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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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E X P A N D E D I S S U E
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VOLUME 8, NUMBER 5 SEP/OCT 2008 ISSUE #61e
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CONTENTS
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o) Cirque Buzz -- News, Rumours & Sightings
o) Compartments -- Information on Tour and Behind the Curtain
* Itinéraire -- Tour/Show Information
* Historia -- Cirque du Soleil's History
o) Fascination! Features
*) "A Member of the Poppa Club"
By: Ricky Russo - Celebration, Florida (USA)
{Issue Exclusive}
*) "ZED Premiere: 'From A to ZED'"
By: Cirque du Soleil, Press Room Materials
*) "BELIEVE Premiere: Do you BELIEVE in Magic?"
By: Cirque du Soleil, Press Room Materials
*) LA PRESSE: "BELIEVE is 'Horrible' [EXPANDED]
A Series of Reviews in The Press
o) From the Fascination! Archives...
*) "Mysterious Mystère Musician"
By: Paul Roberts - Hamilton, Ohio (USA)
{Originally Published: Issue #12 August 2002}
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
BELIEVE Delayed
AGAIN!
{Sep.02.2008}
---------------------------------------------
Due to the enormous complexities and technical precision
required in creating the show CRISS ANGEL® Believe, previews
scheduled to begin September 12 will instead begin September 26.
From September 26 to October 7 there will be one 7pm performance
per day. The Grand Opening night remains October 10.
Customers who have purchased tickets for these preview
performances will be automatically refunded or can call 800-557-
7428 to re-schedule their attendance.
{SOURCE: Cirque du Soleil}
Mike Weatherford on BELIEVE Delay [EXPANDED]
{Sep.04.2008}
---------------------------------------------
Mike Weatherford, columnist for the Las Vegas Review-Journal,
had some interesting things to say about the cause of the latest
delay for the Criss Angel show.
* * *
Take your pick: The Criss Angel show is either so dull it needs
a wake-up call or so groundbreaking that it needs more time to
fine-tune its technical complexities.
You won't find out which is right before Sept. 26, the new date
for the first ticketed preview of "Criss Angel -- Believe."
Cirque du Soleil announced earlier this week that Luxor previews
were being pushed back two weeks, from Sept. 12. The date for
the opening night gala is still Oct. 10, so the window for
ticketed previews is considerably shorter than the month for
"Love" and more than two months for "Ka."
With those titles, the main goal of previews was to make tweaks
or changes based partly on audience reaction, Cirque spokeswoman
Anita Nelving explains. If automated props or sets broke down in
the course of things, everyone took it in stride.
This time, illusions are involved and "there are elements that
can't be worked out during previews," she says. If a technical
gaffe exposes how a trick is done, that's a real problem. "This
is the first time we've created a show of illusion, and we
underestimated the amount of time we needed."
On the other hand, a member of the show's production staff
reports (through a third party) that "Believe" is "just out and
out boring," and that the illusions are more of the close-up
variety that don't hold up in a large theater.
It's true that Angel has worked more in television than live
theater, and his "Mindfreak" series places its stunts and
escapes in the real world. Angel's last stage show was in a 150-
seat theater in New York, which could lend credence to the
report that he is "having a hard time making the transition from
the small stage to the big stage."
And Angel himself has noted that "Believe" is mostly free of the
cabinet illusions seen up and down the Strip. That could
indirectly back up the source's claim that whatever magic
replaces them doesn't carry all the way to the back row.
Angel's publicist, Steve Flynn, dismisses that. "This is Criss
Angel we're talking about. Nothing's too small," he says.
"Everybody is going to be absolutely blown away." But, he adds,
"a roomful of perfectionists" are involved, and "it's not just
the illusions that are holding everything up." ...
"The World's Greatest Magic Show" celebrated Labor Day by
calling it quits at the Greek Isles. Producer Dick Feeney says
the long-term future of the obscure off-Strip hotel is never
certain, and he would like to get the show up and running in a
new location before the holiday season brings families back to
the Strip.
But this summer was no bonanza even with the families. Feeney
slashed the show's prices to less than $30 in April, and tried a
novel promotion of offering at least 50 free tickets to the
first people who called each day. If none of that worked, then
things weren't likely to improve once Criss Angel's show further
crowds the magic market. ...
"Shear Madness," the interactive mystery comedy institution,
could extend the definition of "the Strip" for shows. Producers
opted to build out their own theater in the Town Square shopping
center instead of cutting the usual deal with a casino. One of
the benefits of doing it that way was a seven-year lease, and
you can't blame the producers for thinking long term. Their show
has played for 28 years in Boston and 22 years in Washington,
D.C.
Previews begin Nov. 7, with the press night Nov. 14. The six
cast members are in the Actors Equity union, but the show is
partially improvised and the audience helps solve the murder of
a concert pianist who lives above a hair salon.
"In our show it's very voluntary," executive producer Terrence
Williams explains of the audience participation. "It's not
forced upon the unwilling."
{SOURCE: Las Vegas Review-Journal}
CirqueCon Group Meal Announced
{Sep.12.2008}
---------------------------------------------
Hi Folks! A quick update to say we have scheduled our CirqueCon
2008: Tokyo! Group Meal!
Friday, November 7, 2008, from 4:00pm-6:30pm (1600-1830h).
RAINFOREST CAFÉ in the Ikspiari Shopping Center (2nd floor) at
the Tokyo Disney Resort. Nearest train station: Maihama. (The
ZED theater is just a short stroll from the restaurant) Y2,625
yen per person (approx. $25.00 USD)
Deadline to reserve a spot is October 15, with payment due by
October 31. Our Meal Menu can be found on the Social
Activities page of the website, www.cirquecon.com
(And if you want tickets to our official show on Friday at
7:30pm contact cds.tokyo.ticketing@cirquedusoleil.com.)
No Cirque at Vancouver 2010 Olympics [EXPANDED]
{Sep.17.2008}
---------------------------------------------
The Globe and Mail reports this morning that Cirque du Soleil
has taken their hat out of the ring for consideration of the
Opening and Closing ceremonies at the Vancouver 2010 Winter
Olympics.
* * *
Cirque du Soleil will not be part of the Vancouver 2010 opening
or closing ceremonies despite high expectations that Canada's
premier entertainment group would appear. A source close to the
company blames tight control exerted over the creative process
by VANOC and the IOC.
At one point, the Quebec company was in discussions with VANOC
not simply to appear, but to be executive director of both
ceremonies. Officially, both VANOC and Cirque cite the latter's
commitments to private projects as the reason no deal was
signed.
According to the Request for Expressions of Interest and
Statements of Qualifications posted on VANOC's website, the
successful applicant for the post of executive director of the
ceremonies would work "in conjunction with and under the
direction of VANOC."
Asked if Cirque du Soleil had wanted to direct the entire
opening and closing ceremonies, public relations director Renée-
Claude Ménard said: "Of course. That is the thing that Cirque
does - we have creative control.
We work with partners and have them accompany us and endorse us,
but you either [employ Cirque] to do it, or you don't."
David Atkins was appointed executive director of the ceremonies
in September of 2007.
"We work with partners and have them accompany us and endorse
us, but you either [employ Cirque] to do it, or you don't."
David Atkins was appointed executive director of the ceremonies
in September of 2007. However, speculation continued that Cirque
du Soleil would have some kind of role in the events.
In January of 2008, in an interview with The Globe and Mail, Mr.
Atkins described the creative process and its relationship with
both VANOC and the IOC.
"We get to the stage where we're happy with it. We then present
it to VANOC," he said.
"VANOC then react to it as the board, usually in every one of
those instances. They'll have concerns, we'll address those,
represent again. When they feel as confident as we did, then
they present it - and we present it with them - to the IOC and
we get final sign-off on it.
"Since Torino, we now do two presentations to them and we have
regular updates with them on a monthly basis, which was never
the case before, so they've become much more engaged in the
creative process."
VANOC's contribution to the closing ceremony of the Torino 2006
Winter Olympics was widely considered a flop. Cirque du Soleil,
along with many other Canadian artists, was involved in that
production.
Executive vice-president of celebrations and partnerships at
VANOC, David Guscott, cautioned against drawing any conclusions
regarding the IOC's increased participation since 2006.
He said he was disappointed that Cirque had withdrawn from
consideration, but understood its reasons. "This is being the
executive producer of an Olympic event," he said.
"It's a different kettle of fish from putting on a Las Vegas
show."
{SOURCE: The Globe and Mail}
BELIEVE Delayed YET AGAIN! [EXPANDED]
{Sep.17.2008}
---------------------------------------------
Its official - the Las Vegas Sun is reporting that Criss Angel
BELIEVE at the Luxor has been delayed for the third time. This
time the Gala Premiere will be held on Friday, October 31st - a
fitting date for such a dark show, dont you think?
* * *
The official premiere of Criss Angels Cirque du Soleil show,
"Criss Angel Believe," has been delayed once again.
Cirque now says the $100-million showcase will debut publicly at
the Luxor on Oct. 31.
I can't imagine a more fitting night all year for Criss than
Halloween, the night that marks the 82nd anniversary of the
death of his and the show's inspiration, Harry Houdini, Angels
publicist, Steve Flynn, said.
"Believe" originally was scheduled to open publicly on Sept. 12.
Publicists for Angel and Cirque say the magician and shows
director, Serge Denoncourt, insist every aspect of the technical
show, which includes illusions, acrobatics and pyrotechnics, be
perfect before it opens, and more time was needed.
The latest decision to delay the premiere was announced Saturday
after more than 400 Cirque employees and artists took in a
performance Friday. The creative team met afterward and it was
then decided to move the premiere to Oct. 31 and restore the
preview period to its original timeframe.
Organizers first delayed the premiere in late June because of
apparent technical difficulties. The premiere was then
rescheduled for Oct. 10.
Further enormous complexities were cited on Sept. 2 as the
schedule for preview performances was pushed back a second time.
While the change didn't affect the Oct. 10 premiere, the
decision effectively axed the first two weeks of preview
performances.
Saturdays announcement restores the preview period to its
original five-week run, with the first performance taking place
Sept. 26.
The preview period is an important part of our creative process
as it allows the show to develop in front of a live audience,
Cirque du Soleil spokeswoman Anita Nelving said.
"Believe" will blend Angels illusions with the costumes and
acrobatics that are part of Cirque du Soleil productions.
Angel will give about 5,200 performances over the next decade.
His contract will see him perform five nights a week for the
next 10 years, with an additional five-year extension option.
Unlike traditional magic-themed shows, 'Criss Angel Believe'
transcends any preconceived notion of what it means to be
emotionally engaged by the arts of mysticism and illusion,
Cirque promises in the shows promotional materials.
The show is housed in a specially built theater in the Luxor and
tickets range in price from $59 to $150, before taxes.
{SOURCE: Las Vegas Sun}
Wintuk, from Cirque du Soleil
{Sep.18.2008}
---------------------------------------------
Wintuk from Cirque du Soleil
WaMu Theater at Madison Square Garden
October 30, 2008 thru January 4, 2009
Wintuk, the smash hit family show from Cirque du Soleil, returns
this holiday season with a mind-blowing new trampoline act and
astounding puppet creations by Michael Curry. Come and discover
Wintuk with your family at the WaMu Theater, Oct. 30 - January 4.
Wintuk spins the thrilling tale of a boys quest to bring
excitement, joy and sparkling color back to the grayness of
winter. This new adventure conjures a fabulous legend for all
ages and every generation.
This year, Cirque du Soleil has added even more wonder and
adventure to the story, with riveting new elements of suspense
and intrigue, and surprising twists, turns and reversals. Also
new is Power Track, a daring, high-speed, precision
choreographed trampoline act that pushes the very definition of
acrobatics to the limits. And thanks to Michael Curry, new stars
of Wintuk arent born
theyre made!
Curry has created captivating puppet characters that will
enchant and enthrall the whole family.
{SOURCE: MSG Insider Email}
All Together Now in Theaters/DVD [EXPANDED]
{Sep.18.2008}
---------------------------------------------
Hollywood, Calif., Sept. 17 /PRNewswire/ EMI Music has
confirmed an October 21 DVD release of the feature-length
documentary All Together Now. The DVD will be available in US
stores exclusively at Best Buy and at The LOVE Boutique at the
Mirage in Las Vegas. In addition, Apple Corps Ltd./Cirque du
Soleil will partner with The Bigger Picture, to bring the
feature-length documentary All Together Now to digital cinema
audiences across the U.S. beginning on October 20th.
The DVD and theatrical release follows acclaimed film festival
screenings, including a sold out opening night U.S. premiere at
the Silverdocs Festival in Washington, DC where the Washington
Post observed that All Together Now cuts into the heart of
[LOVE]. Albert Maysles calls the film A perfect combination of
the best of two worlds the Beatles and Cirque du Soleil.
The documentary details the story behind the unique partnership
between The Beatles and Cirque du Soleil that resulted in the
creation and 2006 launch of LOVE, the stage production still
playing to packed houses at The Mirage in Las Vegas, and the
experimental Beatles soundscape album of the same name which
garnered two Grammy Awards for producers Sir George and Giles
Martin. The film is dedicated to the memory of Neil Aspinall,
former CEO of Apple Corps and an Executive Producer of the DVD.
All Together Now faithfully recounts how the LOVE project came
into being, borne from the personal friendship between George
Harrison and Cirque du Soleil founder Guy Laliberte. George saw
how the twin talents of The Beatles music and the artistry of
Cirque du Soleils artistry and could be fused into something
new and totally original.
The director, Adrian Wills, traveled between London, Montreal,
and Las Vegas recording early meetings between the Cirque du
Soleil & Apple Corps Ltd. creative teams, as well as filming
contributions from Sir Paul McCartney and Ringo Starr, along
with Yoko Ono Lennon and Olivia Harrison discussing how The
Beatles' music can be used in a different way. Noting the
uniqueness of these interactions Wills explains, "What surprised
me the most was how human the whole process was."
These early stages of the project were all filmed, as were the
first rehearsals at the Mirage Hotel theatre in Las Vegas, which
was completely rebuilt with a one-of-a-kind sound system and
complex round staging to house the LOVE show. Sir George and
Giles Martin, the show's Musical Directors, were involved every
step of the way with the remarkable Cirque du Soleil creative
team, performers and backroom staff.
It wasn't all "plain-sailing" and there has been no attempt to
disguise some of the disagreements that took place along the way
regarding how some of the songs would be portrayed visually.
These creative differences, a necessary part of the overall
process of bringing LOVE to its most vibrant life, illustrate
the participants' love and respect for the music and vision of
The Beatles.
In addition to their roles within the main film, Sir George and
Giles, along with engineer Paul Hicks, also feature in a bonus
feature titled "Changing The Music" which reveals in fascinating
depth how the music was created and the challenges they faced.
They explain how they sourced some of the individual instruments
and effects and how they were encouraged to experiment.
Bonus Features include:
-- "Changing The Music" (22:00): An in-depth look at the
decision to rework and remix the Beatles music for the
show
-- "Music In The Theatre" (09:00): A look at the process of
creating the LOVE show's unique audio design in the
theater
-- "Making 'LOVE'" (10:00): A backstage pass to explore the
design of LOVE, including the art direction, costumes,
props, screen imagery and the use of The Beatles' voices
in the stage production and soundtrack.
{ SOURCE: PRNewswire, WhatGoesOn.com }
BELIEVE: Make-up Video
{Sep.18.2008}
---------------------------------------------
CDS has posted a 2 minute video feature on their www.youtube.com
page (http://www.youtube.com/cirquelasvegas), with BELIEVEs
make-up designer Nathalie Gagné. She is applying the make-up to
the Crimson character while discussing a little bit of the
process.
You can view the video by clicking here:
< http://www.youtube.com/watch?v=q0yh2gvH4vk >
BELIEVE, a Sneak...
{Sep.18.2008}
---------------------------------------------
Public previews may still be a week away, enjoy this little
sneak peek into the world of illusionist Criss Angel and whet
your appetites for more BELIEVE, courtesy of Cirque du Soleil:
Clear your mind, recognize the principles of being, and feel
yourself being transported into a fantastical world of
surreality. Allow a visionary journey to begin where the child
within you is reborn, setting free the wonder and amazement of
your own imagination. Feast on this imaginative vision.
Experience the reality Of what you see on stage but remember
reality is only what you think you see. This mystifying
adventure is nothing more than an allegory which tells the tale
of one mans search for love and meaning as he attempts to
decipher his existence within the multifaceted vortex of reality
and illusion. Immerse yourself in a metaphysical dreamlike state
where dancing rabbits and similar oddities are the norm. Magic
is now reborn. Prepare yourself for an intimate celebration of
art forms bleeding together to create a virtual landscape of
Illusion, song, dance movement and mysticism. All pre-conceived
notions of truth and existence be left at the door. What youre
seeing may not be real.
Dont believe your eyes.
Welcome to CRISS ANGEL Believe.
o) The Ushers Luigi (Martin Boisvert), Lars (Abdelkader
Chelef), Slim (Mariano Nicolas De Yorio) and Maestro (Mateo
Amieva).
o) Kayala (Elena Serafimovich) a wondrous beauty draped in
white.
o) Crimson (Aminah Abdul-Jillil) a monster of nightmarish
proportions.
o) Lucky, the Rabbit in Homage to the Rabbits.
o) Other Characters The Dolls (Gigi, Taz and Charissa), Hyena
(a rabbit gone rabid), The Paparazzi (with cameras ablaze),
The Crowmen (black birds to prey on the weak), Grand Master
Tronik (a grand and beastly puppet), Mole (a creature of the
underworld), Zangelica (half girl, half rabbit, all legs),
Dega (a young rabbiteer), Auntie B & Father Luminus.
o) Dancers Deirdre Barnes, Liana Blackburn, Angela Brickhouse,
Matt Carroll, Pamela Chu, Hiroaki Kumagi, Martha Nichols,
Donnell Flanrico Quaker, Logan Schyvynck, Sherisse Springer,
Ben Susak, Jesse Weafer, Bruce Weber, Shigeki Yamada, and
Sara Zanelletti.
o) Musicians Elvis Lederer (Guitar), Jose Pepe Jimenez
(Percussian, Electronic Percussion & Drums), Nitza (Singer),
and Jean-Francois (Djeff) Houle (Bandleader, Bass &
Electronics)
Corteo on Blu-Ray: A Review [EXPANDED]
{Sep.22.2008}
---------------------------------------------
Brandon A. DuHamel of Big Picture, Big Sound - a website
dedicated to all things media - has posted a wonderful and
thorough review of Cirque du Soleils first foray into HD
Corteo. His thoughts?
* * *
THE FILM
As a young man, Guy Laliberté, founder and majority owner of
Cirque du Soleil (literally "Circus of the Sun"), dropped out of
college and toured Europe as a folk musician and street
performer before returning home to Canada in 1979 and forming
the now world renowned performing troupe, first named Les
Échassiers ("Waders"). Laliberté's time spent in Europe is
apparent in Cirque's productions -- Old World European
performance art forms blend together with perfect symmetry in
multicultural modern entertainment extravaganzas that have
removed the circus from the realm of children's amusement and
made it something more appealing to adults. You won't find any
animals in a Cirque du Soleil production, but you will get
elegant costumes and lavish stage sets in themed shows with a
constantly playing musical score.
In the Cirque du Soleil production Corteo, the Italian word for
"cortège", a clown (Italian stage performer Mauro Mozzani)
imagines his funeral as a celebratory parade of circus acts.
Over the course of the multilingual musical production, beds
turn into trampolines "children" jump on, there are acrobats
swinging from luxuriant chandeliers, highwire work, winged
angels descending to bring our clown sweet reveries of his
funeral -- creator/director Daniele Finzi Pasca's vision is
thoroughly engaging. The musical score mixes Classical, Jazz and
Broadway styles in memorable melodies with energetic
musicianship.
The film's director, Jocelyn Barnabé does a marvelous job
staying out of the way and capturing the production with
appropriate camera angles and sympathetic editing that stays
true to the live performance experience yet still translates
well into the filmic realm. This is the closest thing to seeing
a live Cirque du Soleil event without actually being there.
THE PICTURE
Given the techniques and style of this production, Corteo is a
bit of a difficult transfer to judge. The dimly lit production
does not allow for the finest level of detail to shine through
in the 1080i AVC-MPEG-4 video encoding. The clarity and
sharpness of the image are masked by the low-level noise in the
dark areas, which is much of the picture. In fact, this is so
much of a concern, that it actually prompted Sony to put a
disclaimer on the package about the production's low-light
photography and other factors contributing to the overall grain
structure of the final image. It is the first time I have ever
seen such a thing on a Blu-ray release. Colors also appear to be
muted, though it is mainly due to the lighting. Flesh tones
cannot really be judged since all performers are heavily made up
in clown makeup or some other form of makeup that is something
other than natural.
Apart from the unavoidable noise inherent to the low-light
filming, the transfer displays no compression artifacts or edge
enhancement and contrast is quite exceptional in the many
spotlight drenched performances. The shadow detail, even with
the noise, is quite good and color saturation is stable and
accurately presented even if they don't leap from the screen.
The tempered color palette, however, is very much in keeping
with the mood of Corteo.
THE SOUND
Corteo comes with an English Dolby TrueHD 5.1 lossless
soundtrack as its sole option. In truth, the production's
multilingual performance means that the label of "English" is
something less than accurate, but semantic technicalities aside,
the disc's lossless sound mix is well done and very enjoyable.
Mixed from an audience perspective with the main sound
components spread across the three front channels reserving the
surround channels for ambience, the sound is lush, dynamic, and
cavernous. The flood of reverberation sent into the rear
channels and the widely spaced instrumentation across the front
channels creates a believable facsimile of the performance
space. Vocals are clear and lifelike, what little dialogue there
is always intelligible and there is just enough crowd noise
balanced into the mix to preserve a live feeling. The subwoofer
gets a decent workout as well, as low frequencies, although not
rumbling, are hefty and relaxed.
THE EXTRAS
Corteo's all standard definition supplemental material does
offer a good, behind-the-scenes look at the work that goes into
the famous circus troop's shows and the production of Corteo in
particular, even if most of it will not be compulsory viewing.
The behind-the-scenes featurettes Through the Curtain and
Filming Corteo offer the most information and the best look at
the inner workings of Cirque Du Soleil, so if you must watch any
of the extras, make sure you watch those.
The extras available on this release are:
-- "Through the Curtain "(1.78:1/standard definition) --
Corteo's creator and director Daniele Finzi Pasca
discusses the production through interview segments
interwoven with behind-the-scenes look at casting and
rehearsal for the show.
-- "A Day in the Life of Corteo Artists" (4:3 / windowboxed /
standard definition) -- Cirwue Du Soleil performers shown
going about the daily routines in their private and
professional lives.
-- "Filming Corteo" (4:3/windowboxed/standard definition) --
The film's director, Jocelyn Barnabé, discusses capturing
the production on film.
-- "Teatro Intimo" (1.78:1/standard definition) -- An
additional performance from the production not in the
film.
-- "Photo Gallery" (4:3/standard definition) -- A montage of
candid photos of the performers with musical
accompaniment.
FINAL THOUGHTS
Cirque du Soleil creates fascinating worlds that are out of time
and place and often surreal. Corteo's reveries of a clown's
funeral procession are impressionistic, wonderfully performed,
and full of delightful entertainment. The Blu-ray release of
this sympathetically filmed production brings you into the
performance space with the world-famous troupe like never before
possible in your own home. This production and BD are not to
missed.
{SOURCE: BigPictureBigSound.com}
MIKE WEATHERFORD: With Gilles Ste-Croix [EXPANDED]
{Sep.22.2008}
---------------------------------------------
Mike Weatherford, columnist for the Las Vegas Review-Journal
took a moment to sit down with Gilles Ste-Croix - Cirque du
Soleils Vice President of Creation - regarding the delays
around BELIEVE, the collaborative effort between Criss Angel and
Cirque du Soleil. Its a great read.
* * *
Harry Reid claims John McCain is hotheaded. Names for the
opposite of that aren't as colorful. Is anyone called a "cool
head"? But Gilles Ste-Croix could be submitted as the dictionary
definition of one.
He's a co-founder of Cirque du Soleil, a '60s hippie who gives
off what hippies called "good vibes," always congenial and
smiling.
And that makes the former stilt-walker perfect for a very
specific job. Whenever -- and wherever -- Cirque has a new show
about to open, Ste-Croix is the guy who comes in to help the
creators get to the finish line. "The last stretch, that's when
you see the real runner in a marathon," he says.
A director can lose sight watching rehearsals every day for two
or three years. "I come with a fresh eye," he says. "As a
neophyte spectator, I can say, 'That moment will never work
because there's something missing there.' I never put down what
they do. I'm there to enhance and bring new, fresh ideas."
After he and other Cirque officials watched a rehearsal of the
new "Criss Angel -- Believe," they decided to postpone the gala
premiere until Halloween. That creates an obvious publicity hook
for a title that's dark and mysterious, but also more time for
previews in front of paying customers.
Earlier postponements, combined with Angel's bad-boy image, give
Ste-Croix lots of rumor-control work for this one.
The truth, he says, is "We are in much better shape than 'Ka,'
much better shape than 'Zumanity' also."
Though "Zumanity" didn't have a star who dated celebrities, it
was marked by more creative turmoil backstage. "I had to come
back from vacation (to sort things out)," Ste-Croix says with a
laugh. "In this case I didn't take any chance. I didn't go on
vacation."
Angel, he says, may have "previously made his reputation about
him being spoiled brat. ... But in our case working with him,
he's such a gentleman, such a smooth guy. He's always positive."
Ste-Croix doesn't totally refute talk, based on early run-
throughs, that "Believe" was dull and/or the illusions didn't
carry all the way through to the back rows.
"In the last stretch, that's where the show becomes (complete).
You have to have trust and you have to have a lot of
confidence," he says. "One day and it makes a big step. Two
days, and it makes a bigger step."
MGM Mirage officials saw the show on Labor Day weekend and again
last week. "They could not believe how much it's changed," he
says. "They said, 'We understand what you have been trying to do
for the past six months. Now we get it.' "
Maybe it's ironic that Cirque is trying to extend its brand in
new directions, yet turns to one of its original voices at
crunch time. "Of course, it's far away from the stilt-walking
and just being a circus show under a tent without animals," Ste-
Croix says. "We are bringing together now all kinds of projects
and new products that have a new look.
"I can be replaced, but the only thing that will not replace me
is the baggage of experience I have over 25 years. We can be
guardians of that way of doing things, and we can as well bring
forth new ideas."
{SOURCE: Las Vegas Review-Journal}
Cirque 2009 Tickets Now On Sale!
{Sep.24.2008}
---------------------------------------------
In April 2009, Cirque du Soleil will pitch its big top in
Montreal to present its latest touring show.
Cirque 2009 (working title) will be the 25th Cirque du Soleil
show in 25 years, since the company was created in 1984. The
year 2009 marks an important anniversary for Cirque du Soleil,
and this new show will constitute one of the highlights of the
celebrations. Be among the first to witness this new creation,
which will have its world premiere on the Quays of the Old Port
of Montreal. Get your tickets today for this unforgettable
springtime event.
Tickets now on sale for Montreal, Quebec City and Toronto!
o) Montreal Opens April 23, 2009
o) Quebec City Opens July 30, 2009
o) Toronto Opens September 3, 2009
Tickets are Now Available!
DELIRIUM: An Encore
{Sep.24.2008}
---------------------------------------------
Did you miss Deliriums big screen debut last month? If so,
dont fret - Sony and Cirque du Soleil through the Hot Ticket
Network are presenting an encore presentation of Delirium this
October! For three nights only, enjoy Delirium back on the big-
screen: 15th, 18th and 19th!
For information on the encore presentation, visit Deliriums Hot
Ticket Website! Theater listings for the encore coming soon
keep checking!
< http://www.thehotticket.net/delirium/ >
No Cirque at Mandalay Bay? [EXPANDED]
{Sep.30.2008}
---------------------------------------------
Its been rumored off and on ever since Cirque du Soleil
announced it would take up residence in the theater at Luxor:
would they fill the theater at Mandalay Bay as well? Mike
Weatherford at the Las Vegas Review-Journal thinks not:
* * *
Back in May, I wrote in this column, "Shows haven't had much
luck attracting the nightclub crowd. So as times get tougher, it
could be producers are focusing more on families, which still
are taking vacations and buying show tickets."
That column came after resident casino deals for family-friendly
acts such as ventriloquist Terry Fator, and Donny and Marie
Osmond. But no one knew how far that trend would go, just as few
realized in March the Bear Stearns rescue was only the harbinger
of a more stunning economic crisis in September.
The seismic shocker came last week with the leak that Disney's
"The Lion King" will follow "Mamma Mia!" at Mandalay Bay.
I must be quick to say that at this writing, the news still was
unofficial; MGM Mirage would not comment. But talk is widespread
in the backstage community that it's all but a done deal, even
if there is no formal contract.
If Simba does roar on the Strip, it will be amazing on several
levels.
Let's dispense with the most obvious first: the collective "what
happens here" marketing of Vegas as the place where you come to
act up without the kids. But image is not reality, and you still
see families on the sidewalk even if you don't frequent all-ages
titles such as "Mystere" or "Stomp Out Loud."
Besides, "The Lion King," as staged by avant-garde director
Julie Taymor, is a sophisticated cross-generational title. It
won't draw near the number of Jay Leno jokes Disney's Broadway
heroines "Mary Poppins" or "The Little Mermaid" would if their
names appeared on a Las Vegas marquee.
It could be argued those newer titles aren't as shopworn.
Previous musicals such as "The Producers" and "Hairspray"
underwhelmed Las Vegas, in part because they had toured to death
elsewhere. My only guess here is that Disney figures "The Lion
King" will pull in new waves of youngsters who weren't born when
it opened on Broadway nearly 11 years ago.
A bigger shock: "The Lion King" would beat out a proposal by
Cirque du Soleil, a signal that MGM Mirage must feel Cirque has
reached a saturation point on the Strip, even if the Canadian
guys refuse to.
And the biggest shocker of all? There was talk of putting "The
Lion King" into the same theater in 2000. Glenn Medas, in charge
of entertainment back then, says talks reached "midstream." But,
he says, "Disney at that time didn't want to be associated with
Las Vegas."
Of course, Disney was fairly new to Broadway then, and different
people run the theater division now. Still, I can't help but
think that it's the search for security in hard times that's
causing these two lions -- Simba and one on the MGM Mirage logo
-- to form a pride.
{SOURCE: Las Vegas Review-Journal}
All Together Now at Select Theaters
{Oct.01.2008}
---------------------------------------------
According to a recent press release, the October 20th screenings
of All Together Now will take place at digitally equipped
cinemas across the United States using THE BIG PICTURE cinema
network. Locations and show-times are available at
www.thebiggerpicture.us
Showtimes have not yet been established.
{SOURCE: MarketWire}
La Nouba Prices on the Rise!"
{Oct.07.2008}
---------------------------------------------
Ticket prices for La Nouba are going up, up, up! As of today
it'll cost you $3.00 more per ticket in each category to enjoy
Cirque du Soleil La Nouba at Downtown Disney West Side. Prices
are as follows (anyone remember when prices were just $56.00?):
o) Category Front and Center:
- Adults: $117.00 plus tax
- Children (3-9 yrs.): $94.00 plus tax.
o) Category 1:
- Adults: $102.00 plus tax
- Children (3-9 yrs.): $82.00 plus tax.
o) Category 2
- Adults: $83.00 plus tax
- Children (3-9 yrs.): $67.00 plus tax.
o) Category 3
- Adults: $67.00 plus tax
- Children (3-9 yrs.): $54.00 plus tax.
o) Category 4
- Adults: $53.00 plus tax
- Children (3-9 yrs.): $43.00 plus tax.
{SOURCE: Cirque du Soleil}
CirqueCon Update #10: We Have a Group Meal Deadline
{Oct.10.2008}
---------------------------------------------
Greetings, Passionates! Keith here with an update and a final
reminder about the Group Meal deadline thats quickly
approaching!
GROUP MEAL - We now have 22 people coming to our Group Meal at
the Rainforest Cafe in Ikspiari on Friday prior to our
official show. The deadline for reservations is Wednesday,
October 15. If you think you will be eating with us and have not
already done so, please let us know by then. I have included
most of the original Group Meal announcement message below this
Update.
MEMBERS - Steady at 43 people on-site with us in Tokyo, with 45
total memberships purchased. Several Passionates have decided
that, though they cant join us in Tokyo they will keep their
membership and participate vicariously!
HOTEL ROOMS - We have taken 11 rooms at the Hilton Tokyo Bay,
for 45 total room-nights!
T-SHIRTS - We have placed our order for 21 CirqueCon 2008 T-
shirts, which should be sent to those who ordered them by
October 22nd.
SPECIAL CIRQUE ACTIVITIES - We expect to hear from them soon.
They just went through a very successful Premiere Gala, and are
refocusing. WE are their next big event!
DO YOU HAVE A STORY? - If you have a story about an experience
youve had with Cirque du Soleil, we want to hear it! And NOW!
Send it to us right away at Tokyo@cirquecon.com. Well do our
best to put it in our Program Book so everybody can enjoy it.
ZED STUFF TO CHECK OUT - With the premiere behind them the web
has started to fill in info about ZED, and everything Ive read
and seen is very positive. It looks like Cirque is returning to
its roots of acrobatics and skill with this show, which is very
exciting. If you, like us, cant wait to see the show check out
these links.
VIDEOS:
A 1:45 trailer can be found at:
< http://www.youtube.com/watch?v=3Ge6qht-DTY >
A very nice download from the show is here. It says its 10
minutes long, but Ive only ever been able to download about 4.5
minutes. But what is there looks fantastic!
< http://www.xprn.com/xprn/sa/2008/09/20080929053921.flv >
Highlights of the Press Conference, with nice samples of the
baton and banquine acts is at:
< http://www.youtube.com/watch?v=qa0WiTG_eXM >
Pictures showing the stage set:
< http://xprnnews.xfn.info/Cirque_du_Soleil/0930/ZED01.htm >
< http://xprnnews.xfn.info/Cirque_du_Soleil/0930/ZED02.htm >
< http://xprnnews.xfn.info/Cirque_du_Soleil/0930/ZED03.htm >
< http://xprnnews.xfn.info/Cirque_du_Soleil/0930/ZED04.htm >
PRINT:
A great (and very positive) review of ZED from the Toronto Star:
< http://www.thestar.com/printArticle/510020 >
A couple of quotes: Zed, which opened at the Disney Resort here
last night, is one of the major works in the companys history
and a piece of theatrical magic that is truly worth travelling
halfway around the world to see.
Unless Cirque decides to
mount a version of Zed on our side of the globe, you will have
to go to Japan to experience this jewel. Believe me when I tell
you, it would be worth the journey.
Another summary, from a member of the show posted to Cirque
Tribune by Jeff on Oct 3:
I just would want to assure people worried at this time about
where Cirque is headed: at least with THIS show, something
really wonderful is happening on stage and this is a pretty damn
good show. From other veteran artists here whove worked on
other Cirque creations from the start-I hear the same thing:
this show is months ahead of where a new show usually is around
the world premiere. We were in great shape at soft opening-and
we are in even better shape now. I havent been on other new
creations-I was on another Cirque show before-but from what Ive
heard from other veteran artists on this show is that the level
of performance is very high for all acts and departments of this
show. I think the talent was always here from the beginning-it
just had to be brought together in the right way and I cannot
say enough about Francois Girard in that regard. He is a great
director with a wonderful vision. The emphasis on the talent and
the humanity of the performers was something that from day one
was key. Again-I want to stress two things: #1-this show is the
furthest thing from robotic; and #2-it is HUMANITY-driven
rather than EQUIPMENT driven.
Are you excited yet?
As always, thanks for your support. With less than a month to go,
things are getting hectic at CirqueCon Conglomerate Seattle. We
look forward to a wonderful time in Tokyo!
Robert LePage to Direct Cirque 2010 Tour?
{Oct.11.2008}
---------------------------------------------
According to the Globe and Mail, which has taken their que from
Montreals La Presse, it seems KÀ director Robert LePage has
signed on to create and direct a new traveling show for Cirque
that would hit the road in 2010. Also from the Globe and Mail:
Cirque spokeswoman Chantal Côté also refused to confirm or deny
the report. We have not yet announced our projects for 2010 and
we do not confirm this one. When the project will be confirmed,
we will announce it, she said in a brief e-mail to The Globe
and Mail.
Whether or not this will be the oft rumored Asian-themed Asia-
Pacific only tour or whether it will premiere in Montreal and
tour North America like all previous productions remains to be
seen. Fascination is certain a 2010 Tour is on the production
slate.
{SOURCE: Globe and Mail}
François Girard on ZED [EXPANDED]
{Oct.15.2008}
---------------------------------------------
Richard Ouzounian, theatre critic for The Toronto Star, has a
nice piece with François Girard, director of ZED in Tokyo, where
he talks about his love of Japanese culture, of theatre, and of
Cirque du Soleil.
* * *
"It would take a lifetime to understand Japan," says François
Girard, "but I certainly have a love and fascination for
Japanese culture and great respect for the Japanese people."
The renowned Quebec director of movies like The Red Violin and
Thirty Two Short Films About Glenn Gould is sitting in the
lounge of his hotel earlier this month, a few hours before the
opening of his current venture, the latest show from Cirque du
Soleil, called Zed.
Too wound up with excitement to eat, he smokes incessantly, sips
at some mineral water and thinks about the all-important
premiere a few hours ahead.
Three years of work and millions of dollars have gone into the
creation of this piece, but besides the normal risks that go
along with any production, this one has to be special.
"It's the first show Cirque has ever created in Japan, for
Japan," explains Girard, "and as a mutual point of honour, both
the management of Cirque and the people of Tokyo want it to be
extraordinary."
Girard smiles nervously. "Wait until you see the show tonight
with the Japanese public. They are such a brilliant audience.
They are attentive, generous, focused, very sophisticated.
"You know, I feel that the director always has to sit in the
theatre and pretend that he is the audience. Trying to look at
my own work through Japanese eyes was a privilege and a
pleasure."
Zed would prove to be a triumph, but how did this complex,
multinational, multicultural project begin? Like most things do,
with a phone call.
"Gilles St-Croix (Cirque's vice-president of creation) called
me," recalls Girard, "and said `Would you like to direct one of
our shows?' I was instantly excited because I love theatre and
this would be a great opportunity to play on a big scale with
such a prestigious company.
"Then I became doubly excited, because they told me the show was
going to be in Tokyo."
It was a total coincidence, because the Cirque management didn't
know at the time that Girard was deeply immersed in the study of
Japan preparing for his movie Silk, which starred Keira
Knightley and opened at the 2007 Toronto International Film
Festival.
"I was filled with Japan, its sights, its sounds, its culture,
its people, and when this offer came it seemed so right, so
destined to be that I did not hesitate a moment before accepting
it."
Once Girard was signed to do the show, "I went to see all the
Cirque shows that I could around the world. It is such a
brilliant world that they have created and I wanted to remind
myself of what they had done and think about what I could bring
to the equation."
But when it came time to put together what they call "the
acrobatic skeleton" of the show, Girard discovered that he had
to make major changes to his own style of creation.
"I am a storyteller," he shrugs. "That's what I normally do in
all my work. I had to pull away from that here because Cirque is
not a narrative medium. I had to learn to be fluid, to turn more
towards the world of characters."
And in searching for that world, Girard came upon the Tarot,
using the figures from its deck of cards to people his imaginary
world.
"Of course, we picked the Fool as the lead character," he
smiles. "He is either the first or the last card, so we went
with the last and called him Zed.
"We all liked that so much we made it a working title and it
just grew on us, so we never changed it."
Despite the tremendous amount of time involved and the pressure
of a multi-million-dollar budget, Girard praises the Cirque
management "for the gift of freedom they gave me."
"The only condition I was given from the start was that it
should be primarily an acrobatic show, so I have been working on
making those magical artists shine."
When asked how one moved from film to opera to the world of
Cirque, Girard shook his head.
"In many ways it is all the same. I have to make possible the
dialogue between the audience and the performers and I am at the
service of both. It doesn't matter if it's an actor, an acrobat
or a heldentenor. This is not about François Girard here. This
is about making theatre come to life. I'm interested in creating
possibilities. I go from piece to piece, happy to discover,
happy to learn."
{SOURCE: The Star}
Dr. Guy Laliberté? [EXPANDED]
{Oct.20.2008}
---------------------------------------------
It seems the creator and founder of Cirque du Soleil - Guy
Laliberté - is trading his Mr. title for Dr. these days. On
October 19, 2008, Mr. Laliberté was awarded an honorary
doctorate by Université Laval in Quebec City, Quebec.
Congratulations!
* * *
The event was part of the celebrations surrounding Québec Citys
400th anniversary and was attended by Université Laval rector
Denis Bríre, dignitaries, Mr. Lalibertés family, and many
guests. Université Laval is proud to welcome you into its
family of alumni. You are a daring visionary and a model of
social involvement, creativity, determination, and humanity. You
are a source of inspiration for us and our students, stated
rector Bríre.
This honorary doctorate is Université Lavals way of saluting
the talent and distinction of this accomplished and innovative
man. Through his initiative and creativity, Cirque du Soleil has
placed Québec in the global spotlight.
Through his commitment to humanitarianism - as evidenced by his
OneDrop Foundation - Mr. Laliberté promotes core values shared
by Université Laval, such as the belief that we get out of life
what we put into it, and that every individual can make a
difference. The One Drop Foundation addresses poverty by working
to ensure access to potable water. Their concerns are shared by
the public and by Université Laval, which runs many
research projects on that very issue and has made sustainable
development one of its priorities.
Guy Laliberté has been the recipient of many honors throughout
his professional life: Officer of Ordre national du Québec,
Officer of the Order of Canada, La Presse Personality of the
Year, Condé Nast honoree as part of the Never Follow Program,
and recipient of the Humanitarian Award from the United Nations
Association of New York. He is also the first-ever Canadian to
receive the Ernst & Young World Entrepreneur of the Year award.
{SOURCE: CNW Telbec}
Cirque Revamps Website
{Oct.22.2008}
---------------------------------------------
If youve not taken a peek at Cirque du Soleils official
website lately, you might want to do so: youll be in for a
little treat. Cirque du Soleil, together with CGI, uploaded an
update to their front-page earlier today!
Check it out at www.cirquedusoleil.com
10 Years of «O» [EXPANDED]
{Oct.24.2008}
---------------------------------------------
Las Vegas Review-Jounals own Mike Weatherford once again takes
a peek into the world of Cirque du Soleil Las Vegas in his
newest column. This time talking with a couple members of the
cast on the first 10 years of one Cirque du Soleils grandest
achievement, «O»:
* * *
It all seems so easy now. At least as simple as sitting around
reading the newspaper while you're on fire.
The 10th anniversary of "O" on Oct. 15 was marked with minimum
fanfare. Performers found a cake in the backstage kitchenette,
near a table where the show's two clowns played dominoes. Later,
cast and crew members who were on board with Bellagio's water
spectacle since day one assembled for a photo in the training
gym.
A big party awaited them in The Bank nightclub four nights later
(when they didn't have a show the next day). But a low-key
celebration on the actual anniversary seemed right in keeping
with the smooth-running machine that arguably stands as Cirque
du Soleil's finest hour -- or at least that great moment in time
when the Canadian company could do no wrong on the Strip.
"Really, it was the turning point for Cirque in a lot of ways,"
says Ray Wold, the one and only cast member who hadn't missed
any of the 4,768 performances chalked up by the anniversary day.
There is no understudy for the man who calmly sits in a chair
and reads the paper while first his foot, then his whole body,
goes up in flames.
Artistic director Luc Ouellette says whenever things begin to
feel too routine, "I take a seat in the house. I sit down and I
recharge just by feeling what the audience are feeling for the
first time when they watch the show."
Cirque opened three more shows on the Strip after "O" and is now
launching its sixth Las Vegas title, "Criss Angel -- Believe."
The 10 years of "O" have seen director Franco Dragone leave the
company to open (and close) a show with Celine Dion and mount a
second water spectacle, "Le Reve."
But a cancellation line still forms at the "O" box office for
many of the early shows. "They dress up," Ouellette says of the
audience around him. "Maybe it's their first time or their
second, but they know that they're here for something special."
He says his role for the past year is "mainly to be the
guardian" and keep the cast motivated.
"I'm spoiled," he adds.
All the anxiety and adrenaline of 10 years ago is now a mile
south at Luxor, where the creators of "Believe" can envy the
fact that "O" opened in relative stealth. Internet access was
still mostly dial-up then, the word "blog" hadn't been coined.
Opening the same day as Bellagio allowed show creators to
benefit from delays in the larger project, with 45 test
performances in front of casino employees before the first
ticket was sold.
For 25 original cast members, including synchronized swimmer
Katy Savoie, the real 10th anniversary was a year ago. The cast
rehearsed in Montreal before arriving in Las Vegas in February
1998 with every one of its 95 performers (85 in each show)
taking scuba certification tests in a chilly Lake Mead the next
month.
Savoie remembers coming in the stage door to rehearse in the 1.5
million-gallon pool for months before seeing the casino beyond
the construction walls.
On the first day, Belgian director Dragone sat the cast in the
auditorium and demonstrated the hydraulic platforms, which
changed the shape and depth of the 150-by-100-foot liquid stage,
converting it to a flat surface in no time at all.
"I had seen a little bit of the world" as a competitive swimmer,
says Savoie, who was 20 then. "But when we walked in the theater
and I saw the size of the pool, it was ... overwhelming I would
say is a good word."
By then, she already was accustomed to Dragone's unconventional
methods. While still in Montreal, she remembers him producing a
biblical painting of contorted bodies and telling the cast to
"get in the water and try to find the essence of this."
"All of us were looking at each other. It was really theatrical
what he was asking us, and our brains 10 years ago weren't
ready."
Dragone would call for 15 swimmers to be on standby, and "four
hours later we would still be standing there," she recalls.
"Some of the process was long, but then at the end of the day,
you could see the image that he was creating, what was created
during that day. We didn't lose our time here. It was all for
good reason."
Burning man Wold had it even worse. "I came here for creation
and sat for about two months. Franco never really called on me,"
he recalls.
He wasn't complaining. Wold knew a prestige gig when he saw one
after doing his burning man act in old-school circuses, "working
in these mud shows and having to take care of the elephants."
Still, "I was a little dirty tramp clown. I didn't see how I fit
into a beautiful image." Finally, the director hit upon the two
minutes of surrealistic newspaper-reading, after the epiphany
that a burning man will be the center of attention no matter
what else is going on around him.
"I think that's the little twist that Cirque gives to things,"
Wold says. "It takes a genius to put all those elements together
and make them blend. I was just awestruck by how (Dragone) did
this.
"We'd offer something up as an entertainer and he'd say, 'I like
that.' And the next thing you know, he took that and contorted
it and changed it and blended it into something that was really
unique and interesting and fantastic."
Over the years, more has changed behind the scenes than with
anything the audience sees. Wardrobe supervisor Scott Clish has
learned that overhead fans, not heated dryers, are better for
drying the 4,400 costume pieces. Some last six months, others
just six weeks.
"O" still runs on its original stage design, if not its original
parts. All 12 of the 30-foot hydraulic lifts finally have been
replaced. "Every time we build or replace something, we make it
better," says technical director David Chabira.
Long-timers ponder the next 10 years. "Some people find a
passion and they can do the same thing over and over again,"
Savoie says of her recent return after a maternity leave. "I
found something that I love to do, and I think that helps me to
do it every day."
"Of course you get bored," says Wold, who keeps his days busy
running a party clown business. "But at the same time, you
appreciate that this is as good as it gets."
{SOURCE: Las Vegas Review-Journal}
CirqueCon 2008: Tokyo! Schedule Announced
{Oct.25.2008}
---------------------------------------------
Hi Folks! Another quick update with our final CirqueCon schedule.
With the ever-present caveats that things could always change,
here we go!
THURSDAY - NOVEMBER 6, 2008 - Nothing scheduled.
FRIDAY - NOVEMBER 7, 2008
10:00-11:30am - KEITH JOHNSON/LOUANNA VALENTINES ROOM (#TBA)
Hilton Tokyo Bay - CIRQUECON 2008: TOKYO! MEET AND GREET
With many folks arriving at all hoursThursday, we moved our
signature Meet & Greet to Friday morning.
2:30-3:30pm - ZED SPECIAL ACTIVITIES
We will watch a rehearsal with members from the artistic staff.
Special surprises are also in store!
4:00-6:30pm - RAINFOREST CAFE - Ikspiari Shopping Center
CIRQUECON 2008: TOKYO! GROUP MEAL
7:30-9:30pm - ZED - This is what we came to see! Then we will
step onto the ZED stage for an exclusive group photograph of
CirqueCon members with some ZED cast members!
SATURDAY, NOVEMBER 8, 2008
8:30am-10:00pm - Tokyo DisneySea
CIRQUECON OUTING TO TOKYO DISNEYSEA
11:00am, 12Noon, 1:00pm (8 people per seating) - Magellans,
Mediterranean Harbor - LUNCH AT MAGELLANS
A comfortable and luxurious lunch at this premier restaurant.
SUNDAY, NOVEMBER 9, 2008
9:30-11:00am - KEITH JOHNSON/LOUANNA VALENTINES ROOM (#TBA)
Hilton Tokyo Bay - HOW WAS YOUR WEEKEND? - KAFFEEKLATSCH
Come have a cup of tea/coffee, or just stop by to say good-
bye!
We still welcome anyone whod like to join us. For further
information check out www.cirquecon.com.
=======================================================================
COMPARTMENTS -- INFORMATION ON TOUR AND BEHIND THE CURTAIN
=======================================================================
o) ITINÉRAIRE - Tour/Show Information
o) HISTORIA - Cirque du Soleil History
================
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/ >.
Alegría:
Rio de Janerio, Brazil -- Dec 27, 2007 to Jan 27, 2008
Sao Paulo, Brazil -- Feb 7, 2008 to May 4, 2008
Porto Alegre, Brazil -- May 15, 2008 to Jun 8, 2008
Buenos Aires, Argentina -- Jun 20, 2008 to Jul 27, 2008
Santiago, Chile -- Aug 8, 2008 to Sep 21, 2008
Seoul, South Korea -- Oct 15, 2008 to Dec 28, 2008
Taipei, Taiwan -- Jan 14, 2009 to Feb 22, 2009
Dubai, UAE -- Mar 5, 2009 to TBA
Cirque 2009:
Montreal, QC -- Apr 23, 2009 to Jun 7, 2009
Quebec, QC -- Jul 30, 2009 to Aug 23, 2009
Toronto, ON -- Sep 3, 2009 to Sep 27, 2009
Corteo:
San Diego, California -- Jan 11, 2008 to Feb 3, 2008
Portland, Oregan -- Mar 1, 2008 to Apr 13, 2008
Seattle, Washington -- Apr 24, 2008 to Jun 1, 2008
Vancouver, BC -- Jun 12, 2008 to Jul 20, 2008
Calgary, AB -- Jul 31, 2008 to Sep 7, 2008
Ottawa, ON -- Sep 16, 2008 to Oct 26, 2008
Miami, Florida -- Nov 13, 2008 to Dec 28, 2008
Tokyo, Japan -- Feb 4, 2009 to May 5, 2009
Nagoya, Japan -- May 21, 2009 to Jul 12, 2009
Osaka, Japan -- Jul 29, 2009 to Sep 30, 2009
Dralion:
Tokyo, Japan -- Jan 25, 2008 to Apr 6, 2008
Fukuoka, Japan -- Apr 23, 2008 to Jun 15, 2008
Sydney, Australia -- Jul 17, 2008 to Aug 17, 2008
Canberra, Australia -- Oct 23, 2008 to Nov 16, 2008
Brisbane, Australia -- Nov 27, 2008 to Jan 11, 2009
Perth, Australia -- Jan 29, 2009 to Mar 29, 2009
Melbourne, Australia -- Apr 10, 2009 to Jun 14, 2009
Koozå:
San Francisco, California - Nov 16 to Jan 20, 2008
San Jose, California -- Jan 31, 2008 to Mar 16, 2008
Hartford, Connecticut -- Apr 1, 2008 to Apr 27, 2008
Philadelphia, Pennsylvania -- May 8, 2008 to Jun 15, 2008
Chicago, Illinois -- Jun 26, 2008 to Aug 24, 2008
Boston, Massachusetts -- Sep 4, 2008 to Oct 19, 2008
Washington, DC -- Oct 30, 2008 to Dec 14, 2008
Atlanta, Georgia -- Jan 2, 2009 to Mar 1, 2009
Baltimore, Maryland -- Mar 12, 2009 to Apr 5, 2009
New York, New York -- Apr 15, 2009 to Jun 21, 2009
Quidam:
Mexico City, Mexico - Nov 16, 2007 to Jan 13, 2008
Monterrey, Mexico - Jan 17, 2008 to Feb 10, 2008
Veracruz, Mexico -- Feb 27, 2008 to Mar 16, 2008
Lisbon, Portugal -- Apr 20, 2008 to May 25, 2008
Màlaga, Spain -- Jun 5, 2008 to Jul 13, 2008
Alicante, Spain -- Jul 24, 2008 to Aug 31, 2008
Barcelona, Spain -- Sep, 11, 2008 to Oct 19, 2008
Brussels, Belgium -- Oct 30, 2008 to Dec 21, 2008 (*)
London, UK -- Jan 4, 2009 to Feb 22, 2009 (*)
Liverpool, UK -- Feb 26, 2009 to Mar 1, 2009 {ARENA}
Belfast, UK -- Mar 4, 2009 to Mar 7, 2009 {ARENA}
Newcastle, UK -- Mar 12, 2009 to Mar 15, 2009 {ARENA}
Birmingham, UK -- Mar 18, 2009 to Mar 22, 2009 {ARENA}
Manchester, UK -- Mar 25, 2009 to Mar 27, 2009 {ARENA}
Dublin, Ireland -- Mar 31, 2009 to Apr 5, 2009 {ARENA}
Sheffield, UK -- Apr 9, 2009 to Apr 15, 2009 {ARENA}
Glasgow, Scotland -- Apr 16, 2009 to Apr 19, 2009 {ARENA}
Varekai:
London, UK - Jan 6, 2008 to Feb 3, 2008
Amsterdam, NL -- Feb 28, 2008 to May 25, 2008
Berlin, Germany -- Jun 5, 2008 to Jul 13, 2008
Oberhausen, Germany -- Jul 31, 2008 to Sep 14, 2008
Vienna, Austria -- Sep 25, 2008 to Nov 9, 2008 (*)
Madrid, Spain -- Nov 20, 2008 to Jan 4, 2009
Seville, Spain -- Jan 29, 2009 to Mar 14, 2009 (*)
Bilbao, Spain -- Mar 26, 2009 to May 3, 2009 (*)
Hamburg, Germany -- May 22, 2009 to Jul 5, 2009 (*)
Oostende, Belgium -- Jul 16, 2009 to Aug 23, 2009 (*)
Zurich, Switzerland -- Sep 4, 2009 to Oct 25, 2009 (*)
Munich, Germany -- Nov 5, 2009 to Dec 20, 2009 (*)
[Arena Shows]
Delirium:
Oberhausen, Germany - Feb 1 & 2
Hanover, Germany - Feb 5 & 6
Bremen, Germany - Feb 9 & 10
Stockholm, Sweden - Feb 13 & 14
Turku, Finland - Feb 16 & 17
Zurich, Switzerland - Feb 25 & 26
Budapest, Hungary - Feb 29 & Mar 1
Berlin, Germany - Mar 6
Nurnberg, Germany - Mar 8 & 9
Milan, Italy - Mar 11, 12 & 13
Turin, Italy - Mar 15, 16 & 17
Birmingham, UK - Mar 22 & 23
Liverpool, UK - Mar 25 & 26
Paris, France - Mar 31 & Apr 1, 2
Antwerp, Belgium - Apr 5 & 6
Glasgow, UK - Apr 9 & 10
Belfast, UK - Apr 12
London, UK - Apr 17, 18 & 19
(Delirium's final curtain call was in London)
Saltimbanco:
2008
------
Quebec, Quebec - Jan 3, 4, 5, 6, 7 & 8
Chicoutimi, Quebec - Jan 16, 17, 18 & 19
Detroit, Michigan - Jan 23, 24, 25, 26 & 27
Cleveland, Ohio - Jan 29, 30, 31 & Feb 1
Memphis, Tennessee - Feb 20 & 21
Charlottesville, Virginia - Feb 26, 27, 28, 29 & Mar 1
Little Rock, Arkansas - Mar 4, 5, & 6
Shreveport, Louisiana - Mar 8 & 9
San Antonio, Texas - Mar 12, 13, 14, 15 & 16
Laredo, Texas - Mar 18 & 19
Corpus Christi, Texas - Mar 21 & 22
Wichita, Kansas - Mar 26, 27, 28, 39 & 30
Omaha, Nebraska - Apr 2, 3, 4, 5 & 6
Des Moines, Iowa - Apr 10, 11, 12 & 13
Moline, Illinois - Apr 15, 16, 17 & 18
Cedar Rapids, Iowa - Apr 23, 24, 25, 26 & 27
Alberquerque, New Mexico - May 14, 15, 16 & 17
Boise, Idaho - May 21, 22, 23, 24 & 25
Victoria, BC - May 29, 30, 31 & Jun 1
Kelowana, BC - Jun 4, 5, 6, 7 & 8
Kamloops, BC - Jun 11, 12, 13, 14 & 15
Edmonton, Alberta - Jun 18, 19, 20, 21 & 22
Saskatoon, Saskatchewan - Jun 25, 26, 27, 28 & 29
Regina, Saskatchewan - Jul 2, 3, 4, 5 & 6
Winnipeg, Manatoba - Jul 9, 10, 11, 12 & 13
Kansas City, Missouri -- July 16, 17, 18, 19 & 20
Newark, New Jersey -- Aug 7, 8, 9 & 10
Toronto, Ontario -- Aug 13, 14, 15, 16, 17, 20, 21, 22, 23 & 24
Hamilton, Ontario -- Aug 27, 28, 29, 30 & 31
Amherst, Massachusetts -- Sep 3, 4, 5, 6 & 7
Buffalo, New York -- Sep 10, 11, 12, 13 & 14
Trenton, New Jersey -- Sep 17, 18, 19, 20 & 21
Minneapolis/St-Paul, Minnesota -- Sep 24, 25, 26, 27 & 28
Milwaukee, Wisconsin -- Oct 1, 2, 3, 4 & 5
Highland Heights, Kentucky -- Oct 8, 9, 10, 11 & 12
Honolulu, Hawaii -- Oct 30, 2009 to Nov 16, 2008
Prescott Valley, AZ -- Nov 20, 20089 to Nov 23, 2008
Tuscon, AZ -- Nov 26, 2008 to Nov 30, 2008
Oklahoma City, OK -- Dec 3, 2008 to Dec 7, 2008
Tulsa, OK -- Dec 10, 2008 to Dec 14, 2008
Hidalgo, TX -- Dec 17, 2008 to Dec 21, 2008
2009
------
Tupelo, MS -- Jan 8, 2009 to Jan 11, 2009
Biloxi, MS -- Jan 14, 2009 to Jan 18, 2009
Hoffman Estates, IL -- Jan 21, 2009 to Feb 1, 2009
St. Charles, MO -- Feb 4, 2009 to Feb 8, 2009
Batton Rouge, LA -- Feb 18, 2009 to Feb 20, 2009
Rockford, IL -- Feb 24, 2009 to Mar 1, 2009
Mobile, AL -- Apr 2, 2009 to Apr 5, 2009
Lakeland, FL -- Apr 29, 2009 to May 3, 2009
Gainesville, FL -- May 6, 2009 to May 10, 2009
Tallahassee, FL -- May 13, 2009 to May 17, 2009
Jacksonville, FL -- May 20, 2009 to May 24, 2009
Sunrise, FL -- May 27, 2009 to Jun 6, 2009
Tampa, FL -- Jun 25, 2009 to Jul 5, 2009
Estero, FL -- Jul 8, 2009 to Jul 12, 2009
[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
2008 Ticket Prices (adults) / (child 3-9):
o Category 0: $121.41 / $96.92
o Category 1: $105.44 / $84.14
o Category 2: $86.27 / $69.23
o Category 3: $69.23 / $55.38
AS OF OCTOBER 7, 2008:
o Category 0: $117.00 / $94.00 (+tax)
o Category 1: $102.00 / $82.00 (+tax)
o Category 2: $83.00 / $67.00 (+tax)
o Category 3: $67.00 / $54.00 (+tax)
o Category 4: $53.00 / $43.00 (+tax)
2008 Dark Dates:
o January 22 to 26
o March 25
o May 20 to 24
o May 27 to 312
o July 29
o September 23 to 27
o November 18
2009 Dark Dates:
o Not Available
Mystère:
Location: Treasure Island, Las Vegas (USA)
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
2008 Ticket Prices:
o Category 1: $95.00 [$104.50]
o Category 2: $75.00 [$82.50]
o Category 3: $60.00 [$66.00]
2009 Ticket Prices:
o Category 1: $109.00 (+tax)
o Category 2: $99.00 (+tax)
o Category 3: $95.00 (+tax)
o Category 4: $79.00 (+tax)
o Category 5: $69.00 (+tax)
2008 Dark Dates:
o January 3 to 18
o February 3
o March 12
o May 1 to 9
o July 9
o September 4 to 12
o November 5
o December 24
2009 Dark Dates:
o January 10 21
o January 29
o February 1
o March 11
o May 2 6
o July 8
o September 5 9
o November 4
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:30pm
2008/2009 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]
2008 Dark Dates:
o February 10
o April 7 to 15
o June 8
o August 11 to 19
o October 12
o December 8 to 23
2009 Dark Dates:
o January 21
o February 1
o April 8 - 12
o June 7
o August 5 - 9
o October 4
o December 9 - 20
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 7:30pm and 10:30pm
2008 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]
2008 Dark Dates:
o Feburary 3
o February 19 & 20
o April 6 to 14
o June 9 to 11
o August 3 to 11
o October 14 & 15
o December 1 to 16
2009 Dark Dates:
o Not Available
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Fri through Tue, Dark Wed/Thu
Two Shows Nightly - 7:00pm and 9:30pm
2008 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]
2008 Dark Dates
o January 13 to 28
o March 16 to 19
o May 11 to 19
o July 13 to 16
o September 7 to 15
o November 2 to 4
2009 Dark Dates:
o Not Available
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 10:30pm
2008 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]
2008 Dark Dates:
o February 3 & 4
o February 11
o April 1 to 9
o May 12
o June 12
o July 29 to August 6
o October 9
o December 2 to 17
2009 Dark Dates:
o Not Available
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
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 / $45.45
Information regarding the 2008 season is not yet available.
ZAIA:
Location: VENETIAN, Macao (China)
Performs: Tuesday through Sunday, Dark Monday
One to Two Shows Daily -
Tuesday: 8:00pm
Wednesday: 8:00pm
Thursday - Saturday: 7:00pm & 10:00pm
Sunday: 4:00pm & 7:00pm
PREVIEW PERFORMANCES - July 26th through August 27th
GALA PREMIERE - AUGUST 28, 2008
2008 Ticket Prices (adult) / (child 0-12):
o Category 1: MOP$ 1288 / No Child
o Category 2: MOP$ 788 / MOP$ 688
o Category 3: MOP$ 588 / MOP$ 488
o Category 4: MOP$ 388 / MOP$ 288
2009 Dark Dates:
o Not Available
ZED:
Location: TOKYO DISNEYLAND, Tokyo (Japan)
Performs: Varies
One to Two Shows Daily - Varies
PREVIEW PERFORMANCES - August 15th through September 30th
GALA PREMIERE - October 1, 2008
2008 Ticket Prices (all):
o Category 1 ("Premium"): ¥18,000
o Category 2 ("Front"): ¥15,000
o Category 3 ("Regular"): ¥9,800
o Category 4 ("Overview"): ¥7,800
2009 Dark Dates:
o Not Available
BELIEVE:
Location: Luxor, Las Vegas (USA)
Performs: Friday through Tuesday, Dark Wednesday/Thursday
Two Shows Nightly - 7:00pm and 10:00pm
PREVIEW PERFORMANCES - BEGIN SEPTEMBER 26th
GALA PREMIERE - OCTOBER 31st, 2008
NOTE: Children under the age of 12 must be accompanied by
an adult. Children under the age of five are not permitted
into the theater.
2008 Ticket Prices (all):
o Category 1: $150.00 +tax
o Category 2: $125.00 +tax
o Category 3: $99.00 +tax
o Category 4: $79.00 +tax
o Category 5: $59.00 +tax
2008 Dark Dates:
o September 8 & 9
o September 13
o November 5 to 13
2009 Dark Dates:
o Not Available
====================================
HISTORIA: Cirque du Soleil History
====================================
[September]
* Sep.01.2003 -- Tapis Rouge CD released (BMG/CDS Musique)
* Sep.01.2003 -- "Parade of Colors" Book Published
* Sep.03.1987 -- Le Cirque Réinventé opened Las Angeles
* Sep.03.1993 - Saltimbanco opened Boston
* Sep.04.2002 - Saltimbanco opened Brussels
* Sep.04.2008 - Koozå opened Boston
* Sep.05.2005 - Cirque held 5th Run Away with Cirque du Soleil 5k
Run and 1 Mile Fun Walk at Paseo Verde Park in Henderson
* Sep.06.2005 -- "O" CD released in US (CDS Musique)
* Sep.06.2005 -- La Nouba CD released in US (CDS Musique)
* Sep.06.2005 -- Mystère (Live) CD released in US (CDS Musique)
* Sep.08.1985 - 1984 Tour opened Montréal
* Sep.08.1989 -- Cirque Réinventé opened Santa Monica
* Sep.08.1995 -- Alegría opened Boston
* Sep.08.2005 - Dralion opened Zurich
* Sep.08.2006 - Corteo opened Boston
* Sep.09.1988 -- Cirque Réinventé opened Washington DC
* Sep.09.1993 -- Saltimbanco opened in Boston
* Sep.09.1999 -- Saltimbanco opened in Perth
* Sep.09.2005 - Quidam opened Singapore
* Sep.11.1990 -- Nouvelle Expérience opened San Jose
* Sep.11.2008 - Quidam opened Barcelona, Spain
* Sep.12.1986 -- Le Magie Continue opened Toronto
* Sep.12.1997 - Alegría opened Vienna
* Sep.12.2003 - Varekai opened Los Angeles
* Sep.12.2005 - Zumanity celebrated its 1000th performance
* Sep.13.1991 -- Nouvelle Expérience opened Chicago
* Sep.13.1996 -- Saltimbanco opened Zurich
* Sep.14.2001 -- Quidam opened Zurich
* Sep.14.2007 Alegría opened Curitiba, Brazil
* Sep.15.1995 -- Saltimbanco opened Düsseldorf
* Sep.15.2002 - Fire Within premiered in Canada [7:00pm EST/Global TV]
* Sep.15.2005 - Name of Cirque MGM released - KÀ
* Sep.16.2004 - Varekai opened Washington DC
* Sep.16.2008 - Corteo opened Ottawa
* Sep.17.1998 - Alegría opened Zurich
* Sep.17.1998 - Quidam opened McLean
* Sep.19.2002 - Varekai opened Philadelphia
* Sep.19.2003 - Saltimbanco opened Zurich
* Sep.20.1989 - Cirque Réinventé opened Santa Monica
* Sep.20.2001 - Saltimbanco opened Yokohama
* Sep.20.2003 -- Zumanity Gala Premiere (Previews End)
* Sep.21.2001 -- Saltimbanco opened in Yokohama
* Sep.21.2003 - Cirque wins Outstanding Nonfiction Program award
* Sep.21.2004 Le Best of... CD Released (CDS Musique)
* Sep.22.2002 - Cirque lost Emmys (nominated Jul.18.2002)
Outstanding Variety, Music or Comedy Special Alegría
Outstanding Choreography for 74th Academy Awards
Debra Brown
* Sep.22.2005 - Varekai opened Hartford
* Sep.23.1999 -- Dralion opened in Santa Monica
* Sep.24.2008 - Cirque2009 tickets go on sale!
* Sep.25.2005 - Corteo opened Minneapolis
* Sep.25.1996 -- Quidam opened in Santa Monica
* Sep.25.2002 - Cirquedusoleil.com won four awards for its website:
Best of Show, Experience, Content & Information,
Experimental
* Sep.25.2008 - Varekai opened Vienna, Austria
* Sep.26.2002 - Quidam opened Cleveland
* Sep.27.1994 -- Alegría CD released in Canada (RCA/Victor)
* Sep.27.2001 -- Dralion opened in Philadelphia
* Sep.27.2003 - Cirque du Soleil HQ Open House
* Sep.28.2003 - Cirque du Soleil HQ Open House
* Sep.28.2006 - Quidam opened St. Louis
* Sep.30.1997 - Quidam opened Denver
[October]
* Oct.01.1996 - Alegría opened Fukuoka, Japan
* Oct.01.2002 - La Nouba goes 2-tiered seating
* Oct.01.2003 -- Varekai Premium CD Released (CDS/Musique)
* Oct.01.2008 - ZED Gala Premiere in Tokyo
* Oct.02.1987 -- Cirque Réinventé opened San Diego
* Oct.02.1990 -- Cirque Réinventé opened Paris
* Oct.02.2003 - Alegría opened Portland
* Oct.02.2003 - Dralion opened Mexico City
* Oct.02.2007 - Dralion celebrated its 3000th performance [Osaka, Japan]
* Oct.04.2002 - Dralion opened Sacramento
* Oct.06.1994 - Alegría opened Santa Monica
* Oct.07.2003 - Region 01 DVD release: Alegría and Varekai
* Oct.07.2004 - Saltimbanco opened Rome
* Oct.08.1992 -- Saltimbanco opened Santa Monica
* Oct.09.1992 -- The Saltimbanco CD was released in US (RCA/Victor)
* Oct.09.2001 - Region 01 DVD Release: Journey of Man (also VHS)
* Oct.10.1990 -- Nouvelle Expérience opened Santa Monica
* Oct.10.2001 -- Alegría opened in Adelaide, Australia
* Oct.10.2002 - Alegría opened Mexico City
* Oct.11.1994 -- The Alegría CD released in US (RCA/Victor)
* Oct.11.2000 -- Dralion opened in McLean, Virginia
* Oct.12.1995 -- Alegría opened Washington DC
* Oct.12.2000 -- Saltimbanco 2000 opened Tokyo, Japan
* Oct.12.2007 - Quidam opened Guadalajara, Mexico
* Oct.13.2005 - Alegría opened Tokyo, Japan
* Oct.14.1993 -- Saltimbanco opened in Washington DC
* Oct.14.1998 - Saltimbanco opened Ottawa (Special Performances)
* Oct.15.2004 - Dralion opened Madrid, Spain
* Oct.15.2008 - Alegría opened Seoul, South Korea
* Oct.18.2005 -- KÀ CD released (CDS Musique)
* Oct.19.1998 -- "O" premiered at Bellagio, Las Vegas
* Oct.19.2004 -- "Tapis Rogue: Solarium" CD Released (CDS Musique)
* Oct.19.2006 - Dralion opened Frankfurt
* Oct.19.2007 - Alegría opened Brasilia, Brazil
* Oct.19.2008 - Guy Laliberte awarded honorary doctorate by
Université Laval in Quebec City, Quebec
* Oct.20.2003 - Cirque for Life film even in Portlan, Oregon
* Oct.20.2007 - Zumanity celebrated its 2000th performance
* Oct.20.2008 - All Together Now Documentary screened in theaters
* Oct.21.2008 - All Together Now Documentary released on DVD
* Oct.22.2003 - Canadian premiere of Varekai on CBC
* Oct.22.2003 - Quidam opened Fukuoka, Japan
* Oct.22.2006 - Quidam NAT 3 Ended.
* Oct.23.2008 - Dralion opened Canberra, Australia
* Oct.25.1988 -- Cirque Réinventé opened Montréal
* Oct.25.1991 -- Nouvelle Expérience opened Washington DC
* Oct.25.2007 - Varekai opened Antwerp, Belgium
* Oct.26.1999 -- Dralion CD released in Canada (RCA/Victor)
* Oct.26.2000 - Quidam opened Frankfurt
* Oct.26.2001 -- New Musical Director "O" (John-Paul Gasparelli)
* Oct.26.2006 - Corteo opened Washington, DC.
* Oct.27.2005 - Varekai opened Charlotte
* Oct.27.2006 - Alegría opened Madrid, Spain
* Oct.28.1997 -- Cirque Collection CD Released in Canada (RCA/Victor)
* Oct.29.1987 -- Cirque Réinventé opened Santa Monica
* Oct.29.1998 - Quidam opened Atlanta
* Oct.29.2004 - Alegría opened Tokyo, Japan
* Oct.29.2007 - Guy Laliberte announces One Drop Foundation
* Oct.30.2001 - Region 01 DVD Release: Le Magie Continue,
Saltimbanco, Cirque Réinventé, and Baroque Odyssey. (Also
released on VHS)
* Oct.30.2008 - Koozå opened Washington, DC.
* Oct.30.2008 - Quidam opened Brussels, Belgium
* Oct.31.2002 -- Saltimbanco opened Madrid
* Oct.31.2007 - Dralion opened Nagoya, Japan
* Oct.31.2008 - BELIEVE gala premiere in Las Vegas
* Oct.xx.2001 - CirqueClub premiered
=======================================================================
FASCINATION! FEATURES
=======================================================================
Within...
o) "A Member of the Poppa Club"
By: Ricky Russo - Celebration, FLorida (USA)
o) "ZED Premiere: 'From A to ZED'"
By: Cirque du Soleil, Press Room Materials
o) "BELIEVE Premiere: 'Do You BELIEVE in Magic?'"
By: Cirque du Soleil, Press Room Materials
o) LA PRESSE: "BELIEVE is 'Horrible' [EXPANDED]
A Series of Reviews in The Press
-------------------------------------------------------
"A Member of the Poppa Club"
By: Ricky Russo - Celebration, FLorida (USA)
{Issue Exclusive}
-------------------------------------------------------
"Are you a plant?"
"Me? No!"
"Did you know that was going to happen tonight?"
YES! It's finally happened to me. After so many years of watching
others get the opportunity to be placed front and center at a Cirque
du Soleil show, I finally got my 15 minutes of fame. There are some
within our special group of friends who can lay the same claim, some
who have been at the mercy of the Generics in Quidam, or taken hostage
by the Les Cons in La Nouba, or even subjected to the pickpocket in
Koozå. My friend Rich had this very same honor not but two years
previous (almost to the day). He had the dubious honor of claiming
6057, but 6992 was mine - tonight I became an honorary inductee; an
official member of... "THE POPPA CLUB!"
"POPPA!"
And it was an experience I will forever cherish.
# # #
What lead me to the Mystère Theater at this time and place was set
some months earlier. When Cirque du Soleil announced the premiere date
for their newest spectacle in Las Vegas - Criss Angel BELIEVE my
friend Rich Alford and I were all about grabbing tickets to this and
the other Cirque du Soleil shows as quickly as we could and organize
the next Celebri! What better reason do you need to get together with
friends and other Cirque du Soleil fans than the premiere of a brand
new show, right?
Of course, Rich and I had an ulterior motive - we already had an
invite to BELIEVE's Gala Premiere and after-show party being held on
September 12th (which Rich won during CirqueCon 2006 in Las Vegas - I
was to be his "date"), so why not just stay in town and take in other
shows? That was the plan when we began the endeavor; however, as you
may know delays at BELIEVE pushed the premiere off our weekend and
later delays even pushed off the previews -- so we would never even
get to see the show!
By the time we sat in for Mystère, though, that was the furthest thing
from my mind. By then I had a huge baby in front of me, giggling madly,
and bouncing a big red rubber ball...
I sat nervously awaiting its receipt.
Being familiar with Mystère (it is my most favorite Cirque du Soleil
show) I knew that the front row in the center section was the sweet
spot for audience participation. And not just any involvement the
chance to become Bébés poppa, to be picked on for the entire show,
to get up on stage with the cast and not just look stupid, but
actually perform with them! After watching countless other Cirque du
Soleil patrons and fans alike hauled on-stage for this amazing
experience (and missing it a couple of times myself), I yearned for
this opportunity. So when the big red ball finally came my way, I was
so anxious I could hardly move.
"It's yours! It's yours! Go get it!" Rich exclaimed as quietly as he
could.
I hesitated for a moment. I didn't want to show I was that eager.
But after a pause, when it seemed no one else was going to jump up and
return Bébé's ball, I rushed right in, hoisted it triumphantly over my
head (and hoped that I wouldnt fall backwards) and tossed it back,
just as it had been tossed over to me.
Bébé Francois giggled and recovered his big red ball.
Bounce. Bounce. Giggle. Bounce.
I wasn't chosen yet. He could still decide to pitch it off in another
direction, I knew. If he tossed it back at me I was in. I was going to
be poppa.
My heart was pounding through my chest. Breath grew short. Sweat was
dripping from my brow. I could hardly sit still.
Was it to be?
From the moment Rich and I stepped into the Mystère theater, I felt
this fantastic, electric buzz; something that I can only describe as
acute excitement. We'd already been bothered once -- our seat
neighbors, who were also fellow Orlando, Floridians, had been chosen
by resident clown "Le Petit" to experience the show from outside of
the theater. So it seemed as if 103-A-2 would wind up being the best
spot.
Bounce. Bounce. Giggle. Bounce.
By now flashes of Rich's prior experience began to float across my
mind -- what if he played me like the girl baby played Rich? Tossing
the ball somewhere else after seemingly select him? Oh man, I couldn't
take it!
But then he tossed it...
And it came right back to me!
I scrambled to bounce to back to him! I was excited!
"POPPA!"
Everyone laughed. I cheered!
And then he scrambled over in little baby feet, arms open wide - here
was the part he'd come down to the railing and try to give me a hug,
only to spray me with his baby bottle instead. I knew the routine
having seen the show a half-dozen times before, so I braced myself for
it while hamming it up for the audience. Yet, rather than come down to
the railing, Bébé Francois just stood in the middle of the stage.
His arms held out wide waiting for a hug.
What?
"Okay," I thought. "What's gonna happen now?" So I stood my ground,
waiting for him to make the next move.
Bébé held out his arms again and motioned me up on stage.
Step 1. Step 2. Step 3. I held out my arms ready to embrace my new
child when at that moment...
*SQUIRRRRRRRRRRT! SQUIRRRRRRRRT! SQUIRRT! SQUIRRT!*
Giggle! Giggle! Giggle!
He got me! I hung my head and shook my head, really playing up the
part! As Bébé ran away in fits of giggles, I shrugged my shoulders and
returned to my seat. But was I mad? NO! I was ecstatic! I was soaked,
but I was poppa! WOOHOO!
Rich was beside me with a huge grin on his face and big pat on the
back. He was so happy for me! For my part, I was so dazed and confused
at the interaction, I was beside myself. I could hardly watch the
show! And every time Bébé came out, all eyes were on him... and me!
Later, just as the Bungee act came to a close, Bébé rocketed out in
his over-sized baby buggy - a golf cart retrofitted to contain his
enormous size. Unlike Rich, who popped out of his seat the moment Bébé
came to get him, I sat and watched, playing up the uncertainty factor.
But only for a moment. I could hardly contain myself when Bébé called
for me, so I ended up rushing up the stairs - two at a time, no less
to meet him. And just as I took a seat, we took off and flew backstage.
Behind the scenes at Mystère was not nearly as hectic as I had
expected. All around me stood artists in costume waiting for their
next queue or act. Most of them sat silently and off to the side,
throwing up a hand or nodding as I looked over at them. A nice lady
came over as soon as we arrived and helped get me dressed -- all I had
to do was stand on two yellow feet painted on the floor. In a flash I
was transformed from spectator to a huge baby, complete with diapers,
a bonnet, and a pacifier. She explained what I was about to do,
although I already knew, and the next thing I knew I was back on the
cart, ready to go on stage.
"You know what to do with that?" She asked, handing me the baby bottle.
"Oh yeah!" and I immediately put it in my mouth.
She laughed and we took off!
ZOOOOM! And just like that I was on stage during the middle of the
show - oh my god!
The crowd roared with laughter and I smiled back, baby bottle in mouth.
We rolled up toward the front of the stage and I spotted Rich. He had
out his camera trying to capture the moment for me. I waived, looked
out over the crowd and smiled. God, I couldn't believe it. And then we
took off and exited stage right.
I was met on the other side of the stage with more awaiting artists
and another crewmember, ready to help for my quick changeover. She
explained the next scene for me: since the cart "crashed" when we left
the stage, it was going to be my job to "push" it back across. This
was a farce, she told me, and that Francois would be controlling the
cart at all times.
"No problem!" I said. "Let's do it!"
Bébé Francois and I appeared on stage again moments later - he at the
wheel and I behind, pushing as "hard as I could." I wanted to keep the
appearance that I was really pushing the cart back across the stage,
so even though I could hear the crowd react to my re-appearance and
subsequent condition, I looked up only to appear exasperated at these
turn of events. Within moments, though, we disappeared - the Korean
Plank/Trampo artists got on with their performance - and my turn as
PAPPA had come to an end.
"Yatta!!" I exclaimed, reaching the other side. "That was awesome!"
I was quickly undressed and escorted back to the theater.
And Mystère played on.
Six thousand ninety one other patrons have had the opportunity to play
Poppa through the years, but the six thousand nine hundred and ninety
second was mine.
And it will be something I will always remember.
I am now a member of the exclusive POPPA CLUB!
-------------------------------------------------------
"ZED Premiere: 'From A to ZED'"
By: Cirque du Soleil, Press Room Materials
{Oct.01.2008}
-------------------------------------------------------
Tokyo, Japan October 1, 2008 ZED, the first permanent Cirque du
Soleil production in Japan, celebrates its World Premiere on October 1
at Tokyo Disney Resort®. The show is performed in the Cirque du Soleil
Theatre Tokyo, a custom built theatre facility with seating for 2,170
guests. ZED was written and directed by acclaimed film and theatre
director François Girard, who most recently directed the feature film
Silk, and received international critical acclaim for The Red Violin.
PRESENTATION (ACTS)
*********************
Batons - Before the World, Fire Incantation, Meeting of the Two Worlds
Combining dance and gymnastics, an artist twirls his batons as if they
are an extension of his body. Demonstrating great agility and
exceptional control, he spins three batons around his neck, his arms
and legs. In the darkness, light or fire, he tosses and spins the
batons high into the air and catches them after performing a stunning
series of acrobatics.
Bungee - Birth of the Sky
Four artists suspended from bungees fall precipitously from the
heights above the audience. The flexible fringes of their costumes
leave trails of light in their wake.
Lassos - Birth on Earth
Six artists operate lassos with incredible dexterity. The audience
feels that the circles formed by the lasso, and through which artists
perform their movements, are undulating like suspended waves.
Poles and Trampoline Reaching Up
This number combines Chinese Poles with the Trampoline. Using the
trampoline as a springboard, the artists bounce high in the air,
precisely criss-crossing each other on their way to grab the poles.
Solo Tissue First Sight
In a stunning display of agility and strength, the graceful performer
becomes one with the column of blue fabric that supports and cradles
her female form. This breathtaking aerial dance combines elements of
acrobatics, contortion and movement to create a stirring and powerful
image.
Wire Pendulum
A wire is suspended 8 meters over the floor. Above it, a mesmerizing
burning pendulum swings back and forth. Pulling off amazing feats of
balance and precision, tightrope walkers pass each other at a frenetic
pace and perform death-defying leaps and breathtaking columns.
Juggling - Kernouns Fire
A father, mother and their children juggle bowling pins and plates at
a dizzying speed, on the floor, in columns of two and three. The
family transforms juggling into an unforgettable moment of drama using
flaming torches that illuminate the stage with a huge dome of fire.
Banquine - Babel
The Banquine number highlights the extraordinary agility of the human
body. The troupe mystifies the audience by performing acrobatics and
human pyramids in a series of dramatic movements and perfectly
synchronized crossings that depend on absolute trust.
Straps - Zed in Love
An amazing routine in which two artists use straps to bring to life
the game of seduction with the character Zed. Their movements show
incredible agility, balance and great strength.
Hand to Hand - Two Worlds Meet
With strength and flexibility, two artists in constant contact move
almost imperceptibly to take positions that demonstrate an infallible
sense of balance. In their quest for harmony, the performers rely on
their intuition and concentration to present a moment of pure serenity.
Flying Trapeze - Celebration
A combined group of trapeze performers from two different family
troupes came together to present a spectacularly energetic aerial
ballet. Perched on two parallel platforms, they soar in acrobatic
flight to reach the hands of their catchers on the trapeze.
Charivari - Charivari
The whole troupe gathers to present an acrobatic parade of strength
and elegance with a series of impressive numbers that combine
gymnastics and aerial acrobatics. Among the highlights in the number:
human pyramids, flying and daring dives achieved through individual
strength.
Clowns Hi! Hi! Hi!, Playing the Shaman
One is a vindictive petty dictator who seeks to control everything,
while the other is just plain lazy and always finds a way to do as
little as possible. Together, they form an inseparable duo of buffoons
with the splendid naivety and great poetry to both move us and make us
laugh.
CHARACTERS
************
Zed
Inspired by the Fool of the Tarot, Zed is the main character in the
show. Called to undergo a transformation, he is both multiple and
omnipresent. The initial state of Zed is associated with the
unconscious and chaos: his imbecility is obvious, but his silliness is
touching because it reveals his vulnerability and naivety. By the end
of the show, Zed represents consciousness, restored harmony and the
reversal of the order of things through laughter.
Nouit
The singer Nouit is the incarnation of the Great Goddess. Mother of
the Sky and procreator of all beings who inhabit it. She represents
the starry sky. Nouit expresses an infinite compassion for all beings
and is an ally of Zed, whom she understands and quietly watches over
making every effort to help him achieve his quest.
Abraka
Inspired by the Magician of the Tarot, Abraka is a singer. He is the
father of the Earth and procreator of all the creatures who inhabit it.
Abraka is all-powerful but his power is earthbound and subject to the
omnipotence of the Shaman. He is the guardian of the liberating,
jubilant power of Zed.
Kernoun
The character of the singer Kernoun is inspired by the Devil in the
Tarot. He reigns over the subterranean depths. His kingdom is one of
fire and the Satyrs are his subjects. Kernoun embodies the troubled
forces of the unconscious.
The Shaman
Inspired by the Pope of the Tarot, the Shaman carries the magic
incantation of the show. He presides over the birth of Nouit and
Abraka who submit to him. It is also he who awakens the elements. In
him, Zed finds a guide to initiate him in the secrets of the arcana
and accompany him on his path to self-realization.
Djinn
Djinn accompanies the Shaman in all his appearances and opens the way
wherever he goes. He is the bringer of light and fire.
Erato
Erato is a goddess of Heaven, a muse and a subject of Nouit. Bright,
sparkling and divinely beautiful, she passes through the Sky like a
ghost.
COSTUMES
**********
I found my inspiration in the world of the tarot, but also in the
Italian Renaissance and the world of Leonardo da Vinci, with a nod to
other painters of that time, such as Hieronymus Bosch and Raphael.
Renée April, Costume Designer
ZED is above all a show driven by its characters, who are inspired by
the mysteries of the tarot. This rich gallery of colorful individuals
gave director Francois Girard a poetic premise to build on, and the
task of dressing them fell to costume designer Renée April.
ZED is the meeting of two worlds: the sky where iridescent colors,
paler shades and pearl and silver predominate and the earth, which
recalls the Italian Renaissance, with an emphasis on ochre, green,
intense turquoise, gold and Venetian blue.
I was aiming for a certain homogeneity and purity of line in keeping
with the visual world of François Girard, explains Renée April. The
150 costumes in the show also reveal my playful side, but they are not
caricatures. I work a lot through emotion and intuition. I always
prefer works that project the viewer into a distant era. Even though
that calls for more in-depth research, I am not trying to replicate
the era in great detail. I always concentrate more on an
interpretation of it.
The Characters and Their Costumes:
Zed The Main CharacterThe Shaman Master of the Arcana
The Shaman wears a transparent copper-colored mesh outfit that
contrasts with his black skin. White tribal patterns are painted onto
his costume and he also wears a tribal headdress, a coat that is open
in front and a twisted leather cape decorated with belts encrusted
with small items such as stones and pieces of fur.
Djinn
His costume is made from a stretch silicone material adorned with a
kind of gold leaf, which makes it look as though he is wearing a huge
Aztec or Inca necklace. Covered in tattoos, he is dressed in gold and
turquoise blue with shades of green.
The People of the Sky
Turquoise, blue and iridescent colors predominate in these poetic
characters costumes. They are made from a fabric that looks fragile,
but is in fact very durable. It is impossible to know where the suit
ends and where the skin begins. The characters look like dragonflies
with large antennas or elves. The Nymphs, who also belong to this
people, are dressed in chiffon and cristalette, and resemble jellyfish
with fiery tails.
Nouit The Great Goddess
The creator of the firmament, Nouit is fitted with 14 wings and a
headpiece that lights up. Her costume is decorated with 400 LEDs.
Kernoun The God of Hell
The medieval character Kernoun, who holds fire in his hands, wears
laced boots and a large silk coat that turns gradually from yellow to
dark brown ochre, and onto which a hundred cornettes orange and red
flowers have been sewn. Many of them are motorized to create a
ripple effect.
The Satyrs and Jugglers
These characters, who embody the indomitable forces of nature, wear
justaucorps, costumes that reveal their muscles and bear flames that
go over their heads like the horns of goat.
Abraka - King of the Earth
The magus Abraka wears a chain mail coat and a large royal collar.
When he raises his arms, his four wings, which range gradually from
purple to gold, spread out over 18 meters. His costume required 200
meters of cloth pleated by hand and printed with designs using a
technique called sublimation, which fixes the images in the fibers of
the material. Abraka is flanked by servants who wear gold and blue
Venetian livery.
THEATER & SET
***************
The scenic atmosphere of ZED evokes the pinnacle of the High
Renaissance and the dawn of the Mechanical Age.
François Séguin
The Astrolabe
To establish the set design concept, designer François Séguin started
with a form inspired by the astrolabe. His underlying intention was to
fill the whole stage as if it were a frame from a film, and in terms
of aesthetics, his design evokes the High Renaissance and the
Mechanical Age.
Brass and copper components, precision engineering, painstaking
craftsmanship and scientific ingenuity combine to create the
impression that the audience is actually inside and sometimes
outside a complex mechanical astrolabe floating in space.
The set takes its inspiration from many eras and influences. Ancient
science, the inventions of Leonardo da Vinci, the products of the
early days of the Mechanical Age, nautical instruments and astronomy
all play a part in creating an atmosphere of solidity and tradition,
floating in a space that looks toward the future.
Diderots Encyclopedia, which began to be published in 1751, also
informed the designs. Diderot, the first French encyclopedia,
codified knowledge and is filled with images of mechanical devices,
says designer François Séguin.
The Scenic Environment
When the audience first enters the theatre, the set is wrapped in a
large sheet and the auditorium gives no clues or visual cues as to
where they are or where the show is situated.
The spectacular imagery is revealed when the cover is whisked away in
a sudden, sweeping gesture by a character inspired by The Fool in the
Tarot. This dramatic moment instantly plunges the audience into an
environment that recalls antique astronomical and navigational
instruments set in an ancient cosmos that is at the same time new and
somehow familiar.
In keeping with the physical dimensions of the theatre and the themes
of the show (in which one community of characters inhabits the sky and
the other community is earthbound), the set emphasizes verticality as
a visual reinforcement to the narrative, as well as meeting the
demands of the shows acrobatics.
While the materials are unquestionably rich, the colors suggesting
an antique patina of burnished metals and polished wood tones are
intentionally somewhat monochrome and muted, and the look is quite
dark, reminiscent of 19th century interiors. The objective is to focus
more attention on the performing artists than on their surroundings.
Since this is a Cirque du Soleil show, the set must also accommodate a
large amount of acrobatic rigging, lighting and sound equipment, and
designer François Séguin decided to integrate it into the set as much
as possible, rather than impose it on the décor. His design minimizes
the visibility of all the winches, rigging, cables and the setting up
needed to perform complex acrobatic numbers.
Some Details:
o) Made mostly of steel, the suspended astrolabe weighs 19, 504
kg (43,000lbs).
o) The enormous 10m globe, which can move vertically, is
decorated with meridians and parallels and fitted with a net
that can deploy and retract as needed.
o) Winches hidden inside the globe are used to transport the
artists, stage equipment and acrobatic equipment throughout
the show.
o) On the floor of the stage, there is a representation of the
Milky Way and symbols referring to the different phases of
the moon.
o) A door leading under the stage is installed inside a book
that the clowns Oulaï and Nalaï find at the beginning of the
show. When they open it, they plunge inside, literally
engulfed by the pages.
o) The Vortex, the white canvas that wraps the stage at the
start of the show, comprises more than 5,600 square meters of
material. Two motors pull it at a speed of six meters per
second, making the entire surface vanish in 25 seconds.
o) During the Birth of the Sky scene, the set features a
firmament of thousands of stars. To achieve this effect the
vault of the Astrolabe is covered with 3,500 LEDs and the
floor of the stage has more than 900 fiber optic points of
light.
o) An alphabet of 26 symbols, The Zed Alpha, was created for the
production. It appears in the set design and shows the
periodic table of the elements as well as words related to
components of the show.
o) Five spheres of various diameters, each displaying its own
special effects, form a miniature representation of the
Astrolabe a micro world that reflects the macro world.
{SOURCE: Cirque du Soleil Press Room}
-------------------------------------------------------
"BELIEVE Premiere: 'Do You BELIEVE in Magic?'"
By: Cirque du Soleil, Press Room Materials
{Oct.31.2008}
-------------------------------------------------------
Las Vegas, NV October 31, 2008 Cirque du Soleil and Luxor
celebrate the gala premiere of CRISS ANGEL Believe TM Halloween,
October 31, 2008.
Halloween is particularly significant for CRISS ANGEL Believe as it
marks the anniversary of the passing of legendary magician and escape
artist, Harry Houdini. In an attempt to pay homage to the late/great
Harry Houdini, Criss chose Believe as the title for this
unprecedented live experience.
Every Halloween for 10 years following Harry Houdinis death, his wife
held a vigil to test the legitimacy of people who claimed to be able
to communicate with Houdini. To claim success they needed to say the
code word BELIEVE.
CRISS ANGEL Believe, by Cirque du Soleil is a haunting exploration
deep inside the inventive mind of mystifier Criss Angel as he hovers
between the land of the living and a surreal world uniquely woven
together by the distinctive imaginations of Criss Angel and Cirque du
Soleil. Unlike traditional magic-themed shows, CRISS ANGEL Believe
transcends any preconceived notion of what it means to be emotionally
engaged by the arts of mysticism and illusion. The show is a fantasy,
an allegory, a highly theatrical tableau of mood, reverie and emotion
set against a backdrop of dreamlike darkness and light.
Criss Angel stars as a surreal, enigmatic Victorian Noble. Along a
path of imaginative exploration, he encounters Kayala and Crimson, two
women who represent different aspects of femininity. Along his path he
discovers four comical Ushers who introduce the audience to the
baroque theater of Criss mind. The production features an intense
troupe of characters and dancers who mix a multitude of styles into a
high-energy visual feast, punctuated by moments of grace and
sensuality.
The stunning illusions in CRISS ANGEL Believe are not presented as
standalone elements, but as interdependent components using heightened
imagery, fantastical creatures and impossible feats of legerdemain,
all of which are integrated into the dazzling, colorful fabric of the
story.
CRISS ANGEL Believe is presented in a custom-built theater at Luxor
Las Vegas.
COSTUMES
**********
Fabric is between the flesh and the soul. This is where I love to
slide.
Mérédith Caron
Mérédith Carons designs for CRISS ANGEL Believe had to be complex and
multidimensional because so many of the costumes contribute more to
the show than simply a look.
Without giving away any of the illusionists secrets, many aspects of
the costumes include features and choices of materials that put them
into a category that is somewhere between costumes and props.
Individual garments, rags and bits of fabric may be integral to the
illusionists performance, whether Criss Angel is wearing them or
another performer is contributing to the astonishing happenings on
stage.
The overall look of the show is rich and imbued with a patina of
Victorian atmosphere overlaid with a dream-like surrealism that the
shows director Serge Denoncourt has dubbed Weirdtorian. The
costumes play a major role in creating the look, and are designed to
mesh with the set designs, the masks and puppets, the lighting and so
on. This is achieved through fabric choice, colors and cut.
The cut of the coats especially the mens coats is long and
sweeping with deep vents that are reminiscent of Victorian topcoats,
but Mérédith Caron is at pains to state that she has no interest in
recreating precise replicas of 19th century costumes. These are
interpretations that use the Victorian era as a jumping-off point for
entirely modern designs.
Mérédith points out that the Weirdtorian costumes contain references
to the worlds of Charles Dickens and Tim Burton, and therefore convey
a sense of darkness in all senses of the word and the best fabric
for that is velvet. However the velvets she has used are by no means
off-the-shelf fabrics. Some are printed, others have three-dimensional
Paisley-like designs that reflect two surfaces very differently
depending on how the light strikes them. There are a lot of black
fabrics in the costumes and that is unprecedented for Cirque, says
Mérédith. But they are a living black.
Desire and seduction are integral to the shows themes and many of the
more striking costumes evoke this through intense colors and richness
of detail. In addition to velvets, the CRISS ANGEL Believe costumes
include leathers, gold tones, jewels and stiffened, pleated lace-like
fabrics that undulate like waves. When Mérédith first met Criss Angel
she studied the contents of his own wardrobe and decided as a first
step to build on that by magnifying certain aspects of his existing
personal look and blending them with the visual direction of the show.
When he saw the finished costumes for the first time, Criss Angel had
a special request. He asked for the three letters JDS to be
embroidered in the collar of his coats. They are far too small and
subtle to ever be seen by the audience, but they mean a great deal to
Criss because they are his beloved late fathers initials.
PUPPETS, MASKS & PROPS
************************
Everything on the stage is charged with magic. So given that we are
doing a magic show, we knew that everything, starting with the classic
magic show elements: the hat, the chair, the stool, and so on, would
be under constant scrutiny.
Michael Curry, Props and Puppets Designer
The lines between puppets, masks, props, costumes and scenery are not
always clearly defined. A mask may blend with a makeup design or a
costume. A puppet may be more like a costume than a marionette or it
could be big enough to be on the scale of the scenery.
Puppets
There are many puppets in the show, including costume hybrid devices
worn by the performers, playing characters that have just come out of
the coma into which Criss Angel has been plunged.
Many of the puppet characters are animals, and many of them are
rabbits and they come in all shapes, sizes and personalities. Some
are cute and adorable, others more threatening and evil. This gallery
of phantasmagorical characters puts forward odd, quirky and avant-
garde concepts that we would probably expect to see in a contemporary
opera or a fantasy film festival, says Michael Curry.
o) At the top of the show, six hidden puppeteers make body parts
come together to form the burnt Criss puppet.
o) There are three rabbits with human performers inside: one
small, one medium and one that stands upside down on its
ears.
o) There are also rats, moles, birds and sinister giants that
are built from human bodies a hybrid of the performers
body and the creature.
o) The rabbit that delivers the pre-show announcements is
equipped with 11 servos: He is completely robotic and is
linked to the theatres sound system.
o) There are five other robotic and computer-controlled puppets.
o) An electronic tornado is unleashed at one point in the show
that is considered part prop, part puppet, part set design
and all illusion.
o) There is a huge robotic flower that delivers the aerialist
playing the part of Kayala.
o) In an amazing scene there is a downpour of poppies.
o) There are smoke machines and lighting devices built into many
of the puppets.
o) The puppets utilize many space age materials such as carbon
fiber composites and various super lightweight structures.
Masks
There are many masks in the show. Masks have the ability to sharpen
the characters and keep them present.
o) While they primarily help to establish character, some of
them may be involved in the illusions: During one scene there
are 15 versions of Kayala, all created using the masked face.
o) Lightweight materials make it possible for the dancers to
perform wearing masks that extend two feet in front of them.
Props
Kinetics are a major feature of the set design and the props, which
are integral to the illusions, blend not only with the set design but
the lighting and projections too.
o) The chainsaw that cuts Criss in half has a real blade and has
smoke billowing out of it. It is operated by a flying
performer.
o) The Birth Machine and the War Machine are two of the major
contraptions: they are not static objects, they move, they
spin, they roll, they catch fire, they transform, so they are
regarded as somewhere between props and puppets.
o) Props and magic have always been strong partners.
o) The sheer precision of the trick props have been a wonderful
challenge.
THEATER & SET
***************
Architecture establishes a close link between structure, space and
human beings amalgamating several disciplines to create a live show.
Ray Winkler, Set Designer
The Luxor Theatre is configured in a classical proscenium layout.
Early in the creation process director Serge Denoncourt decided he
wanted a traditional theatrical approach to the show that would be
very far from a Vegas pastiche.
The sets and the illusions are intrinsically intertwined. To be
successful, magic illusions must establish and control a host of
details, including color, texture, lighting and reflectivity of the
materials.
Set Design
The challenge was to incorporate magic and illusions into the set
elements, says set designer Ray Winkler. It was interesting to learn
about the techniques of illusion. Criss Angel has to put in
considerable effort to transcend the technical constraints and present
his magic with apparent simplicity.
The various environments in the show are created from a broad range of
approaches and types of sets, the scenic moments run the gamut from
highly elaborate to extremely spartan. Jeanette Farmers lighting
plays a key role not only in the composition of the acts and scenes,
but also in creating the mood and atmosphere of a faraway world.
Through lighting, we challenge the senses of viewers by showing them
that we have nothing to hide, says Jeanette. Then we totally
destabilize them by making the impossible happen right before their
eyes.
You might describe the overall atmosphere of the show as dark,
twisted, somewhat sinister and a little threatening, says set
designer Ray Winkler. We wanted to destabilize the public. For
example, the proscenium frame is richly decorated and full of detail
you assume is associated with traditional theatre decor. When you look
more closely, you realize that its meaning has been subverted and that
the subject matter is not as cute and innocent as it might seem at
first sight.
Projections
According to projections designer Francis Laporte, the central concept
of the projections in this show is to play with audience perceptions
and create a kind of dialogue between the real and the virtual. Thus,
the projections help shape the various environments of the show with a
Gothic and Victorian flavor. The mysterious mixes with the grandiose,
the bizarre with the sublime.
Francis created a Victorian world around Criss Angel that is strange,
but with an ultrachic side to it too, reminiscent of the world of Tim
Burton and Terry Gilliam, with shades of the postmodern and a certain
timelessness. His projections are designed to transform the entire
atmosphere on stage by changing the image on the backdrop at the click
of a switch. They help define the scene, to create the many moods of
the show and support the many jumps in time throughout the story.
Sometimes I give a certain situation greater dimension by multiplying
the elements of the story, says Francis. For example, for the
cascadeof poppies I created a vast field of poppies on a virtual
turquoise sky. My ultimate goal is to give dimensions of perspective
and depth. Sometimes Im aiming for a passage from the virtual to the
real, sometimes a passage from the real to the virtual and at
moments like that the projections are closely linked to the work of
Criss Angel.
Francis Laportes objective was not to create confined spaces, but
broad environments like the sky or a field or a forest. That is why he
opted for composite 3-D images, noting that he was constantly
concerned that the technology should never project anything that
looked fake or artificial.
Some facts:
o) We use 20 Christie Roadster S+20k projectors
o) We project onto two seamless screens
o) The upstage screen is 30 feet x 60 feet (rear projection
only)
o) The downstage screen is 20 feet x 32 feet (front and rear
projection)
o) There are two manually operated projectors on custom
pedestals with custom joystick controls much like a camera
for the zoom and focus.
o) The creation of the Gold Frame involved the talents of 30
sculptors, moldmakers and painters over a period of three
months.
o) There are seven rabbit characters on the carved gold frame,
the largest, the center clock rabbit, measures 1000 x
10'06.
o) The Gold Frame contains automations, special effects and
lighting.
o) There are humorous references to magic and illusion in the
sculpture of the frame with motifs of rabbits and saw blades
replacing the traditional egg and dart architectural molding,
as well as bunnies in straitjackets on the plinths.
o) The crumbling architectural proscenium facade opening is 60'
x 35' with layers of wallpaper, brick, plaster, rubble, vines
and remnants of architecture.
o) There are over 8000 linear feet of laser cut vines (made of
synthetic material) in three different patterns on the
proscenium and the blue patina wall.
{SOURCE: Cirque du Soleil Press Room}
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LA PRESSE: "BELIEVE is 'Horrible' [EXPANDED]
A Series of Reviews in The Press
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Cirque du Soleils latest offering on the Las Vegas Strip CRISS ANGEL
Believe - had its first public performances on Friday, September 26th;
what has the response been? Unfortunately everything from horrible,
terrible to complete bull****. A number of articles have crept up
discussing the reaction to Fridays premiere, which you can find below:
"Criss Angel needs audiences to believe in latest show"
From: Alfred Branch Jr, Ticket News.com
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Few magicians or illusionists can boast of the passionate fan
following that Criss Angel has developed in recent years, but judging
from a couple of the early reviews of his latest show in Las Vegas, he
may need all of their support to ensure a hit.
The multi-million-dollar production, called "Criss Angel: Believe,"
opened in previews this past Friday, September 26, at the Luxor Hotel.
But, even though ticket sales are brisk, according to TicketNews's
exclusive Top Events ranking, audience reaction has been mixed.
However, since the Cirque du Soleil-produced show is booked for an
extended run at the Luxor, expect Angel, best-known for his TV show
"Mindfreak," to retool the show if he deems it necessary.
Reviews of the show in both the Los Angeles Times and the Las Vegas
Review-Journal said the weekend performances were not well received by
audience members, some of whom angrily complained outside of the
theater after the shows.
Reporter Doug Elfman of the Review-Journal claims to have interviewed
more than a dozen people after the Friday and Saturday shows, and
apparently none of those interviewed liked it.
In his review of the show, Los Angeles Times reporter Richard Abowitz
said it "has serious challenges that are impossible to ignore," but
also added that the show could be improved with some work.
The show, which according to the Web site officially debuts in just
over a month, is an extravaganza that is considerably more than a
traditional magic performance. "The stunning illusions in CRISS ANGEL
Believe will not be presented as standalone elements, but as
interdependent components using heightened imagery, fantastical
creatures and impossible feats of legerdemain, all of which will be
integrated into the dazzling, colorful fabric of the story."
"Sneak peak at Criss Angel's 'Believe'"
From: Vegas Blog of the LA Times
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On Friday night I became among the first to see Criss Angel's
"Believe." It is both a Criss Angel show and a Cirque show. And it is
also clearly a work in progress. Two crucial illusions were not ready
for inclusion on the night I saw it. Cirque heavily reworks shows over
time, especially in the early months. I saw "Zumanity," Cirque's show
at New York New York, three times in its opening months and saw three
different shows, the changes were so extensive.
That said, this show has serious challenges that are impossible to
ignore ahead of it. I will offer my thoughts in a moment on those
challenges. But my opinion is not important compared with the paying
audience. And, though less jaded than I, the audience also saw the
obvious problems with "Believe." Vegas audiences are usually very
forgiving; look at the people who still applaud the living remains of
Wayne Newton. But the audience that saw "Believe" with me was
appalled, based on the comments I heard. And Doug Elfman of the
Review-Journal was outside the theater the night I was there and the
next night recording audience reactions that were uniformly negative.
Elfman writes: "I interviewed more than a dozen people after Friday's
and Saturday's shows, and I listened to groups chat after they exited
the theater. They weren't just disappointed. Some were enraged." In
his front-page story based on audience reaction, Elfman concludes
that, "Currently, 'Believe,' is a possibly unsalvageable 'waste of
time' and a 'dead end' that literally bored some audience members to
sleep." Brutal.
Audience reaction and word of mouth are what sell a production in
Vegas, and Cirque and Angel should be deeply concerned by the
consistency of negative response. However, Elfman was making
conclusions based on audience opinions, but crucially, he did not see
the show.
Whatever the problems with "Believe," the show is not "unsalvageable."
The costumes, look and music of the show are impressive props. The
dancers are talented. The problem is the very confusing premise that I
think is at the core of the show, and even that premise is promising.
Illusionist Angel, through an accident, winds up in a Cirque-created
world of magic. But if that is the story of "Believe," then Cirque has
to reconcile itself to having a headliner whose personality puts over
the show. Right now "Believe" loses energy the moment Angel enters the
mystery world of Cirque and becomes, for the most part, a spectator.
He possesses mighty powers, hangs out a little and returns to our
world healed enough to sing along with a taped version of his
television theme song as the audience walks out. Where is the man's
dialouge? Does he have thoughts of what is going on with his body in
the "real" world or what he is viewing in the land of Cirque
creations? We never learn. Angel turns mostly silent.
Yet, Angel as a television character and a celebrity is all
personality. The question is an interesting one as a premise for a
show: How would a magician in our world of physics, in which each
illusion is a careful trick, respond to a land where his powers are
real and magic creates the rules? Angel's stage personality is the
perfect mix of likable everyman and shrewd and knowing guide. But
"Believe" dodges this question by depriving Angel of almost any
dialogue in response to the visually lush, dark and heavily symbolic
world he lands inside. Angel and his compelling personality may be the
center of the show but they are not at the heart. Instead, Angel is at
the side figuratively and literally for much of the show. He cannot
dance as well as the dancers, move as well as the acrobats or meet the
talent demands of any of Cirque's routines, and so he is a spectator
when not brought out for an illusion. This results in two shows in
desperate need of a writer to bridge the gap and offer the audience
some sort of compelling story that pulls the production together in a
way not clear yet from viewing it.
Another issue is the basic illusions Angel offers in Cirque's world.
To varying degrees, they are tricks that are familiar, surprisingly
predictable on the Strip. The illusions include escaping from a
straitjacket while suspended in air, making birds appear in his hands
and having a dancer crawl out of his stomach (this is an illusion
staged in Vegas for years by many, including mediocre and forgotten
talents). If these are the illusions' caliber, why get Criss Angel to
perform them? Of course, two illusions were not presented while I was
there. They may also have helped make the story clearer.
There is still a month of previews. Cirque's capacity for reinvention
has proven significant. As for Angel, he needs to equal his media
claims that this show comes from his personality, because right now
his personality is the most glaringly missing element in "Believe."
"Angel's 'Believe' magic: Miffed fans disappear"
From: Doug Elfman, Las Vegas Review-Journal
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Criss Angel fans flew in from as far away as London to see his new
Cirque du Soleil show open at the Luxor on Friday. The verdict by
many? Creatively, "Believe" is a possibly unsalvageable "waste of
time" and a "dead end" that literally bored some audience members to
sleep.
On Saturday night, reaction was even worse.
"Everyone in the bathroom was chanting 'bull----'" from the urinals,
Damon Ranger of Chicago told me Saturday. "It was absolutely awful.
You can 'Believe' how bad it is -- because it's terrible!"
People streamed out of the theater on Saturday screaming about how
poor it was. A group of six women was led by a woman yelling
furiously, demanding their money back.
"Dude, it's a train wreck," Ranger said. On a scale of 1 to 10, he
declared "Believe" a zero.
I didn't see the show, which stars the TV illusionist in a Cirque
performance, because I wanted to purely chronicle fan reaction to one
of the most anticipated new shows on the Strip in some time, a show
that is said to have cost in the ballpark of $85 million.
So I interviewed more than a dozen people after Friday's and
Saturday's shows, and I listened to groups chat after they exited the
theater. They weren't just disappointed. Some were enraged.
Walter Huertas lives in Las Vegas and has seen every Cirque show here.
On a scale of 1 to 10, he gave it a 1. He coaxed a friend to go. They
left 20 minutes before the end of Friday's debut.
"There's no magic in it," Huertas said.
Huertas knows Angel for his "antics" and death-defying stunts from his
"Mindfreak" show on A&E. But he said "Believe" has no compelling
storyline, and it's more about dancing and unimpressive tricks, like
pulling doves from a sleeve.
"It's something that should be in a variety show," he said. "It's
about a bunch of 'rabbits' dancing around in costume."
Huertas equated the quality of "Believe" to that of Mandalay Bay's
disastrous old "Storm" show. If you ever saw "Storm," you realize how
dismal that comparison is.
Two other Angel fans, Steve Moffett and Jordan Wilson, flew in from
London for Friday's debut.
"We were hysterical about coming. We came. It was a waste of time,"
Wilson said. "The magic's not even magic."
They complained they could see wires and stage holes used in
unconvincing acts.
"Belief was not suspended once," said Moffett, who called the show a
"dead end." "They fake an accident at the beginning, and it sets the
tone of the rest of the show -- fake."
"David Copperfield is better, and he's a boring old" guy, Moffett
said.
Wilson said it should be called "Criss Angel -- Don't Believe."
Moffett and Wilson walked out before the ending, because Angel started
singing the finale, a cover of his "Mindfreak" TV theme song.
"He broke into song. I said, 'He's singing. Now we're leaving,'"
Wilson said.
They thought he was lip-syncing. Ranger did, too: "I'm a musician.
It's lip-syncing. The audio wasn't matching the video."
On a scale of 1 to 10, Moffett gave it a 4; Wilson a 3.
Like most people I interviewed, they thought Cirque's background
elements were great. Wilson said the red-motif set design is
"phenomenal," costumes are "good," the dancers are fine, and the
proscenium arches are "elegant."
Kevin Saum of Chicago added, "The Cirque music is awesome."
But despite the best elements, Angel's show is appalling, Saum said.
On a scale of 1 to 10, Saum deemed it a 3.
"It's embarrassing to put the Cirque name on it," Saum said. "He walks
around the whole time and doesn't do anything. It's not his TV show.
It's just really bad."
Saum and his friend Ranger flew in for a "bro's" weekend, specifically
to see "Believe" plus Foo Fighters at the Hard Rock. They loved Foo
Fighters. They hated "Believe" so much Ranger exited the theater by
calling out to random people in the Luxor to not see it.
"They were drawing people in with the Criss Angel (fan base), and they
drew us in, and we were very disappointed," said Saum, who usually
loves Cirque shows. "The whole storyline is dumb."
There are caveats. Some planned elements weren't ready by Friday. And
all Vegas shows get tweaked in the months after they open.
A few theatergoers said "Believe" doesn't appear to be salvageable to
them, though. Others said it might be OK if changed in coming months.
Saum wasn't so sure.
"We understand there are kinks to work out. But this is about more
than kinks," Saum said.
Saum and Ranger were in the cheap seats, in the back, and even from
there they could see through illusion-like performances.
"Usually in a Cirque show, you don't see wires. You see the wires all
the time," Saum said.
Julie Schmidt went to see Friday's show with her daughter, Caitlin,
and with Joe Sposato. All three of the Coloradoans deemed it a 4 or 5
out of 10. That's the highest praise I heard.
"The guy next to me was sound asleep," Julie Schmidt said.
She said "Believe" is "artistic and creative," "but it was like there
were five shows, and they couldn't decide which one to do."
The five subshows were, she said: Cirque performances; good dancers;
poor magic; "him off doing something else behind the scenes"; and the
go-nowhere storyline.
"You can see the openings on the floor" for the illusion-esque acts,
Julie complained.
"The magic he did do was basic," Sposato said.
"I thought it was going to be more like his show" on TV, Caitlin said.
John and Gail Michalak came from Los Angeles to see "Believe" with
Karla Delemos. On the 1-to-10 scale, John gave it a 1; Gail a 3; and
Delemos didn't rate it -- she fell asleep.
"I just got screwed," John said. "He pulled three doves out of his
hat. Go to the Magic Castle in L.A. if you want to see magic. But
don't come here."
John said fans were also upset they had to turn in their cell phones
before entering the theater.
"Everybody said the biggest 'Mindfreak' is you're gonna get your phone
back," he griped. "Never have I wanted to get my money back. I want my
money back."
Hearing him say that, Gail warned him about Angel's tough-guy image:
"John, you're gonna have him knocking on your door!"
"They need to know if it's not good," John insisted.
But Gail said the show is salvageable if the magic acts are perfected.
And Ranger was glad about one thing. After spending $55 for cheap
seats -- tickets are discounted by 25 percent during these first run
of "ticketed previews" -- he was given a free drink coupon.
"The best thing was getting this free drink coupon - the worst $55 Bud
Light I'll ever have."
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FROM THE FASCINATION! ARCHIVES
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"Mysterious Mystère Musician"
By: Paul Roberts - Hamilton, Ohio (USA)
{Originally Published: Issue #12 August 2002}
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Put on your "Mystère Live in Las Vegas" CD, forward to "Finale", and
listen closely at the beginning. Do you hear the male yodeling chant?
Do you know who's doing this wailing? Open the CD sleeve and look at
the picture of the long-haired man wearing feathers and an egg on his
head. That is Luis Perez, who also performed on the studio "Mystère"
album, credited as performing: Pan Flute, Percussion, Vocals, and
Sound Illustrations. The nature sounds that fill the Treasure Island
theatre were originally created by him and even though Luis is no
longer in the "Mystère" orchestra, his influence will always exist.
A couple years ago, while searching through the New Age rack at a
local book/music store, I came across a CD titled: "Tales of Astral
Travelers" by Luis Perez (Domo Records, catalogue # 72438-46195-2-7)
and wondered, could it be? The store, fortunately, had a listening
station for all CDs in stock. After the clerk opened the jewel case
and pulled out the insert, one of the first things I noticed confirmed
my wonderment as the first person listed in "My Deepest Gratitude To:"
was Guy Laliberte. I also discovered engineering credits given to
"Mystère" guitarist, Bruce Rickerd. While privately listening in the
store I heard how much influence Mr. Perez contributed to the shaping
of the "Mystère" sound:
Track One: "Distant Voices" opens with a Flamenco-like guitar riff
that is followed with an ancient sounding wood flute. Then, a Cirque
du Soleil influenced accordion that at first sounds out of place takes
over the main melody. Halfway through the song, Luis yodels like he
does in the "Mystère" Live "Finale."
Track Two: "Sleeping Woman" is a beautifully calm theme featuring the
flute and classical guitar accompanied by a string quartet. The
chorus includes an unidentified wind instrument whose notes glide into
each other like they might be made of rubber. This instrument
harmonizes with the flute to provide a chilling melody enhanced by
background wind noises.
Track Three: "Lunar Dance" starts with wind and subliminal cave-
dwelling sounds. Another unidentified instrument that sounds like a
string-struck zither begins the melody and remains as a background
instrument. Luis introduces a saxophone-like instrument and the song
picks up speed with tabla drums and nature sounds that show up often
in "Mystère". The string quartet comes in during the chorus as Luis
yodels again. The spacey feel of the song is certainly a fitting
tribute to the moon.
Track Four: "Insectos" is a one minute, thirty-six second piece that
is true to its title. Crickets and bugs singing to Mother Nature.
Track Five: "Temple of the Inscriptions" once again features a
classical guitar, wood flute, and strings. The soothing melody line
would be perfect for accompanying a nursery rhyme.
Track Six: "Aurora's Dream" starts out with an airy flute (definitely
Luis' instrument of choice) over possibly a dulcimer. Then a choppy-
chord acoustic guitar brightens the tempo. In the background, an
eerie sitar contributes a low drone to make the airy dream feel more
like a subtle nightmare.
Track Seven: "Alba" begins with echoing bird calls ("Mystère"-ish once
again) and a soaring wind that soon is interrupted by a gong crash
followed by the string ensemble playing a haunting melody line.
"Alba" is one of the quicker-paced songs with several unusual wind and
string instruments exchanging solos. The bridge, however, includes a
soloing acoustic guitar with strings providing the chord pattern. It
ends with the same opening gong crash.
Track Eight: "Amphibians" is another short nature piece like
"Insectos." Frog sounds and other swamp critters croak and moan with
a lamenting tribute to Earth and possibly those that came from the
heavens, as Luis believes.
Track Nine: "The Sacred Mountain" is an eleven-minute epic that is
certainly the best track and had to be saved for last. This song
would be perfect for "O" as it goes through several watery tempo and
key changes. The beginning waltz features a calm combination of
classical guitar, flute, and strings. After a krum horn sounds, the
tempo picks up with percussion and Chinese zither supplying the rhythm
as a flute plays the melody line. In the background there are several
screaming noises emitting from who knows what kind of instruments.
Once again, another chilling effect. Halfway through the song, the
main theme appears as different instruments trade off on the melody.
This portion of the song reminds me of several "O" passages. The
final two minutes engage back to the opening waltz theme. The epic
has traveled through many dynamics synonymous to the life of an
ancient mountain.
According to Jason Ankeny from All Music Guide: "A native of Mexico
City, performer and folklorist Luis Perez devoted his life to the
study of pre-Colombian musical instruments, exploring the myriad
creative traditions found among the indigenous ethnic groups of
contemporary Mexican culture. During the course of his travel-a period
spanning decades-Perez collected well over 700 native instruments (the
reason why I found so many unidentifiable instruments), some dating
back as far as 3000 years; in 1981, the Mexican government sponsored
his first LP "Ipan in Xiktli Meztli", which combined traditional
instrumentation with modern-day electronics. In the years to follow
Perez collaborated with artists ranging from Kitaro to Jackson Browne
to Hans Zimmer to Yes frontman Jon Anderson; his solo recordings
include 1998's "Tales of Astral Travelers."
Although Mr. Ankeny failed to mention Luis' biggest project - as a
musician for the world renowned Cirque du Soleil - he provided
interesting tidbits that show Luis Perez's influence on influential
people throughout the music community. The universe's cosmic energy
inspires his take on life and music and "Tales of Astral Travelers" is
a must for any Cirque du Soleil collection.
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter Compendium
Volume 8, Number 5 (Issue #61) - Sep/Oct 2008
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2008 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.
{ Nov.21.2008 }
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