seats have a 15% discount over
normal pricing!
Category 0: Section 103, Front & Center (no discount)
$119.25 w/tax [by Check]
$125.25 w/tax [by PayPal]
Category 1: Section 204, ROW AA - DD (15% discount)
$87.80 w/tax [by Check]
$92.20 w/tax [by PayPal]
Category 2: Section 204, ROW EE - KK (15% discount)
$71.50 w/tax [by Check]
$75.10 w/tax [by PayPal]
Buying - Great, How Do I Get 'Em?
---------------------------------
Why does the cost of tickets by CHECK vs. PAYPAL differ, you
may be wondering?
Because the Orlando Cirque du Soleil box office is not equipped
to handle the volume of individual ticket sales for our group,
CirqueCon is facilitating the sale and distribution of the
tickets this year. This means we can't utilize direct credit
card payments like we could in Las Vegas and since PayPal
levies an approximate 5.0% service charge for each item, we
must charge slightly more to offset PayPal's transaction
charges - much like for the membership fee. We apologize in
advance for this.
We have these two convenient payment options available:
1) CREDIT CARD via PAYPAL
We have our general PAYPAL account for those that wish
to pay via credit card. However, in order to offset
PayPal's transaction charges of 5.0%, tickets are priced
as follows:
Category 0: Section 103, Front & Center (no discount)
$125.25 w/tax [by PayPal]
Category 1: Section 204, ROW AA - DD (15% discount)
$92.20 w/tax [by PayPal]
Category 2: Section 204, ROW EE - KK (15% discount)
$75.10 w/tax [by PayPal]
Please send the total amount for tickets to PAYPAL
account - orlando@cirquecon.com
2) BY CHECK
Tickets paid via CHECK are not subject to the paypal
surcharges, and are priced as follows:
Category 0: Section 103, Front & Center (no discount)
$119.25 w/tax [by Check]
Category 1: Section 204, ROW AA - DD (15% discount)
$87.80 w/tax [by Check]
Category 2: Section 204, ROW EE - KK (15% discount)
$71.50 w/tax [by Check]
Please send the total for each order. Checks should be
made out and sent to:
Keith Johnson
31241 Fourth Avenue South
Federal Way, WA 98003-5203
IMPORTANT - IMPORTANT - IMPORTANT - IMPORTANT
When making your payment, please advise us the NUMBER OF
SEATS you wish to reserve and the CATEGORY (either 0, 1 or 2)
in which you wish to sit.
Due to the limited availability in some categories, seating
choices will be filled on a FIRST PAID, FIRST SERVED basis.
Email us your selections at: orlando@cirquecon.com
DEADLINE -- The deadline for purchasing your Cirque tickets
is Tuesday, July 31st at 11:59pm Eastern Time. We apologize
for the quick turn-around time, but our weekend is fast
approaching! So please hurry! Any remaining seats will be
returned to Cirque du Soleil after the 31st - once they're
gone, they're gone!
COOL - Now What?
----------------
That's it! Once we receive your payment your seat reservations
become final and you're set to sit in your selected category so
long as we have the available seating. If your preferred seats
or category are sold out we will make every attempt to contact
you straight away. If we are unable to make contact with you,
we will place you in the next seating category and refund the
ticket difference (based on the form of payment).
Some other things to consider...
Seating Assignments -- Because CirqueCon is facilitating the
ticket distribution this year, we have a little say over what
seats you get. We will make every attempt to accommodate your
seating preferences, but we cannot guarantee certain or any
arrangements.
Deadline -- Once again, the deadline for purchasing your La
Nouba seats through us is 11:59pm ET, Tuesday, July 31st. Any
remaining unclaimed and unpaid for seats will be returned to
Cirque du Soleil!
Ticket Distribution -- You can pick up your tickets during our
scheduled open registration times and before the show.
Don't forget that our official show is scheduled for Saturday,
August 11th at 9:00pm.
°o°) LA NOUBA TICKET QUICK REMINDER {Jul.24.2007}
This update is just a quick reminder that there's only one week
left for Orlando CirqueCon passionates to reserve their La Nouba
seats through us. There are still plenty of choice seats
available; grab yours while you can - don't delay!
Category 0 (103, Front & Center) -- 19 seats left
Category 1 (204, ROW AA - DD) -- 25 seats left
Category 2 (204, ROW EE - KK) -- 39 seats left
After 11:59pm Eastern Time on Tuesday, July 31st, all ticket
sales will end - remaining seats will be given back to Cirque du
Soleil,so get yours today!
°o°) LA NOUBA TICKET REMINDER: 2 MORE DAYS {Jul.27.2007}
Greetings, fellow Cirquesters.
TWO MORE DAYS UNTIL THE LA NOUBA TICKET OFFER COMES TO AN END!
This update is just a quick reminder that there's only two more
days left for Orlando CirqueCon passionates to reserve their La
Nouba seats through us. There are still plenty of choice seats
available; grab yours while you can - don't delay!
Category 0 (103, Front & Center) -- 18 seats left
Category 1 (204, ROW AA - DD) -- 25 seats left
Category 2 (204, ROW EE - KK) -- 37 seats left
After 11:59pm Eastern Time on Tuesday, July 31st, all ticket
sales will end - remaining seats will be given back to Cirque du
Soleil, so get yours today!
°o°) CIRQUECON 2007 ORLANDO T-SHIRT, WHERE?! {Jul.30.2007}
They were quite popular with our passionates last year in
Las Vegas, and some of you have asked us about them again
this year - so where are those CirqueCon T-Shirts?!
Unfortunately, due to the short development time Rich and
I have had for CirqueCon 2007, we didn't have enough time
to finalize a logo design for T-shirt production; therefore,
we couldn't offer one this year through the vendor we used
last year - there wouldn't have been enough lead time for
printing and shipping.
BUT, our Graphics Guy has a solution for those who are
a little adventurous - make your own! And I'll let him tell
you how to do that in his own words: take it away Rich!
* * *
To create a T-Shirt using the CirqueCon 2007: Orlando!
official graphic, simply navigate to the picture on the
web site (www.cirquecon.com/2007/tshirt.htm), click on the
thumbnail, and choose to save the full image to your
computer of choice. Once saved on your computer, load the
graphic in your favorite graphic software (a Paint program or
even Microsoft Word), print the picture on Color Ink Jet
printer using a special "Dark T-shirt Transfer Paper".
Once printed, follow the instructions that came with the
transfer paper to iron the image onto a T-Shirt.
The "Special Dark T-shirt Transfer" paper is readily
available from office supply and craft stores. The brand
I use often is Avery, their part number is 3279, the name of
the product is "Dark T-Shirt Transfers" and I have had great
success with any number of different ink jet printers. This
product does NOT require any special ink for the printer
and, can be ironed on a shirt with a standard household iron.
The only trick I've learned is when washing a shirt, turn the
shirt inside out for washing and drying and, dry on medium
heat.
* * *
We do apologize that we didn't have the official CirqueCon
2007 graphic available for T-shirt processing earlier, but
for those of you interested in showing your CirqueCon
passion, here's the way you can do it!
Find the graphic on our page dedicated to the T-Shirt,
< http://www.cirquecon.com/2007/tshirt.htm >.
°o°) LA NOUBA TICKETS - DONE DEAL {Aug.04.2007}
Our special 15% discount offer on selected category tickets
for La Nouba has ended as of July 31st, and we wish to thank
everyone for their participation and quick response.
At this time we are unable to take any further orders for
La Nouba tickets. You can still purchase tickets to our
"official" show in the following three ways; however, normal
pricing and seating applies:
(1) Online at: https://www.omniticket.net/cds/
(2) By Phone: 407.939.7600
(3) In Person: at the La Nouba Box Office
For those passionates who purchased seats through us, you
will be able to pick up your tickets during our scheduled
open registration times and, of course, just before the
show. See either Ricky or Rich!
°o°) GROUP MEAL @ HOUSE OF BLUES {Aug.04.2007}
+--------------------------------+
| |
| Saturday, August 11th |
| 6:30pm to 8:30pm |
| HOUSE OF BLUES |
| |
| $47.00 per person |
| |
+--------------------------------+
Just a few short days ago we announced that we had been
working very hard to find a venue for our traditional
CirqueCon group meal, and as such had been speaking with
the House of Blues located just a stone's throw away from
the front of the Cirque du Soleil theater at Downtown
Disney West Side. We've been able to work through the
paperwork, and they're quite excited to be working with
us!
The response to our initial group meal email has been
excellent, therefore we are pleased to announce that we've
hit our minimum requirements and we'll be having our group
meal at the House of Blues!
There's still time to join us if you're undecided, but
please don't delay - we will finalize our reservation on
Monday, August 6th; therefore, we'll need to know our
final count by 11:59pm Eastern Time, Sunday August 5th!
NOTE: You MUST tell us in advance. We will be unable to
accomodate walk-ups.
MENU
------
* FIRST COURSE *
House of Blues Salad
Traditional Salad with Iceberg Lettuce, Red Cabbage,
Red Onions, Diced Tomatoes, Croutons and Ranch Dressing
-AND-
Rosemary Corn Muffins (2 Per Person)
With Maple Butter
* SECOND COURSE *
Creole Jambalaya
With Shrimp, Chicken, Andouille Sausage, Tasso Ham and
Roasted Green Onions
-OR-
Cajun Meatloaf
Wild Mushroom Gravy, Mashed Potatoes and Sautéed
Vegetables
-OR-
Grilled Marinated Rosemary Chicken Breast
With a Savory Andouille-Corn Bread Pudding, Pinot Noir
Reduction and Sautéed Vegetables
(Vegetarian option available upon request)
* THIRD COURSE *
Sinful Triple Layer Chocolate Cake
Served with Chocolate Sauce and Vanilla Ice Cream
HOW TO PAY?
-------------
For those who have already committed, please email us your
selection for the second course (a.k.a. the entrée) if
you haven't already done so. We will need this in advance
so our hosts at the House of Blues knows how many of each
plate to prepare. So please let us know!
We have these two convenient payment options available:
1) CREDIT CARD via PAYPAL
We have our general PAYPAL account for those that
wish to pay via credit card. Please send $47.00
(which includes all taxes and charges) to our
PAYPAL account - orlando@cirquecon.com.
2) BY CHECK OR CASH
Since we have vert little time until the start of
our event, we will accept checks or cash in person
on site.
That's it! We'll see you there. Come hungry!
°o°) ACTIVITIES IN THE LA NOUBA THEATER {Aug.04.2007}
There are just a few tiny little details to finish up,
which will happen in the next couple of days, but we just
couldn't wait to tell you something!
In our published "tentative" itinerary, we set aside
Saturday afternoon for a possible Cirque du Soleil
activity; while the exact time has yet to be determined,
it looks like that is going to happen and it's going to
be VERY COOL! Be sure to keep that time slot open, you
won't want to miss it!
After that activity, we'll want to gather our group of
passionates together at the Cirque du Soleil sign on the
La Nouba Theater for a Group Photo with our own cameras
(likely one of many to be taken this day...*cough*), then
assemble at the House of Blues for our Group Meal.
We'll eat, drink and be merry, then assemble for the 9:00pm
performance of La Nouba. After the show (that's right,
AFTER), stay in your seats because we'll be doing a few
"little" things with some *ahem* folks. So don't make
plans to leave immediately after the show! You REALLY
won't want to miss this!
With all Cirque du Soleil activities on Saturday you will
need to have your badge on your person. For the afternoon
activity you will just need a badge; for the "after show"
activity, you will need both your badge and a ticket for
the 9:00pm performance. We will be unable to let anyone
into the theater after the show.
Remember though, with all things Cirque it is subject to
change, but we are very excited!
°o°) YOUR PROGRAMME PACKET {Aug.07.2007}
CirqueCon 2007: Orlando is right upon us, and we're just
as excited to be hosting you as you are in joining us! In
just a short couple of days you'll be registering with us,
and we'd like to take a moment to tell you what to expect
upon check-in and, of course, what to check for just to
make sure all of your credentials are in-line.
(1) Programme Book per membership, containing articles and
briefs about La Nouba, the theater in which the show plays,
and other exciting experiences with the show and Cirque du
Soleil.
(1) Disney Resort brochure, containing maps and teasers
for all of Disney World's properties, including the theme
parks, water parks, Downtown Disney, hotels and other places
to play on WDW property. You'll want to take this with you!
(1) "World of Cirque" Adventure Souvenir Button Package,
containing a quest for those looking for a little extra fun
while wandering Epcot. Answer all the questions about the
World Showcase pavilions correctly and receive a very special
button! Everyone is a winner!
And, of course, Rich's wonderfully made buttons just for
our event!
Other items to look for are based on your attendance to
these following activities:
o) Epcot Dessert Party - Passionates who have signed up to
take part in our Epcot Dessert Party, please find a
"D-Ticket" (that's "D" for Dessert!) for each member of
your group, and a wrist band. The "D-Ticket" is your
keepsake for joining us at this event; however, in order
to be escorted to the party's location, please make
sure you are wearing the wristband. This wristband will
let the Event Guides and other Epcot Catering staff know
you are part of the Dessert Party group.
o) La Nouba Group Show - Passionates who have purchased
seats to La Nouba through CirqueCon should find one
ticket for each member of their group - totaling the
amount of your order - for our group's show at 9:00pm on
the evening of Saturday, August 11th. It is imperative
you keep these tickets safe as we cannot provide
replacements!
o) Group Meal, House of Blues - Passionates who have signed
up to join us at the House of Blues for dinner on
Saturday afternoon should also find a Dinner Ticket as
a keepsake for each member of your group.
If you've signed up for any of these events and do not
find your tickets, wristbands or other necessary items,
please find us immediately.
°o°) CAN I STILL SIGN UP FOR CIRQUECON EVENTS? {Aug.07.2007}
Unfortunately RSVP for all our events (Epcot Dessert Party,
Group Meal at House of Blues, and seats to La Nouba through
us) has ended. We apologize, but at this time we are unable
to take any further orders - special or otherwise - for any
of our ticketed events.
BUT!
You can still purchase tickets directly to our "official"
showing of La Nouba in the following three ways:
(1) Online at: https://www.omniticket.net/cds/
(2) By Phone: 407.939.7600
(3) In Person: at the La Nouba Box Office
Please note: ticketing and payment for these seats will be
handled directly through the Cirque du Soleil Box Office.
CirqueCon cannot guarantee any seating availability or
arrangements for tickets purchased through the Cirque du
Soleil box office.
For those passionates who purchased seats through us, you
will be able to pick up your tickets during our scheduled
open registration times and, of course, just before the
show. See either Ricky or Rich!
°o°) CIRQUECON ACTIVITIES - WHERE TO BE? {Aug.07.2007}
Epcot Dessert Party --
Time: Friday, August 10th @ 8:30pm
Location: United Kingdom Pavilion, Epcot
Epcot Dessert Party "D-Ticket" holders, meet Ricky in
the United Kingdom pavilion at Epcot near the
Fish'n'Chips stand by at least 8:20pm. Please make sure
you are wearing your Disney provided wristband for this
event (provided at time of registration) as this
wristband will let the event guides and other Epcot
catering staff know you are part of this party. We
cannot guarantee your admittance if you are not wearing
your wristband!
NOTE: Entry into Epcot is not provided by CirqueCon.
Your wristband does not act as an entry ticket. Payment
for the Epcot Dessert Party does not grant you access to
the park. Please have a valid park ticket or pass to
enter!
Need a map? Take a look at the location on our website:
www.cirquecon.com/2007/social.htm
Oh, and what are we having?
Dessert 4: Deluxe
A Variety of Miniature Stemware Glassed to include Classic
Tiramisu, English Trifle, Fresh Fruit and Berries; Pastry
Selections in Miniature to include: Fresh Fruit Tartlet,
Vanilla Cream Filled Pastry Horns, Chocolate Éclairs,
Chocolate and Pistachio Cannoli; Beverages: Coffee,
Decaffeinated Coffee, Hot Tea and Fruit Punch
Group Meal: House of Blues --
Time: Saturday, August 11th @ 6:30pm
Location: House of Blues, Downtown Disney
Group Meal ticket holders (those who have signed on for
the Group Meal will have a special Group Meal ticket in
your registration packet), please meet outside of the
House of Blues no later than 6:30pm. The meal will be
served starting 6:45pm so we want to be set and ready!
The House of Blues is located just outside of the Cirque
du Soleil theater - you can't miss it!
Group Show: La Nouba! --
Time: Saturday, August 11th @ 9:00pm
Location: Cirque du Soleil Theater, Downtown Disney
For those passionates who have purchased their seat for
our group show of La Nouba, please make sure you have
tickets in hand and meet us out front of the theater! We
will be seated by 8:45pm, so please make sure you have
your ticket!!
Activities at the Cirque du Soleil Theater --
Time: To Be Determined
Location: Cirque du Soleil Theater, Downtown Disney
For our afternoon activities, please meet at the
staircase in front of the Cirque du Soleil Box Office.
For our evening activity, please stay in your seats
after the show! Remember to bring your CirqueCon
2007 badge with you - you must have this to take
part in our activities!
°o°) WDW TRANSPORTATION QUICK FAQS {Aug.07.2007}
Q. HOW DO I GET TO AND FROM THE AIRPORT?
Getting to and from Orlando International Airport couldn't
be easier. For CirqueCon attendees staying with us at Port
Orleans: French Quarter using the group code above, Disney
provides Disney's Magical Express -- a free service that
will shuttle Disney Resort guests to and from the airport.
They will pick up your bags and transport them to your room
-- there's no waiting at the airport (except for the bus.)
In order to take advantage of this fabulous service, you
must request it at the time you reserve your room so don't
forget!
Q. HOW DO I GET TO AND FROM DOWNTOWN DISNEY/LA NOUBA?
There are two (2) ways you can reach Downtown Disney West
Side from Port Orleans: French Quarter, they are: 1) via
free Disney Resort Bus, which has pickups at various points
around the resort, and 2) via Water Launch, a boat from the
central building's dock straight to Downtown Disney.
If you need further information about Disney World
transportation alternatives, visit their online FAQ:
< http://disneyworld.disney.go.com/wdw/common/helpFAQ?
id=HelpFAQTransportationPage >
°o°) WDW PARK INFORMATION {Aug.07.2007}
Planning on visiting one of the parks during your stay with us
at CirqueCon 2007: Orlando? If so, we have the expected park
Operating Hours and Parade/Fireworks schedule times just for
you! Please remember to check your park's guide map and times
sheet upon arrival as these hours are subject to change and
parades/firework shows can be canceled due to inclement weather
conditions at any time.
°o°) EXPECTED PARK HOURS
.) Magic Kingdom
Th/09th - 9:00am to 11:00pm (EMH)
Fr/10th - 9:00am to 11:00pm (EMH)
Sa/11th - 9:00am to 7:00pm
Su/12th - 9:00am to 11:00pm (EMH)
.) Epcot
Th/09th - 9:00am to 9:00pm (EMH)
Fr/10th - 9:00am to 9:00pm
Sa/11th - 9:00am to 9:00pm
Su/12th - 9:00am to 9:00pm (EMH)
.) Disney/MGM Studios:
Th/09th - 9:00am to 9:00pm
Fr/10th - 9:00am to 9:00pm (EMH)
Sa/11th - 9:00am to 9:00pm
Su/12th - 9:00am to 8:30pm
.) Animal Kingdom
Th/09th - 9:00am to 7:00pm
Fr/10th - 9:00am to 7:00pm
Sa/11th - 9:00am to 7:00pm (EMH)
Su/12th - 9:00am to 6:00pm
.) Typhoon Lagoon (Water Park)
Th/09th - 9:00am to 8:00pm (EMH)
Fr/10th - 9:00am to 8:00pm (EMH)
Sa/11th - 9:00am to 8:00pm (EMH)
Su/12th - 9:00am to 7:00pm (EMH)
°o°) PARADES & FIREWORKS SCHEDULE
.) Magic Kingdom:
03:00pm = Disney Dreams Come True Parade
09:00pm = Spectromagic! Parade
10:00pm = Wishes Nighttime Spectacular
11:00pm = Spectromagic! Parade
.) Epcot:
09:00pm = Illuminations: Reflections of Earth
.) Disney/MGM Studios:
03:00pm = Disney Stars and Motorcars Parade
09:00pm = Fantasmic!
.) Animal Kingdom:
04:00pm = Mickey's Jammin Jungle Parade
Q. What is EMH?
A. EMH stands for Extra Magic Hours (not Emergency Medical
Hologram for you Star Trek fans) and is an exclusive benefit
of Disney Resort guests!
Each day one of the Disney Theme Parks opens an hour early or
stays open up to three hours after regular Park closing, so
Disney Resort Guests (with valid resort ID) can enjoy easy
access to select attractions - even the most popular ones! With
Extra Magic Hours, you can make the most of your vacation time
and see and do everything at an easy, relaxed pace.
If you want to take advantage of this benefit and have a Magic
Your Way Base Ticket, your Theme Park selection must be the Park
offering the Extra Magic Hours benefit that day. Remember, you
can only visit one Theme Park per day with the Magic Your Way
Base Ticket. To get the most out of the Extra Magic Hours
benefit, just add the Park Hopper(r) Option to your ticket. Then
you can go from Theme Park to Theme Park on the same day,
including whichever Park has Extra Magic Hours.
What's open?
°o°) Magic Kingdom Park
.) Mornings: Buzz Lightyear's Space Ranger Spin,
Cinderella's Golden Carrousel, Dumbo the Flying
Elephant, "it's a small world", The Many Adventures of
Winnie the Pooh, Mickey's PhilharMagic, Peter Pan's
Flight, Space Mountain, Stitch's Great Escape!,
Tomorrowland Indy Speedway.
.) Evenings: Includes attractions listed above and Big
Thunder Mountain Railroad, The Haunted Mansion, The
Magic Carpets of Aladdin, Pirates of the Caribbean,
Splash Mountain.
°o°) Epcot
.) Mornings: Living with the Land, Mission: SPACE,
Soarin', Spaceship Earth, Test Track.
.) Evenings: Includes attractions listed above and Honey,
I Shrunk the Audience, Journey Into Imagination With
Figment, Mexico-Gran Fiesta Tour Starring The Three
Caballeros, Norway-Maelstrom, The American Adventure.
°o°) Disney-MGM Studios
.) Mornings: Muppet Vision 3-D, Rock 'n' Roller Coaster
Starring Aerosmith, Star Tours, The Twilight Zone Tower
of Terror.
.) Evenings: Includes attractions listed above and The
Great Movie Ride, Voyage of The Little Mermaid.
°o°) Disney's Animal Kingdom Theme Park
.) Mornings: DINOSAUR, Expedition Everest, It's Tough to
be a Bug!, Kilimanjaro Safaris, Pangani Forest
Exploration Trail.
.) Evenings: DINOSAUR, Expedition Everest, Festival of the
Lion King, It's Tough to be a Bug!, Kali River Rapids,
Primeval Whirl, TriceraTop Spin.
°o°) WEATHER CONDITIONS {Aug.07.2007}
We recognize that August presents weather challenges: daily
afternoon thunderstorms are the norm, August is the middle of
the Atlantic Hurricane season, and temperatures and humidity
soar. While these weather phenomenons do pose as challenges, we
hope these will not be deterrents. There are plenty of indoor
locations both inside and outside the parks to get out of the
sun and into an air-conditioned setting - such as: the resort
pool, AMC Movie Theater complex, stores and shops at Downtown
Disney Marketplace, other WDW resorts (check out Animal Kingdom
Lodge, the Contemporary, Polynesian, and Pop Century) and even
our resort's main house!
For the weather conscious, here are some high and lows from last
year to give you an idea of what to expect in August:
/-----------------------------\
| 2006 Temperatures |
+--------+------+------+------+
| Date | High | Low | Hum. |
+--------+------+------+------+
| AUG 09 | 93°F | 72°F | 94% |
| AUG 10 | 95°F | 72°F | 100% |
| AUG 11 | 95°F | 74°F | 94% |
| AUG 12 | 96°F | 74°F | 94% |
\-----------------------------/
°o°) FINAL PRE-EVENT UPDATE {Aug.08.2007}
Greetings Cirquesters!
This is the final evening before our exciting weekend-long
adventure begins at Walt Disney World. Rich and I have already
been down to the French Quarter and I must say, its fabulous. I
cannot wait to explore this resort and the rest of Walt Disney
World beginning tomorrow evening!
We know many of you will be coming in throughout the afternoon
and evening; therefore, we've changed our open registration time
on Thursday to 6:00pm until approximately 8:00pm. Then we'll
break and everyone can grab a bite to eat, mingle about, and
do whatever they feel. You'll probably not want to stay out too
late, though, for Friday will come early and I know you'll want
to get an early start park hopping!
Catch Thursday's Registration at Room 4234 (that's building 4,
floor 2, room 34) from 6:00pm until 8:00pm. Rich will kick off
the celebration and then I'll join him a bit later after I come
from the airport and get settled.
There's a last-minute schedule conflict regarding our Activities
at the Cirque du Soleil theater on that Saturday afternoon, but
don't worry, once we get that worked out I'll have a full
schedule for you - you'll get it on site!
We're very excited and ready to have a great time. Are you? We
hope so!
This is it. We'll see you there!
Ricky & Rich
(fin}
=======================================================================
COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter Compendium
Volume 7, Number 4 (Issue #54) - Jul/Aug 2007
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2007 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination!
Newsletter." By sending us correspondence, you give us permission
(unless otherwise noted) to use the submission as we see fit, without
remuneration. All submissions become the property of the "Fascination!
Newsletter." "Fascination! Newsletter" is not affiliated in any way
with Cirque du Soleil. Cirque du Soleil and all its creations are
Copyright (c) and are registered trademarks (TM) of Cirque du Soleil,
Inc., and Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
{ Dec.31.2007 }
=======================================================================
