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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 2 MAR/APR 2007 ISSUE #52
=======================================================================
Bonjour et bienvenue!
We have a marvelously fully-packed issue in store for you this period
- we hope you enjoy it! Besides containing all the latest news and
sightings posted to the Fascination! Web throughout the months of
March and April, we also have expanded coverage surrounding WINTUK at
Madison Square Garden, Saltimbancos upcoming Arena Tour, the
Luxor/Criss Angel show announcement, and on Koozå, Cirques latest
touring production, through the use of Press materials. Youll find a
wealth of information about these exciting new productions within the
"OYEZ-OYEZ" section of this issue.
Im also very enthused to bring you some real treats in our Features
section this period, thanks to the wonderful folks at Cirque Tribune.
Ever wanted to chat with Alan Silva (Tissu performer in Zumanity) and
Kevin and Andrew Atherton (Aerial Strap performers in Varekai)?
Danielle Wall did just that, and through special permission from
Cirque Tribune, were able to reprint her exciting interviews here for
your enjoyment.
But thats not all. Fascination! alum Wayne Leung posts his thoughts
about Koozå from a preview performance in Montréal, we explore the
innocents world of Koozå (set, acts, costumes and characters) through
press materials, theres five in-depth entries in the CirqueTech and
four in the DidyaKnow columns to enjoy, and, of course, our Cirque
milestones listings.
Oh, and be sure to check out the Itinerary section for any last-minute
changes to tour stops and extensions -- especially the new information
pertaining to Wintuk, Saltimbanco Arena tour, Koozå, Quidam in Mexico,
Alegrìa in Brazil, and Varekai in Europe!
And now for the obligatory ending...
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) Oyez! Oyez! -- New Show Announcements
* Saltimbanco Arena Tour
* Cirque Luxor / Criss Angel Show
* Wintuk at Madison Square Garden
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
* "KOOZA Unveiled" (A Special Article Comprising
Texts from the Cirque du Soleil Press Room.)
* "My Thoughts on Koozå"
A Personal Review of a Preview Performance
By: Wayne Leung - Ottawa, Ontario (Canada)
* "An Interview with Alan Silva of Zumanity"
A Special Interview Reprint from Cirque Tribune
By: Danielle Wall - Southern California (USA)
* "A Chat with Kevin and Andrew Atherton of Varekai"
A Special Interview Reprint from Cirque Tribune
By: Danielle Wall - Southern California (USA)
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Cirque Announces MSG Show!
{Mar.07.2007}
----------------------------
From the Cirque du Soleil Website:
# # #
A young boy lives in a city where the arrival of winter has
brought long shadows and intense cold - but no snow!
He interacts with an extraordinary cast of high-energy urban
street characters, including skaters, dancers and talking
marionettes. But when the snow doesn't arrive, he embarks on a
quest with companions to find the snow and bring it back where
it belongs.
The adventurers journey to an imaginary Arctic - a world without
sunlight - where they encounter the rich culture of the People
of the North and extraordinary giant characters made of ice.
When at last the sun returns, they fly home on the wings of a
giant crane and unleash an epic snowstorm.
The show is playful and full of the exuberance of youth. Above
all, it's funny. A cast of 50 artists blend thrilling circus
arts, breathtaking theatrical effects, and memorable songs,
weaving them into a seasonal, meaningful story that resonates
with the whole family.
Some Facts:
o) The show will run for ten weeks, each winter, beginning in
2007 for the next four years.
o) Previews for the 2007 season will be presented from November
1 to 4.
o) The official season will run from November 6 2007 to January
6 2008.
o) The show will last 90 minutes and there will be a 20 minutes
intermission.
o) Find out more information and purchase tickets at Cirque du
Soleil's official page to their new Winter Tale by using this
link.
Luxor Show Announcement Imminent?
{Mar.11.2007}
-----------------------------------
According to Vegas Pop's Luxe Life column by Robin Leach, Cirque
du Soleil is on the verge of making an announcement about the
oft-rumored Criss Angel "magic show" to be housed at MGM-
Mirage's Luxor casino/resort. From the article:
It's now official that Cirque du Soleil will present 'Mindfreak'
magician Criss Angel in a $100-million+ magic spectacular as
first reported in LUXE LIFE. The news is imminent and a
countdown of just four days has begun. LUXE LIFE has learned
that invitations will be issued to TV crews and journalists
within 24 hours to meet at the Luxor on Thursday, Mar. 15 at 2PM
for the actual announcement with Cirque executives from Montreal
and Luxor president, Felix Rappaport, along with other MGM
officials also in attendance.
{Source: VegasPop/LuxeLife}
Cirque Show Canceled
{Mar.16.2007}
----------------------
According to the Colorado Springs Gazette, Cirque du Soleil
canceled its stop of Delirum in Colorado Springs in spite of
tickets selling well:
"Delirium, a Cirque du Soleil Live Music Concert," which was
scheduled for May 27 and 28 at the World Arena, was canceled
Thursday. A tour spokeswoman said it would be rescheduled, but
no date has been set. The cause of the cancellation? Warren
Epstein of the Gazette reported:
Amy Jacobs, the spokeswoman for the tour, blamed the
cancellation on a scheduling conflict at the World Arena, saying
it had double-booked and remained committed to another act. But
Eudora O'Brien, a spokeswoman for the World Arena, said there
are no other acts booked for those dates. The closest act on the
World Arena's schedule is country star Martina McBride, on May
25.
You can read the full article here:
< http://www.gazette.com/onset?id=20216&template=article.html >
{Source: Colorado Springs Gazette, Mar.15.2007}
Criss Angel Announcement Posponed
{Mar.21.2007}
-----------------------------------
Last week's press release purported to announce the Criss Angel
show at the Luxor did, of course, not occur. Luxe Life reports
it has only been postponed:
The big Cirque du Soleil show announcement at the Luxor that was
recently postponed has been rescheduled for this Thursday, Mar.
22. The announcement is expected to finally confirm months of
LUXE LIFE reports officially naming Criss Angel as the show's
star. The media alert for the press conference mentions that the
'featured artist of new production to make a special
presentation.'
{Source: Luxe Life, Mar.20.2007}
Students Learn the Ropes
{Mar.21.2007}
--------------------------
Rene Bibaud, five-time world rope jumping champion, and former
Cirque du Soleil performer, met and greeted students at Ben
Franklin Elementary in Rochester, Minnesota. The Post-Bulletin
wrote a piece on this:
Out of breath, but grinning after an hour-long jump roping
skills session led by Bibaud, fifth-grader Abby Martinson was
even more excited about jumping.
"I liked learning new tricks," she said.
After learning tricks like "The Mad Dog" and "The Pretzel," the
students attempted "The Wheel," one of the same moves Bibaud
performed during her four years with Cirque du Soleil.
{Source: The Post-Bulletin, Mar.19.2007}
Cirque Tidbits
{Mar.27.2007}
----------------
From the Las Vegas Sun:
Take these broken wings...: The one segment that has made me
grimace in "Love" at the Mirage is the "Blackbird" scene, the
stupid slapstick comedy interlude that is all spoken-word and no
music. The scene's original centerpiece (who played Dr. Robert
in the production), Fabio Esposito De Castro, left the show in
November to be with his family in Brazil. He has since been
replaced with another Brazilian performer, Claudio Carniero, who
is a lot less heavy-handed, and, thus, funnier in that scene.
The segment has also been shortened, and the moment where one of
the costumed blackbird characters poops on Dr. Robert's face has
been mercifully removed.
More hijinks from Cirque: Empire Ballroom comic hypnotist
Michael Johns, who fronts "Hypnosis Gone Wild" nightly at 11,
was in the audience Saturday night at "O" at the Bellagio and
found himself in a bit of role reversal. As the show opened, the
dancing clown character (insert your own Bush Administration
joke here) pulled Johns onstage and coerced him into dancing for
the audience. "It wouldn't have been so bad if it had been a
showgirl," said Johns, whose show is built on such audience
participation.
More on Cirque Luxor
{Mar.28.2007}
----------------------
On March 22, 2007, Cirque du Soleil and MGM/Mirage announced
their next co-production: Cirque Luxor (not the official name,)
featuring the magical talents of Criss Angel. A recent article
in Variety, however, noted a few facts about the production
which I'd like to share:
The production purportedly will cost $65 million USD. The amount
covers the cost of theater renovations and creation expenses.
It will be the sixth permanent Cirque show on the Las Vegas
Strip (Cirque Elvis 2009 will be the seventh.) It is the first
time Cirque will feature a star performer.
CREATIVE TEAM:
Serge Denoncourt -- Director
Pierre Phaneuf -- Director of Creation
Ray Winkler -- Set Designer
Eiko Ishioka -- Costume Designer
Daniel Ezralow -- Choreographer
Michael Curry -- Props and Puppet Designer
Criss Angel -- Illusions Designer
Jeannette Farmer -- Lighting
Jaque Paquin -- Rig and Acrobatic Material
Francis Laporte -- Projection
Jonathan Deans -- Sound Designer
Nathalie Gagné -- Make-up Designer
LA/SFO: Wanna Join the Cirque?
{Apr.02.2007}
--------------------------------
Broadway World announced over the weekend that Cirque du Soleil
will be hosting auditions for dancers in the Los Angeles and San
Francisco Bay markets in May 2007. So if you're a dancer and
have dreamt about joining the Cirque - this could be your
opportunity!
Curious about the goings-on at Cirque du Soleil auditions? So
were we! Fascination was invited to cover Cirque du Soleil's
auditions in 2005 when they were held in the Seattle, Washington
area. And you can read all about them in our special 4-part
series written by Keith Johnson & LouAnna Valentine, which
we will reprint from our archives in our next issue!
Check out Quidam in Seoul
{Apr.02.2007}
---------------------------
Interested in seeing the Grand Chapiteau set up in Seoul, South
Korea?
Check out the following article by The Korean Times. Within
you'll find a picture of Quidam's Grand Chapiteau setup in the
Chamsil Sports Complex in Souther Seoul. Cool!
< http://times.hankooki.com/lpage/culture/200704/
kt2007040118480511710.htm >
Cirque Coach Accused of Indecent Behavior
{Apr.09.2007}
-------------------------------------------
From the Daily Telegraph:
"AN acrobatics coach with the acclaimed Cirque du Soleil circus
group allegedly exposed himself and rubbed his groin against a
female cleaner in a serviced apartment in Canberra. The future
of Italian national Giuseppe Bello, 62, with the world famous
circus is under a cloud after he faced charges on the weekend
including an act of indecency without consent and common
assault. Cirque du Soleil is currently in Canberra with its show
Varekai."
Read more of this story at the following link:
< http://www.news.com.au/story/0,23599,21523159-2,00.html >
Saltimbanco Back On Tour
{Apr.10.2007}
--------------------------
After a brief respite, Saltimbanco, Cirque du Soleil's
celebrated 1992 production, is once again back on the road -
only this time you'll catch it only in Arenas! The tour begins
July 31, 2007.
About Saltimbanco:
Saltimbanco-from the Italian "saltare in banco," which literally
means "to jump on a bench"-explores the urban experience in all
its myriad forms: the people who live there, their
idiosyncrasies and likenesses, families and groups, the hustle
and bustle of the street and the towering heights of
skyscrapers. Between whirlwind and lull, prowess and poetry,
Saltimbanco takes spectators on an allegorical and acrobatic
journey into the heart of the city.
Tour Dates:
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
Greensboro, North Carolina - Sep 19, 20, 21, 22 & 23
State College, Pennsylvania - Sep 26, 27, 28, 29 & 30
Other tour dates and locations will be announced soon.
Stay tuned!
Cirque to Announce Cirque2007 Today!
{Apr.11.2007}
--------------------------------------
Cirque du Soleil will host a press conference on April 11, 2007
at 10:30 a.m. (EDT) under the blue-and-yellow Grand Chapiteau on
the Quays of the Old Port of Montreal to announce its new big
top touring production. At the event, a montage of several acts
will be performed, the creative team will be presented and the
show name and visual will be unveiled. Directed by David Shiner,
the show is energetic, compelling, funny and slightly
provocative and tells of the encounter between characters living
in two parallel worlds, plunging you into a wild universe that
will make you laugh and move you."
We'll hear from Guy Laliberté, Cirque du Soleil Guide & Founder;
David Shiner, Writer and Director of the new touring show; and
Serge Roy, the Director of Creation for Cirque2007. The name of
the production, which has oft rumored to be Lalilu (a fan
speculation in some circles,) will also be announced.
Can't make it to the press release and have a Ku-Band Satellite
dish receiver? Catch CNW's B-Roll Satellite footage of the press
conference from 3:30pm until 4:00pm EDT on Satellite AMC 3,
87.0° W, Transponder C-14 with a downlink frequency of 3980
vertical. Audio will be carried on both 6.2 and 6.8 subcarriers.
< http://www.newswire.ca/en/releases/archive/April2007/
11/c3832.html >
{Source: CNW Newswire, Apr. 11.2007}
It's Official - Cirque2007 is: KOOZA
{Apr.11.2007}
--------------------------------------
KOOZA tells the story of The Innocent, a melancholy loner in
search of his place in the world.
KOOZA is a return to the origins of Cirque du Soleil: It
combines two circus traditions - acrobatic performance and the
art of clowning. The show highlights the physical demands of
human performance in all its splendor and fragility, presented
in a colorful mélange that emphasizes bold slapstick humor.
The Innocent's journey brings him into contact with a panoply of
comic characters such as the King, the Trickster, the
Pickpocket, and the Obnoxious Tourist and his Bad Dog.
Between strength and fragility, laughter and smiles, turmoil and
harmony, KOOZA explores themes of fear, identity, recognition
and power. The show is set in an electrifying and exotic visual
world full of surprises, thrills, chills, audacity and total
involvement.
We'll be doing a full review of what Cirque du Soleil has to
offer about the world of KOOZA just as soon as we have a moment
to catch our breath. In the meantime, you can explore this new
exciting world at the Cirque du Soleil Website.
{Source: Cirque du Soleil}
Cirque Announces Alegría Tour in Brazil
{Apr.23.2007}
-----------------------------------------
As previously rumoured, Alegría will follow in Saltimbanco's
footsteps by visiting South America. Six cities in Brazil were
recently added to the itinerary. Dates will follow as the tour
throughout the region firms up. So far, the announced cities
are:
o) Curitiba, Brazil
o) Brasília, Brazil
o) Belo Horizonte, Brazil
o) Rio de Janerio, Brazil
o) Sao Paulo, Brazil
o) Porto Alegre, Brazil
It's Official: "Winter Tale" is WINTUK
{Apr.24.2007}
----------------------------------------
An Enchanting Winter's Tale About a Boy's Quest to Find Snow
A boy named Wintuk lives in a city where the arrival of winter
has brought long shadows and intense cold - but no snow!
He interacts with an extraordinary cast of high-energy urban
street characters, including acrobats, dancers and talking
marionettes. But when the snow doesn't arrive, he embarks on a
quest with three companions - a female shaman who's lost in the
city, a shy man destined to discover his courage and the shadow
of a young girl - to find the snow and bring it back where it
belongs.
The adventurers journey to an imaginary Arctic - a world without
sunlight - where they encounter the rich culture of the People
of the North and extraordinary giant characters made of ice.
When at last the sun returns, they fly home on the wings of a
giant crane and generate a swirling snowstorm.
The show is playful, musical, bursting with the energy of the
city and the broad sweep of nature. A cast of 50 performers
weaves thrilling circus arts, breathtaking theatrical effects
and memorable songs into a meaningful seasonal story that
resonates with the whole family.
Learn more about WINTUK at Cirque du Soleil's website:
www.cirquedusoleil.com
{SOURCE: Cirque du Soleil}
Guy a Finalist in World Power Tour Championship Game
{Apr.27.2007}
------------------------------------------------------
According to Bodogbeat.Com, a poker blog, billionaire Cirque du
Soleil founder Guy Lalimberté has become one of the final six
poker players at the WPT World Championship tournament. The
prize? A $3.97 million dollar payday.
In only his third tournament after picking up the game 16 months
ago, Guy Laliberté has shown at the poker tables this week the
same focus he's used to develop his Cirque entertainment empire,
outlasting more than 630 poker players to begin play today at
the TV final table with the third most poker chips ($4,690,000).
Laliberté, 47, started with cash games at the Bellagio and got
to know some of the high-stakes players who frequent the poker
room and learned by watching them play. He took that knowledge
and entered a $2,500 super-satellite at the Bellagio earlier
this month to win his seat into the WPT World Championship.
Guy Laliberté currently stands as #3 with $4,690,000 in
winnings. In comparisson, Paul Lee holds the top of the chip
count chart with $11,828,000 in winnings.
Good luck Guy!
{SOURCE: Bodogbeat.com}
Sorry Guy, It Just Wasn't In The Cards...
{Apr.30.2007}
-------------------------------------------
A few days ago we reported that Guy Laliberté was one of the six
finalists in the World Poker Tour Championships sitting as the
#3 chip holder, unfortunately we must announce that he did not
win.
Second place rival Carlos "The Matador" Mortensen won the $3.97
million pot and has become the first player to win both the WSOP
Main Event and the WPT World Championship.
But Mr. Laliberté didn't do that badly: he came in fourth place
for a $696,220 payout.
{SOURCE: Bodogbeat.com}
=======================================================================
OYEZ! OYEZ! -- NEW SHOW ANNOUNCEMENTS
=======================================================================
o) Saltimbanco Arena Tour
o) Cirque Luxor / Criss Angel Show
o) Wintuk at Madison Square Garden
-----------------------------------------
Cirque Announces Saltimbanco ARENA TOUR
{Mar.08.2007}
-----------------------------------------
After 14 years touring under the big top,
SALTIMBANCO BEGINS A NEW LIFE IN ARENAS
Montréal, March 7, 2007 - After touring for 14 years, playing to a
total audience of over 9.5 million, the show Saltimbanco was presented
under the big top for the last time in December, in Rio de Janeiro,
Brazil. In the summer of 2007, Saltimbanco will begin a new life when
it embarks on a tour of over 40 arenas in Canada and the United
States. The first stop is scheduled for the end of July, in London,
Ontario.
Re-staging the show is not without its shares of challenges for the
creation and production teams. The arena environment offers a new
intimate configuration and changes were necessary.
Creative challenges:
The entire team is making changes to the staging in order to adapt the
production to the new venues, all the while ensuring that the artistic
integrity of the show is preserved. New artists also had to be hired
and trained to complete the show's house troupe.
The new Saltimbanco team will complete the re-staging in five months,
with a troupe of 46 artists.
Production challenges:
The production crew will have to meet some technical challenges of its
own. The most important has to do with setting up and tearing down the
set. For a show under the big top, these operations usually take 9
days (for setup) and 2.5 days (tear-down). But for the Saltimbanco
arena show, setup will have to be done in 9 hours and tear-down, in 2
hours! To meet this challenge, the team had to rebuild the stage and
adapt the set to make these maneuvers faster - all with a new
technical crew.
Saltimbanco under the big top and in the arena:
Big Top
o) 6 cities per year
o) 6 to 7 weeks per city
o) 8 to 9 shows per week
o) 2,500 guests per show
o) Setup of the whole site in 9 days
o) Tear-down in 2.5 days
Arena
o) 44 cities per year
o) 6 to 7 days per city
o) 6 shows per week
o) 4,500 guests per show
o) Setup of the set in 9 hours
o) Tear-down in 2 hours
About Saltimbanco:
The colourful baroque characters immerse the audience in a fantasy
world inspired by the multicultural, urban lifestyles of city
dwellers. The world première of Saltimbanco was held in Montreal on
April 23, 1992. During its 14-year tour, Saltimbanco visited more than
60 cities around the world with over 4,000 performances under the big
top.
Between whirlwind and lull, prowess and poetry, Saltimbanco takes
spectators on an allegorical and acrobatic journey into the heart of
the city.
Saltimbanco is a characteristic Cirque du Soleil show inspired by the
urban fabric of the metropolis and its colorful inhabitants. Decidedly
baroque in its visual vocabulary, the show's eclectic cast of
characters draws spectators into a fanciful, dreamlike world, an
imaginary city where diversity is a cause for hope.
The Name -- Saltimbanco - from the Italian "saltare in banco," which
literally means "to jump on a bench" - explores the urban experience
in all its myriad forms: the people who live there, their
idiosyncrasies and likenesses, families and groups, the hustle and
bustle of the street and the towering heights of skyscrapers.
Urban Life -- When the show was created in 1991-1992, it was estimated
that migration to cities would continue to rise. This idea is the
premise on which Saltimbanco is based. Cities are networks of inter-
relationships, but they are also networks of paradoxes, and this is
precisely what the show's characters, acts and costumes build upon.
The Colors -- The liveliness, diversity and unbridled energy of big
cities and their inhabitants are conveyed through the colors of
Saltimbanco's costumes and set elements. City life is often perceived
as bustling and exciting, light years away from gloom and inertia. The
bright, primary printer's colors-magenta, cyan, yellow and green-call
to mind the buzz of the metropolis.
Acts and Characters:
Adagio (based on acrosport), Chinese poles, juggling, boleadoras
(percussion instruments), Russian swing, hand to hand and bungees are
the language the characters of Saltimbanco use to assert their
identities.
The cosmopolitan and allegorical characters epitomize the diversity of
groups that make up the city. The spectator journeys with them at the
heart of an imaginary city brimming with optimism.
The Vers multicolores (or multi-colored worms) are symbols of
conventionality. They all look the same in their unadorned costumes.
The Vers masqués (or masked worms) are faceless and nameless. They are
followers who never question the rules. The Baroques are independent,
daring, a touch anarchistic and are true urbanites. They revel in all
the city has to offer and live for the moment.
This colorful group of characters, including the Baron, Eddy and the
Sleeper, interact with one another under the eye of the Ringmaster who
guides the spectator on this whirlwind journey into the heart of the
city.
Saltimbanco's Path -- The world première of Saltimbanco was held in
Montreal on April 23, 1992 with a cast of 36 performers. During its
14-year tour under the big top, the show visited some 75 cities on
five continents, for a total of more than 4,000 performances.
With a cast of 47 performers from 15 different nationalities,
Saltimbanco was reconfigured for its tour of large arenas. Re-staging
was done over a period of 21 weeks. The tour will stop in about 40
cities each year, with a message as relevant and powerful today as it
was when it was created.
Saltimbanco in Numbers
o) During its 14-year tour, Saltimbanco played to a total
audience of over 9.5 million all over the world.
o) The technical team is made up of 18 technicians not counting
other employees who manage artistic and administrative
operations, as well as the many truck and tour bus drivers.
o) Additional technical staff (about 60 people) is hired locally
in each city to set up and tear down the site.
o) For a show under the big top, it usually takes 9 days to set
up the infrastructure of the whole site and 2.5 days for
tear-down. With Saltimbanco's arena tour, setup will take 9
hours while tear-down will take only 2 hours!
{SOURCE: Cirque du Soleil Press Room}
------------------------------
Cirque Luxor Show Announced!
{Mar.23.2007}
------------------------------
CIRQUE DU SOLEIL AND LUXOR PARTNER TO PRESENT
A NEW LIVE EXPERIENCE FEATURING CRISS ANGEL
OPENS SUMMER 2008
Las Vegas, NV - March 22, 2007 - Cirque du Soleil and Luxor today
announced a new show featuring Criss Angel, directed by Cirque du
Soleil, set to open Summer 2008 at Luxor Resort and Casino.
Always on the lookout for the next artistic challenge, Cirque du
Soleil is working with Criss to fuse his revolutionary illusions and
mind-blowing artistry with acrobatics, dance, puppetry, music and
poetry to tell a story, taking audiences on a bizarre and fascinating
journey.
Re-inventing the traditional magic show has been a long-standing
desire of Guy Laliberté, Guide and Founder of Cirque du Soleil. Five
years of extensive research and development were spent exploring the
world of magic and how to re-define the experience.
The crucial element, a young, edgy and talented artist and mystifier,
was found in Criss Angel. With his incredibly unique creativity, Criss
is now working with the experienced team of Cirque du Soleil creators
led by Director Serge Denoncourt to bring this dream to life.
Since he was six years old, Criss Angel has immersed himself in a
multitude of art forms, from performance artist to mystifier and
provocateur. Since then, a relentless work ethic combined with talent,
skill and vision has made Criss one of the most provocative artists of
our day. From creator, producer and performer in his television
series, specials and live shows, Criss has redefined the term "artist"
for the 21st Century.
"I've spent 15 years creating and evolving a concept that the world of
entertainment has never seen," said Criss Angel. "Now, I'm thrilled to
be working with Cirque du Soleil and Felix Rappaport and his amazing
team here at the Luxor to create an experience that goes beyond even
my wildest expectations. I am confident that this collaboration will
culminate in what is destined to become one of the most exciting shows
Las Vegas has ever seen and redefine magic in the same way Cirque du
Soleil has redefined the circus."
Daniel Lamarre, President and CEO of Cirque du Soleil , said, "This
production represents a new, distinctive type of creation for Cirque
du Soleil . We believe there is a market for an unconventional magic
show with production values audiences have come to expect from Cirque
du Soleil."
Gilles Ste-Croix, Senior Vice President of Creative Content at Cirque
du Soleil said " Cirque du Soleil has always worked with an acrobatic
foundation for each of our shows; with The Beatles LOVE we were
privileged enough to have The Beatles music as our center; with this
project - magic will be at the core. We are excited to combine our
years of research and creative expertise in the areas of staging,
lighting, sound design, projections, costume and make-up design with
Criss Angel's one of a kind experience as a creator and performer of
illusion, special effects and magic."
Felix Rappaport, President and COO of Luxor Resort and Casino, said, "
This partnership represents a new era for Luxor . Cirque du Soleil and
Criss Angel will bring a distinctive element to the property. We are
thrilled Luxor is the place their creativity will come together."
CREATIVE TEAM:
Serge Denoncourt -- Director
Pierre Phaneuf -- Director of Creation
Ray Winkler -- Set Designer
Eiko Ishioka -- Costume Designer
Daniel Ezralow -- Choreographer
Michael Curry -- Props and Puppet Designer
Criss Angel -- Illusions Designer
Jeannette Farmer -- Lighting
Jaque Paquin -- Rig and Acrobatic Material
Francis Laporte -- Projection
Jonathan Deans -- Sound Designer
Nathalie Gagné -- Make-up Designer
Cirque du Soleil is world-renowned for its distinct brand of
theatrical entertainment. Since its founding in 1984, Cirque du Soleil
has thrilled over 50 million spectators in more than 130 cities on
five continents. In Las Vegas , Cirque du Soleil has a privileged
partnership with MGM MIRAGE to create and present unique and
innovative productions. The production at Luxor will be the sixth
Cirque du Soleil show at an MGM MIRAGE property, joining Mystère, "O",
ZUMANITY, KÀ and The Beatles LOVE. For more information, visit the
Cirque du Soleil website at www.cirquedusoleil.com.
Criss Angel is one of the most remarkable talents of our time and his
fan base continues to grow. He had the highest advance tickets sales
during his fourteen month 600 performance off-broadway run of "Criss
Angel MINDFREAK" which he created, produced, directed and starred in.
Criss Angel MINDFREAK (the television show) is currently on schedule
to film its 70th episode in its unprecedented third season shot
exclusively at The Luxor Hotel and Casino. Prominent publishing house,
Harper Collins will be releasing Criss' highly anticipated first book,
Criss Angel MINDFREAK: Secret Revelations in April 2007. Criss has
been named 2001, 2004, 2005, 2007 and 2008 Magician of the Year,
making him the first five-time and back-to-back recipient ever to be
awarded these most prestigious accolades. Criss was also unanimously
selected as the recipient of the 22nd Louie Award for outstanding
achievement in the art of magic. Recently, Criss has added acting to
his long and distinguished resume, guest starring in an episode of the
critically acclaimed "CSI:NY". More information on Criss can be found
at www.crissangel.com
Providing a striking visual on the Las Vegas Strip, the 30-story Luxor
Resort & Casino is an architectural wonder boasting the world's
largest atrium, measuring 29 million cubic feet. This 4,408-room
resort features a wide variety of entertainment, award-winning
restaurants and state-of-the-art gaming. Luxor offers the provocative
adult revue, FANTASY, and the hilarious comedy of Carrot Top. The
property also includes 20,000 square feet of convention space, a spa
and wedding chapel and is connected to Mandalay Bay through Mandalay
Place - a collection of 41 unique boutiques and restaurants. Luxor is
a wholly owned subsidiary of MGM MIRAGE(tm). For more information and
reservations, visit the web site at www.luxor.com, or call toll free
at (800) 288-1000.
------------------------------
WINTUK - Press Release
{Apr.24.2007}
------------------------------
Cirque du Soleil, MSG Entertainment and BASE Entertainment Are Proud
to Announce the World Premiere of Wintuk Presented by Delta Airlines
Exclusively at the Theater at Madison Square Garden November 1, 2007 -
January 6, 2008
An Enchanting Winter Tale About a Boy Named Wintuk, and His Quest to
Find Snow and Adventure
Tickets On Sale Sunday, April 29 at 9 a.m.
NEW YORK-(BUSINESS WIRE)-Cirque du Soleil, MSG Entertainment and BASE
Entertainment are proud to announce the world premiere and official
name of the brand new Cirque du Soleil production, Wintuk, presented
exclusively at the Theater at Madison Square Garden from November 1,
2007 - January 6, 2008. Experience the excitement of Wintuk with the
whole family, only in New York this holiday season, and share the
enchanting winter tale of one boy's quest to find snow and adventure.
"This is a real first for MSG Entertainment and Cirque du Soleil,"
said Jay Marciano, president, MSG Entertainment. "The debut of Wintuk
this holiday season marks the first time that these world-class
entertainment companies will unite to present a Cirque du Soleil
production, created exclusively for the Theater at Madison Square
Garden. Premiering only in New York, we look forward to entertaining
audiences with Wintuk throughout the holidays for the next several
years."
Wintuk is an enchanting winter tale about a boy named Wintuk and his
quest to find snow and adventure. Wintuk lives in a city where the
arrival of winter has brought long shadows and intense cold - but no
snow! He interacts with an extraordinary cast of high-energy urban
street characters, including acrobats, dancers and talking
marionettes. But when the snow does not arrive, he embarks on a quest
with three companions - a female shaman who's lost in the city, a shy
man destined to discover his courage, and the shadow of a young girl -
to find the snow and bring it back to where it belongs.
The adventurers journey to an imaginary Arctic - a world without
sunlight - where they encounter the rich culture of the People of the
North and extraordinary giant characters made of ice. When at last the
sun returns, they fly home on the wings of a giant crane and generate
a swirling snowstorm.
The show is playful, musical, and bursting with the energy of the city
and the broad sweep of nature. A cast of 50 performers weaves
thrilling circus arts, breathtaking theatrical effects and memorable
songs into a meaningful seasonal story that resonates with the whole
family.
"This new creative challenge for Cirque du Soleil is very inspiring,"
said Gilles Ste-Croix, Cirque's senior vice president of creative
content. "Creating a new show based on a family-oriented storyline and
theme has made us look at different artistic forms. We're using large-
scale puppetry and transforming traditional acrobatic numbers into fun
and games experienced from a child's perspective. We really hope
Wintuk's tale will create a sense of child-like wonderment in the
audience."
Cirque du Soleil will experience many firsts with its new production
at the Theater at Madison Square Garden. Wintuk has been designed
exclusively for the Theater at Madison Square Garden - Cirque du
Soleil's first permanent address in New York for a show presented
outside the Big Top. Additionally, Wintuk will be the first Cirque du
Soleil show created specifically for a family audience. People of all
ages will identify with the lead character Wintuk, and his quest to
find snow and adventure. And Wintuk will be the first Cirque du Soleil
production to be built around a specific precisely-defined premise:
the theme of winter. With all of these firsts the new production is
certain to amaze everyone from longtime Cirque du Soleil fans to those
experiencing the excitement of Cirque for the very first time.
This new production marks the first time director, Richard Blackburn,
has worked with Cirque du Soleil. Blackburn is a leading theatrical
creator, playwright, director and actor-manager. His shows are
probably best known for combining actors with oversized marionettes
and sets, and integrating a wide variety of multimedia techniques into
his productions. In 1979, he became the artistic director of Le
Théâtre de la Dame de Coeur (TDC) in Upton, Quebec. Richard has also
worked on overseas assignments with TDC, notably in Singapore for the
opening ceremonies of Esplanade Theatres on the Bay in 2002 and as
part of Expo 2005 in Japan.
Director of Creation Fernand Rainville, has worked in Quebec theatre
as a distinguished actor and director since 1985. In addition to his
long list of stage credits, Fernand co-directed the bilingual Montreal
production of Les Misérables and has worked extensively in television.
He also co-directed the opening ceremonies of the Montreal 2005 - XI
FINA World Championships and created and directed the Cirque-produced
pre-game show at the 2007 Super Bowl in Miami.
Delta Air Lines, one of the world's leading international airlines, is
proud to be the presenting sponsor of Wintuk, performed exclusively at
the Theater at Madison Square Garden. The new 4-year partnership
further establishes Delta's long-term relationship with Cirque du
Soleil which began in 2006 when the airline served as presenting
sponsor of Corteo in Atlanta, Ga. Since that time, Delta launched a
worldwide partnership with Cirque du Soleil, serving as the official
airline of Cirque du Soleil performances in Düsseldorf and Frankfurt
(Germany); and London (England) in 2006 and 2007.
Ticket information
Cirque du Soleil's Wintuk will thrill audiences this holiday season,
playing for a limited period from November 1, 2007 - January 6, 2008
only at the Theater at Madison Square. Tickets for Wintuk go on sale
on Sunday, April 29, 2007 at 9:00am and are available through
thegarden.com and Ticketmaster.com or by calling at 212.307.1000.
Prices range from $30 - $99.
Cirque du Soleil
From a group of 20 street performers at its beginnings in 1984, Cirque
du Soleil is now a major Quebec-based organization providing high-
quality artistic entertainment. The company has over 3,500 employees
from over 40 different countries, including 900 artists.
Cirque du Soleil has brought wonder and delight to close to 60 million
spectators in over 100 cities on four continents. In 2007, Cirque du
Soleil will present 14 shows simultaneously throughout the world. The
company has received such prestigious awards as the Emmy, Drama Desk,
Bambi, ACE, Gémeaux, Félix, and Rose d'Or de Montreux. Cirque du
Soleil International Headquarters are in Montreal, Canada.
For more information about Cirque du Soleil, visit
www.cirquedusoleil.com.
MSG Entertainment
MSG Entertainment (MSGE), the live entertainment arm of Cablevision
Systems Corporations, is a worldwide entertainment company recognized
for its signature event production. In addition to the nearly 700
entertainment concerts and events that take place each year at Radio
City Music Hall, Madison Square Garden, The Theater at Madison Square
Garden, Beacon Theatre and the Expo Center at MSG, MSGE produces shows
across America. MSG Entertainment's live events include The Radio City
Christmas Spectacular, as well as seven productions of The Christmas
Spectacular outside of New York.
Additional information about MSG Entertainment is available on the Web
at www.thegarden.com and www.radiocity.com. Madison Square Garden,
L.P. is owned by Cablevision Systems Corporation, and includes the New
York Knicks (NBA); the New York Rangers (NHL); the New York Liberty
(WNBA); the Hartford Wolfpack (American Hockey League); MSG
Entertainment; MSG Media, which is comprised of MSG and FSN New York;
and the Madison Square Garden arena complex, located in the heart of
the New York metropolitan area.
BASE Entertainment
BASE Entertainment is an intellectual property based operating company
and live entertainment studio with offices in New York, Las Vegas, and
Houston. BASE develops, produces and manages intellectual properties
which reach audiences through various platforms, including live,
digital, broadcast and licensing.
BASE Entertainment partners include Brian Becker, Scott Zeiger, and
Clarity Partners. Co-founders Brian Becker and Scott Zeiger have 45
years combined experience in the live entertainment industry. Becker
previously served as Chairman and CEO of Clear Channel Entertainment
(CCE), the world's leading producer and promoter of live entertainment
events. Zeiger previously served as Chairman and CEO of CCE's North
American Theatrical division and the CCE Productions Group. Clarity
Partners, L.P. is a private equity firm focused exclusively on
investments in media, communications, and business services. Clarity's
current portfolio includes Vue Entertainment, Oxygen Media, Crescent
Entertainment/Village Roadshow Pictures, Liberation Entertainment, and
ImpreMedia.
BASE Entertainment's current projects include Phantom - The Las Vegas
Spectacular, Gordie Brown and Wayne Brady "Making It Up" at the
Venetian, STOMP OUT LOUD at Planet Hollywood Resort & Casino, the
Planet Hollywood Theater for the Performing Arts and the recent
Broadway hit Martin Short - Fame Becomes Me.
Contacts
Cirque du Soleil
Chantal Côté, 514-723-7646, ext. 7326
Senior Publicist
chantal.cote@cirquedusoleil.com
**Artwork available upon request
or
Madison Square Garden Entertainment
Mikyl Cordova, 212-631-4337
Vice President, Public Relations
Mikyl.cordova@thegarden.com
or
Liz Bishko, 212-465-6360
Director, Public Relations
elizabeth.bishko@thegarden.com
{SOURCE: BusinessWire, Apr.24.2007}
=======================================================================
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 -- TBA
Brasília, Brazil -- TBA
Belo Horizonte, Brazil -- TBA
Rio de Janiero, Brazil -- TBA
Sao Paulo, Brazil -- TBA
Porto Alegre, Brazil -- TBA
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 Jul 22, 2007
Los Angeles, California -- Aug 23, 2007 to Sep 23, 2007
Orange County, California -- Nov 8, 2007 to Dec 9, 2007
San Diego, California -- 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
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 Sep 2, 2007
Saint Paul, Minnesota -- Oct 4, 2007 to Oct 28, 2007
San Francisco, California -- TBA
San Jose, California -- 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 -- TBA
Mexico City, Mexico -- TBA
Monterrey, Mexico -- TBA
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 Jul 29, 2007
Perth, Australia -- Aug 17, 2007 to Sep 23, 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
[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
Hamburg, Germany - Sep 18 & 19
Helsinki, Finland - Sep 22, 23 & 24
Stockholm, Sweeden - Sept 28 & 29
Oslo, Norway - Oct 1 & 2
Mannheim, Germany - Oct 5 & 6
Manchester, United Kingdom - Oct 8 & 9
Birmingham, United Kingdom - Oct 11 & 12
Sheffield, United Kingdom - Oct 13 & 14
Munich, Germany - Oct 19 & 20
Vienna, Austria - Oct 22 & 23
Budapest, Hungary - Oct 30 & 31
Cologne, Germany - Oct 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
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, Newbrunswick - Aug 30 & 31, Sep 1 & 2
Greensboro, North Carolina - Sep 19, 20, 21, 22 & 23
State College, Pennsylvania - Sep 26, 27, 28, 29 & 30
[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? - What is Available in the Cirque Music Catalog?
{Mar.03.2007}
------------------------------------------------------------
(From the CirqueFAQ)
[4.5] What is available in the Cirque du Soleil's Music Catalog?
[Currently Available]
o) Saltimbanco (2005) o) Delirium
o) Mystère (Live) o) Corteo
o) Alegría o) LOVE (Capitol/Apple)
o) Quidam o) Le Best Of
o) "O" o) Solarium-Delirium
o) La Nouba o) Tapis Rouge: Solarium
o) Dralion o) Alegria: Le Film
o) Varekai o) Journey of Man
o) Zumanity
o) KÀ
[Out of Print]
o) Fanfafonie 45 (LP) o) Saltimbanco (1994)
o) Cirque du Soleil, Vol 1 o) Saltimbanco (Extended)
o) Cirque du Soleil, Vol 2 o) Alegría (Extended)
o) Nouvelle Expérience o) Quidam (Extended)
o) Collection o) Varekai (Extended)
o) Mystère
DidyaKnow? - Party Diggs: La Nouba's Costumes, Part 1/2
{Mar.23.2007}
--------------------------------------------------------
For this edition of DidyaKnow we've rummaged through Fascination's
archives to pull together a few interesting tidbits about La Nouba's
costuming:
o) A silicone application is applied to 40 percent of the
costumes to ensure they are durable, fit tightly and dry
quickly.
o) Five sewing machines and hundreds of spools of thread are
working full time to fix-up costumes.
o) Eighty loads of laundry run every night in five "tracks" -
headpieces, shoes, garments are washed by different people
while two people bag and hang items once they're cleaned.
o) Fans were installed on the ceiling of the laundry room to dry
delicate items.
o) Headpieces are dried on wire frames.
o) Three people work all day pressing costumes.
o) Plaster casts are taken of each performer's entire head to
ensure headpieces fit properly, originals of which are kept
in Montreal while copies are used in Las Vegas.
o) Performers are taught how to apply their makeup in Montreal
and are given personalized guidebooks with step-by-step
instructions so they can apply their own make-up before
shows.
o) The wardrobe department handles over 300 costumes and
headpieces every day. Most of the 67 artists performing in La
Nouba wear three different costumes per show.
o) The story of La Nouba contains two types of families or
groups: the urban people and the circus people. The circus
characters are denoted by bright, neon colors and the
urbanites by dark, gray and muted tones.
{SOURCE: Cirque du Soleil}
DidyaKnow? - Party Digs: La Nouba's Costumes, Part 2/2
{Apr.6.2007}
---------------------------------------------------------
For this edition of DidyaKnow we've rummaged through Fascination's
archives to pull together a few interesting tidbits about La Nouba's
costuming:
o) For La Nouba, Costume Designer Dominique Lemieux created 30
different costume concepts, blending historical and
traditional circus attire with original contemporary styles.
Lemieux drew at least 10 different designs for each costume
concept.
o) Many of the performers in La Nouba undergo a metamorphosis
indicated by a dramatic costume change. Some principal
characters have several costume layers, which are revealed as
the story unfolds.
o) An example of this transformation can be seen in the urban
costumes. To personify the city dwellers, Lemieux chose
textured natural fabrics such as hemp. The urban characters
begin in dark,muted blues, reds and greens and end up in
white, billowing, and fairy-like outfits.
o) Dark fabrics with fluorescent color accents are used in La
Nouba to provide high-contrast images with the addition of
black lights. The Roue allemande (German Wheel) costumes were
designed to resemble marionettes while highlighting the
artists' anatomy.
o) The red flame costumes are made of pleated silk and stretch
velour
o) The Grands volants (Flying Trapeze) costumes are both tribal
and androgynous with elaborate collars, head ornaments, and
tutu skirts for the male performers.
o) Inspired by the Pierrot or classical clown, Les Cons (The
Nuts) are dressed simply in white to signify their naïve and
innocent character.
o) The wardrobe department employed ten technicians to custom-
dye the costume materials for La Nouba. These include fabric,
real and synthetic hair, feathers, horsehair and leather.
o) As in all Cirque du Soleil productions, plaster head molds
were cast for each of the artists to insure that their wigs,
masks and headpieces fit perfectly. This process takes about
four hours per head. A total of four different wig-styles
were created for La Nouba. Each wig takes one person
approximately 70 hours to make.
o) The costumes for La Nouba were created in a record eight-week
period from October 24 to December 23, 1998 at the costume
workshop located in the Cirque du Soleil theater.
{SOURCE: Cirque du Soleil}
DidyaKnow? - Are Mystère and Mystère (Live) CDs different?
{Apr.20.2007}
------------------------------------------------------------
(From the CirqueFAQ)
[4.5.3] Are Mystère and Mystère (Live) different?
Before the Cirque du Soleil Musique releases in 2005, little
confusion existed between these two titles; however, after
the CDS Musique releases, one title was dropped -- "Mystère"
-- and the other renamed -- "Mystère Live" to "Mystère" --
but the latter is still the live recording.
To help clarify: In 1994, RCA/Victor released the studio
recording of the production Mystère, entitled "Mystère."
Two years later (in 1996), RCA/Victor released a live
compliation of the show it entitled "Mystère Live." While
both albums were distributed under the RCA/Victor and
BMG/Cirque du Soleil Musique alliances, the original
studio (1994) album was not selected for distribution
under the Cirque du Soleil Musique label (created in 2004).
Instead, Cirque du Soleil chose to rename "Mystère Live"
to simply "Mystère" and change the album artwork.
The studio recording featuring musical compliations by
René Dupéré from the original debut of Mystère is no longer
in production or available in the Cirque du Soleil Musique
catalog.
====================================
HISTORIA: Cirque du Soleil History
====================================
[March]
* Mar.01.1988 -- Le Cirque Reinvene opened Santa Monica (third time)
* Mar.04.1999 -- Quidam European Tour Began in Amsterdam
* Mar.04.1999 -- New Tour Name Released -- Dralion
* Mar.04.2005 -- Quidam opened Melbourne
* Mar.05.2004 -- Saltimbanco opened Lyon
* Mar.06.1997 -- Alegría opened Amsterdam
* Mar.06.2001 -- Alegría opened Melbourne, Australia
* Mar.06.2002 -- Dralion opened Los Angeles
* Mar.06.2003 -- Alegría opened Houston
* Mar.06.2003 -- Varekai opened Atlanta
* Mar.07.2007 -- Madison Square Garden Show "Winter Tale" Announced!
* Mar.07.2007 -- Saltimbanco "Arena Tour" Announced!
* Mar.09.1995 -- Saltimbanco opened Amsterdam (European Tour Began)
* Mar.10.2006 -- Dralion opened Geneva
* Mar.11.1994 -- Saltimbanco Japan Tour Began (ends 9/11)
* Mar.13.2003 -- Dralion opened Raleigh
* Mar.14.1999 -- Alegría: Le Film showcased in Santa Barbara
* Mar.14.2003 -- La Nouba celebrated 2000th Performance [Friday, 6:00pm]
* Mar.14.2006 -- Varekai opened Portland
* Mar.15.1998 -- Mystère celebrated 2000th Performance [Sunday, 7:30pm]
* Mar.15.2006 -- Saltimbanco opened Santiago, Chile
* Mar.15.2007 -- Varekai opened Canberra, Australia
* Mar.17.2003 -- IBM and Cirque come together in 3-Year Partnership
* Mar.17.2005 -- Dralion opened Barcelona, Spain
* Mar.18.1999 -- Saltimbanco opened Sydney, Australia
* Mar.18.2004 -- Varekai opened San Diego
* Mar.19.2002 -- Saltimbanco Extended CD Released (BMG/CDS Musique)
* Mar.19.2006 -- Quidam opened Long Beach
* Mar.20.2007 -- Quidam opened Seoul, South Korea
* Mar.22.1996 -- Alegría Japanese Tour (until Sep. 8, 1996)
* Mar.22.2005 -- Zumanity CD Released (CDS Musique)
* Mar.22.2007 -- Corteo opened Houston
* Mar.22.2007 -- Cirque Luxor (Criss Angel) Announced!
* Mar.23.1993 -- Nouvelle Expérience CD Released in Canada (RCA/Victor)
* Mar.23.1999 -- Alegria: Le Film CD Released in Canada (RCA)
* Mar.23.2000 -- Alegría celebrated 2000th performance [8:00pm/Biloxi]
* Mar.24.1998 -- Cirque Collection CD Released in US (RCA/Victor)
* Mar.24.2002 -- Cirque performed at the 74th Academy Awards
* Mar.24.2004 -- "The Bar at the Edge of the Earth" opened
* Mar.25.2004 -- Alegría opened Atlanta
* Mar.28.1995 -- Alegría opened New York City
* Mar.29.1994 -- Mystère CD Released in Canada (RCA/Victor)
* Mar.29.2002 -- Quidam opened Charlotte
* Mar.30.1993 -- Saltimbanco opened New York City
* Mar.30.2000 -- Quidam opened Valencia, Spain
[April]
* Apr.01.2003 -- "Varekai: Cirque du Soleil" Book Published
* Apr.02.1998 -- Alegría opened Barcelona
* Apr.02.2002 -- Name of "Cirque 2002" Announced - Varekai
* Apr.02.2003 -- BRAVO announced Cirque Variety Series ("Solstrom")
* Apr.04.2001 -- Dralion opened in New York
* Apr.04.2006 -- M.A.C. became Official Cosmetic Supplier
* Apr.04.2006 -- Cirque inked 3-year TV deal in UK
* Apr.05.1996 -- Saltimbanco opened in Amsterdam (again)
* Apr.05.2001 -- Quidam opened in Antwerp
* Apr.05.2005 -- Name of "Cirque 2005" Announced - Corteo
* Apr.06.2000 -- Dralion opened in San Jose, California
* Apr.06.2006 -- «O» selected "Favorite Production Show" by "Whats On,
The Las Vegas Guide"
* Apr.06.2006 -- Cirque outsourced IT Department to CGI Group
* Apr.08.1988 -- Le Cirque Réinventé opened San Francisco
* Apr.08.1998 -- Quidam opened New York City
* Apr.08.2005 -- Saltimbanco opened Paris
* Apr.09.2004 -- Varekai opened Pittsburg
* Apr.10.2007 -- Cirque announced Saltimbanco Arena Tour
* Apr.11.1991 -- Nouvelle Expérience opened New York City
* Apr.11.2003 -- Dralion opened Baltimore
* Apr.11.2006 -- "The Spark" Book Published
* Apr.11.2007 -- Name of "Cirque 2007" Announced - Koozå
* Apr.13.1989 -- Le Cirque Réinventé opened Miami, Florida
* Apr.16.2003 -- SOLSTROM began filming in Montréal
* Apr.18.2002 -- Dralion opened San Diego
* Apr.18.2003 -- Saltimbanco opened Geneva
* Apr.18.2006 -- Ground is broken on Tokyo Permanent Production
* Apr.19.2006 -- Cirque announced "LOVE" at The Mirage
* Apr.19.2007 -- Varekai opened Melbourne, Australia
* Apr.19.2007 -- Koozå Premired in Montréal
* Apr.20.2001 -- Saltimbanco 2000 opened Nagoya, Japan
* Apr.20.2005 -- Alegría opened Nagoya, Japan
* Apr.21.1994 -- Alegría premiered in Montréal
* Apr.21.2005 -- Corteo premiered in Montréal
* Apr.22.1999 -- Dralion premiered in Montréal
* Apr.22.2003 -- Cirque announced "Zumanity" at NY-NY
* Apr.23.1992 -- Saltimbanco Premiered in Montréal
* Apr.23.1996 -- Quidam premiered in Montréal
* Apr.23.2005 -- La Nouba celebrated 3000th performance [Saturday, 9:00pm]
* Apr.24.1997 -- Quidam opened Santa Monica
* Apr.24.2002 -- Varekai premiered in Montréal
* Apr.24.2003 -- Alegría opened Austin
* Apr.24.2003 -- Varekai opened New York City
* Apr.24.2007 -- Name of "WinterTale" Released - Wintuk
* Apr.26.2002 -- Saltimbanco opened Barcelona
* Apr.27.2000 -- Mystère celebrated 3000th Performance [Thursday, 10:30pm]
* Apr.27.2006 -- Alegría opened Rome
* Apr.27.2006 -- Corteo opened New York
* Apr.29.1997 -- Quidam opened in Santa Monica (again)
* Apr.29.2004 -- Varekai opened Phoenix
* Apr.29.2004 -- Saltimbanco opened Milan
* Apr.30.1999 -- Alegría: Le Film premiered in Québec
* Apr.30.2003 -- Alegría celebrated 3000th Performance [8:00pm/Austin]
==========================================
CIRQUETECH: The Technical Side of Cirque
==========================================
CirqueTech - "O" Soundscape, Part 1/3
{Mar.2.2007}
---------------------------------------
In 1999, LiveDesign Media took a "plunge" into the underwater world of
Cirque du Soleil's "O", and in the process uncovered a great many
secrets about how this technical marvel functioned. In this
installment of CirqueTech, we're going to take a look at some of the
material LiveDesign published; specifically, the equipment used to
help bring sound the show night after night.
"O" Soundscape, Part 1/3:
(1) Lexicon PCM 90 processor
(1) Lexicon LARC controller
(1) Littlite L2-SM gooseneck lamp w/power supply
(1) Middle Atlantic MRK-37-26 37U equipment rack
(1) Middle Atlantic SPS-37-26 side panels for MRK-37-26
(1) NEC TBD LCS-compatible 17" monitor
(1) NEC TBD PC-compatible 17" monitor
(1) Opcode MidiEngine 8Port MIDI interface
(1) Panasonic SV-3700 digital tape deck
(1) Sony AN-820A antenna for receivers
(1) Sony WRR840A diversity tuner
(1) Sony WRT-810A handheld wireless mic
(1) SPL custom six-bay house mix rack
(1) SPL console table and support
(1) Tascam 122 MKllI cassette deck
(2) TBD monitor/keymount arms (1) XTA DP 200 processor
(1) Yamaha MLA-7mic-to-line amplifier
(1) Aphex 107 tube preamp
(1) Aphex 120A ADA
(1) Behringer 2642 console
(1) Behringer HA 4000 Power-Play headphone amp
(1) Bitree B48C-HNOST/EC patchbay
(1) Crest 6A LMX power supply-spare
(1) Crest CA-6 amp
(1) Crest LMX (52 inputs/22 individual outs)
(1) Garwood System III in-ear monitor system
(1) JL Cooper MLA 10 MIDI amp
(1) Leitch AMD-880 1x8 distribution amp
(1) Leitch FR-844 card frame
(1) Lexicon PCM 80 processor
(1) Littlelite L2-SM
(3) Middle Atlantic MRK 44-31 44U equipment racks w/side panels
(1) Middle Atlantic SLIM 5 5-14 14U equipment rack w/side panels
(1) Middle Atlantic SLIM 5 5-21 21U equipment rack w/side panels
(1) Middle Atlantic SLIM 5 5-8 8U equipment rack w/side panels
(1) Proco IT-8A Octal balancing transformers
(1) Renkus Heinz 81/9 speaker
SOURCE: "The Wizardry of O: Cirque du Soleil Takes the Plunge Into an
Underwater World" - Feb 1, 1999 12:00 PM, Ellen Lampert-Greaux -
LiveDesign Media
CirqueTech - "O" Soundscape, Part 2/3
{Mar.16.2007}
---------------------------------------
In 1999, LiveDesign Media took a "plunge" into the underwater world of
Cirque du Soleil's "O", and in the process uncovered a great many
secrets about how this technical marvel functioned. In this
installment of CirqueTech, we're going to take a look at some of the
material LiveDesign published; specifically, the equipment used to
help bring sound the show night after night.
"O" Soundscape, Part 2/3:
(1) Sony MDR-575 ear drivers
(1) Sony MDR-V900 headset
(1) SPL console table and support
(1) Vega AN723 antenna
(1) Vega M-724 multicoupler Vega R662 receivers
(1) Vega T677H body transmitter
(1) Vega T687H handheld transmitter
(1) Yamaha Promix 01 mixer
(1) AKG 414
(1) AKG 747
(1) AKG C408 AKG C414TLll tubes
(1) AKG C547 BL
(1) Beyer M380TG
(1) Beyer M88
(1) BSS AR 416
(1) BSS AR116 DI box
(1) BSS AR117 Phantom Power Modules
(1) Countryman B3 mic w/Vega connector
(1) Countryman Isomax headset mic w/ XLR
(1) Crown PCC 160
(1) Electro-Voice N/D 757
(1) Sennheiser MD441 drum overhead
(1) Sennheiser MKH40
(1) Shure 404 PTT mic
(1) Shure 565 switch mic
(1) Shure SM10A-CN
(1) Shure SM58 AKG KM 259 short tripod stands w/boom arms AKG KM
270 regular tripod stands w/boom arms Atlas AD-11 female
flanges and AD-12 male flanges, AD5 coupling, and 6" nipple
(1) Anchor AN1000 self-powered monitor
(1) JBL120 Control 23 Speaker (white) Renkus Heinz BPS 15-2,
C-2, CE 153/9, 40/6, 42/7, and Trap Jr./9, speakers
w/rigging points
(1) Renkus Heinz SR 81-12/BEL speaker
(2) Sound Advance CT12FH speakers w/baffles SPL custom rigging
hardware
(1) BGW BGWFSP10 rackmount computer
(1) BGW ICHK-G801U rackmount keyboard
(1) BGW RMME rackmount monitor enclosure
(2) Bitree B48C-HNOST/EC patchbays
(1) Crest CKS 1200-2 power amp
(1) Crest CKS 200 power amp
(1) Crest CKS 400 power amp
(1) Crest CKS-1600-2 power amp
(1) Crest NC-IPN programmable gain input
(1) Crest NC-JTH Hub
(1) Crest NC-MIDI MIDI interface Crest NC-NXS NEXSYS function
controls and NC-SW-3.0 NEXSYS software
SOURCE: "The Wizardry of O: Cirque du Soleil Takes the Plunge Into an
Underwater World" - Feb 1, 1999 12:00 PM, Ellen Lampert-Greaux -
LiveDesign Media
CirqueTech - "O" Soundscape, Part 3/3
{Mar.30.2007}
---------------------------------------
In 1999, LiveDesign Media took a "plunge" into the underwater world of
Cirque du Soleil's "O", and in the process uncovered a great many
secrets about how this technical marvel functioned. In this
installment of CirqueTech, we're going to take a look at some of the
material LiveDesign published; specifically, the equipment used to
help bring sound the show night after night.
"O" Soundscape, Part 3/3:
(1) Crest NS-BUS-1 Server
(1) NEC TBD PC-compatible 14" monitor
(1) Renkus Heinz X24 controller
(1) Clear-Com 501 single-channel beltpack
(1) Clear-Com 502 dual-channel beltpack
(1) Clear-Com CC-1022 self-powered rackmount speaker Clear-Com
CC-250, CC-26, and CC-85 headsets
(1) Clear-Com HS-6 handset
(1) Clear-Com KB-111A speaker station
(1) Clear-Com MS 812 12-channel master station
(1) Clear-Com MX 840 assignment panel and PS 454multi-channel
power supply
(1) Clear-Com RM 220A two-channel remote station
(1) Clear-Com RM 440 four-channel remote station
(1) Clear-Com WP-2 wall panel
(1) Clear-Com YC-36 "Y" adapter HME HS4-2 double-sided headsets
SPL custom intercom fuse system and 15" headset extensions,
required cable and "stupid" correction
(1) Vega Q OLUS/6 wireless system
(1) Yamaha MLA7mic-to-line amp Bitree video patchbay and patch
cords Bi-Tronic rackmount and BNC to BNC patch cords
(2) Blonder Tongue BIDA 450-50 remote distribution amplifiers
(1) Blonder Tongue RMDA 450-50 distribution amplifier
(1) Blonder Tongue XRS-2 two-input passive combiner
(1) Blonder Tongue XRS-4 Low-Loss one-to-four passive splitter
(1) Blonder Tongue XRS-8 Low-Loss one-to-eight passive splitter
(1) Bogen 3028 camera mount w/C-Clamps
(1) DX DHP-533II 16-input passive combiner
(1) DX Communication DSM 140B+
(1) Ikegami ICD500 color camera
(1) Leitch AMD-880 1x8 distribution amplifier
(1) Leitch FR-883 four-slot card frame
(1) Panasonic CT 20G12 19" color TV receiver/monitor Panasonic
CT-1384VY and CT-1384Y 13" TV receiver/monitors
(1) Panasonic WJ-220R video switcher
(1) Panasonic WJ-B03 rack frame fill Panasonic WV7230D and WV-
7330 pan and tilt
(1) Panasonic WV-CP410 color camera Panasonic WV-LZ80/2, WV-
LZ81/6A, and WV-LA2 lenses RMS 1090M-12, 1090M-16, 1090M-20,
1090M-24, 1090M-6, and 1090M-9 Taps w/RMS 2002/MM two-way
splitter
(1) Scopus IR-2000 infrared illuminator
(1) Shure M367 mixer SPL custom housing for remote distro.
Amplifier and required cable for 75ohm terminators
(1) Clark Synthesis 329F4 Underwater Speaker
(1) Crest CKS 200 150W power amplifier
(1) Sartek Industries custom submersible b/w camera w/ varifocal
lens
(1) Sartek Industries custom-submersible color camera w/
varifocal lens Sartek Industries accessory kits Neutrik
speaker cable and barrels AC Cable cable and quad boxes
Sescom IL-19s Furman PL Plus power conditioners Galaxy
Cricket phase checker Loftech test equipment Motorola GP300
Walkie-Talkies w/ chargers Sennheiser RI-100 receivers and
SI 1013 and SZI 1029 modulators
(1) Shure FP 12 headphone amp SPL custom panels
SOURCE: "The Wizardry of O: Cirque du Soleil Takes the Plunge Into an
Underwater World" - Feb 1, 1999 12:00 PM, Ellen Lampert-Greaux -
LiveDesign Media
CirqueTech - KÀ Tech Specs, Part 3/4
{Apr.13.2007}
---------------------------------------
Cirque du Soleil has been, over the years, very guarded about the
technical aspects of its productions and in the past it was quite rare
to receive a glimpse into what made each show tick. But no longer.
Today we can explore the many facets of these shows, from its theme to
the brand of speaker or light shining overhead; including this list
provided by Cirque du Soleil. In this edition of CirqueTech, we
explore the third of four of these KÀ Tech Specs: Lighting, Audio and
Costumes and Makeup.
KÀ Tech Specs, Part 3:
LIGHTING
o) There are 24 dimmer racks and 2 portable dimmer packs with 24
dimmers for a total of 2260 dimmers.
o) The lighting system requires 22,528 control channels to
operate it from 10 specialized lighting computer consoles
running on a fiber optic backbone.
o) There are 436 custom LED fixtures just for lighting the post
and beam structure front of house, capable of producing over
1,000,000 different colors.
o) 44 automated luminaries - moving lights.
o) 3,228 total lighting fixtures.
o) There are 130 color scrollers capable of up to 32 colors
each.
o) There are 12 follow-spots run by 8 technicians.
o) The lighting system uses 2.2 million watts of power - if all
lights are on at once.
o) One fixture uses 70000 watts of power and produces a
lightning effect.
o) There are three 18000 lumen video projectors that are
computer controlled and interactive via three different
systems with the artists on stage.
AUDIO
o) To fill the KÀ Theatre with sound takes 524,150 total watts
of amplifier power pumping an intricately layered mix of
sound effects and music to 4,774 loudspeaker drivers in 2,139
cabinets.
o) The sound system weighs 43,868 pounds.
o) The main audio system covers 1,980,000 cubic feet of air
space.
o) Every seat in the KÀ Theatre has two speakers built into its
headrest which allows sound effects to be targeted,
manipulated and customized to any of 16 seating zones.
COSTUMES AND MAKE-UP
o) Seventy specialists worked more than 35,000 hours to produce
the first full set of KÀ costumes at the Cirque du Soleil
headquarters in Montreal.
o) All costumes, head pieces (wigs and hats) and shoes are
custom-made for the 75 KÀ artists.
o) There are approximately 400 pairs of shoes for the artists.
o) There are 15 wigs used in the show.
o) The body imprints on the blue Forest costumes are taken from
one male and one female KÀ artist.
o) There are six different body tattoo designs on the unitards
worn by the Archers and Spearmen.
o) One Forest hat takes 40 hours to make.
o) The Spearmen shoes are created to look like they aren't
wearing shoes, with molded rubber toes affixed to a show
base.
o) All KÀ artists apply their own make-up, and it takes from 45
minutes to two hours to complete.
o) There are three make-up technicians who airbrush the faces of
artists for each performance.
o) Many artists glue Austrian crystals to their faces as part of
their make-up.
o) The Chief Archer character has the most complex make-up
application, with 43 steps and 22 different brushes.
{SOURCE: Cirque du Soleil Press Room}
CirqueTech - KÀ Tech Specs, Part 4/4
{Apr.27.2007}
---------------------------------------
Cirque du Soleil has been, over the years, very guarded about the
technical aspects of its productions and in the past it was quite rare
to receive a glimpse into what made each show tick. But no longer.
Today we can explore the many facets of these shows, from its theme to
the brand of speaker or light shining overhead; including this list
provided by Cirque du Soleil. In this edition of CirqueTech, we
explore the final set of these KÀ Tech Specs: its Special Effects,
Props and Puppets, and Rigging.
KÀ Tech Specs, Part 4:
SPECIAL EFFECTS
o) During the pre-show, approximately 120 fireballs are
discharged. These fireballs measure 30 feet in height and
reach temperatures of 1200° Fahrenheit.
o) Many of the fog effects in KÀ are created using liquid
nitrogen, which has a temperature of approximately -300°
Fahrenheit. By mixing it with hot water, a low fog effect is
created.
o) KÀ has a 13,000 gallon storage tank for liquid nitrogen.
o) For the Forest scene, a mist curtain is created that is 60
feet wide and falls 75 feet. The mist system is softened
water run through very fine nozzles at 2500 pounds per square
inch.
o) For the Mountain Tribe scenes, snow machines and fans float
very fine soap suds through the air to make a very convincing
snowfall.
o) 119 pyrotechnic devices are fired throughout the show.
PROPS AND PUPPETS
o) The Props and Puppet Department is responsible for more than
500 individual props, 10 larger-than-life puppets, 21 mini
puppets, and six butterflies.
o) The Stick Bug puppet is over 16 feet long and is operated by
two artists.
o) The Snake is over 80 feet long, but the head only weighs five
pounds, so that it can be easily manipulated by the artist
inside.
o) An estimated 1,300 hours went into making one crab puppet,
which is worn by an artist in a back bend position.
o) The spears are made of rattan from China, which is chosen for
its durability and flexibility.
o) Over 110 live arrows are shot through the air at each
performance. The artists spent many hours in training to
learn proper archery techniques.
RIGGING
o) There are more than 160 harnesses for the artists, comprised
of 21 different types.
o) Each harness is hand-fitted to the individual artist and is
inspected weekly, daily, before and during each show.
o) Acrobatic safety nets are used for artists falling less than
20 feet. For falls over 20 feet, air bags are used in
addition to the safety nets.
o) There are a total of 18 winches used to pull two safety nets
into the many different configurations needed for the show.
Each winch rope (5/8" diameter) has a tensile strength of
over 50,000 pounds.
o) The forest grid (truss, catwalk and track system that
supports the scenic elements of the Forest scene) and its
component parts weigh over 50,000 pounds.
{SOURCE: Cirque du Soleil Press Room}
=======================================================================
FASCINATION! FEATURES
=======================================================================
------------------------------------------------------
"KOOZA: Unveiled"
Information about Cirque du Soleils new touring
show from the archives of Cirque du Soleil
------------------------------------------------------
Koozå, whose name is inspired by the Sanskrit word "koza," meaning
"box," "chest" or "treasure," tells the story of a melancholy loner
(The Innocent) in search of his place in the world and through his
search we are taken on a journey through strength, fragility,
laughter, turmoil and harmony. Koozå also represents a return to the
origins of Cirque du Soleil. It combines two circus traditions -
acrobatic performance and the art of clowning - to tell its tale and
in the process give us thrills and chills.
We will explore the fantastic world of Koozå through the archives of
Cirque du Soleils press room. Here youll find the original press
release announcing the production, information on its fabulous yet
low-tech set, Koozås wonderful costumes, and its acts, characters,
and creators.
KOOZA: The Press Release
------------------------
CIRQUE DU SOLEIL UNVEILS KOOZA
WRITTEN AND DIRECTED BY DAVID SHINER
Under the blue-and-yellow Grand Chapiteau on the Quays of the Old Port
Montreal, April 11, 2007 - The latest Cirque du Soleil touring show,
KOOZA, will have its world premiere under the Grand Chapiteau on the
Quays of the Old Port of Montreal on May 3, 2007. KOOZA is the 20th
Cirque du Soleil production and joins the 12 others currently running
throughout the world.
The Name -- The name KOOZA is inspired by the Sanskrit word "koza,"
which means "box," "chest" or "treasure," and was chosen because one
of the underlying concepts of the production is the idea of a "circus
in a box."
About KOOZA -- KOOZA is a return to the origins of Cirque du Soleil
that combines two circus traditions - acrobatic performance and the
art of clowning. The show highlights the physical demands of human
performance in all its splendor and fragility, presented in a colorful
mélange that emphasizes bold slapstick humor.
"KOOZA is about human connection and the world of duality, good and
bad," says the show's writer and director David Shiner. "The tone is
fun and funny, light and open. The show doesn't take itself too
seriously, but it's very much about ideas, too. As it evolves we are
exploring concepts such as fear, identity, recognition and power."
The show starts with The Trickster bursting onto the scene like a
jack-in-a-box right in front of The Innocent, and that is just the
first of many surprises to follow. The Innocent's journey brings him
into contact with a panoply of comic characters such as the King, the
Trickster, the Heimloss, the Pickpocket, the Obnoxious Tourist and his
Bad Dog.
Between strength and fragility, laughter and smiles, turmoil and
harmony, KOOZA explores themes of fear, identity, recognition and
power. The show is set in an electrifying and exotic visual world full
of surprises, thrills, chills, audacity and total involvement.
Cast and acts -- Several of the 50 performing artists in the show have
received awards from important circus arts competitions, notably in
juggling and trapeze. The show presents an unprecedented approach to
the High Wire and a breathtaking Wheel of Death - an act that Cirque
du Soleil has never before presented under the big top.
The Creators -- The show brings together the following team of 13
Creators, several of whom are working with Cirque for the first time.
David Shiner -- Writer and Director
Serge Roy -- Director of Creation
Stéphane Roy -- Set Designer
Marie-Chantale Vaillancourt -- Costume Designer
Jean-François Côté -- Composer
Clarence Ford -- Choreographer
Martin Labrecque -- Lighting Designer
Jonathan Deans -- Co-Sound Designer
Leon Rothenberg -- Co-Sound Designer
Rogé Francoeur -- Props Designer
Danny Zen -- Acrobatic Equipment and Rigging Designer
André Simard -- Acrobatic Performance Designer
Florence Cornet -- Makeup Designer
North American Tour -- Following the Montreal run, KOOZA will travel
to Quebec City and Toronto before touring the USA. Before leaving
Montreal for Quebec City, Cirque du Soleil is adding nine final
performances from June 20 to 24. Tickets for these performances will
be available as of Saturday, April 14 at 9:00 a.m. online at
www.cirquedusoleil.com or by calling 514 790-1245 or 1 800 361-4595.
Sponsors and Partners -- Desjardins Group is the presenting sponsor of
the 2007 Canadian tour of KOOZA. CGI, Infiniti, Delta and Celebrity
Cruises are the official sponsors. The media partners are Radio-Canada
and CTV.
KOOZA: The Set
--------------
"I wanted to capture the essence of circus itself by creating a
scenographic environment that offers true proximity to the audience
and where the danger is palpable."
- Stéphane Roy
KOOZA's set evokes a public square that metamorphoses into a circus
ring. The circular stage provides the audience with excellent sight
lines through 260 degrees.
There has been no attempt to conceal or disguise the acrobatic
equipment. The structure of the big top is always in full view.
Everything is done out in the open with simplicity and transparency in
order to concentrate the audience's attention on the artists and the
acrobatic performances.
The stage is dominated by one major set element, a traveling tower
called the Bataclan, which alters the configuration of the performance
space as it moves.
The Bataclan moves artists in and out of the spotlight, serves as a
bandstand and is flanked by two curved staircases. The decoration of
the Bataclan is inspired by Hindu culture, Pakistani buses and Indian
jewelry.
The giant fabric structure, called the Void that overlooks the
Bataclan was printed with motifs inspired by the internal structure of
leaves to give it a decidedly organic look.
The "sails" that frame the Bataclan can be opened and closed like the
petals of an enormous flower by just two people using ropes and
pulleys.
The surface of the stage is decorated to look like a starry sky, and
in the center ring is a graphic representation of the sky in Montreal
on the night of the first public performance.
The stage is ringed by recessed lighting units that cast a warm glow
up into the faces of the performers, much like the footlights of a
19th-century theatre.
KOOZA: The Costumes
-------------------
"It's been a great challenge, but it's also full of traps. You don't
want to exaggerate or slip into creating a caricature when you're
trying to capture a character."
- Marie-Chantale Vaillancourt
For KOOZA Marie-Chantale Vaillancourt has drawn on a wide variety of
sources of inspiration: everything from graphic novels, the painter
Klimt, Mad Max movies, time-travel movies, India and Eastern Europe.
She was also inspired by clock movements, tin soldiers, marching band
uniforms and children's book illustrations. All this merges to create
a look that alludes to Alice in Wonderland, Baron Munchaüsen and the
Wizard of Oz.
There are many rapid costume changes during the show and Marie-
Chantale researched magicians' quick-change techniques to create
costume magic of her own. In the Charivari number the garments switch
from gold to red in a fraction of a second. The challenge, she says,
was not so much the quick change itself as the fact that the artists
are performing acrobatics and forming into a human pyramid at the same
time as the transformation and they can use only their thumbs to pull
off the trick.
Marie-Chantale had percussion instruments made out of molded carbon
for the Skeleton costume. They look and sound like bones when the
performers hit them against each other to create a musical rhythm.
The "Bad Dog" costume proved to be another huge challenge because the
performer wearing it has to be able to move the dog's ears, stick its
tongue in and out, dribble and wag its tail.
The "Rat Cape" is a costume that creates the illusion that rats are
running down a performer's body before disappearing into a trap. This
would be relatively easy in a film, but it's a lot more difficult to
achieve live on stage. Following a long period of trial and error, the
final Rat Cape costume is made up of 150 fake fur rats with crystal
eyes to catch the light. The running effect was inspired by the
mechanism of vertical blinds and several of the rats are fitted with
little wheels to make them seem even more alive.
For the Juggler's costume Marie-Chantale found a fabric made of
mirrored squares that reflect the light and make him look like a
living disco ball. The effect is so dazzling she was actually afraid
he might blind himself when he moves his arms.
There are more than 175 costumes and 160 hats in the show - 1,080
items in all, including all the shoes, props, wigs and so on.
The designs include truly spectacular luminous coats and hats made
with fiber optics and LEDs molded in translucent resin to diffuse the
light - with this delicate fabric, each coat takes 60 hours to make
and the hats involve 30 hours of painstaking work.
One army costume features more than 400 individually-sewn metallic
flaps to create the effect that it is armored.
KOOZA: The Acts
---------------
Charivari
The 19 artists of the House Troupe burst into action off the top of
the show, combining acrobatics, rapid-fire costume changes and
rebounds from three miniature trampolines set in the stage. The act
highlights include human pyramids, bodies flying through the air and a
"crash bash" - a daring dive into a circle of fabric inspired by the
"Nalukauq," the traditional Inuit game of "Blanket Toss" and the
landing mats used by firefighters.
Contortion
Young performers work in harmony and unison to bring a new approach to
the art of contortionism. What sets this number apart is the artists
innovations in movements and position, their speed, and the way they
work as a team to create tableaux of sculptural beauty.
Solo Trapeze
The trapeze is installed stage left to stage right - a Cirque-created
innovation. But the act goes beyond the stage setting and the artists
display of physical mastery. There is drama in the personalities as
she interacts with The Trickster, and that adds even more dynamic
undertones to the visual thrills and delights.
Duo Unicycle
A twist on the classic unicycle number introduces a passenger to the
action. The two performers create a pas de deux in constant motion
around the stage in a combination of balance, acrobatic control,
physical strength, choreographic grace and a spirit of partnership.
Highwire
The twin high wires criss-cross diagonally stage left to stage right
at 15 and 25 feet above the stage, and the four tightrope walkers add
their own tension to the 6,600 pound load on each rope.
Wheel of Death
KOOZAs 1,600-pound Wheel of Death rotates at heart-stopping speeds,
powered only by the two artists who leap and counter-rotate in a
death-defying display of fearless acrobatics and astonishing teamwork.
Like the Highwire, the Wheel of Death is positioned diagonally stage
left to stage right in order to break with the usual symmetry and
bring the action as close as possible to the audience.
Juggling
Balls, hoops, and clubs fly in unprecedented numbers and at speeds
that the eye and the brain cant easily process. And they dont just
pass from hand to hand, they arc and fly into waiting props and
receptacles with a seemingly impossible accuracy. This juggling act
has been called, quite simply, the best in the world.
Chairs Balancing
The equipment is as simple as it gets: eight chairs and a pedestal.
But in this act, the artist uses them to create a 23-foot tower on
which to perform a balancing act that displays the human body at the
very peak of condition and muscular control.
Teeterboard
The Teeterboard flings artists into the air, where they execute
quintuple twisting somersaults - and thats just the prelude for
acrobats doing the same thing over 30 feet above the stage with double
and single metal stilts strapped to their legs.
KOOZA: The Characters
---------------------
The Trickster
Charming and sophisticated, The Trickster is a sublimely quick and
agile being, a genius who knows all about the world of KOOZA because
he created it. He appears and disappears at will and theres
electricity in the air each time he arrives on stage. He created this
world for The Innocent and keeps a watchful eye out for him. He teases
him, and plays tricks on him with his powers, but its The Innocents
own subconscious that leads the dance...
The Innocent
The Innocent is a naïve and melancholy loner carried off into The
Tricksters world. Outwardly childlike, ingenuous and simple, he is
eager to get to know the new world hes in, but as soon as he uses The
Tricksters powers he discovers an unexpected and jarring environment,
a reflection of his soul.
The King
The King is the king of fools, the most burlesque of all the
characters. His hair is tousled and his crown has a mind of its own as
he tries desperately to gain the respect of those who are crazier than
himself.
Clowns
The two Court Clowns are The Kings foolish footmen, his indispensable
sidekicks in the extravagant adventures in the realm of KOOZA.
The Pickpocket
The Pickpocket is a wily criminal in the guise of a clumsy clown. He
makes improbable balloon animals and is constantly on the run from a
pair of cops. And he almost always manages to give them the slip. Hes
a master scam artist and hell steal the shirt off your back in no
time at all!
Heimloss
The very strange Heimloss lives beneath the stage where hes in charge
of the mechanical machinery that gives life to everything in the
hidden world of KOOZA.
The Bad Dog
In this crazy world, even The Dog is nutty. He chases everyone, barks
and is impossible to control. The word "training" means nothing to
him. But like everyone else hes drawn to The Innocent and becomes his
playful, over-the-top companion.
------------------------------------------------------
"My Thoughts on Koozå"
A Personal Review of a Preview Performance
By: Wayne Leung - Ottawa, Ontario (Canada)
Posted: Apr.21.2007 on CirqueTribune
------------------------------------------------------
[This post contains some minor SPOILERS]
I just got back from the second preview performance of Koozå.
Unfortunately, since Jason is injured and Ross hasn't been integrated
yet there was no Trickster tonight, and the show really suffers
without one of its main characters. The staging was all adjusted for
the absence of the Trickster so I'm looking forward to going back and
seeing the show the way it was "intended" with a full slate of
characters.
Overall, this show has some of the most high level acrobatics in
Cirque du Soleil, however, at least right now, it also has the weakest
artistry and overall presentation I've ever seen in a Cirque show.
Koozå is all about death-defying stunts, there were a lot of edge-of-
your-seat moments, like when the performer on a highwire 30 feet about
the stage without a safety harness or net, fell after a jump and just
managed to catch the highwire to avoid falling and breaking his neck .
. . this aint no cheap fake-out Corteo highwire slip business, it's
the real deal.
Four individual acts received standing ovations: Highwire, Wheel of
Death, Juggling and Teeterboard but as for the artistry . . . what
artistry? There was none to speak of.
The show lacks a unifying concept, it's clunky, there's no fluidity,
the characters aren't well developed and it basically feels like a
random assortment of circus acts thrown together without any
integration into a theme.
The imagery was weakly defined and random, varying between pseudo Dr.
Seuss to Tim Burton (Nightmare Before Christmas) to Vegas lounge act.
There wasn't any semblance of story or purpose to any of the show.
The choreography was absolutely atrocious, I mean it was
embarrassingly bad. The performers seem a little more confident in the
execution of the choreography than at conference time but the design
of the choreography itself is really amateurish, the dancing looks
like a bad high school musical.
The music was disappointing, most of the music doesn't have a lot of
structure, there aren't a lot of well-defined melodies, the
arrangements sound very generic pop/rock. And because of the weak
artistic integration most of the acts don't perform to the music, it's
basically just background music most of the time. The music has none
of the evocative qualities and creativity we've heard from past Cirque
composers. But if Corteo was any indication, most of the music for the
show will probably be re-written anyway which is a good thing in this
case.
The musicians are all very talented, it just doesn't seem like they're
given much to work with in this show. The singers are pretty good;
Theresa has a strong, soulful voice, Tara was a little less confident
but still sounded good, however there are very few vocals in the score
right now.
The costumes are very well done for the most part. Even if a few seem
odd and out-of-place, the infamous Juggler's costume (which admittedly
doesn't look as tacky in real-life) and the Chair Balancer performing
in a Sumo thong. Some of the costumes are very gimmicky and they're
creative but because of the lack of a unifying theme they're just
flashy for the sake of being flashy.
Given that David Shiner is the Director, the comedy in the show is
surprisingly weak. There are a lot of slapstick pratfalls, probably
too many (as amusing as it is to watch someone getting bitch slapped
by a raw pork chop, it's considerably less funny the 378th time).
There are plenty of pick a schmuck out of the audience bits but none
of them come anywhere close to the quality of Shiner's brilliant
numbers featured in Quidam. The best comedy bit was definitely the
Pickpocket. The rest of it was pretty boring.
The show did have some moments that I thought had a lot of potential
to be expanded into something better. Daria Vintilova performs her
trapeze act wearing a bad-ass rocker chick costumes (she looks like
she stepped right out of a Guns 'N Roses video) and with a little more
character development and choreography she could really take that act
to the next level but right now it's a far cry from the beautifully
evocative solo trapeze act she performed in Saltimbanco.
With the right music and choreography the Duo Unicycle has the
potential to be something beautiful and moving instead of just a run-
of-the-mill circus act.
The Mystic Pixies have a very strong technical act (although, only 3
of the 4 performed tonight, this may be a usual thing so that the
fourth can be rotated in and out) but the music and choreography do
nothing for the act and the presentation is extremely weak compared to
say, contortion in Alegría or even the act in Nouvelle Ex.
There is one beautiful moment in the finale with The Innocent but it
falls just short of being truly moving because there wasn't enough
character development throughout the course of the show for it to be
meaningful. Other than that the show was completely devoid of emotion
. . . well unless you count "OMIGOD he's gonna fall and break his
neck" an emotion.
On a general note, there are a lot of numbers that are a bit too long
and tend to make the show drag.
So right now I'd say Koozå needs a tonne of work. It is a pretty good
circus show but it's an extremely weak "Cirque" show. Without massive
changes I don't see it as being anything more than an expensive
"stunts" spectacular. While the show has an amazingly high acrobatic
calibre just about every other aspect is very sub-standard for a
Cirque du Soleil production.
---------------------------------------------------
"An Interview with Alan Silva of Zumanity"
A Special Interview Reprint from Cirque Tribune
By: Danielle Wall - Southern California (USA)
---------------------------------------------------
Danielle and the staff at Cirque Tribune were very gracious in
granting Fascination! permission to print their interview with Alan
Silva of Zumanity, and for that we extend our gratitude. If you get a
chance, please check out Danielle's original post of the Interview and
the comments it has received at CirqueTribune:
< http://www.cirquetribune.com/forum/viewtopic.php?t=3746 >
# # #
Alan Silva is an aerial artist with Cirque's resident show, Zumanity,
located at the NYNY Hotel and Casino in Las Vegas, NV. Many thanks to
Alan and John McCoy for your time!
Alan Silva Interview - Friday, January 5, 2007, 5:00 pm
-------------------------------------------------------
D: We're here with Alan Silva. Thank you for meeting with me, I
appreciate it.
A: Thank you.
D: (Looking at John, Zu's Publicist) He's my first guinea pig.
A: It's gonna be good.
D: Well, what we want to find out from you is some basic information
about what it is to be a Cirque performer. I'm doing these
interviews not only with performers, but also with technicians and
behind the scenes personnel. So we can get a kind of well rounded
view of how things work out. So if we could start out, just tell me
a little bit about your background.
A: My background... I'm from traditional circus family. I was
born in circus, I'm sixth-generation of my family. So I was
born in circus and I started training when I was 4 years old,
like general training, little bit of everything, every
discipline.
D: Just with your family?
A: Yeah, I started training with my father and grandfather. And
after that I started to do different disciplines and do a
little bit of ballet and gymnastics and acting.
D: Anything strike you right off the bat when you were younger as far
as something you really wanted to get into?
A: Well I always liked to do aerial stuff. That's why I ended up
doing tissu. I did other aerial stuff like corde lisse and
trapeze. But I like tissu. It is really something that caught
my attention.
D: When did you start doing a lot of tissu specifically?
A: Specifically tissu? I think about 10 years ago that I do
tissu.
D: You are 24, right?
A: I'm 24.
D: I knew you were a couple years younger than me.
A: I'm 24, so it's been a while. (Laughs)
D: Yeah, that's a long history for an artist.
A: Yeah.
D: Where were you born exactly?
A: I was born in São Paulo, in Brazil.
D: And I noticed your sister just recently got into the company as
well.
A: Yes, my sister, she is at La Nouba right now.
D: Is she enjoying it?
A: Yes, a lot. She loves it. Which is funny, she is doing the
same thing as me, she does tissu.
D: Is that what she really likes to do as well?
A: Yeah, she loves to do tissu and actually we did tissu
together for a while in Brazil. A duet. And then after, we
separated when we got different contracts.
D: So you are used to doing partnered tissu acts?
A: Yes, I used to do it. For tissu and trapeze as well and
different kind of acts.
D: You've been doing this particular act since the show started.
A: Yeah, since the show opened. They called me to do tissu act.
I was working solo before, and when they called me to sign
the contract they asked me if there was a possibility to do a
duet with another girl, which was Olga. But I'd never met
Olga before, so we had to go to Montréal to train together
for a couple of months and build the act.
D: So you were able to get comfortable with her before coming to Las
Vegas?
A: Yeah, we got to know each other before. Which was great.
D: And now you are working with another partner still, right?
A: Yes, now I am working with another partner. Her name is
Abigail. And she's been good, really good.
D: Has there been any major problems or adjustment issues with
switching partners so suddenly?
A: Yeah, we have to do adjustments because when you are used to
working with one person and you have to work with another
person it's, of course, a lot different because it's a
different person and a different way of moving, but we did a
few adjustments, but the act is pretty much the same. And now
we are getting better, like getting to know each other better
and I think it's growing.
D: When you first joined the show were you contacted by Cirque or did
you send in your information to Cirque?
A: I sent my information into Cirque, but it was a long time
ago. I sent a résumé and videos and photos and they contacted
me and asked me to do an audition. And then I passed the
audition and then after 2 years they called me to do
Zumanity.
D: Okay, so you went into general formation first?
A: No. Directly for the creation process.
D: That's interesting. Now that you have been with the show so long,
one of the last few original people, can you tell me a little bit
about your specific role and the character you play in the show?
A: Well my character, people call me "Little Prince" in here,
but it doesn't really have a name. They call my character by
my name, Alan. My character is a boy that falls in love with
this pretty girl, now played by Abby. And I try to catch her
attention through the whole show. But for us it's like
impossible love, especially for me there is this taboo for
being a little man, little person, it's like people think you
can never can get true love from this beautiful tall woman.
D: Stereotypes.
A: Yeah, stereotypes. It's to prove that it can be different and
each person can be sexy and find your true love, doesn't
matter who you are or how you are. And then I chase her
throughout the show and she sees me but she doesn't realize
that she really loves me and I really love her. By the end of
the show when the act comes together we finish together.
D: Since the show began has there been any major changes or
adjustments to the choreography or to your part in the show?
A: Yeah there's been a few changes.
D: I know there have been many smaller changes...
A: A lot of small changes, and to my character not much change,
but through all the show they did a lot of changes.
D: Mostly choreography type stuff?
A: A little change. If you go back to the beginning when we did
the premier of the show and if you go back and look at the
act and the choreography and the tricks, it has changed. We
added some different tricks with skill levels higher than we
used to have. And plus the choreography and everything.
D: So you are adjusting the skill level as you get more comfortable
with it?
A: As we get more comfortable with it and as the show grows, as
well, we grow as well, we keep growing with the show and we
feel like we need to, you know, keep improving our ways.
D: Change. Keep things from getting dull.
A: Exactly! And keep things fresh. (Laughs) It's good.
D: Especially with being with the show for so long.
A: Yeah, you have to.
D: How much say do you have in the changes? How much say do you have
in making the changes to the choreography?
A: It takes a while. I remember there was one trick we were
training for 7-8 months before adding to the show.
D: Was that something you came up with?
A: It was something that both me and Olga and our coach,
Martina, three of us we think of something, we study it and
we see if it can work and then we bring it into rehearsal and
we try in rehearsal and if it's not good we keep trying to
make it better so we can work it into the show. And of course
it has to be approved by the director and the coordinators
and everything.
D: Yeah, I've heard a lot of the changes they have to go through the
higher echelons. Next, I'm going to change tracks a little bit.
Have you ever been to Las Vegas before you joined the show?
A: Never!
D: Never?
A: Never. I never went out of my country.
D: Really? Just traveled locally?
A: Just locally in Brazil in many different circuses and shows
and theaters. My first time I went out of my country was to
go to Montréal to do the creation for the show.
D: What did you think of Montréal?
A: It was beautiful, it was great. It's cold. (Laughs)
D: Yeah. (Laughs)
A: But it was great, everybody was so good and to be in the
headquarters of Cirque du Soleil for the first time, I was
amazed by it, and to see how they create the shows and how it
works there, it was just amazing. For me it was a dream.
D: Something huge.
A: It was huge. And as well, when we came to Las Vegas, I was
amazed. And the first time we came into the theater they were
just finishing building because they rebuilt the whole
theater and I was like... my jaw dropped. It was great.
D: A little different than a traveling troupe, huh? (Laughs)
A: (Laughs) Oh yeah, much different, believe me, much different!
D: What time of year were you in Montréal?
A: I was there for 3 to 4 months.
D: What time of year, like winter?
A: I went on the 21st of April, 2003.
D: So it was still pretty chilly.
A: Yeah it was a little bit.
D: Well you got a little bit of the summer. I've heard that's when the
best time to go is.
A: Yeah, it's beautiful, it's beautiful.
D: When you moved down to Las Vegas, how did you go about adjusting to
the city? It's a lot different than normal US cities.
A: Yeah, a lot different, especially coming from Brazil. But we
were so busy with the show and we were rehearsing a lot and
training a lot that you don't realize that you automatically
start to adapt with the city because you have so much to do
and train and the shows. Automatically, it wasn't hard.
D: Is it something you like to get away from now that you've been here
for so long?
A: Well I like to be here especially because of my job and I
have friends here, and it's a good city. But sometimes it's
good to go away for a vacation.
D: Get away from it all?
A: Yeah. (Laughs)
D: Again relating to your work with Cirque, do you have any
particularly enjoyable or unejoyable aspects of the work.
Specifically within the show itself?
A: I enjoy a lot of the show because I think if I didn't enjoy
the show, I wouldn't be here. Yeah because that's the best
part of it, you have a good job, you know, you are in a place
where most of the artists want to be.
D: That's very true.
A: And you are here and you are doing what you like to do. In my
case, I am doing what I love to do. It's performing on the
stage and doing aerial and acrobatics and that's the most
enjoyable thing for me.
D: Is this work on stage in a theater, do you prefer it over the
traveling lifestyle of a traveling show?
A: Sometimes I miss the traveling show, and not at the same
time. Because it has the good and bad parts of it. I think
because I have never been stopped in one place for a long
time before, and I think just because of that sometimes I
miss it a little bit. But since we get to travel a lot and
like, vacation and you can go anywhere you want and so it's
still something you can do on your vacation time instead of
being in a touring show.
D: Do you think it's a little less stressful being in one place?
A: It's less stressful, it's much more quiet, you have all your
things here and don't need to be traveling from one place to
another. It's much more... comfy. (Laughs)
D: Not living out of your suitcase. (Laughs)
A: It's much more comfy, it's much more comfortable.
D: I know that you've been having problems with your shoulder.
A: Yes, I have.
D: And it's something that's been going on ever since I've known you.
A: Yes, I know.
D: How's is that going right now.
A: Well it's much better right now. I did the surgery and after
that I did rehab and it has improved a lot. It's been a year
ago. But it's like... injuries is something that is... it's
normal being in Cirque and being an acrobat or a gymnast,
it's so normal, everyone has injuries.
D: Oh yes. It can be a career breaker, though, at times if it's bad
enough.
A: Yeah.
D: How do you feel about that?
A: Well it's something that you expect and you have to try to
take care of it before it becomes a big, you know, problem.
So you always have to think like that.
D: Is the problem, specifically with your shoulder, is that something
you caught earlier on before a major injury happened or did you
have an episode of injury such as torn cartilage or something
happen during training or a show?
A: Yes, I start to feel during training a little bit in the
shoulder, and sometimes during the show and then I went to
physio, our physiotherapists, and they start to take care of
this and doing treatments and everything. And when we saw
that this could become a bigger problem they sent me to a
specialist and that's when we decided to do the surgery
before it becomes something worse.
D: It's not been giving you problems recently?
A: Right now it's been good. So far so good. (Laughs)
D: Fantastic! That's good to hear. What about your plans for in the
future once you are unable to continue as an acrobat?
A: Yeah, I know because and acrobat's life doesn't go too far!
D: It's not as long, yeah! (Laughs)
A: But I have many plans inside the company, as well. I think
I'll improve my acting skills and, I don't know, maybe take
singing classes and...
D: So possibly become a character actor?
A: Character, yeah. Because here in this show I'm a character
acrobat anyway. And I can keep going as a character.
D: Are you planning on staying with Cirque? Do you want to continue
your work with them or just in theater in general?
A: Well I would love to continue my work with them but it's
something that you don't know in the future how it's going to
go.
D: Exactly, I understand that!
A: But it's one of my plans, but, yeah, like I said, you never
know what's going to be the future.
D: One last question. We always hear about various incidents that
occur with people, funny events or interesting events that
performers come across with audience members or fans inside and
outside of the show. Have you had any specific incidents occur
where you've had a very amusing or weird happening with an audience
member or fan?
A: Weird? I cannot say weird.
D: No?
A: No. For me especially it never happens. It's just sometimes
it's funny, but you know, sometimes you finish the show and
you are just walking to the garage and people stop you and
fans and people that watch the show. And they say so many
good things to you and they always congratulate your job and
Cirque du Soleil, always. And sometimes you hear like kind of
weird things, like the other day two guys just stopped me and
were like, "Wow youwere really great in the show," and I was
like, "Wow, thank you very much!" And he was like "Yeah you
did a good job, you really turned me on." I was like...
"Okaaay." It means I did a good job! (Laughing)
D: (Laughing) Not something you expect to hear, though, huh?
A: Yeah, sometimes you hear that though, but it's pretty normal
because like, guys, girls, you know. It's a general audience.
D: It's that type of show!
A: Yeah, and you hear everything. But it's always good
compliments. It's not like any weird, weird situations.
D: Well your character itself doesn't really have all that much
interaction with the audience.
A: Yeah, not as much. Because in the show my character has eyes
for only one girl, which is Abby now playing the role. So I
try to keep my character. Some people don't understand when I
do Animation I walk through and I walk by them and I kind of
ignore a little bit because my character, I don't want to see
anybody else, I just want to see my girl, so you gotta keep
the character. That's why I don't have too much interaction.
D: That reminds me of something else. I haven't seen the show since
they changed Animation to the end.
A: Okay. Animation to the end?
D: Extravaganza, I'm sorry. How is that going?
A: It's good. I think it was a very good change.
D: Really?
A: Yeah, because it's something that they came up with in the
creation of the show, Extravaganza, they always wanted to put
at the end of the show. But it was something that it didn't
work with the costume changes and all the quick changes that
we had, so they decided to put at the beginning of the show.
Which it was great as well.
D: Yeah I enjoyed it at the beginning. I haven't seen it since it's
been changed so I can't comment on it right now.
A: Yeah, some people like it better because after seeing the
whole show, at the end when they have Extravaganza they
really realize and recognize the persons at the end for what
they did and the characters.
D: Do you feel it gives it more of a specific ending?
A: Oh yeah, it gives it more of a specific ending. It's like a
huge parade at the end. And it shows each one of the Zumans.
I think it was a great change to the show.
D: Yeah, I'm looking forward to seeing it again since the changes.
This show is always changing, so, it's one of the few you can see
over and over again and always see something different.
A: You can see it so many times and always something different!
D: Fantastic! Well that's all I have, thank you for meeting with me.
It was good to see you again.
A: It was good to see you too. It was a pleasure.
------------------------------------------------------
"A Chat With Kevin and Andrew Atherton of Varekai"
A Special Interview Reprint from CirqueTribune
By: Danielle Wall - Southern California (USA)
------------------------------------------------------
Danielle and the staff at Cirque Tribune were very gracious in
granting Fascination! permission to print their interview with Kevin
and Andrew Atherton of Varekai, and for that we extend our gratitude.
If you get a chance, please check out Danielle's original post of the
Interview and the comments it has received at CirqueTribune:
< http://www.cirquetribune.com/forum/viewtopic.php?t=4134 >
# # #
A Chat With Kevin And Andrew Atherton
-------------------------------------
Q. As kids, did both of you train in gymnastics together? I realize
that gymnastics is a mostly individual sport. Were you both
competitive with each other in and/or outside of the gym and
competition?
We are both quite competitive individuals by nature anyway. We
would often use each other's strengths in and out of the gym to
better our own work. We have a very competitive streak in us,
which we still use to this day.
Q. What was your favorite and least favorite apparatus? Why?
(Kevin) I was pretty much an all around gymnast, and my ability
on each apparatus was quite even. My best results in competition
were always on the parallel bars, though. If I had to choose my
least favorite apparatus I would probably say the high bar.
(Andrew) Unlike Kev, in training the high bar was the apparatus
I enjoyed the most. I would thrive off the adrenaline rush I got
when releasing and re-grasping the bar. In competition though,
this would have to go to the rings. Rings were by far the most
successful apparatus in my gymnastics career. The least
favorite, both in training and competition, would have to go to
the vault. My strengths were certainly not in my legs.
Q. Have you ever had interest in other sports? If so, which ones?
Whilst growing up we were into many different sports. Coming
from a very sporting family and town, we were encouraged to try
as many different sports as possible. This is how we came to
discover gymnastics. We were seven years old.
Whilst training and competing in gymnastics, however, we were
discouraged from participating in other sports. Especially
sports in which there is a high risk of injury. Even now,
working with the Cirque du Soleil, we try to avoid these... even
if the desire to do them is strong.
Q. Working at Cirque, you are two of the few performers that have a
perfect attendance record. Have you ever had to work through a
serious illness during a show, or does your lifestyle keep you
healthy enough that you haven't had a problem with illness?
We're big believers in setting goals in life. This was one of
our goals when joining Varekai. There have definitely been
moments when one of us or the other has had to go onto the stage
feeling less than one hundred percent. However we're very strong
believers in not only the power of the mind, but also in giving
our bodies the best possible chance to do what we demand of it.
Saying this, we work very hard to maintain our health and
fitness. IT'S DEFINITELY NOT LUCK.
Q. Do you have any other goals you've set for yourselves while working
with Cirque?
We have many goals. We like to keep them between the two of us
though. Maybe we're a little superstitious that way?
Q. Has doing a strap act for so long caused any problems with your
wrists and/or shoulders? If so, how have you dealt with that?
We took the initiative to seek out the best possible advice with
regards to body preparation and injury prevention long before we
began to create the aerial straps act. We knew that in order to
perform an act such as this eight to ten times a week for many
years meant we would have to be in the best shape possible. Now
we have a specific program designed to maintain our shoulder
strength and flexibility.
Q. Not many people know that you went into Cirque already planning on
doing a strap act. How did you assure that this is what you would
be doing during the hiring and creation?
Two years before joining Cirque du Soleil we both started to
think about this act. When asked during the audition what we
would like to do with the company our response must have been
pretty clear. There were no assurances and it was not until a
year later that we discovered we would be given the chance. We
were performing in a Tom Stoppard play at the Chichester
Festival Theatre. On completion of our contract there we were
flown straight to Montréal to begin the creation of Varekai.
Q. Each of you being portrayed as a mirror image of the other in your
act, how do you augment your routines to keep both sides of your
body in equal strength and proportion?
It's true that we do use one arm more than the other during our
performance with Varekai. If we weren't careful the right side
of our bodies would develop much more than the left side. We
compensate for this by incorporating a specific weights training
program into our weekly routines. The use of free weights helps
us rebalance our muscles and our bodies.
Q. We recently had a question on CT asking about the food that the
performers eat. Can you tell us what your food regimen is? Did you
have help from nutritionists at Cirque or was this information you
brought with you from your gymnastics training?
We're regularly questioned about our eating habits. People are
always seeking that hidden secret or that miracle solution.
Luckily for us we had parents who taught us the importance of
healthy eating. Of course as we grew up and sport began to play
a major role in our lives, our knowledge of food in relation to
fitness grew. We view food as a fuel that will help us both
enhance our performance and prolong not only our careers, but
also our lives.
We don't consider ourselves experts on the subject of nutrition.
What we view as the rights foods for ourselves may not be the
right food for others. Personally we try to eat six, small meals
a day that are high in protein content. Especially following a
workout or a show. We do not cut any major food groups out, like
carbohydrates, which are important to sustain our energy levels.
We also make sure we're continually hydrated by drinking water
regularly.
To "diet" is a concept we strongly disagree with. Instead we
would prefer to promote any regime as a lifestyle change. Eating
habits that one intends to continue for the rest of their lives.
Q. I know you both have a fondness for chocolate, and Andi, you have
told me that you enjoy good bread. How do you incorporate these
foods into your lives?
Anything in moderation isn't bad for you. Well not anything!!
Q. Have either of you ever had any interest in performing a specific
act or on an apparatus other than straps?
We always knew we wanted to perform the aerial straps. It's a
discipline we felt we would be very inventive on, and still now
feel we can push further. Creation is something we love and we
will always welcome the opportunity to try something new. If
given the chance to be involved in a new Cirque du Soleil
creation, we would like to explore new avenues of performance
also, including dance and character work.
Q. You are two of the only performers I know that enjoyed the creation
process. Others seem to dread it and even say they'd never do it
again. What about this process do you enjoy?
Once Varekai was on the road we both thought we too would never
want to do another creation. It's a process that forces you to
expose your vulnerabilities and to confront your personal fears.
There's something very special about creation though. We take
pride in knowing that when the time does come for the two of us
to leave Varekai, we will do so knowing that a part of us will
always remain here.
Q. Do either of you have any hobbies?
(Kevin) I love business. When I'm not working or training I am
often working on different aspects of my investments. Whether
that's doing the accounting for our real estate investments, tax
documents or researching other types of opportunities. I love
it. I'm also trying to learn a little French. I find it quite
challenging though. Languages were never my strong point whilst
at school.
(Andrew) For the last six months I have been taking Spanish
lessons. Like my brother, languages were never my strong point
but I am enjoying the challenge. I also have a great teacher.
Carmen! Muchas gracias por tu ayuda. When not studying or
working there is nothing I like more than to ride my bike. It
brings me a sense of freedom that you often need when working on
tour.
Q. What have been your top 3 cities that you've visited? Any specific
reasons why you liked them so much?
(Kevin) New York City, San Francisco, and Miami. New York City
is just an amazing place to me. It's a city with so much to
offer. I love the fact that you can experience so much diversity
in just one place.
I remember being so excited to visit San Francisco when Varekai
performed there in 2002. I wasn't disappointed at all. Having a
big passion for real estate and architecture, San Francisco to
me was a dream.
Miami offers a completely different lifestyle to New York City
and San Francisco. Especially South Beach. The pace of life
there is a lot more relaxing. It's also the place I got engaged.
I could live there in a heartbeat.
Q. May I ask who popped the question first?
(Kevin) I did! I took him to our favorite restaurant in Miami
where the entire staff knew of my plans. I'm so happy he said
"yes".
(Andrew) Miami was definitely a stand out city for me. The way
of life out there is indescribable. You can do as much or as
little as you want to. Just the way I like it! Living and
working out there is definitely one of my future goals. Los
Angeles and New York also hold fond memories for me, but this
had a lot to do with the friends I made in these cities. That's
another benefit touring life has to offer. You get the
opportunity to make so many amazing friends.
Q. Have either of you considered going back to school for any reason
in the future?
(Kevin) I do miss studying actually. And yes, I would love to go
back to school sometime in the future. If I did I would probably
pursue something in the field of finance or business.
Mathematics was my preferred subject at school.
(Andrew) If in the future I am lucky enough to become
financially independent then returning back to school is
something that I would definitely consider. I always love to
learn.
Q. What subject(s) would you study Andi?
It would have to be something relating to my passion for sports,
the human body, and nutrition. I would consider this to be my
hobby outside of Cirque.
Q. I've known of your interest in wine since I first met you guys back
in 2004. What was it that got you interested in wine in the first
place?
Wine by its nature is a very sociable interest to have. We both
like nothing more than having friends over to our place for some
good food, good wine and great conversation.
Q. Is there any one person who has been instrumental in your wine
education?
We would have to thank Greg Gorman for this. Those who don't
know of Greg, he's a photographer from Los Angeles. He also
happens to be a very good friend of ours. While performing in LA
in 2003 we had the opportunity to shoot with Greg as part of a
television documentary in which Greg shared his knowledge and
expertise in the field of digital photography. Although Greg's
biggest love affair is with the camera, he also has a passion
for wine. Having shared many amazing bottles ourselves with Greg
and his friends, we too developed an obvious interest in the
subject.
Q. What type of wines do you prefer? Color and variety?
Depending on the menu for the evening we will drink both red and
white wines. The pairing of the wines with the food is extremely
important as the flavors of both can be enhanced greatly when
the pairing is right. That isn't the case when we're dining with
Stella Umeh though. Stella only drinks red wine. If she's with
us, red it is.
Q. Do either of you have a favorite brand and/or year?
Not particularly. While traveling we will usually try wines of
various grapes from local regions. As we're in Australia at the
moment the choices are endless. Australia has some amazing
wines.
Q. When did your interest in real estate and investment first come
about?
We would have to credit our father for this. He owned quite a
few properties himself and passed on his knowledge of the
subject to the two of us. We began investing in real estate at a
relatively young age. I think we were twenty years old when we
bought our first property. We were still amateur gymnasts at the
time. Obtaining the funds to finance the purchasing and
renovation of the property was the biggest challenge we faced.
They say that the first one is always the hardest. It was.
Q. Do you still own that first property?
We do. When we bought it, it was pretty much a derelict,
unlivable house. We, along with our father took three months to
re-build, renovate and decorate it. Those three months were
amazing. They gave us the opportunity to work and learn from
him. Something we had not been able to do whilst being involved
in gymnastics. That house is so much more to us than just bricks
and mortar.
Q. What consists of an "ideal property" for you?
(Kevin) I once had a meeting with a real estate agent from
Montréal when we began to look for our first investment there.
It lasted about ten minutes. I decided he wasn't the right
person for the job when he said to me "You really don't have to
like the building that you're investing in. As long as the
numbers work out, and at the end of the month you're making
money, that's all that matters". I have to say that for me I
have to love the building. Even if the passive income from the
property were high, if I didn't have a love for it, I would not
have the motivation to work for it.
(Andrew) Personally when looking for the next investment
property I am often drawn towards older buildings. Not only do
they have a lot more character in them. As my father would often
say "They are built to last."
Q. Does knowing you like the property come to you right away, or have
you had properties that you didn't like initially but have "grown
on you" after time?
We both rely on instinct. We've learned to trust it in every
aspect of life. All our properties we have liked from first
seeing them. Or at least have liked the idea of what they can
become.
Q. Does location play a big part in your choices? If so, do you follow
the market or have your own preferred areas?
Location is really the number one factor depending on what our
objectives are. We recently bought two investment properties in
San Antonio, Texas. We have never even been there. We decided to
buy there after working with an amazing realtor from Las Vegas,
Steve Bland, who also works as an artist in the show "O". He had
done months and months of research on the area and had decided
that San Antonio was a great place to invest for the future.
Having looked at all the research with Steve we decided to that
this was an opportunity not to be missed. Steve certainly knows
his business.
Q. Were these properties in San Antonio the first ones you've bought
without actually visiting the site? If so, did it make the decision
harder for you?
Yes. They were the first we'd purchased without actually
visiting the place in person. Our realtor did send us over a
hundred photographs of each property. We knew what each looked
like in great detail. We knew the geography of the surrounding
areas. We knew we liked them. The decision wasn't hard at all.
Q. What types of properties do you invest in?
We try not to limit ourselves to one particular property type.
To date we own and manage several single-family homes in both
the US and the UK, and four apartments in Montréal, Canada.
Maybe in the future we will choose to invest in retail buildings
or even hotels. Who knows?
Q. What are your preferences in styling and design when you consider a
house or building?
That depends on whether or not the property will be used as an
investment, or for personal use by one of us. Not everyone will
share our personal tastes in design and architecture.
Q. What design influences did you use in the renovation of your own
home in Montréal?
(Kevin) When Michel and I took on the renovation of our
apartment in Montréal, it was quite a project. Thankfully we
share identical visions when it comes to design. We both have a
passion for modern architecture and design. We took much of our
inspiration from the Japanese approach to living. Each space has
its own specific function and purpose. Michel often laughs at
me, as I'm a little obsessed with minimalism. I'm certainly not
a collector. We also like to use natural light wherever
possible. Therefore we have many oversized windows and doors.
Q. I've discussed the issue of global warming and "green" living with
Kevin quite a bit in the past. Andi, do you follow these issues in
the news as well?
Of course! The issue of global warming is a prominent and very
real one that our world is facing. Nowadays it is virtually
impossible to turn on the television or open a newspaper and not
see something mentioned on the subject.
Q. What are your thoughts on these issues?
The environment has always been an issue for us. Even at a very
young age we were very aware of the impact our actions could
have on our surroundings. Only back then the stakes didn't seem
quite as high, and our surroundings felt a lot smaller.
Without getting too political we feel that everyone can do
something to combat the issues we're facing with our planet, and
hopefully reverse the affects we have already begun to see
today. We have a responsibility within our own lives to learn
the many changes we can make, however big or small to manage
issues such as drought, disease, global warming and much more.
The thing people need to know is that the smallest change can
have the biggest impact.
Q. Do you see it having an impact on the real estate market and your
own choices in properties when buying?
As awareness increases, changes are happening at every level of
the real estate market. From the products we buy for our own
homes to the materials used in new constructions or
developments. People are realizing that this is their
responsibility and as a result the green movement grows.
A large goal of ours is to one day be involved in our own real
estate development project. When we do, we will make sure that
this project works in conjunction with its surroundings and has
minimal negative affects on the environment.
Q. How has the "green" movement affected your own lives?
We choose to live a lifestyle that reduces, as much as we can,
our carbon footprints. We very rarely use any mode of transport
other than our bikes and our feet. If we have to use another
method of transportation we will try whenever we can to utilize
the public system.
At home we use energy efficient appliances and light bulbs and
control the heating with the use of digital thermostats. Our
next project is to build a green roof on the property in
Montréal. This is another fast growing area of property
development, and one that excites us both very much.
Q. What about children? Do either of you plan on having or adopting
children in the future?
(Kevin) Having children is something that Michel and I have
spoken about at great length. I know that Michel will be the
most amazing father to our children. As to when, how many and by
what method, we're not sure yet.
(Andrew) I would definitely love children to be a part of my
future at some point. I love children! Right now though, I feel
I have so much more I want to do in life and with my career in
Cirque du Soleil. Until I have achieved all of my goals here, it
would be selfish of me to plan otherwise.
Q. After five years on tour and living and working in so many
different places and societies, where do you see yourselves
settling down and calling home in the future?
(Kevin) Why limit yourself to one place? Home can be in more
than one location. Personally, when I retire I would like to
spend my summers in Montréal, which is a city that holds so many
charms to me. My winters? Somewhere warm I guess. Maybe a beach
house in Miami. For those reading who have experienced a
Montréal winter, you'll know where I'm coming from.
(Andrew) There are many cities that I have visited over the last
5 years that I could quite easily call home. It would be
difficult for me to select just on of them. I do not wish to
restrict myself to locate in one particular place at this time.
Wherever work takes me I will go.
Q. It seems that after all this time with Varekai, Montréal has become
a sort of "home base" for you. Would you agree?
We would agree. We both adore that city.
Q. Have either of you found yourselves having to adapt a great deal to
live and work in certain countries?
We've both been traveling our whole lives. The largest
adaptation will come when we're no longer touring. To not have
that change of scenery every few weeks will be an adjustment in
itself. There has always been a strong desire in both of us to
experience new cultures. I think we'll continue to do this for
the rest of our lives. Even once we settle down somewhere.
Q. What are some of the more "extreme" cultural differences you've
encountered in your travels?
Living on a Cirque du Soleil tour is like living in the most
culturally diverse city in the world. It's amazing to have so
many different nationalities, cultures and beliefs all under one
big top. Here with Varekai we have about seventeen different
nationalities. We haven't counted the flags around the big top
for a while. It can be challenging sometimes. Some behaviors or
beliefs are often not understood entirely by others. One thing
is very important though. That we all work together, with
respect for one another.
Q. Do either of you find yourselves comparing life in other locations
to where you grew up in England, or do you prefer to just "go with
the flow"?
It's very important to us that we always remember where we came
from. Wigan will always be the place we grew up, and as a result
will always have a special place in our hearts. Comparisons are
something we try to avoid, as each different city or town we
visit holds its own unique qualities. We try to find the best in
every one of them.
Q. What do you miss most from where you grew up in Wigan?
Fish & Chips, Pies (Wigan has great pies)...... Oh, and Family.
* * *
A great many thanks to both Kevin and Andrew Atherton for taking the
time to work with me on this interview for us at CT. I am lucky to be
able to call you friends and I look forward to seeing what you both
get up to in the future. Thank you especially to Kevin for the
occasional "kick in the butt" to make me realize I can do better!
{fin}
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COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter Compendium
Volume 7, Number 2 (Issue #52) - Mar/Apr 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.
{ May.20.2007 }
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