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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 9, NUMBER 8 NOVEMBER 2009 ISSUE #70e
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Bonjour et bienvenue! Greetings and welcome to the 70th edition of
Fascination!, the Unofficial Cirque du Soleil Newsletter. Since
September 2001, Fascination! has published news, articles, features
and histories about our favorite circus, Cirque du Soleil, and
this month we have two wonderful product reviews as well as the
latest news collected from Fascination! Web and around the globe.
For our Featured articles this month - we have two submissions from
our own Keith Johnson. The first, a review of Cirque du Soleil
Musique's latest album offering: ZED. He'll take you through the
ins and outs of the music inside (note for note) as well as the CD's
packaging. If you've not heard ZED yet we highly encourage it!
Secondly, Keith also brings us his view on the recent "tell-all" book
on Cirque guide and founder Guy Laliberté - 'The Fabulous Story of the
Creator of Cirque du Soleil' By Ian Halperin'. Although we are not
endorsing the contents of the book, it caused quite a stir in both the
fan community and behind the curtain at Cirque du Soleil so we
couldn't pass up the chance to see what all the comotion was about.
Check out Keith's views on the book within.
What you won't find inside this month is my before-mentioned start
of the series on CirqueCon 2009: Monterrey's fantastic adventure in
just last month. I apologize! We'll have that for you soon.
As always we have a number of goodies to explore as a clip of
interesting and intriguing articles, pictures and videos were
shared with the fanbase through Cirque du Soleil's various social
widgets. In turn we have collected those to share with you, which
you'll find in our OUTREACH section.
Well, that about wraps up this intro. Now, onto the issue!
Join us on the web at:
< www.cirquefascination.com >
Realy Simple Syndication (RSS) Feed (News Only):
< http://www.cirquefascination.com/?feed=rss2 >
- Ricky "Richasi" Russo
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CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
o) Itinéraire -- Tour/Show Information
* Touring Shows -- Productions under the Big Top
* Resident Shows -- Performed en Le Théâtre
* Venue Shows -- Arena & Seasonal Productions
o) Outreach -- Updates from Cirque's Social Widgets
* Club Cirque -- This Month at CirqueClub
* Networking -- Cirque on Twitter, Facebook & MySpace
* Telemajik -- Cirque on YouTube & Television
* Gatherings -- CirqueCon, Celebri & More!
o) Compartments -- A Peek Behind the Curtain
* Didyaknow? -- Facts About Cirque
* Historia -- Cirque du Soleil's History
o) Fascination! Features
*) "Evoking the Cards - a ZED album review"
By: Keith Johnson - Seattle, Washington (USA)
{Issue Exclusive}
*) "BOOK REVIEW: Laliberté's 'Fabulous' Story"
By: Keith Johnson - Seattle, Washington (USA)
{Issue Exclusive}
*) "Guy Laliberte - A Ride of a Lifetime" [EXPANDED]
A Special Collection of Articles About Guy's
Social Mission on the International Space Station
*) "A Chat with Deborah Colker" [EXPANDED]
A Special Reprint from Playbill Arts
o) Subscription Information
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Cirque unviels new show name: VIVA ELVIS!
{THIS JUST IN}
-----------------------------------------------
Elvis and Cirque fans won't have to wait long to see the long
anticipated new show at the Aria Resort & Casino located at the
brand new Citycenter complex in Las Vegas. The show will open
the doors to its 2,000 seat theater in December 2009. It marks
the seventh resident Cirque Du Soleil show in Las Vegas.
# # #
The production pays tribute to Elvis' music and life, fusing
dance and acrobatics, live music and iconic tracks, nostalgia
and modernity, high technology and raw emotion. In short, the
show will be in Elvis' image: powerful, sexy, whimsical and
truly unique.
# # #
For more information and to view some behind the scenes videos
of the production, see the shows website:
< http://www.cirquedusoleil.com/elvis >
{SOURCE: Cirque du Soleil}
First Clown in Space [EXPANDED]
{Oct.01.2009}
-----------------------------------------------
Montreal, Canada, October 01, 2009 -(PR.com)- On September 30,
in celebration of his 50th birthday, Guy Laliberté, the
billionaire founder of Cirque du Soleil, blasted off into space
from the Baikonur Cosmodrome in Kazakhstan. In doing so, he
officially became Canada's first space tourist at an estimated
personal cost of $35 million.
Laliberté's 12-day visit to the International Space Station is
his personal "Poetic Social Mission in Space," whose purpose is
to educate people on global water issues. On October 9, while
orbiting the Earth, Laliberté will host a special 2-hour
"artistic happening," entitled Moving Stars and Earth for Water,
which will be broadcast from 14 cities around the world. This
global spectacle is intended to raise world awareness for water
conservation. The theme of the show will unfold as Laliberté
reads from a specially commissioned story by renowned Canadian
novelist and Man-Booker Prize-winner Yann Martel. Former U.S.
Vice President Al Gore, singers Peter Gabriel and Shakira,
actress Salma Hayek, Canadian astronaut Julie Payette, and
musical group U2 have already announced their participation in
this unprecedented global event.
On June 2, 2009, Montreal-based Transit Publishing released the
first critical, independent biography of Laliberté entitled Guy
Laliberté: The Fabulous Story of the Creator of Cirque du
Soleil. Author Ian Halperin, will be available between Sept. 30
and Oct. 12 to answer questions about Laliberté the artist,
entrepreneur, and now space traveller. Ian is also the author of
the #1 New York Times Bestseller, Unmasked: The Final Years of
Michael Jackson published in July 2009.
Guy Laliberté is a Canadian like no other. He left home at age
14 to travel the world as a street performer. Since founding
Cirque du Soleil 25 years ago, he has entertained millions of
spectators worldwide. His creative genius and maverick business
acumen have made him one of the richest people on the planet.
On Sept. 23, the 2nd edition of Guy Laliberté: The Fabulous
Story of the Creator of Cirque du Soleil was released in Canada
and, on the same day, became available in the U.S. for the first
time.
About the book: Guy Laliberté: The Fabulous Story of the Creator
of Cirque du Soleil is available in both English and French
editions. Over 50,000 copies have been sold in Canada.
The author of this independent biography, former Montrealer Ian
Halperin, has also written the flagship book of the summer,
Unmasked: The Final Years of Michael Jackson, which topped the
prestigious New York Times bestseller list and has reached the
highest ranks of major book sales lists in the U.S., Canada, the
U.K., and France. Ian Halperin is a journalist, filmmaker and
author of ten books. A specialist in undercover investigations,
he contributes to FoxNews.com, E Channel and Court TV.
{SOURCE: PR.COM}
Expo 2010 - The Canadian Pavilion [EXPANDED]
{Oct.01.2009}
-----------------------------------------------
The Canadian Pavilion at world expos has always been a must-
see among national pavilions, and the Canadian Pavilion at Expo
2010 should be no exception.
In early 2009, the Canadian government formally accepted its
6,000 square meter pavilion lot in the Americas section of Zone
C of the Expo site, one of the largest sites at the pavilion.
The Canada Pavilion hopes to welcome more than 5.5 million
visitors over its 6-month exhibition period and will be a
showcase to the world for Canadian culture, advanced technology
and urban development.
The creative concept of the design was created by Cirque du
Soleil, a major Montréal-based entertainment company, and a
household name synonymous with the modern theatrical circus
production. Cirque du Soleil is also responsible for organizing
the pavilions public presentation, producing the cultural
program, and developing strategic corporate alliances under the
theme, The Living City: Inclusive, Sustainable, Creative. The
pavilion was designed around an open-air public space as its
centerpiece.
The design of the pavilion incorporates a performance area,
where visitors can watch performances of Cirque du Soleil before
visiting the main pavilion area. The overall budget for the
pavilion will be CAD$45 million. The pavilion organizers have
also designed concepts of environmental protection into the
pavilion. Parts of the pavilions exterior walls will be covered
by greenery and rainwater will be collected by a drainage system
for use inside the pavilion.
The theme The Living City: Inclusive, Sustainable, Creative,
developed following consultations and interviews across Canada,
is a mirror to Shanghais Expo 2010 theme, Better City, Better
Life and reflects Canadas history and democratic values. The
United Nations has recognized several of Canadas cities for
their fine quality of life. At Expo 2010, the Canadian Pavilion
will aim to present Canada as a modern, democratic, bilingual,
multicultural country.
The Montréal city in Québec Province plans to showcase its
Saint-Michel Environmental Complex in the Urban Best Practices
Area of the Expo site. The Shanghai Expo invited cities around
the world that demonstrate livability, sustainable urbanization,
protection and utilization of historical heritages and
technological innovation in built environment to display their
best practices.
SNC-Lavalin Inc, one of Canadas best-known engineering and
construction companies, is responsible for the construction of
the Canadian Pavilion. The pavilion was among the first
pavilions to undergo construction at the Expo 2010 site. The
Department of Canadian Heritage is coordinating Canadas
participation in Expo 2010 in partnership with the public and
private sectors.
China is currently Canadas fourth-largest export destination
(behind the United States, United Kingdom and Japan) and second-
largest source of imports worldwide (behind the United States).
Total two-way merchandise trade between Canada and China reached
CAD$47.6 billion in 2007. Imports from China into Canada grew by
an average of 22 percent annually, compared to 11 percent for
exports. As a result, a considerable trade deficit has developed
between Canada and China.
As Canadas second largest import trading partner, electrical,
electronic and telecommunications equipment, machinery, games,
toys and sports equipment were the main goods imported from
China. Chinese companies sold CAD$42.6 billion worth of
merchandise to Canada last year, up 11.3 percent from 2007. Wood
pulp, nickel and organic chemicals are among the top Canadian
merchandise exports to China, accounting for 28 percent of total
exports in 2007, up from 13 percent in 2003 and 6.7 percent in
1999.
China accounts for 5.5 percent of Canadas total foreign direct
investment stock in the Asia-Pacific region and 0.3 percent of
its investment worldwide. Similarly, the stock of Chinese FDI in
Canada is modest, but rising, reflecting growing Chinese
interest in Canadian resource assets. In 2007, the stock of FDI
from China reached CAD$616 million, accounting for 1.9 percent
of Canadas total FDI from the Asia-Pacific region that year.
With an ever-increasing demand for energy, PetroChina, one of
Chinas largest state-owned oil companies, recently made a
US$1.7 billion investment in privately held oil sands in
northern Alberta. This investment gives China a 60 percent stake
in two undeveloped oil sand projects in northern Alberta.
Expo 2010 in Shanghai will showcase how strategic urban
development can help countries offer their citizens a Better
City, Better Life. The exposition will showcase its vision of
urban planning that takes into account the impact on natural
resources and the environment. It will also demonstrate how
renewing or rebuilding the infrastructure of the past can
breathe new life into cities.
For Canada, this will be an opportunity to highlight the
countrys expertise in the field of strategic urban planning and
in many others. The Government of Canada, along with its
provincial, territorial, municipal, and private-sector partners,
is always looking for new ways to promote our arts and culture,
and share the Canadian model of openness, equality and respect
for diversity.
{SOURCE: China Briefing}
Guy Laliberté, Welcome Aboard! [EXPANDED]
{Oct.02.2009}
-----------------------------------------------
Cirque du Soleil founder Guy Laliberté boarded the International
Space Station on Friday morning and promptly donned his
signature red clown nose.
Laliberté made the two-day journey in a Russian Soyuz craft
along with Russian cosmonaut Maxim Surayev and U.S. astronaut
Jeffrey Williams before docking with the space station 350
kilometres above the Earth.
The hatches opened a few hours later and the three entered the
space station, to be welcomed by Canadian astronaut Bob Thirsk,
who is on a six-month visit, and five other astronauts.
Laliberté put on the red clown nose as he boarded the station
and brought several other noses for the rest of the crew to
wear.
He and his fellow space travellers smiled and waved to relatives
and officials watching on a screen at Russian mission control as
they entered the space station. Laliberté's children and
partner, former model Claudia Barilla, broke into applause.
"I'm adapting pretty well. I love it," Laliberté told his
family in French.
Laliberté chatted with his family in French for a while.
"Allo, Papou," his son said.
"Je t'aime, Papou," said his daughter.
"Je t'aime, moi aussi," Laliberté replied.
He jokingly apologized to the astronauts on the space station
for hogging video conference time to talk to his children.
"Sorry, there is five of them," he said.
"We were happy he didn't get space sick," Barilla told The
Associated Press after the video linkup, cuddling their two-
year-old daughter.
9th Canadian in space
The 50-year-old circus billionaire reportedly paid $35 million
for the trip, which has made him the seventh space tourist and
the ninth Canadian in space.
He is expected to be the last private paying tourist to visit
the station for some time, as NASA mothballs its fleet of space
shuttles, and the U.S. space agency relies on Soyuz craft to get
back and forth to the space station.
The self-dubbed first clown in space, Laliberté has said he will
use his 12-day stay aboard the space station to raise awareness
of drinking-water problems around the world.
While in space, the Quebec businessmen will host the first
multimedia event from the station. The two-hour show, called
Moving Stars and Earth for Water, will feature former U.S. vice-
president Al Gore, and musicians including rock band U2. It is
to be carried live on the website onedrop.org.
The Canadian entrepreneur founded the One Drop foundation in
2007 to fight poverty by providing access to safe water.
Laliberté reportedly started clowning around even before docking
with the space station, entertaining Williams and Surayev with a
zero gravity soap bubble show while still aboard the Soyuz
capsule.
Laliberté is scheduled to return to Earth on Oct. 11. Williams,
a three-time space traveller who recently became a grandfather,
and Surayev, who is on his first space flight, plan to stay in
orbit for 169 days.
"We are really proud of him," said Surayev's wife, Anna, who
watched the docking with their two daughters. "Glad his dream
came true, because it took him 12 years to achieve it."
Williams and Surayev are scheduled to help continue construction
of the space station, where in-orbit work began in 1998.
{SOURCE: CBC World News}
Cirque Technical Director Joins FIRST [EXPANDED]
{Oct.07.2009}
-----------------------------------------------
FIRST (For Inspiration and Recognition of Science and
Technology), a not-for-profit organization founded by inventor
Dean Kamen to inspire young people`s interest and participation
in science and technology, announced that the internationally-
recognized technical director for Cirque du Soleil, Calum
Pearson, and Hollywood film and TV producer, Paul Lazarus, have
joined the FIRST Robotics Competition (FRC) Game Design
Committee to ensure that the game challenges are appealing to
all ages and audiences, while at the same time pushing the
limits of the students` ability to innovate new robotic designs
and applications.
The FRC Game Design Committee is responsible for creating the
design, the rules, and the annual game challenge and theme,
which requires piloting robots in both autonomous and tele-
operated modes, while 2 three-team robot alliances collect and
score points for a variety of engineering tasks - from lifting
and rolling objects to collecting and moving items - on various
surfaces. In 2009, team robots where required to play on a
slippery surface with trailers attached to gather `moon rocks`
in a game called LUNACY.
"FIRST is pleased and excited that our newest additions to the
FRC Game Design Committee will assist us in making sure that the
game is not only challenging and full of surprises for all the
robotics teams; but also one that is exciting for spectators to
watch while they cheer on their favorite school teams," said
Bill Miller, Director of the FIRST Robotics Competition program.
"Calum and Paul bring both the combined expertise of very
technical and very creative aspects in spectator entertainment.
Their involvement brings a vast understanding of 21stcentury
entertainment value and taps into new visual and sound
technologies for a multi-generational, multi-national
experience. They are welcome additions to Game Design as we work
to develop the most spectacular robotics competition in the
world."
Calum Pearson is the Senior Director of Technical and Show
Support, Resident Shows Division for Cirque du Soleil. He has
served as Company Manager for Cirque`s KÀ and was responsible
for managing the day to day operations of Cirque du Soleil`s
fourth permanent show in Las Vegas with more than 300 cast and
crewmembers from 18 countries and a production cost of $200
million. He also has 17years of operations and management
experience in the entertainment industry, including many years
spent touring with well-known music productions including Bon
Jovi and Van Halen, and family acts such as Disney on Ice.
Paul Lazarus is a director, producer, and writer of television,
film, and theater projects who has worked with FIRST for many
years on the production ofthe Chairman`s Award winner videos. He
directed and produced the feature film, "Seven Girlfriends,"
starring Tim Daly, Mimi Rogers, Jami Gertz, and Melora Hardin.
He also independently produced "Seven Girlfriends," which was
released by Castle Hill Productions and was featured on HBO and
Comedy Central. For Dreamworks SKG, he voice directed the
animated musical feature, "Joseph," starring Ben Affleck.
The new Game Design Committee members for the FIRST Robotics
Competition join current members: Bill Miller, Game Design
Committee Chair and Director of the FIRST Robotics Competition;
Dean Kamen, FIRST Founder and President of DEKA Research; Dr.
Woodie Flowers, Chair of the FIRST Executive Advisory Board and
Pappalardo Professor Emeritus of Mechanical Engineering at The
Massachusetts Institute of Technology; Dr. Aidan Browne, Lead
System Engineer for the Joint Biological Point Detection System
produced by General Dynamics Armament and Technical Products;
Dave Lavery, NASA Program Executive for Solar System
Exploration; Kate Pilotte, FIRST (FRC) Kit of Parts Engineer;
Jeremy Roberts, Software Engineer at Qcept Technologies; and Dr.
(Captain) Vince Wilczynski, Chief of the Mechanical Engineering
Section at the U.S. Coast Guard Academy.
About FIRST
Accomplished inventor Dean Kamen founded FIRST (For Inspiration
and Recognition of Science and Technology) in 1989 to inspire an
appreciation of science and technology in young people. Based in
Manchester, New Hampshire, FIRST designs accessible, innovative
programs to build self-confidence, knowledge, and life skills;
while motivating young people to pursue opportunities in
science, technology, and engineering. With the support of many
of the world`s most well-known companies, the not-for-profit
organization hosts the FIRST Robotics Competition and FIRST Tech
Challenge for high-school students, FIRST LEGO League for
children 9-14 years old, and Junior FIRST LEGO League for 6 to
9year-olds. To learn more about FIRST, go to www.usfirst.org.
{SOURCE: Reuters}
Banana Shpeel Cast Announced!
{Oct.15.2009}
-----------------------------------------------
Brian Scott Lipton of TheaterMania has noted that ful casting
has been announced by Cirque du Soleil for Banana Shpeel, the
new semi-resident seasonal show, which will play a six-week run
at the Chicago Theater in Chicago, IL from November 19th through
January 3rd before moving on to New York City, it's "permanent"
home. So, who's in the cast and crew?
* * *
The show's cast will feature Annaleigh Ashford, Michael
Longoria, Claudio Caneiro, Daniel Passer, Patrick de Valette,
Gordon White, Wayne Wilson, Dmitry Bulkin, Tuan Le, Vanessa
Alvarez, and Joseph and Josette Wiggan, along with Robyn
Baltzer, Alex Ellis, DeWitt Fleming, Jr., Luke Hawkins, Kathleen
Hennessey, Adrienne Reed, Anthony J. Russso, Melissa Schott, and
Steven T. Williams.
The creative team includes Serge Roy (director of creation),
Jean-Francois Cote (composer/musical director), Jared Grimes
(choreographer), Dominique Lemieux (costumes), Patricia Ruel
(sets), Bruno Rafile (lighting), and Harvey Robitale (sound).
{SOURCE: Theater Mania}
Cirque Performer Dies
{Oct.18.2009}
-----------------------------------------------
Fox News reported late yesterday that a Cirque du Soleil
Performer had died in a Montreal hospital a day after falling
off a trampoline during a routine training session.
* * *
The company said the 24-year-old Ukrainian performer - Oleksandr
Zhurov - was doing general training exercises for the world-
famous circus when the incident happened at their training
center. He joined the company a few months ago. Cirque founder
Guy Laliberte says he's deeply saddened by the death of the
artist. A coroner's inquiry on the circumstances of the accident
is under way. Cirque said it will cooperate fully with the
investigation.
{SOURCE: Fox News}
Guy Laliberte to Receive "Dennis Tito Award" [EXPANDED]
{Oct.19.2009}
-----------------------------------------------
Cirque du Soleil's Founder, Guy Laliberté, to be honored with
the Space Tourist Society "Dennis Tito Award" by Eileen Borgeson
and Jeff Allen for his historic visit to the International Space
Station arranged by Space Adventures
PRLog (Press Release) - Oct 19, 2009 - "Who would not be
thrilled at the news that the founder of Cirque du Soleil would
be honored by an award you were involved in creating?" commented
Eileen Borgeson. Artist Eileen Borgeson and holographer Jeff
Allen collaborated to design the Dennis Tito Award for the
heroic space tourists who train as astronauts and then return
from a visit to the International Space Station (ISS).
Eileen Borgeson and Jeff Allen were also excited to find out
that Guy Laliberté, also an artist, would host the First Poetic
Social Mission in Space during his Sept 30 to Oct 11 visit to
the ISS. Guy's "Moving Stars and Earth for Water" event from
space took place on October 9, 2009 (GMT) in 14 cities on five
continents simultaneously around the world. Each city had an
"artistic moment" and unfolded with the presence of artists and
world-renowned personalities, including: Al Gore, Peter Gabriel
and U2.
How appropriate that John Spencer, helmsman of the Space Tourist
Society (STS), was the person to tell Borgeson and Allen that
Guy Laliberté had just docked at the ISS an hour previously.
They had called John Spencer to discuss Guy becoming the seventh
honoree of the STS Dennis Tito Award.
During the historic 25th Annual International Space Development
Conference (ISDC06) Dennis Tito personally presented the first
two Dennis Tito Awards to Gregory Olsen (second space tourist)
and Mark Shuttleworth (third space tourist.) at the Orbit Awards
Event. Marks award was accepted by two time commander of the
Space Shuttle, Astronaut Colonel Rick Searfoss.
Dennis Tito was then surprised with his own award presented to
him by the artist Eileen Borgeson who was escorted by Jeff
Allen.
The Dennis Tito award is two tiered with four sculptures of
Borgesons featuring the Orbital Muse on the top. Borgeson and
Allen created the concept as well as the design. The award was
assembled by the fine crafts persons at Saxton Industrial who
also manufactured the three sculptures that supported the
Orbital Muse. Saxton Industrial also sponsored the initial
three Dennis Tito Awards for the ISDC06s Orbit Awards event.
Guy Laliberté and the other three space tourists, Anousheh
Ansari, Charles Simonyi (who went to the ISS twice) and Richard
Garriott will be honored with their own Dennis Tito Award at the
next prestigious Space Tourism Societys Orbit Awards Event.
Sergey Brin, co-founder of Google, has also placed a $5,000,000
deposit for a trip to the ISS in 2011.
At the ISDC06 event, the holographic crystal Orbit Awards,
also created by Borgeson and Allen, were awarded to significant
astronauts, pioneers and entrepreneurs of the private space
exploration community. The list of honorees, included: Buzz
Aldrin, first man who walked on the moon, Paul Allen, co-founder
of Microsoft, Richard Branson, of Virgin Galactic and everyones
aeronautical hero, Burt Rutan, designer of the SpaceShip One.
Burt Rutans SpaceShip One won the $10,000,000 Ansari X Prize
for two consecutive Sub-Orbital Flight above 64 miles.
Eileen Borgeson is currently designing a selection of Space
Explorer Wings for private individuals who take an orbital
flight around the Earth which would include the Dennis Tito
Award honorees. Borgeson has previously created some Private
Astronaut Wings renderings for consideration by the Personal
Space Flight Federation.
{SOURCE: PRLog.org}
Costumes key at Cirque du Soleil [EXPANDED]
{Oct.19.2009}
-----------------------------------------------
Even with 120 insect-inspired costumes to chose from, Steve
Armstrong, the Head of Wardrobe for OVO, the Cirque du Soleil
show currently playing in Toronto, doesnt hesitate when asked
to name his favourite.
Ill tell you, even though its the one we worked the most on,
it would be the crickets, says Armstrong, 32, perched in an
office chair pulling a needle and thread through layers of
bright green fabric. Its not because of the colour or anything
but the actual conception of the thing.
The costumes themselves are a brilliant triumph of teamwork,
artistry and engineering, crafted out of stainless steel, ball
joints, plane-grade aluminum, bolts, neoprene, foam, Lycra,
nylon and Mytex, a shiny material used to make downhill skiers
unitards aerodynamic.
The first prototype took 75 hours to construct but it took two
months of on-stage trials before coming up with the final design
that would withstand the continual tumbling and jumping required
by the 10 trampolining cricket characters that wear them in
every show.
The trampolines were damaging to the costumes. The actual
structure didnt work. But we got lucky enough to have one of
the trampolinists who was also an engineer, says Armstrong, who
originally trained in high fashion in Montreal and has been
working with the costumes department for 11 years. So, I said
Im thinking of doing it like this, and hed say This is
going to break at under pressure. It was fun to involve an
artist in developing something theyll be working in.
All the costumes worn by the 53 performing artists are made to
each persons specific measurements at the Cirques head office
in Montreal and are maintained by Armstrongs six-person team in
their small workshop in the main tent.
And keep in mind, crickets arent the only things at OVO that
are green:
o) They use 100 per cent biodegradable detergent to wash the 100
to 250 costumes every day.
o) Once the show ends, one full set of each costume is archived
and the rest are sent to recycling factories where they are
reused in a number of different products, including
carpeting.
o) The vast majority of fabrics used are from Ontario and
Quebec.
o) Armstrongs team uses pedal-powered sewing machines on
location for leather repairs; these machines allow them more
control over the needle while saving energy.
{SOURCE: Metro}
Cirque Jubilation... Without the Tent! [EXPANDED]
{Oct.20.2009}
-------------------------------------------------
As senior artistic director for Cirque du Soleils Alegria,
moving the show from a huge tent to an arena setting was a job
he was willing to tackle. Alegria, first conceived in the early
90s as a traditional Cirque show performed under the Grand
Chapiteau, was transformed, with a little help from Smith, to
fit into its new home.
Since theres no big top with this show anymore, weve gone
from 57 trucks to 15 ... it would take us a week to set up the
tent and a week to take it down, Smith said in a phone
interview from his office in Montreal. Having the show in an
arena allows us to reach a whole new audience.
The arena format gives this particular Cirque show more time to
travel from place to place allowing more people from several
different locations a chance to enjoy this unique experience.
Alegria, a show that Smith said is still relevant for todays
audiences. The relevancy of the show is what continues to draw
audiences, Smith said. We took Alegria all over the world, but
we didnt want to retire it.
The original concept for the show centered around the Internet,
something that was just taking hold in the early 1990s. It
focused on how the Internet would have such a huge affect on our
lives ... its about how the Web has exaggerated the generation
gap, Smith said of the show. We knew the younger generation
would instantly embrace it. Its very much a reflection of that
... and this generation gap is relevant on every continent.
Smith, a native of England, began his career as a performer.
After graduating from the prestigious Italia Conti Academy of
Performing Arts in London, he worked with several directors and
choreographers in the theater world. Eventually he went from
performing on stage to trying his hand at directing. This led
him to an artistic director position with the Lido de Paris, a
famous cabaret show in the city. He was tasked to create and
direct the shows first-ever world tour.
Alegria, which takes its name from the Spanish word for joy
and jubilation, is a baroque and operatic production featuring
flamboyant costumes, extraordinary lighting and an elaborate
set. It is a mix of skill, strength and speed combined with
elegant, almost ethereal performances.
But getting the job at Cirque du Soleil is really a boring
story, Smith said. I went to their Web page and I applied
online, he said with a laugh. A job offer soon followed, and
Smith has been working for the company for about four years.
Alegria, which features the classic Cirque elements of acrobatic
artists, clowns and beautiful music, takes its name from the
Spanish word for joy or jubilation and this joy is just as
important for the performers to feel as well as the audience
members.
Every time new artists join the show, we dont just put them
into that hole that was left vacant. We try to take them out of
their comfort zones and see what they can bring to the show ...
its about keeping the show fresh and that magical exchange
between the performers and the audience, Smith said.
Its that very magic that keeps audiences coming back for more.
During every Cirque show clowns choose lucky viewers to come
up on stage, Smith said, and even though its a gamble every
time, the majority of the time it all works out.
Its something the audience likes ... everyone enjoys it.
People sit there thinking Im glad its not me, he said.
The clowns are an extremely important part of the show. They
give the viewers a chance to breathe and relax. The acrobatic
performances are definitely tense moments for the audience, he
said.
This show in particular, in going from a tent to an arena
setting, needed to keep all of the elements of a Cirque show
without sacrificing the intimacy.
We relit the whole show and everything was restaged, Smith
said. We had to make it a bit bigger so we didnt lose the
message or atmosphere of Alegria.
Making the show bigger was a job Smith was happy to take on,
especially with his knowledge of staging and theater. This job
has been fantastic. Im still awestruck ... and I feel
privileged to be here.
Smith, who has traveled all over the world doing what he loves,
insists his life is really not all that interesting. The
limitations we have are imposed by our own fears ... I never
thought Id be working for Cirque du Soleil. I had never even
been to a traditional circus before.
But Cirque du Soleil is not a traditional circus and the company
is not a typical business, either, Smith said. It would be hard
to leave when you work for a company like this, a company that
does it right, he said. Keeping the shows as good as they can
be is their main goal and thats rare in this industry,
especially in these tough times.
Varekai in Moscow Selling Well
{Oct.21.2009}
-----------------------------------------------
According to Cirque du Soleil founder Guy Laliberte and as
published by the Associated Press, Varekai has sold 80,000
tickets so far, a debut tour for Cirque du Soleil in this
territory. Cirque du Soleil has decided to extend the tour by
two weeks thanks to the vast number of sales. Varekai's run in
Moscow will now end on December 13, 2009.
{SOURCE: Associated Press}
A Chat with Deborah Colker
{Oct.21.2009}
-----------------------------------------------
Matt Blank of Playbill Arts recently sat down with famed
Brazilian choreographer Deborah Colker for a chat about the
"long overdue" return of her Companhia de Danc?a to New York
City this week, as well as her recent work with Cirque du Soleil
in OVO.
# # #
Question: How did the Cirque du Soleil job come about?
Colker: We started in 2006. I was in London with my company
performing at the Barbican Center. We were performing KNOT. It's
a performance about desire, desires that are possible and
desires that are not possible. I was there and the vice-
president of Cirque came to the show. She is right arm of
[Cirque CEO] Guy Laliberte. He came to see the performance and
came to talk with me. I guess it was a long time that they were
trying to talk to me- they were looking for me! [Laughs.]
Question: They had their eye on working with you already, then?
Colker: Yes. I am the first woman to direct a Cirque du Soleil
production in 25 years. In 2009 they are celebrating their 25th
birthday.
# # #
Check out the full expanded interview in our FEATURES section
this month!
{SOURCE: PlaybillArts}
"FLOW" Wins a Prix Italia Award [EXPANDED]
{Oct.22.2009}
-----------------------------------------------
Woody Allen said "80 per cent of success is showing up."
Quebec's ARTV showed up at the Prix Italia, a TV, radio and web
programming competition sponsored by the Italian national
broadcaster RAI, and walked out Saturday with the top award for
"Creativity in high definition." Canadians and Americans almost
never submit programs to the Prix Italia. They should, because
the event is at risk of becoming a Euro media-prize ghetto and
needs to become more competitive, that is, more international,
to survive. The Prix people are thrilled when North Americans
enter.
"Flow" was ARTV's winning program. The 52-minute documentary,
directed by Oana Suteu Khintirian, was produced by the Cirque de
Soleil and was billed as a "metaphorical musing of human
presence on the blue planet." I was a judge at the Prix, in
another category, and only saw a short clip of "Flow." It was
visually stunning.
Even though the Prix Italia is hardly known in North America,
ARTV should be proud of its achievement. That's because the Prix
is one of the oldest, and most prestigious awards in the
industry. You don't hear about it because it doesn't come with
Hollywood-style glitz, parties and paparazzi. The delegates and
judges who attend the Prix are mostly sober minded media buffs
in bad suits who appreciate fine programming and are passionate
about public broadcasting. No klieg lights for them. But this
being Italy, everyone gets treated to fine, wine-soaked meals.
{SOURCE: The Globe and Mail}
Cirque Celebrates 30 millionth LV Customer!
{Oct.22.2009}
-----------------------------------------------
On Monday, Cirque du Soleil surprised a Missouri couple
attending "Mystere" with a return-trip prize package for being
the company's 30 millionth Las Vegas customer. Those kind of
promotions aren't unusual - you always wonder how they pin it
down to which exact patron - but the numbers do give pause.
They remind you of how much Cirque came to dominate Las Vegas
entertainment, selling 30 million tickets since "Mystere" opened
on Christmas Day of 1993. The company now has 101,950 tickets up
for sale on the Strip each week; 10 performances of six titles.
Cirque isn't saying how many more seats will be for sale when
its Elvis show opens by year's end at CityCenter. But it's
unlikely to be less than the smallest capacity room, "Zumanity"
at 1,261 seats, so the weekly total will go to more than 114,000
seats.
{SOURCE: Las Vegas Review-Journal}
"Banana" Slipping on its own Shpeel? [EXPANDED]
{Oct.24.2009}
-----------------------------------------------
According to a Cirque du Soleil memo that has been circulating
in New York, Annaleigh Ashford (of Wicked) and Michael Longoria
(of Jersey Boys), who joined the cast of Banana Shpeel with much
fanfare, have been nixed from the show, which is to open in
Chicago this winter and then move to New York. The memo said
that their characters had, in essence, been written out of the
show.
Apparently, Cirque creative bosses felt there were too many
characters with too much dialog and too many songs. The show,
the memo suggested, is going to try and rediscover its purer
vaudeville purpose. This is Cirque's first foray into the more
traditional theater world. Clearly, it's proving a tough
transition.
Cirque spokeswoman Reggie Lyons confirmed Friday that Ashford
and Longoria were no longer in the show, saying that the
decision had nothing to do with performers for whom Cirque has
high regard. "Our creation process is an organic process," Lyons
said. "We figure out what works and what doesn't."
In this case, Lyons said, there were too many characters and too
many storylines.
As originally reported, Michael Longoria, who starred as
'Frankie Valli' in the Broadway production of 'Jersey Boys' was
to have portrayed 'Emmett,' an innocent and romantic young
actor, while Annaleigh Ashford, who starred as 'Glinda' in
'Wicked' on Broadway and in Chicago, was to have portrayed his
love interest 'Katie.' Remo Airaldi, a prolific resident company
member of Bostons American Repertory Theater, is still with the
production, though whether his character of 'Schmelky,' a cruel
and irritable theater producer remains is not known.
Banana Shpeel, presented by Cirque du Soleil and MSG
Entertainment, will open at The Beacon Theatre on 11 Feb 2010,
following previews from 4 Feb, for a limited engagement running
through to 30 Apr 2010. The show opens Off-Broadway directly
following its world premiere engagement in Chicago on 19 Nov
2009.
Banana Shpeel will feature an international crew of comedic
actors: Claudio Carneiro, Daniel Passer, Patrick de Valette,
Gordon White and Wayne Wilson. In keeping with Cirque du
Soleils unique and diverse performers, global talents showcased
in Banana Shpeel include Russian hand balancer Dmitry Bulkin,
Vietnamese juggler Tuan Le, Spanish foot juggler Vanessa
Alvarez, and the American sister-brother tap dance duo, Joseph
and Josette Wiggan.
Completing the cast is an ensemble comprised of 10 triple
threats: singer-actor-dancers Robyn Baltzer, Alex Ellis,
Adrienne Jean Fisher, DeWitt Fleming Jr., Luke Hawkins, Kathleen
Hennessey, Adrienne Reid, Anthony J. Russo, Melissa Schott and
Steven T. Williams.
The creative team includes Serge Roy (director of creation),
Jean-Francois Cote (composer/musical director), Jared Grimes
(choreographer), Dominique Lemieux (costumes), Patricia Ruel
(sets), Bruno Rafile (lighting), and Harvey Robitale (sound).
Under the direction of Band Leader Robert Cookman, the Banana
Shpeel original score is performed live on stage by Roland
Barber (trombone), Bobby Brennan (bass), James Campagnola
(multi-instrumental), Iohann Laliberté (drums), Jean-François
Ouellet (saxophone), Peter Sachon (cello) and Scott Steen
(trumpet).
Banana Shpeel has "a roller-coaster mix of styles that blends
comedy with tap, hip hop, eccentric dance and slapstick, all
linked by a narrative that ignites a succession of wacky
adventures. This is not circus, or a musical or a variety show,
or even vaudeville. It is Banana Shpeel!"
The show's original synopsis was billed: Banana Shpeel plunges
us into the world of Schmelky, a cruel and irritable producer
who dangles fame and fortune in front of Emmett, an innocent and
romantic actor who has come to audition for him. Emmett soon
finds himself trapped in a flamboyant, anarchic world where
Schmelky sows terror and reigns supreme. Emmett falls in love
with the beautiful Katie and meets a bunch of absurd characters,
including the strange Banana Man. But who is this mysterious
Banana Man and how can Emmett escape the clutches of Schmelky
and his henchmen?
{ SOURCE: New York Theater Guide, Playbill }
KOOZA in Santa Monica [EXPANDED]
{Oct.25.2009}
-----------------------------------------------
Check out the following article by Entertainment Today's theater
reviewer Travis Michael Holder regarding Cirque du Soleil's
Koozå at the Santa Monica Pier...
* * *
As a major fan and consistent correspondent frequently touting
the prolific quarter-century run of that Montreal-based
phenomenon Cirque du Soleil, I have seen and written about every
glitzy, vibrantly multi-hued and multi-textured creation these
folks have offered their grateful audiences since 1987, from
those original touring tent spectaculars to their current five
Las Vegas permanent attractions (and soon to be a sixth, the in-
process Viva Elvis at City Centers new Aria Hotel), to their
other permanent productions in Biloxi and Orlando.
Now, after furthering the Cirques already well-established
image for inimitably innovative entertainment by creating shows
with something of a storyline, such as KÀ at the MGM Grand and
The Beatles LOVE at the Mirage, the companys unstoppable
designers have now returned to their first Los Angeles venue
with the spectacular new show called KOOZA, setting up their
enormous blue-and-gold tent once again on the sand adjacent to
the Santa Monica Pier boardwalk. And with KOOZA, the Cirque has
refound the roots of what made them so famous: the traditional
and beloved traveling circus transformed and reinvented by their
collective world-class imagination.
Of course, the Cirque gratefully uses no animals to ply their
wares, but KOOZA once again blossoms with unearthly aerialists
and boneless acrobats who can accomplish things most humans
cannot, as well as a goofy, brilliantly slapstick set of clowns
who definitely know how to lighten things up between thrills,
chills, and hopefully well-rehearsed near misses.
According to KOOZAs writer and director David Shiner, his
infectious concoction is about human connection and the world
of duality, good and bad. The tone is fun and funny, light and
open. The show doesnt take itself too seriously, but its very
much about ideas, too.
KOOZA starts simply with the Trickster, popping from a gigantic
jack-in-the-box on a blank stage to the obvious glee of a wide-
eyed young boy holding an enormous kite, who then proceeds to
lead his new young friend (and his audience-peeing lifesize dog)
into a world of comic and sensual delight which includes
jugglers, contortionists, unicyclists, a guy who balances on
chairs high into the tippy-top of the tent, teeterboard artists,
a troupe of highwire aerialists, and a company of gorgeously
costumed players who dance and leap around all the others.
Although nothing here is terribly new to Cirque enthusiasts, it
matters not, since it is all so welcome once again and all
performed so seamlessly not to mention performed right above
our heads, rather than at the distances necessary at some of the
companys permanent shows in oversized Vegas hotels.
This is especially true of the heart-stopping Wheel of Death
act, a great enduring highlight of KÀ since it first opened in
2005, borrowed here and looking even more death-defying at such
close range. If I am not mistaken, the two performers who here
leap and counter-rotate within the frantically spinning 1,600-
lb. apparatus, fearless acrobatics who exhibit astonishing
footwork and teamwork, might just be the original South American
twins who originated the act and performed it in KÀ. If not,
these guys are just about equally as good.
The large onstage band and live singers are also a major asset,
expertly translating Jean-Francois Cotes gorgeous original
musical score, which dips easily from 60s pop to Jobim-like
Brazilian smoothness to Bollywood-esque cheer, all while the
large 19-member company of dancers and acrobats called the
Charivari move with precision skill while interpreting Clarence
Fords striking choreography and wearing Marie-Chantale
Vaillancourts exceptionally sensuous, brilliantly colorful, and
highly whimsical costuming.
Perhaps my favorite number of all in KOOZA begins Act Two, when
a legion of Day-of-the-Dead-style performers in Vaillancourts
brilliant Tim Burton-y skeleton costumes do their best 2009
rendition of something that instantly recalls Cab Calloway and
his musical descent to Hades from the old Cotton Club days of
the 1920s and 30s. Although, at other moments in the show, some
of the Charivari troupes glittery red-and-gold trimmed outfits
quickly bring to mind ornate Christmas decorations from the
1800s, this particular number is right in time and right in
place for that spooky, spirited holiday just around the corner
known as Halloween.
That scene was not only my favorite part of KOOZA because I so
love what it so joyously and humorously represents, but also
because it provided a special personal moment for me and my
equally amused friend Penny Stallings, since the couple behind
us, who had screamed and hooted and applauded and loudly yelled
NO WAY! directly in our poor ears at every opportunity
throughout the evening, were suddenly completely silent as the
second act began.
I turned around to see if theyd left at intermission or were
still buying souvenirs and popcorn in one of the Cirques busy
concessions tents, but there they were: sitting stock-still and
amazingly expressionless, as though lifted directly from a print
of Grant Woods American Gothic. Then, perhaps to explain
himself in answer to my puzzled look, the husband said, quite
loudly, I hate this Halloween stuff. And then the wife kicked
in her shared opinion, too. Its very insensitive to true
Christians.
All I can say is: Tee-Fuggin-Hee.
Yes, KOOZA, except for what the name evokes in my proudly non-
Christian dirty mind, is a wonderful return to Cirque du
Soleils inspired early traditions. No, theres not an act you
haven't seen before on this stage, Ill bet, but theyre all
done so well, who cares? And even more than that, KOOZA offers
all this and still can manage to offend fundamentalist
Christians, too. What could be more fun then that?
{SOURCE: Entertainment Today}
BELIEVE: A Year Later [EXPANDED]
{Oct.26.2009}
-----------------------------------------------
A year ago this coming Saturday, Cirque du Soleil along with
Criss Angel unveiled their collaborative effort - BELIEVE - to
quite a number of disappointments. Joe Brown of the Las Vegas
Sun was in the audience premiere night and gave the show a
scathing negative review. Now it's a year later and he's decided
to give the show its "annual checkup". How did it do?
# # #
Unbelievably, Angel's "Believe" will hit the one-year mark on
Saturday. After a blizzard of hype - $100 million investment!
Ten-year contract! Criss + Holly 4Ever! - the show opened at the
Luxor on Halloween night 2008 to a near-unanimous chorus of boos
from reviewers, including yours truly.
I was curious about how Angel and Cirque du Soleil might have
changed or improved their collaboration in the intervening year,
so I bought tickets (including a second seat for just $25) for
Wednesday's 7 p.m. performance.
Mr. Angel, I'm afraid I've got some bad news.
"Believe" now seems a bizarre, stranded artifact of a moment
when some people had too much money. The show has been
streamlined a bit - no live musicians, fewer aerialists and
dancers, less video wizardry - but it hasn't been improved, only
diminished. Not much has changed with the overall experience of
"Believe": I got it pretty much right the first time around.
The gift shop, disappointingly skimpy when the show opened, has
been substantially stocked with every imaginable Angel-branded
accouterment.
But the leading man, the shows raison dêtre, has gotten worse,
if that can be imagined.
If not exactly humbled by the shows critical drubbing and
lackluster sales, Angel, now the butt of jokes by most other
Strip comics and magicians, seems less hubristic than he did a
year ago. Theres less swagger and no chest-baring (Angel
appears to have put on a few pounds). He looks like what he is
a cape-wearing Long Island schlub with a tragic Jennifer Aniston
haircut.
Angel is quite literally going through the motions now. The
least compelling figure on the Luxor stage, hes a puzzlingly
blank, passive star and centerpiece, pushed and pulled through a
series of disappearance stunts by his quartet of clowns and his
dueling dark-and-light stage assistants.
Mercifully, Angels speaking lines, which even a year ago were
mostly non sequiturs, have been reduced.
Whatever edge or ingenuity exists comes from the Cirque side of
the equation. A gallery of lenticular paintings lines the entry
to the showroom, equipped with motion sensors so Angels
disembodied voice says things like Are you ready? when you
pass by. Its fun to move back and forth in front of the
pictures and make Angel say Believe! over and over.
Believe still has the most beautiful proscenium framing in
town, a gilded steampunk fantasia festooned with demonic Donnie
Darko rabbits. The audio system is state-of-the-art surround
sound you feel as if phantoms are whispering just behind you
even if the music is bombastic and overloud.
Youll come away remembering a handful of images: a shower of
red poppies in a storm-gray sky, an outsize, disembodied bunny
head that rolls over and tap dances on its ears.
And then theres the chorus line of dancing bunnies who have
just torn Angels carcass limb-from-limb in vengeance for all
the rabbits sacrificed in the line of magic.
But the pacing of the show remains erratic and listless. Angels
frequent attempts to make the audience cheer (Are you having
fun? I cant hear you!) were rewarded with noticeably tepid
applause from the crowd, which was perhaps at three-quarter
capacity.
At what would seem to be the big finish, characters from Angels
nightmare strap him to a gigantic mechanism and saw him in half
with a chain saw even this is greeted with a so what? shrug.
The failure of the effect cant even be called anticlimactic
there is no climax in Believe.
One of the oddest things about this show is that the audience
still doesnt recognize the performers curtain call when it
arrives, and seem similarly confused about whether the show is
actually over. It just sort of dribbles away.
This is the sort of thing that a director could have easily
addressed, given a years time, which leads me to believe that
Cirque is just letting Believe lie there, hoping unwitting
customers will forget the reviews, until someone comes up with a
plausible, face-saving reason to shoot it in the head and
replace it.
{SOURCE: Las Vegas Sun}
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) TOURING - Under the Big Top
{Corteo, Dralion, Koozå, OVO, Quidam & Varekai}
o) RESIDENT - en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
ZAIA, ZED & Believe}
o) VENUE - Arena & Seasonal Productions
{Saltimbanco, Alegría | Wintuk, Banana Shpeel}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
.) Dates so marked (*) are not official until released by Cirque
du Soleil.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit our website < http://www.CirqueFascination.com/ >.
---------------------------------
TOURING - Under the Big Top
---------------------------------
Online at: < http://www.cirquefascination.com/?page_id=39 >
Corteo:
Tokyo, Japan -- Nov 4, 2009 to Jan 24, 2010
Fukuoka, Japan -- Feb 11, 2010 to Apr 4, 2010
Sendai, Japan -- Apr 21, 2010 to Jun 6, 2010
Dralion:
Guadalajara, Mexico -- Oct 22, 2009 to Nov 15, 2009
Mexico City, Mexico -- Nov 26, 2009 to Jan 17, 2010
Kooza:
Santa Monica, CA -- Oct 16, 2009 to Dec 20, 2009
Irvine, CA -- Jan 8, 2010 to Feb 14, 2010
San Diego, CA -- Feb 25, 2010 to Mar 28, 2010
Portland, OR -- Apr 9, 2010 to May 23, 2010 (*)
Seattle, WA -- Jun 3, 2010 to Jul 11, 2010 (*)
Vancouver, BC -- Jul 22, 2010 to TBA (*)
Houston, TX -- Sep 23, 2010 to Oct 31, 2010 (*)
Miami, FL -- Nov 18, 2010 to Dec 26, 2010 (*)
Ovo:
Toronto, ON -- Sep 3, 2009 to Nov 01, 2009
San Francisco, CA -- Nov 27, 2009 to Jan 24, 2010
San Jose, CA -- Feb 4, 2010 to Mar 21, 2010
Philadelphia, PA -- Apr 8, 2010 to May 16, 2010 (*)
New York, NY -- May 27, 2010 to Jul 4, 2010 (*)
Hartford, CT -- Jul 15, 2010 to Aug 15, 2010 (*)
Boston, MA -- Aug 26, 2010 to TBA (*)
Washington, DC -- Oct 14, 2010 to Nov 28, 2010 (*)
Atlanta, GA -- TBA
Quidam:
Belo Horizonte, BR -- Oct 23, 2009 to Nov 22, 2009
Curitiba, BR -- Dec 4, 2009 to Dec 27, 2009
Rio de Janeiro, BR -- Jan 8, 2010 to Feb 7, 2010
Sao Paulo, BR -- Feb 26, 2010 to May 2, 2010
Porto Alegre, BR -- May 27, 2010 to Jul 11, 2010
Buenos Aiers, AR -- Jul 23, 2010 to Aug 29, 2010
Santiago, CL -- Sep 11, 2010 to Oct 31, 2010
Varekai:
Moscow, Russia -- Oct 23, 2009 to Dec 31, 2009
London, UK -- Jan 6, 2010 to Jan 24, 2010
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
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.
Online at: < http://www.cirquefascination.com/?page_id=40 >
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
2009 Ticket Prices:
o Category 1: $109.00
o Category 2: $99.00
o Category 3: $95.00
o Category 4: $79.00
o Category 6: $69.00
o Category 7: $60.00 (Limited View)
2009 Dark Dates:
o November 4
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:30pm
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]
2009 Dark Dates:
o December 7 - 22
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tue through Sat, Dark: Sun/Mon
Two shows Nightly - 6:00pm and 9:00pm
2009 Ticket Prices (adults) / (child 3-9):
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)
2009 Dark Dates:
o No More for 2009
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 7:30pm and 10:30pm
2009 Ticket Prices (18+ Only!):
o Category 1: $135.00
o Category 2: $99.00
o Category 3: $79.00
o Category 4: $69.00
o Category 5: $69.00 (Obstructed View)
2009 Dark Dates:
o December 1 - 14
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Fri through Tue, Dark Wed/Thu
Two Shows Nightly - 7:00pm and 9:30pm
2009 Ticket Prices (adult) / (child 5-12):
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]
2009 Dark Dates
o No More for 2009
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
2009 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 [$75.90]
2009 Dark Dates:
o December 1 - 16
ZAIA:
Location: Venetian, Macao (China)
Performs: Tuesday through Sunday, Dark Monday
One to Two Shows Daily -
Tuesday: 8:00pm
Wednesday: 8:00pm
Thursday - Saturday: 7:00pm & 10:00pm
Sunday: 4:00pm & 7:00pm
2008 Ticket Prices (adult) / (child 0-12):
o Category 1: MOP$ 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 - Showtimes vary
2009 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
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.
2009 Ticket Prices (all):
o Category 1: $160.00 + 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
2009 Dark Dates:
o No More for 2009
--------------------------------------
VENUE - Arena & Seasonal Productions
--------------------------------------
Online at: < http://www.cirquefascination.com/?page_id=251 >
[Arena Shows]
Saltimbanco:
Copenhagen, DK -- Oct 21, 2009 to Nov 1, 2009
Gothenburg, SE -- Nov 4, 2009 to Nov 8, 2009
Mannheim, DE -- Nov 10, 2009 to Nov 14, 2009
Nice, FR -- Nov 19, 2009 to Nov 22, 2009
Rotterdam, NL -- Dec 10, 2009 to Dec 13, 2009
Geneva, CH -- Dec 18, 2009 to Dec 28, 2009
Barcelona, ES -- Dec 30, 2009 to Jan 10, 2010
Salzburg, AT -- Jan 13, 2010 to Jan 17, 2010
Strasbourg, FR -- Jan 20, 2010 to Jan 23, 2010
Frankfurt, DE -- Jan 27, 2010 to Jan 31, 2010
Nantes, FR -- Feb 2, 2010 to Feb 5, 2010
Innsbruck, AT -- Feb 25, 2010 to Feb 28, 2010
Stuttgart, DE -- Mar 31, 2010 to Apr 4, 2010
Bremen, DE -- Apr 7, 2010 to Apr 11, 2010
Alegría:
London, ON -- Nov 12, 2009 to Nov 15, 2009
Greenville, SC -- Nov 18, 2009 to Nov 22, 2009
Augusta, GA -- Nov 26, 2009 to Nov 29, 2009
Hampton, VA -- Dec 2, 2009 to Dec 6, 2009
Worcester, MA -- Dec 9, 2009 to Dec 13, 2009
Montreal, QC -- Dec 18, 2009 to Dec 30, 2009
Quebec, QC -- Jan 5, 2010 to Jan 10, 2010
Detroit, MI -- Feb 4, 2010 to Feb 7, 2010
Indianapolis, IN -- Feb 11, 2010 to Feb 14, 2010
Austin, TX -- Feb 17, 2010 to Feb 21, 2010
Frisco, TX -- Feb 24, 2010 to Feb 28, 2010
Hoffman Estates, IL -- Mar 3, 2010 to Mar 7 2010
Cedar Rapids, IA -- Mar 10, 2010 to Mar 14, 2010
Champaign, IL -- Mar 17, 2010 to Mar 21, 2010
Omaha, NE -- Mar 24, 2010 to Mar 28, 2010
East Lansing, MI -- Mar 31, 2010 to Apr 4, 2010
Cleveland, OH -- Apr 7, 2010 to Apr 11, 2010
[Venue Shows]
Wintuk:
Location: Madison Square Garden, New York City (USA)
Performs: Wednesday through Sunday, Dark Monday/Tuesday
Exception: December 22nd, 28th and 29th
Previews on Wednesday November 11th and 12th at 7:30pm
Regular Season begins Friday, November 13th!
Schedule: There are currently 87 scheduled performances between
Wednesday, November 11, 2009 and Sunday, January 3,
2010 on the following days:
o) Mon [2] - 12/28 (2)
o) Tue [4] - 12/22 (2), 12/29 (2)
o) Wed [12] - 11/11 (1), 11/18 (1), 11/25 (2), 12/2 (1),
12/9 (1), 12/16 (2), 12/23 (2), 12/30 (2)
o) Thu [13] - 11/12 (1), 11/19 (2), 11/26 (2), 12/3 (2),
12/10 (2), 12/17 (2), 12/24 (2),
o) Fri [11] - 11/13 (1), 11/20 (2), 11/27 (2), 12/4 (2),
12/11 (2), 12/18 (2)
o) Sat [24] - 11/14 (3), 11/21 (3), 11/28 (3), 12/5 (3),
12/12 (3), 12/19 (3), 12/26 (3), 1/2 (3)
o) Sun [21] - 11/15 (2), 11/22 (2), 11/29 (3), 12/6 (3),
12/13 (3), 12/27 (3), 1/3 (2)
Performance Times: Wintuk may perform at the following times
throughout its run. Consort the official schedule for
exact showtimes:
< http://www.cirquedusoleil.com/CirqueDuSoleil/Wintuk/
schedule/WIN09_Show_Schedule.pdf >
o) Monday: 2:30pm, 7:30pm
o) Tuesday: 2:30pm, 7:30pm
o) Wednesday: (2:30pm), 7:30pm
o) Thursday: (11:00am), (2:30pm), 7:30pm
o) Friday: (11:00am), 2:30pm, 7:30pm
o) Saturday: 11:00am, 2:30pm, 7:30pm
o) Sunday: 1:00pm, 5:00pm / 11:00am, 3:00pm, 7:00pm
Ticket Prices:
Tickets range from $30.00 to $220 based on category and
date of performance. Peek and non-peek pricing is in
effect.
Banana Shpeel:
Location: Chicago Theater, Chicago (USA)
Schedule: There are currently 59 scheduled performances between
Thursday, November 19, 2009 and Sunday, January 3, 2010,
on the following days:
o) Mon [02] - 12/28 (2)
o) Tue [05] - 12/22 (3), 12/20 (2)
o) Wed [11] - 11/25, 12/2, 12/9 (2), 12/16 (2), 12/23 (3),
12/30 (2)
o) Thu [03] - 11/19, 12/10, 12/17
o) Fri [05] - 11/20, 11/27, 12/4, 12/11, 12/18
o) Sat [19] - 11/21 (2), 11/28 (2), 12/5 (3), 12/12 (3),
12/19 (3), 12/26 (3), 1/2 (3)
o) Sun [14] - 11/22 (2), 11/29 (2), 12/6 (2), 12/13 (2),
12/20 (2), 12/27 (2), 1/3 (2)
PERFORMANCE TIMES
o) Wednesday: 2:00pm, 8:00pm (12pm, 4pm, 8pm on 12/23)
o) Thursday: 8:00pm
o) Friday: 8:00pm
o) Saturday: (12:00pm), 4:00pm, 8:00pm
o) Sunday: 1:00pm, 5:00pm
TICKET PRICES
o) Adults (1-8 tickets):
PEAK / WEEKEND:
Regular: $48.00, $65.00, $85.00, $98.00
Premium: $150.00
Tapis Rouge: $300.00
NON-PEAK / WEEKEDAY:
Regular: $35.00, $45.00, $65.00, $82.00
Premium: $115.00
Tapis Rouge: $275.00
PRE-THANKSGIVING:
Regular: $23.00, $30.00, $50.00, $75.00
Premium: None
Tapis Rouge: None
NOTE: Student, Senior and Group pricing are available.
=======================================================================
OUTREACH - UPDATES FROM CIRQUE'S SOCIAL WIDGETS
=======================================================================
o) Club Cirque -- This Month at CirqueClub
o) Networking -- Cirque on Twitter, Facebook & MySpace
o) Telemajik -- Cirque on YouTube
o) Gatherings -- CirqueCon, Celebri & More!
---------------------------------------
CLUB CIRQUE: This Month at CirqueClub
---------------------------------------
25 Years Worth of Stories: Wrestling Match
{Oct.08.2009}
Rich in stories collected over the years, we share some of them
with you today:
It was the spring of 1994. My son, aged nine at the time, was on
crutches as he had been in a very bad sledding accident. The
ushers kindly offered us the very first row of the big top
bleachers and we were ready to experience Cirque du Soleil
latest creation, Alegría. This was our second Cirque experience,
the first one being Saltimbanco.
At the time, I was already involved in theatre as I was working
as a freelance stage director and production manager. I was
attracted to some extent by Cirque du Soleil as everyone was,
but it seemed out of reach and, in any case, I wasn't lacking
work. The show started and, from the first minute, we were
transported by the magic and beauty of Alegría.
Then came the strongman act. He was a hulking man who twisted
bars of metal and played around with dumbbells. At one point,
the ringmaster (Fleur) asked me to come on stage to challenge
the strongman (I am 6 feet tall and weigh 150 pounds-not quite
the physique required for the task!). Sportingly, I agreed and
went on stage. The strongman then asked me to rip up a telephone
book and twist a bar of metal; I failed miserably.
The ringmaster then showed me the way out and, as I was about to
leave the stage, I suddenly had an idea. Before returning to my
seat, I turned to the strongman and removed my shirt, revealing
my scrawny body. I challenged him to a wrestling match, and the
crowd of 2,500 began to applaud, stomp their feet and yell.
Naturally, I hit the mat in no time at all; I put my shirt back
on and returned to my seat under the warm applause of the entire
audience. I was moved and my son couldn't believe his eyes. I
told my son that one day I would work for Cirque du Soleil. Two
years later I did, and that was 14 years ago.
I am still motivated and ready to meet any challenge... unless
it involves wrestling!
JACQUES MARCOTTE
Artistic Coordinator
Cirque interpreters at work
{Oct.13.2009}
In 1997, the only interpreter working for Cirque du Soleil spoke
mostly Russian, among a few other languages. Today, there are 38
interpreters working to facilitate communication inside our
tower of Babel! To better understand this profession, I have met
with Lucie Janvier, Head of the Interpreter Service at Artist
Training, and Marie-Odile Pinet, a Cirque du Soleil interpreter
for 11 years.
COMPLETE CONFIDENCE
The work of interpreters generally starts with Casting. "When
non-English-speaking artists arrive at the Studio, an
interpreter who speaks their mother tongue is assigned to help
with the various steps of the newcomers' development at Cirque
du Soleil, including contract signing, taxation, medical
appointments, fittings, artistic and acrobatic classes, and so
on," Lucie explains. Interpreters quickly become guides for
foreign artists. "It's surprising how quickly they give us their
complete trust in this process, when they are in such a
vulnerable position," says Marie-Odile. "I always feel
privileged to share this bond with them." For projects in
creation, the interpreter assists artists until the premiere.
For artists joining a touring show, she stays with them until
their departure. "Premieres are my favourite because I get to
witness the consecration of the artists I have been working with
for months," adds Marie-Odile. "These athletes-turned-artists
are now spreading their wings and flying among Cirque du Soleil
stars."
SHARING CULTURE
Interpreters are conveyors of culture first and foremost, and on
different levels. Language is a given, but interpreters also
teach artists about general and artistic North American culture
and about the circus culture. "For example, a Director once
asked the artists to put themselves in the shoes of a black
person from the Bronx. A North American quickly understands this
cultural reference, but it is complete gibberish to a Chinese
person. An interpreter must therefore come up with examples that
are specific to the artist's culture to make the concept clear,"
says Marie-Odile Pinet.
"The Chinese are extremely polite people, which tends to be one
of the biggest problems I have with them," says Marie-Odile. "If
their make-up is making them itchy or their costume is
uncomfortable, they won't complain because they want to be nice.
I therefore need to get them to understand that it is important
for them to express how they feel in terms of their work." For
Marie-Odile, the ultimate goal is to make artists as independent
as possible. Once the show starts, artists no longer have access
to an interpreter. This is why it is crucial to teach them the
culture and help them learn English as soon as possible. In the
end, the faster they learn, the easier it is for them to
concentrate on their performance.
THE INTERPRETER SERVICE AT CIRQUE
* There are 38 interpreters working for Cirque du Soleil,
helping artists blend in at our International Headquarters.
* The most common languages are Russian, Portuguese, Spanish and
Chinese.
* The Artist Training department gets an average of 125 artists
per week at the studio.
* The Interpreter Service is available to all of Cirque du
Soleil, in 10 different languages, for business meetings,
customer service, contract negotiations, and so on.
GENEVIÈVE DORÉ, Special Correspondent
---------------------------------------------------
NETWORKING: Cirque on Twitter, Facebook & Myspace
---------------------------------------------------
{Oct.01.2009 | ZED}
Check out these photos from ZED's 1st Anniversary!
Fotos [4]: < http://www.facebook.com/album.php?aid=155276
&id=41326571163&ref=mf >
{Oct.01.2009 | Saltimbanco}
Saltimbanco is playing in Turku until October 4. Check out the
local article in Finnish!!
Read More:
< http://www.ts.fi/online/kulttuuri/77247.html >
{Oct.02.2009 | Koozå}
MERCI Denver! KOOZA last performance in Denver is this Sunday!
Heading to Santa Monica at the Pier - Don't miss the blue and
yellow Big Top Raising on Friday, October 9 & Premiere October
15!
Foto [1]: < http://www.facebook.com/photo.php?pid=3169597
&id=34324811338 >
{Oct.03.2009 | Dralion}
Today, here at Dralion we celebrated the Chinese Mid-Autumn Moon
Festival! Treats, chinese music, decorations and special games
were part of the celebration!
Fotos [5]: < http://www.facebook.com/album.php?aid=324701
&id=39340140194&ref=mf >
{Oct.05.2009 | "O"}
Had the clowns go work in the IT department at Vegas.com for the
day - looks like they might have a second career in the works!!
Video: < http://www.vegas.com/exposed/#video >
{Oct.06.2009 | Zumanity}
Play the brand new online Zumanity game, and see Willie Bronco
take off his clothes! So hot.
Link: < http://www.ZumanityRoses.com >
{Oct.07.2009 | Saltimbanco}
Saltimbanco rolled in the Spektrum in Oslo, Norway. The show
opens Thursday, October 8.
Foto [1]: < http://www.facebook.com/photo.php?pid=3730146
&id=41245692958 >
{Oct.08.2009 | Dralion}
Dralion went to visit "La Cola de Caballo". 75 of us went and it
was great. We also went to visit Santiago. beautiful area!
Foto [1]: < http://www.facebook.com/photo.php?pid=9383670
&id=39340140194 >
{Oct.09.2009 | Winutk}
Join us in Times Square, on the pedestrian walk way (btwn 45th &
46th Streets) on Tuesday October 13 at 11:00 am for a Wintuk
sneak peek including a special performance of the dynamic Hoops
act. With the flexibility of a contortionist and the skill of...
a rhythmic gymnast, artist Elena Lev will present a mind-
boggling yet graceful performance with hoops spinning all around
her body. Additionally, a hula-hoop expert will lead the public
in a workshop as they attempt to learn some new moves and
tricks.
Read More:
< http://www.facebook.com/photo.php?pid=9006952&id=98244255320 >
{Oct.09.2009 | LOVE}
Our new friend Guy Kawasaki got a rare backstage glimpse into
the inner workings of LOVE @ The Mirage. Check out these
fantastic videos and pics!
Link: < http://holykaw.alltop.com/behind-the-scenes-tour
-of-the-beatles-love-ci >
{Oct.09.2009 | Koozå}
Check out these pictures of the Big Top Raising of KOOZA at the
Santa Monica Pier!
http://www.facebook.com/photo.php?pid=3191509&id=34324811338
http://www.facebook.com/photo.php?pid=3209573&id=34324811338
{Oct.13.2009 | Winutk}
At 11am on Tuesday, October 13, Wintuk overtook almost an entire
city block in Times Square for our Hula Hoop Event! Countless
New Yorkers joined us to watch Elena Lev perform her act from
Wintuk and then stayed to learn how to Hula Hoop on their own as
Sheryl Wilson from Fitnotics led the crowd in a Hula Hoop class!
Fotos [11]: < http://www.facebook.com/album.php?aid=321847
&id=98244255320&ref=mf >
{Oct.14.2009 | Koozå}
Our KOOZA cast and crew have just arrived at the Santa Monica
Pier. Check out our KOOZA Big Top at the beach in Santa Monica!
Foto [4]: < http://www.facebook.com/album.php?aid=161583
&id=144074117500&ref=mf >
{Oct.18.2009 | Banana Shpeel}
Check out this new behind-the-scenes video from Banana Shpeel by
Cirque du Soleil. Coming to The Beacon Theatre in February!
Video: < http://www.stumbleupon.com/s/#2Xjjlc/
www.cirquedusoleil.com/en/shows/banana-shpeel/creation-
journal/pub.aspx/ >
{Oct.19.2009 | Winutk}
There was a lot of twirling and twisting around Times Square on
Tuesday. Members of the new Cirque du Soleil show Wintuk were
out in force showing off their skillsmuch to the delight of
passers-by.
[Matilda Tracy, New York City Resident]: I just really enjoy
hula hooping.
The snowballs, as theyre called, put on quite a show, and put a
smile on many a face.
[Frosty, Wintuk Snowball]: Im from Wintuk, Cirque du Soleil.
There were snowballs small and tall. And the most famous of them
all was rhythmic gymnast Elena Lev. So how does she do all those
tricks?
[Elena Lev, Wintuk Artist]: Just flexibility and know your body
pretty well. At this point I am just having fun and my body kind
of just works together with me.
Peoples faces lit up watching her perform.
[Elena Lev, Wintuk Artist]: Thats my goal because I love being
on stage and its about how people react and how the people look
at it and I love to connect and hear what they think about it.
[Matilda Tracy, New York City]: Well it was really fun because
it has clowns and it also has acrobatics and a lot of other
things.
The grand finale of her performance was the slinky made up of
about 30 hoops.
[Elena Lev, Wintuk Artist]: Its your whole body moving at the
same time. You just need to know your body pretty well, and it
takes a little bit of concentration and challenge in it, but
then its fine. Its easy.
{Oct.19.2009 | Dralion}
Last Thursday at 1pm, the White Big Top went up in Guadalajara!
Fotos [5]: < http://www.facebook.com/album.php?aid=332177
&id=39340140194&ref=mf >
{Oct.20.2009 | Saltimbanco}
Saltimbanco is setting up inside the Copenhagen Forum! The show
will be there for two weeks !!
Fotos [3]: < http://www.facebook.com/album.php?aid=153738
&id=41245692958&ref=mf >
{Oct.20.2009 | Alegría}
Arena's Largest Show Set Up For Eight Performances!
Read Review:
< http://wfmz.com/view/?id=1285309&title=Arena%27s%20Largest
%20Show%20Set%20Up%20For%20Eight%20Performances >
{Oct.21.2009 | Zumanity}
Halloween is almost here! Will your costume be SCARY or SEXY?!
Tell us! And if you need ideas, check out the posted article
with DIY costume tips from our Cirque makeup and costume people!
Read More:
< http://www.shine.yahoo.com/channel/parenting/cirque-du-spooky-
last-minute-costume-tips-for-kids-from-cirque-du-soleil-
528321/ >
{Oct.21.2009 | Saltimbanco}
A little taste of Saltimbanco at Good Evening Denmark !! The
show opens tonight in Copenhagen!
Video: < http://go-dyn.tv2.dk/video.php/id-25895126.html >
{Oct.22.2009 | ZED}
Check out the updates on ZED's official Youtube site!
Link: <www.youtube.com/user/ZEDofficial2009#p/a/0/bNrWozgoitg >
{Oct.22.2009 | Dralion}
Dralion is getting ready for its Premiere tonight in
Guadalajara! Have a look at the artists preparing backstage.
Fotos [5]: < http://www.facebook.com/album.php?aid=333432
&id=39340140194&ref=mf >
{Oct.23.2009 | Saltimbanco}
Good words for Saltimbanco in the Copenhagen press !! 5 out of 6
stars !
Read More:
< http://www.berlingske.dk/scene/goegl-og-poesi-i-forum# >
{Oct.23.2009 | Quidam}
Quidam is preparing for its Premiere in Belo Horizonte tonight!
Check out some pictures from last night's Dress Rehearsal.
Fotos [4]: < http://www.facebook.com/album.php?aid=133061
&id=35752277045&ref=mf >
{Oct.27.2009 | ZAiA}
Watch Peter Rabbit, street drummer from NYC at ZAIA Theatre!
Video [0:43]: < http://www.facebook.com/video/video.php
?v=101565266531287&ref=mf >
{Oct.27.2009 | ZAiA}
All 75 artists of ZAIA performed at Tennis Showdown 2009 last
Sunday. The cast also took a group photo together with star
players Pete Sampras, Andre Agassi, Yuki Bhambri and Ryan
Harrison !
Fotos [4]: < http://www.facebook.com/album.php?aid=118500
&id=34277887388&ref=mf >
Fotos [6]: < http://www.facebook.com/album.php?aid=118488
&id=34277887388&ref=mf >
Backstage, getting Ready:
Fotos [8]: < http://www.facebook.com/album.php?aid=118494
&id=34277887388&ref=mf >
{Oct.28.2009 | LOVE}
Fun video feature from backstage at LOVE! Featuring interviews
with Sugar Plum Fairy (Michael Moloi), Skater (Rafael Lima) and
Artistic Director (Kati Renaud). Check it out!
Video [4:28]: < http://www.facebook.com/video/video.php
?v=195122560434&ref=mf >
{Oct.28.2009 | Dralion}
4 Elements Characters of the show, visited Tlaquepaque yesterday
and had tones of fun! what a beautiful place to visit
Fotos [5]: < http://www.facebook.com/album.php?aid=336308
&id=39340140194&ref=mf >
{Oct.29.2009 | Dralion}
Check out this really cool picture taken Tuesday on our outting
in Tlaquepaque!
Foto [1]: < http://www.facebook.com/photo.php?pid=9704745
&id=39340140194 >
{Oct.30.2009 | La Nouba}
Carla Weaver from the wardrobe and make up department at La
Nouba created these ghoulish looks. Can you guess who these La
Nouba artists are?
Fotos [8]: < http://www.facebook.com/album.php?aid=118173
&id=16315569901&ref=mf >
{Oct.30.2009 | Quidam}
Meet Artist Jailton Carneiro. He joined the Picadeiro Circo
Escola in 1989, and it was during some castings held in Brazil
in 1999, that Jailton was scouted by Cirque du Soleil and there
began his story with us.
Read More: < http://www.facebook.com/photo.php?pid=3425915
&id=35752277045 >
{Oct.31.2009 | BeLIEve}
Happy 1st anniversary to CRISS ANGEL Believe, one of Cirque du
Soleil's 6 theater shows (soon to be 7) in Las Vegas!
-------------------------------------------
TELEMAJIK: Cirque on YouTube & Flickr
-------------------------------------------
[FLICKR]
Website: < http://www.flickr.com/photos/cirquedusoleildotcom/ >
Athough also avaialble through Facebook, Cirque du Soleil released a
small number of images through its Flickr photostream this month,
showcasing Wintuk on the streets of New York City. Check them out
here!
New York, NY - 10/13/09 - Cirque Du Soleil's Wintuk gets hip for
winter with a hula hoop event in Times Square. Cirque du Soleil
and MSG Entertainment host a sneak peek of the smash-hit winter
show Wintuk, which will return for performances at the WaMu
Theater at Madison Square Garden from November 11, 209 - January
3, 2010. Wintuk artist Elena Lev presents a mind-bogging yet
graceful performance with hoops spinning all around her body,
then a hula-hoop expert leads the public in a hula hooping
workshop.
-< www.flickr.com/photos/cirquedusoleildotcom/4030426764/ >
-< www.flickr.com/photos/cirquedusoleildotcom/4029671459/ >
-< www.flickr.com/photos/cirquedusoleildotcom/4030426368/ >
-< www.flickr.com/photos/cirquedusoleildotcom/4029671099/ >
-< www.flickr.com/photos/cirquedusoleildotcom/4029670907/ >
-< www.flickr.com/photos/cirquedusoleildotcom/4029670659/ >
[YouTube]
{Oct.08.2009 | Mystère}
For our good friend Jay Martinez, and anyone else who may have
missed it, Mystère was featured on last night's episode of
"America's Next Top Model." Don't forget to smile with your
eyes!
[7:56] /// < http://www.youtube.com/watch?v=7DKbV39aoVE >
{Oct.13.2009 | Wintuk}
Watch a clip of our Wintuk event in NYC that happened this
morning!
[0:27] /// < http://www.youtube.com/watch?v=Db_XVTQgn6c >
{Oct.14.2009 | ZAiA}
Edited version of the Trampoline Performance @ Great Hall -
Venetian Macau. Watch our artists celebrating the BIG day of
ZAIA! Enjoy!!
[2:03] /// < http://www.youtube.com/watch?v=emB5m6fyO5E >
{Oct.26.2009 | LOVE}
Check out this video of the LOVE Skaters "auditioning for a job"
at Vegas.com! Pretty funny...
[2:10] /// < http://www.youtube.com/watch?v=YIlYPoKTg20 >
{Oct.29.2009 | Wintuk}
Meet with Cirque du Soleil show characters as they take over the
streets of New York!
[0:37] /// < http://www.youtube.com/watch?v=2U7-JfKpFcE >
-------------------------------------------
GATHERINGS: CirqueCon, Celebri & More!
-------------------------------------------
CirqueCon: < http://www.CirqueCon.com/ >
With the highly successful CirqueCon 2009: Monterrey even now behind
us, we're already looking forward to New York City (with the
possibility of another destination as well) in 2010. We'll be gearing
up on this one shortly and will make an announcement as soon as we
can. Hang in there!
Meanwhile, to help keep in touch we've launched a Facebook page for
CirqueCon, which you can find here:
< http://www.facebook.com/pages/CirqueCon/272446895013?ref=nf >
=======================================================================
COMPARTMENTS -- INFORMATION BEHIND THE CURTAIN
=======================================================================
o) DIDYAKNOW - Facts about Cirque
o) HISTORIA - Cirque du Soleil History
---------------------------------
DIDYAKNOW? - Facts About Cirque
---------------------------------
o) Didyaknow that Alegría travels with more than 200 costumes, 300
pairs of shoes, 100 wigs and 22 Old Birds masks?
o) Didyaknow The largest set element in OVO is the wall, which is set
against the rear of the stage? The performers climb on it,
disappear into it and use it as a stage, a platform and a launching
pad. The Wall measures 60ft wide by 20ft tall and is made of just
two moveable components. It is supported only on the sides to allow
a floor with built-in trampolines to slide in and out like an
enormous drawer.
o) Didyaknow, in 2009, over 600 performers will receive customized
training in the Creation Studio?
o) Didyaknow that Alegría's White Singer is the storyteller who echoes
in song everything she sees around her? She sings of melancholy and
despair, of joy and happiness. Her luminous white gown is exquisite
- underneath a bodice and skirt-frame adorned with jewels and
pearls, is miles of flowing crinoline. In her dress and long white
gloves, she moves like a delicate porcelain doll in a jewelry box.
o) Didyaknow that over 2,500 costume items from Saltimbanco travel
from city to city in more than 50 road cases? Many sets of costumes
are available for any type of incidents!
o) Didyaknow the boat in the Storm scene in KÀ weighs 1800 pounds? It
is completely manipulated onstage by the artists. .
o) Didyaknow the over-sized animal puppets-dogs, birds and ice giants
are costume hybrid devices worn by the performers to help create
the magical world of Wintuk? The two large bird puppets stand over
14 feet tall with a 10-foot wing span. The height is created by the
artists wearing stilts.
o) Didyaknow there are over 540 LED lights in the SUN from HERE COMES
THE SUN at LOVE? Magical!
o) EXTRA: How well do you know the Artists on Quidam? can you name the
4 Brasilian Artists and what Act they perform?
Answer: Jailton Carneiro, Denise Wal, Graceline de Moura Oliveira
and Rafael Munhoz are the 4 Brasilian Artists on Quidam, and all 4
are performing in the Spnish Webs Act as well as Skipping Ropes.
------------------------------------
HISTORIA: Cirque du Soleil History
------------------------------------
* 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.07.2009 -- Alegría Arena opened Pittsburg, PA
* Oct.08.1992 -- Saltimbanco opened Santa Monica
* Oct.08.2009 -- Saltimbanco Arena opened Oslo, Norway
* 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.09.2009 -- Guy Laliberté will make an announcement from space
concerning ONE DROP.
* 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.13.2009 -- ZED Album Released
* Oct.14.1993 -- Saltimbanco opened in Washington DC
* Oct.14.1998 -- Saltimbanco opened Ottawa (Special Performances)
* Oct.14.2009 -- Alegría Arena opened Philadelphia, PA
* Oct.14.2009 -- Saltimbanco Arena opened Aalborg, DK
* Oct.15.2004 -- Dralion opened Madrid, Spain
* Oct.15.2008 -- Alegría opened Seoul, South Korea
* Oct.16.2009 -- Koozå opened Santa Monica, CA
* 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.21.2009 -- Alegría Arena opened Reading, PA
* Oct.21.2009 -- Saltimbanco Arena opened Copenhagen, DK
* Oct.22.2003 -- Canadian premiere of Varekai on CBC
* Oct.22.2003 -- Quidam opened Fukuoka, Japan
* Oct.22.2006 -- Quidam NAT 3 Ended.
* Oct.22.2009 -- Dralion opened Guadalajara, MX
* Oct.23.2008 -- Dralion opened Canberra, Australia
* Oct.23.2009 -- Quidam opened Belo Hoizonte, Brazil
* Oct.23.2009 -- Varekai opened Moscow, Russia
* 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) "Evoking the Cards - a ZED album review"
By: Keith Johnson - Seattle, Washington (USA)
{Issue Exclusive}
o) "BOOK REVIEW: Laliberté's 'Fabulous' Story"
By: Keith Johnson - Seattle, Washington (USA)
{Issue Exclusive}
o) "Guy Laliberte - A Ride of a Lifetime" [EXPANDED]
A Special Collection of Articles About Guy's
Social Mission on the International Space Station
o) "A Chat with Deborah Colker" [EXPANDED]
A Special Reprint from Playbill Arts
-------------------------------------------------------
"Evoking the Cards - a ZED album review"
By: Keith Johnson - Seattle, Washington (USA)
{Issue Exclusive}
-------------------------------------------------------
When my wife and I first heard (and saw) the brilliant ZED at the
Cirque du Soleil Theater Tokyo back in November, 2008 as part of
CirqueCon 2008: Tokyo! we were enthralled by the beauty of the René
Dupéré score.
As he says in the ZED Program Book: "I'm very intuitive and
instinctive in my approach. Once I'd read François Girard's script
for ZED I responded right away, and I often find that my first
responses are better than the second ones. What I'm looking to
capture is the colour of a show, and how to express that colour
musically. I take inspiration from all kinds of musical sources but
my style is more European than North American." The Program Book also
makes mention of the scores Mediterranean, Caucasus and Ireland
influences, saying it includes "frequent incursions into the strange,
injection emotion and fire into the major arcana."
We hoped that when it was finally adapted for album it would contain
much of the power and emotion we heard in Tokyo. When we heard "The
World's Meet" on the Cirque compilation set "25" (Cirque du Soleil
Musique CDSMCD-10030-2, 2009) we were pleased and hopeful - the song
fully managed to convey the power and beauty of one of the best
moments in the show with a great arrangement and a stirring chorus
finale.
But we were concerned that, as with the Dupéré score of KA, the CD
wouldn't include the ZED creation band and musicians, consisting of:
Kevin Faraci - Singer (Abraka & Kernoon) - United States
Johanna Lillvik - Singer (characters Noui & Erato) - Sweden
Michel Cyr - Keyboards, Bandleader - Canada
Patrick Kelly - Guitar - Canada
Darrell Craig Harris - Bass - United States
Paul Lazar - Violin - France
Paul Hanson - Bassoon - United States
Mario Labrosse - Drums - Canada
Ron Wagner - Percussion - United States
But after talking with Cirque Musical Director Alain Vinet (see
Fascination issue #67-August 2009) and hearing the Violaine Corradi-
composed score for ZAIA (Cirque du Soleil Musique CDSMC-20029, 2009
and note our interview with Violaine Corradi in Fascination! issue #69
- October 2009) we were encouraged they'd make the "right" decision
and record the creation band for the album. We just had to wait and
see but the waiting was hard, especially after the originally
announced release date came and went.
Finally, on October 13, 2009, the US had its first opportunity to hear
whether album producers Martin Lord Ferguson & Ella Louise Allaire
succeeded. The album (Cirque du Soleil Musique CDSMC-20031, 2009)
will appear in Canada on December 8.
The album consists of the following tracks, along with the album times
and the acts they go with:
1. First Incantation (2:14) - Show Opening
2. Birth of the Sky (5:37) - Bungee
3. Reaching Up (4:59) - Chinese Poles w/trampoline
4. Blue Silk (4:37) - Aerial Silks
5. High Temptation (4:55) -High Wire
6. Vaneyou Mi Le (4:34) - Banquine
7. ZED in Love (4:49) - Aerial Straps
8. Kernoon's Fire (4:30) - Juggling
9. Mirror of the Two World's (4:35) - Baton Twirling
10. The World's Meet (6:36) - Hand to Hand
11. Fiesta (4:50) - Trapeze
12. Hymn of the Worlds (3:23) - Charivari and Show Finale
Total playing time: 55:50
All the songs were written by René Dupéré except "First Incantation,"
"Vaneyou Mi Le," "Kernoon's Fire" and "Fiesta" which were written by:
René Dupéré, Ella Louise Allaire & Martin Lord Ferguson.
To quote from the Producers Note on the CD packaging: "Attempting to
put the emotions of Tokyo's resident Cirque du Soleil show, ZED, into
music was both an incredible and challenging experience. Using the
live band, string orchestra, choir and various singers, we wanted
first and foremost to bring out the unique emotions and the feeling of
traveling through different worlds evoked by the show's rich palette,
thus allowing the listener to continue the journey through the music.
We juxtaposed musical elements that initially might have appeared from
different genres. These varied tones finally took an inviting turn
and created an evocation of which we are particularly proud."
First things first - is it the creation band? Happily YES! The
fantastic ZED creation band plays throughout with only a few
exceptions, interestingly enough having to do with vocalists. We'll
use the numbers from the official order above to make distinctions.
Singers Lillvik and Faraci sing lead vocals throughout. Exceptions
are Ella Louise Allaire on 6 and 11, and in a signifigant exception
Martin Lord Ferguson on 8, "Kernoon's Fire." Both add "additional
vocals and vocal effects" to several tracks but these don't distract
from the front and center lead vocals. Throat singer Matt Becks sings
in the introductions to 1 and 9. A 50-member choir adds to several of
the songs. The childrens choir from FACE school chimes in on the
finale "Hymn of the Worlds."
To address a concern expressed by fans, I note that the lead vocals
are clear and upfront in the mix and not overly diluted with effects
or additional side vocals.
The only additional solo musician is Jean-Marie Benoit who adds
classical guitar to 7. The Bel Canto de Bratislava string orchestra
appears on 7 of the albums tracks adding a well-recorded full string
section, sounding more like KA than ZAIA.
The album was a multi-national affair, with the ZED band and vocalists
being recorded in Tokyo, the chorus in Canada and the orchestra in
Slovakia.
Putting the songs into the order they appear in the show comes up with
the playlist below. The approximate length of time the act takes in
the show is listed after the act.
9b. Mirror of the Two Worlds (from 2:34-4:35)
Animation Music - 5:00
1. First Incantation (2:14) - Show Opening-2:00
* Combining of the two halves of ZED (1:00) has no known title,
does not appear.
2. Birth of the Sky (5:37) - Bungee-4:15
* Birth On Earth - Lasso - This song does not appear on the CD-show
length 8:00
* Clown act here (3:45) has no music
3. Reaching Up (4:59) - Chinese Poles w/trampoline-6:15
4. Blue Silk (4:37) - Aerial Silks-5:00
5. High Temptation (4:55) -High Wire-9:15
8. Kernoon's Fire (4:30) - Juggling-6:45
* Going to Intermission clown act (1:00) has no music
* Entre'act (played for the last ten minutes of intermission) has
no known title, does not appear.
6. Vaneyou Mi Le (4:34) - Banquine-9:15
7. ZED in Love (4:49) - Aerial Straps-5:45
9a. Mirror of the Two World's (0:00-2:34) - Baton Twirling-3:00
10. The World's Meet (6:36) - Hand to Hand-8:15
* The clown act of playing with the Shaman's pole (3:00) has no
known title, does not appear.
11. Fiesta (4:50) - Trapeze-10:45
* Closing of the Storybook (4:15) has no known title, does not
appear.
12. Hymn of the Worlds (3:23) - Charivari and Show Finale-6:35
The track order of the CD follows the show pretty closely, with little
missing music. The arrangements sound full and complete and hit all
the major sections of the pieces (which can be played multiple times
in performance to fit the act on stage).
The biggest omission is that of the lasso act music - it is a major
part of the first act of the show. On the other hand, the music for
the Entre'act is more of a jazz instrumental that is played while the
audience is returning to their seats after intermission and really
isn't vital to telling the show's story. Still, the 55 minutes of
music on the CD leaves the possibility of 20 or so minutes more (as
shown by the recent ZAIA soundtrack), so the songs could easily have
been included. I'm always in favor of filling out a CD, especially in
the case of soundtracks, so this disk gets a "C" (average) on the
Value scale.
The packaging is similar to ZAIA; a tri-fold cardboard package with
the booklet in the left-hand pocket and the CD (featuring Johanna in
her outfit from "Birth of the Sky") on the right. Blue is the
predominant color. There are also messages from the composer and
producers.
The Program Book credits Dupéré as Composer and Arranger, with Martin
Lord Ferguson as Musical Director and Co-Arranger. Ella Louise
Allaire handled Orchestrations and Arrangement for the Chorale.
So how does the music match up to the powerful show? Pretty well, in
this reviewers opinion. A quick run-down of the albums tracks with
some notes:
"First Incantation" brings in the main theme carried by bassoon, with
throat singing to begin. "Birth of the Sky" is Johanna's showpiece
and she sings clearly throughout, with strings adding power to the
theme. "Reaching Up" has some nice jazz solo breaks, but some
compression artifacts detracting from the climactic finale. "Blue
Silk" puts its emphasis on the guitar and the blending of the duet
vocals. With "High Temptation" the orchestra adds a lot, perhaps too
much, diluting the band of much of its punch. The fast pacing of the
tune reflects the fleet footing of the performers on the high wire.
"Vaneyou Mi Le" has producer Allaire singing lead in a switch, but her
voice is out of place here compared to Johanna's clear tones. "ZED in
Love" is a slower finely crafted piece. "Kernoon's Fire" is a
puzzlement. It's out of place from the order of the show and includes
Ferguson's vocals instead of Kevin's. Again, the lower tones of the
singers vocals here seem out of place compared to the rest of the
album.
We have since learned, through a posting on Kevin's mailing list
quoted on Cirque Tribune, that the vocal sung in the show is mostly
improvised by Faraci himself. "It was a directorial decision that the
vocal line I wrote fits the character for the show," Farraci wrote,
"and since putting my version on the album would be a conflict of
interest with the rest of René's music, I was not asked to record that
song." This explanation is interesting since four songs, including
"Fire," already have co-writers. To have listed Farraci as another
co-writer of "Kernoon's Fire" and have him sing his improvised vocal
line on the CD would have been keeping with the "spirit" of the show
at least, and not in this writer's opinion been a "conflict of
interest."
My biggest complaint with the musical arrangement comes next, with
"Mirror of the Two Worlds." In performance this song comes full-force
with powerful drumming from the beginning. It is also short - the
baton twirling act it accompanies is only about 3:00 long - and when
the song and act come to an end so soon you almost feel let down.
When the chorus comes out of the surround speakers in the theater it's
a chilling moment of power you wish could be longer.
The CD plays it straight with the arrangement of the song though
reducing the sound of the drums in the mix. The appearance of the
chorus is still chilling (the first chilling moment we had listening
to the CD), but you really want the song to be expanded upon. It's
not like there wasn't time available on the CD, I really would have
preferred another couple of minutes of arrangement here. Though it
reflects the show pretty closely I think it was a missed opportunity.
On the same track is a bit of the music from the Animation, which
could be considered the "Overature." I would have preferred this as
it's own separate track, perhaps arranged with the music from the
"Entre'act."
"The World's Meet" is exactly the same as it appears on "25." Though
now I notice that percussive consonants in the vocals make a
distracting slapback sound in the vocal reverb. We love the tinkling
wispy ending but it isn't long enough, it could have taken more time
to fade - this is true of several tracks on the album. "Fiesta" sets
up a nice groove that stays there and cooks throughout.
The better of the two ZED pieces to appear in the Cirque Audition Kit
MP3's was, to me, "Charivari," which morphed to become one of the
sections of the show finale. I really enjoyed the chorus vocals as
presented there, which the CD version omits. However, the chorus at
the beginning of "Hymn of the Two Worlds" is the second chilling
moment of the album. It has a beautiful choral sound and brings the
album to a powerful close. Though note to the producers; it would be
OK if you left more low-frequency subwoofer rumble in with the big
booms at the end of songs - it would really be fun to feel the boom as
you do in the show.
Other flaws are noticeable but minor. There are several obvious edits
within some of the songs. (With 20 spare minutes of space, why did
they bother?) And there are some scuffling sounds noticeable in the
background at the choral beginning of "Hymn of the Two Worlds" that
could have been corrected.
Bottom line: Yeah, I have nits to pick, but overall they got this one
RIGHT. The brilliant music of this brilliant show has been pretty
accurately translated to this disk. The enhancements to the creation
band sound are interesting and, I feel, appropriate. My wife and I
are seriously considering whether this CD replaces "O" as our favorite
Cirque soundtrack.
After some time traveling other musical avenues (Varekai, Zumanity,
remixes, Delirium) Cirque is coming back to their core. ZAIA, ZED,
and the compilation "25" signal a back-to-basics approach that this
Cirque fan applauds.
-------------------------------------------------------
"BOOK REVIEW: Laliberté's 'Fabulous' Story"
By: Keith Johnson - Seattle, Washington (USA)
{Issue Exclusive}
-------------------------------------------------------
While there has been much written about Cirque du Soleil the company,
not much has been written about the people who helped make the
company. With his ascension into the ranks of billionaires and higher
profile as a space tourist, it was only a matter of time before a
biography, authorized or not, would attempt to illuminate the life of
its founder, Guy Laliberté. The book is:
Guy Laliberté: The Fabulous Story of the Creator of Cirque du Soleil
By Ian Halperin // Transit Publishing, 2009, 226 pages (ISBN: 978-1-
926745-15-2) $25.00 // www.transitpublishing.com
Halperin has written several pop culture books, including two on Kurt
Cobain ("Who Killed" and "The Murder of") and three on supermodels
(talking about their "dark side" and "deadly world"). In the latter,
as he comments in these pages, he slept with several supermodels while
gathering research undercover. His most popular book was "Unmasked:
The Final Years of Michael Jackson" (published BEFORE the singers
death it should be noted). He also has a celebrity gossip website,
www.ianundercover.com and if pictures on the site are to be believed
is never without sunglasses.
The book dedication reads: "To anyone who has ever performed on the
street and thought it wasn't possible to go further in life." Part I
discusses Laliberté's and Cirque's history up to Dralion. Part II
involves Laliberté's (and Halperin's) relationship with Rizea Moriera
(more on her later). Part III deals with his parties, development of
the show with The Beatles that became LOVE, and later shows. There
are five pages of generic pictures.
Halperin writes from a personal angle, often injecting himself into
the storyline (Halperin and Laliberté's children played together for
years). Halperin also identifies with Laliberté in that both were
roving buskers in their youth. Overall, the book does present a
balanced view of its subject, listing positive attributes and
accomplishments while also documenting the "other side."
Trying to tell the Laliberté's story invariably involves telling
Cirque's story. Some time in the book is given to drug use and sexual
exploits in Cirque's early years. This Halperin has gleaned from
talking with former employees and friends of the circus in numerous
interviews scattered throughout the book. There are also vivid
descriptions of some of the more lavish parties Laliberté has been
known to throw, in a chapter previously excerpted in Maclean's
Magazine.
Long work hours and low pay for performers are also discussed. The
book makes mention that this was eventually rectified when Gilles Ste-
Croix became director of Human Services. Around the same time Normand
Latourelle tried to take Cirque over, which resulted in him being
bought out for $75,000 and $200,000 for the Admission ticket network.
(We've known this happened, but the amount has not been previously
public.)
Much coverage in the book (and perhaps the reason the book was written
in the first place) is given to Rizia Moreira, mother to three of
Laliberté's five children. The book documents her story thoroughly,
though she doesn't come off well in the telling. Halperin speculates
that by wooing her when she was very young and spending freely on her,
Laliberté created a "monster" that demanded only the finest and most
expensive things and threw fits when she didn't get her way. She
comes off as spoiled and needy, however justified she might feel in
her anger over how she was treated.
Also a factor in Moreira's behavior was Laliberté's insistence on not
marrying. Quebec's civil code states a common-law union does not
confer the same rights as legal marriage. Even though they may be
together for years, non-married couples have no claim on the assets of
the other person. This could be a large part of the motivation for
Moriera's actions and feelings.
Nevertheless, Laliberté comes across as a very caring person, reaching
out to Moriera repeatedly. Many others talk about his kindness and
compassion. This point is made later in the book, where after taking
up poker he was involved in a game with poker player David Benyamine
in December 2007. Realizing he had the upper hand with a $1.2 million
dollar pot at stake, Laliberté tried to talk Benyamine into backing
out. "I can afford to lose this. You can't." It was only when
player Doyle Brunson remarked to Benyamine, "One day in his life
represents your whole life," that Benyamine relented, taking
Laliberté's bailout offer and losing only $47,000.
In the second printing reviewed here, an additional post-scriptum has
been added including a sordid tale sent to Halperin after publishing
of the first edition mentioning Laliberté's bedroom prowess. Halperin
also documents Laliberté's efforts to stop the book prior to and after
publishing.
While fun to read on a superficial level, the book is not well
documented. It includes no bibliography, research notes or index,
just a listing of names cited. Neither is it well proofread, as
editing and typesetting errors appear throughout the book.
Some parts of Cirque's (and thereby Laliberté's) story are glossed
over or omitted entirely. It skims over the beginnings of Cirque.
For example, it talks about the conscious decision to exclude animals
but doesn't mention Laliberté's duck Foin-Foin who appeared with him
in early performances. Halperin documents the troupes' early journey
to Niagara Falls but doesn't discuss the business failure that
resulted. There is no mention of Nouvelle Experience's taking up
residence in The Mirage parking lot in Las Vegas in 1993. (This early
success, it has been suggested, would convince Laliberté that Vegas
could be a goldmine for Cirque.)
Some mention is made of "O" but no mention of the delays in opening
the resort and the show. It mentions ZAIA only in passing and has no
mention of ZED. On the other hand, it talks at length about LOVE,
crediting Laliberté as the moving force behind it (which seems
likely). Mention is made of the firing and lawsuit of Matthew Cusick,
but no mention is made of the trademark infringement lawsuit Cirque du
Soleil brought against Neil Goldberg and his Cirque Productions, which
Goldberg won.
With books of this type, there is often an aura of "Can I believe
this?" Since it contains no documentation of its claims, it's left up
to the reader to believe the words within.
This isn't a business book concentrating on the company, but at the
same time isn't a tell-all-expose book. One comes away feeling the
book treats the man in a balanced and fair way, showing his drive and
compassion while also exploring his need for control and power. The
overall impression of Laliberté one comes away with is very positive.
If you want to know more about the MAN, this book is occasionally
interesting. There are several bits of I-didn't-know-that knowledge
spread through its pages. (For example, Laliberté's will stipulates
one third of his assets will be distributed to his children, one third
to Cirque, one third to a charity of his choice, with nothing for his
female companions.) Much of it comes off as quickly written and not
thoroughly researched as shown by its lack of documentation. It's for
the truly interested only, or else the US$25.00 will seem like a
waste.
It still would be very interesting for someone to take an academic
look at the BUSINESS of Cirque du Soleil, with a thorough analysis of
the way it runs a creative-product organization and remains highly
profitable. (The book "The Spark" had none of the financial data or
behind-the-scenes stories one would find in such a book.) But with
Cirque's press shyness and zealous desire for control of its image
that book might be some time in coming. (And why should it need to -
as Halperin's book often points out Cirque is a private company,
unbeholden to stockholders and by extension the public at large.)
Halperin's propensity to write multiple books on the same subject
(Cobain, models) prompts us to wonder if there will be another Cirque
do Soleil book from Halperin. Of course, if Mr. Laliberté wants to
call and set the record straight on anything contained in the book,
we'd be happy to give him all the space he wants right here in
Fascination!. He has our email.
-------------------------------------------------------
"Guy Laliberte - A Ride of a Lifetime"
A SpecialCollection of Articles About Guy's
Social Mission on the International Space Station
-------------------------------------------------------
Cirque du Soleil founder Guy Laliberte's recent ride into space
has been chronicled in many media outlets across the world. Here
is a small sample of articles relating to Guy's "Poetic Mission"
in space:
Cirque Tycoon Savours Space Ride of a Lifetime
From: Reuters, UK
------------------------------------------------
Canadian circus billionaire Guy Laliberte said on Tuesday his return
to Earth in a capsule engulfed by flame was the ride of his lifetime.
Laliberte, the founder of "Cirque du Soleil", landed last Sunday
wearing his trademark clown's red nose after spending two weeks in
space during which he hosted a show linking singers, dancers and
celebrities in 14 cities to raise awareness about the scarcity of
clean water on Earth.
For the 50-year-old, who reportedly paid $35 million (22 million
pounds) for his space trip, it was his ride back to Earth that
provided the most thrilling show.
"Mission accomplished," a relaxed and smiling Laliberte, a former
street performer now worth an estimated $2.5 billion, told a news
conference at Russia's space training centre outside Moscow. "That was
the ride of my lifetime."
The ascent to the International Space Station (ISS) was more of "an
emotional and spiritual" encounter with something new, he said. "But
coming back was really a ride!"
"You are going down and you are going through these blue layers and
... you start to see the sparks, and it's an amazing spectacle. For me
as an entertainer, this was an amazing show."
"I'd go up there right away to just do it again, because it was such a
great physical and adrenaline kick for me."
Laliberte returned from the ISS with Russian Gennady Padalka and U.S.
astronaut Michael Barratt both of whom had spent almost seven months
at the outpost.
He said he had tried to entertain the station's crew, though he
confessed there was strict discipline on board which limited his
clowning.
"For a person like me, who goes into such a busy environment, the last
thing you want to do is to hit and damage some kind of equipment
there," he said.
"So my first steps there were very careful and actually day after day
I was able to be in a more playful environment."
Laliberte was the seventh space tourist to pay for a ticket to the ISS
to enjoy weightlessness and the view back to Earth.
But with the U.S. space shuttles to be retired next year or early in
2011, Russia now bears the brunt of sending crews and cargo to the ISS
and Moscow says it does not know when the next wealthy tourist could
fly into space.
"The space crew has now been expanded to six persons, and only
professionals are to be launched," Sergei Krikalyov, head of Russia's
space training centre, told the news conference.
"No new launches of space tourists are planned in the near future," he
said.
Guy Laliberté blasts off for One Drop in Space
From: Ethioplanet
-----------------------------------------------------
Canadian Guy Laliberté, who started out as an accordion player but
went on to found the world-famous Cirque du Soleil, ranks 261 in the
Forbes list of the Worlds Billionaires for 2009.
Which is why he can afford to pay the Russians $35 million for a
journey into space.
Early this morning, he blasted of from the Baikonur cosmodrome in
Kazakhstan for a rocket-powered trip to the international space
station.
Im not a scientist, Russia Today had him saying recently.
Im not a professional cosmonaut and astronaut. What Im bringing up
there is what I am. And what I am is an artist, Im creative and I
think Im a person with a pretty high spirit.
So Im going to crack jokes on these guys while theyre sleeping,
tickling them.
A Russian Soyuz rocket is currently on its way en route to the station
where Laliberté will live for nine days.
However, although hes lucky enough, and rich enough, to be able to
embark on this kind of adventure, theres a more serious side to it.
Laliberté is also a philanthropist who in 2007 created the One Drop
foundation to ensure everyone has access to water.
On the foundation web site, When I founded ONE DROP, it was (or
rather, it still is) desperately urgent to do something to protect
water, he blogged on Monday.
Our objectives target action on the ground, educational projects (such
as AQUA, which several cities have expressed an interest in) and
raising awareness.
I could have done all that in traditional philanthropic ways or even
step by step as we did with Cirque du Soleil, but we dont have 25
years to save the cause of water! And besides, I wanted a different
sort of foundation, something that sets us apart and incorporates art.
ONE DROP is already acting in practical terms, but in the project of
going into space, I saw an innovative opportunity, reflecting the
image of Cirque du Soleil and my own image, too. Of course there is an
element of risk, but thats in my natureand taking risks is an
integral part of my companys culture as well.
Right from the start, I knew that such a project wouldnt get
unanimous support, but I was willing to take the chance. And anyhow, I
wanted to go into space! The stars seemed to be perfectly aligned so
that I could take my gang at Cirque and ONE DROP along with me. Whats
more, the international coverage we are getting at the moment seems to
support the fact that its the right thing to do; I wouldnt have been
able to reach so many people so quickly by doing things the
traditional way.
Beyond the audacity of the project, I know that this mission is
upsetting some of you from an ecological point of view. I am already
committed to respecting the environment in my everyday life, so of
course I was worried about offsetting my carbon footprint for my
flight into space.
Celebrating the 25th anniversary of Cirque du Soleil in the same year
was just perfect timing! I make no bones about it: of course this
project gives the company high visibility as an events organizer. This
free, worldwide event is in step with the humanitarian journey already
embarked on by Cirque du Soleil.
In fact, 1% of the companys income goes towards helping young people:
Cirque du Monde, our status as donor to La TOHU and our assistance in
the St-Michel neighbourhoodnot to mention our support for young
artists. As far as Im concerned, this $35 M is another investment,
one that has led to interesting partnership requests for ONE DROP.
Will the end result be what we hoped for? In the short term, there are
encouraging signs. In the medium and long term, well have to wait and
see! However, I believe that the spin-off effects will make things
easier for other projects out there that support the cause of water.
Of course, it is thanks to my own financial situation that I have been
able to experience such an adventure. And yes, I am also making a
personal dream come true through this mission. Im having an enriching
experience with a fascinating community. And from your feedback, I am
so happy to see that the drops are gathering together to create a
magnificent wave! P2pne
Canadan Space Tourist Hosts Space Show
From: The Washinton Examiner
--------------------------------------------
A former stiltwalker and fire-eater is stealing NASA's space show.
Cirque du Soleil founder Guy LaLiberte met with journalists Thursday
and previewed his upcoming space station visit. He will rocket into
orbit from Kazakhstan this fall as a paying tourist.
Laliberte says he won't be playing with any fire in space, for obvious
reasons. But he hopes to try some acrobatics in weightlessness and may
teach his crewmates a card trick or two.
As Laliberte talked up creativity, art and safe water for the world's
poor, the astronauts in orbit worked to place experiments on the new
front porch of Japan's space station lab.
Was Guy's 10-Day Stay A Success?
From: The Canadian Broadcasting Company
---------------------------------------------
Canadian space tourist Guy Laliberté says his 10-day stay at the
International Space Station successfully drew attention to his work to
guarantee access to clean water worldwide.
The Cirque du Soleil founder used part of his trip to stage a two-
hour, multi-city show from the station on Friday to help raise
awareness of global drinking-water problems.
The time on the space station was an effective "marketing tool to put
the One Drop Foundation on the map," Laliberté told reporters at
Russia's cosmonaut training centre outside Moscow on Tuesday.
The 50-year-old Quebec entrepreneur founded the One Drop Foundation in
2007 to fight poverty by providing access to safe water.
"Mission accomplished," Laliberté said. "I still have to evaluate the
impact internationally, but so far it looks like a great success."
Laliberté reportedly paid $35 million US for the 12-day trip. He
returned to Earth in a Soyuz space capsule on Sunday with Russian
cosmonaut Gennady Padalka and NASA astronaut Michael Barratt, who had
spent six months on the space station.
Padalka jokingly told reporters that the crew aboard the space station
enjoyed "complete freedom and democracy, except for anarchy" during
Laliberté's stay there.
Laliberté was the seventh private citizen to blast into space and the
ninth Canadian in space. He is expected to be the last private paying
tourist to visit the station for some time, as NASA mothballs its
fleet of space shuttles and the U.S. space agency relies on Soyuz
craft to get back and forth to the space station.
The one-time stilt-walker and fire-eater said that he experienced only
one scary moment during his return trip to Earth, as the Soyuz capsule
re-entered the atmosphere and plunged toward the planet.
Before returning to Earth, Laliberté had told reporters that watching
the Earth from up above helped him appreciate the environment even
more. He called the space trip a life-changing experience.
"It's worth every penny and more, I believe, because over and above
doing it for myself, there's a lot of other stuff that's going on,"
Laliberté said.
"Laliberte Describes His 'Amazing Ride'"
From: Red Orbit
--------------------------------------------
Following his recent trip into space, Cirque du Soleil founder Guy
Laliberte recalled the journey as "an amazing ride."
"Everything was an amazing ride and I would go back up there right now
to do it again," Laliberte told reporters at a press conference
outside Moscow.
Laliberte, 50, spent about $35 million to reserve his spot on the
Soyuz.
He said the price of admission was "worth every penny and more,"
because he was able to raise awareness of his cause aimed at
highlighting the situation of water on earth through the foundation
One Drop.
During his 12-day mission aboard the International Space Station, he
took part in a two-hour Webcast featuring former U.S. Vice President
Al Gore, Irish rock group U2 and others.
The Webcast was aimed at gaining attention and support for the One
Drop Foundation.
"I never denied this was a moment to create awareness toward the
situation of water in the world, toward foundation One Drop," said
Laliberte.
"I don't have 25 years, the world doesn't have 25 years to address the
situation of water, so I think this was a great opportunity to combine
a personal dream also, and having a greater benefit than just coming
in space."
Laliberte returned to Earth Sunday, donning his red clown nose,
alongside Russian cosmonaut Gennady Padalka and NASA astronaut Michael
Barratt.
He told reporters that the return trip from space to earth was the
ride of his lifetime.
"You start to see the sparks for the first time and there's all these
colors, and it's an amazing spectacle," he said.
Space-Directed Show Has a Universal Message
From: The Montreal Gazette
----------------------------------------------
Guy Lalibertés Poetic Social Mission into space was transmitted live
to the world last night, with help from an international star-studded
cast preaching the value of one of our planets most precious
resources.
The two-hour show, titled Moving Stars and Earth for Water, was
broadcast on TV and the Internet via Lalibertés charity foundation,
Onedrop.org. It began with a word from the Cirque du Soleil founder
floating in zerogravity aboard the Russian spaceship Soyuz TMA-16
somewhere above the Earth.
Hello, everyone. Welcome to the International Space Station,
Laliberté began. I am an artist, not a scientist.
The show, he explained, was the only way I can make a significant
contribution to this mission.
The mission is his 12-day, $35-million joyride around the planet. He
talked of how water touched me and inspired me. Water is the source
of life. A child dies every eight seconds because of contaminated
water.
Those sentiments were expanded upon by former U.S. vice-president Al
Gore and environmentalist David Suzuki.
The show moved to Cirque headquarters at the TOHU in Montreal, where
astronaut Julie Payette and author Yann Martel began to recite
Martels multilingual fable of the sun, the moon, the Earth and the
adventures of a lone drop of water.
The narrative, from which the show got its title, would be picked up
by other guests throughout the evening, providing a unifying thread to
the proceedings.
A performance by Cirque acrobats and trapeze artists followed. Over to
Johannesburg and Durban, South Africa, where Peter Gabriel and Nobel
Peace Prize laureate Dr. Wangaari Maathai continued the tale.
In Rio de Janeiro, it was the turn of Brazilian singer-songwriter and
minister of culture Gilberto Gil. Off to Paris, where Quebec star
Garou, Frances Patrick Bruel and others performed a melodramatic song
by Luc Plamondon over striking aerial images of water.
In Mexico City, Salma Hayak spoke before ceding the stage to singer
Lila Downs. Cut to pop star Shakira in New York, a song by soprano
Tiffany Speight in Sydney, Australia, and British soul siren Joss
Stone, performing from London.
Dispatches from Marrakech, Mumbai and Osaka added to the events
globetrotting variety show feel. Pacing was erratic at times but
things flowed remarkably smoothly overall.
An exchange between Bono (on stage from a U2 concert in Tampa, Fla.)
and Laliberté, near shows end, fell flat. But ensuing footage from
U2s 360 tour provided a much-needed boost of energy.
It all culminated with the Cirque in Moscow, bringing Lalibertés at
once self-promoting and philanthropic mission full circle.
All for water, and water for all, he said, putting on his red clown
nose. Peace.
Cirque Founder Calls Trip to Space A Success
From: The Associated Press
------------------------------------------------
The Canadian billionaire told reporters at the cosmonaut training
center outside Moscow that his trip to the International Space Station
was an effective "marketing tool to put the One Drop Foundation on the
map." The trip cost Laliberte $35 million.
The one-time stilt-walker and fire-eater said that he experienced only
one scary moment during the his return trip to Earth, as the Soyuz
capsule re-entered the atmosphere and plunged toward the planet.
Laliberte returned to Earth Sunday with Russian cosmonaut Gennady
Padalka and NASA astronaut Michael Barratt.
Padalka jokingly told reporters that the crew aboard the space station
enjoyed "complete freedom and democracy, except for anarchy," during
Laliberte's stay there.
"Surprisingly, everything went smoothly," he said.
Barratt pointed out that he was for at time one of two physicians
aboard the orbiting laboratory. "Having two doctors aboard was a bit
dangerous for the crew," he joked in Russian.
-------------------------------------------------------
"A Chat with Deborah Colker"
A Special Reprint from Playbill Arts
-------------------------------------------------------
After nearly a decade, famed Brazilian choreographer Deborah Colker
and her Companhia de Dance - a return to New York Oct. 22-25. The
energetic artist recently spoke to Playbill Arts about the long
overdue engagement, as well as her recent work with Cirque du Soleil.
Since founding Companhia in 1994, Colker has created nine full-length
pieces for her troupe- each one taking an average of two years to
meticulously plan and construct.
Born to a musical family in Rio De Janeiro, Colker began as something
of a music prodigy, playing with an orchestra by the age of 14. She
would go on to study piano for over a decade (a skill she will
demonstrate to New York audiences in one of the evening's movements),
play volleyball for a time and study psychology for six years. All of
these elements - love of sports, music and overall artistry - heavily
inform her work.
In the time since she last brought her Companhia to the Big Apple,
Colker has found time to serve as a guest choreographer for the Berlin
Ballet - Komische Oper, create a piece for the 2004 Carnival and take
home the U.K.'s prestigious Olivier Award for her work on Mix in 2001.
Most notable among recent achievements, Ms. Colker has had the honor
of being the first woman to create a show for Cirque du Soleil. Her
Ovo, a Brazilian-dance themed journey into the world of insects,
opened in Canada to great acclaim. When we spoke, it had recently been
announced that the show will soon be touring the United States,
including a New York engagement in May and June of 2010.
For the time being, Colker is focused on her current date with City
Center. For this visit she has chosen 4 X 4 from her repertoire.
4 X 4 is a collaboration between dance and visual art. Works by
Brazilian artists of different times are transformed into dance.
Cantos (Corners), based on Cildo Meireles; Mesa (Table), Chelpa Ferro;
Poinho (Some People), Victor Arruda; and Vasos (Vases), Gringo Cardia,
are choreographies that bring images to life. The company explores the
concepts of restraint, gentleness, limitation, daring, transparency
and above all, clarity. Music is other vertex in the artistic love
triangle formed in 4 X 4 the performance also offers Deborah Colker
herself on the piano, interpreting a Mozart sonata, in the piece
entitled Meninas.
A CHAT WITH DEBORAH COLKER
Q. You're in Brazil right now?
I am in Brazil. I was in New York, and after that I went to Toronto. I
stayed for one week because the performance that I directed for Cirque
du Soleil, Ovo, is performing in there. I am very happy. I just heard
that Ovo is coming to New York next May 2010! It was good because I
did the premiere in Montreal, and then I went to Toronto to see their
performance, and I loved it. They are amazing, it's a great dance, and
the audience loved the show! I was very happy. I knew that the show
would go to San Francisco, but I didn't know that it would perform in
New York.
Q. How did the Cirque du Soleil job come about?
We started in 2006. I was in London with my company performing at the
Barbican Center. We were performing KNOT. It's a performance about
desire, desires that are possible and desires that are not possible. I
was there and the vice-president of Cirque came to the show. She is
right arm of [Cirque CEO] Guy Laliberte. He came to see the
performance and came to talk with me. I guess it was a long time that
they were trying to talk to me- they were looking for me! [Laughs.]
Q. They had their eye on working with you already, then?
Yes. I am the first woman to direct a Cirque du Soleil production in
25 years. In 2009 they are celebrating their 25th birthday.
Q. Cirque shows tend to be more acrobatically-inclined. Is that the
case with Ovo or is it more of a dance piece?
Ovo is a performance piece. I signed on as the writer, I wrote the
story, I directed and I am the choreographer. I signed on for three
things in the show. Really, it's a love story. Guy asked me to do a
show with a nature theme, nature and biodiversity. I chose insects as
a theme. They said okay, and they liked my idea. I relate the insects
with the acrobats, the way that they climb, the way that they fly, the
way that they float, the way that they jump. I jumped inside the
insects' walls and changed the scale. Insects are very small compared
to human beings. I did the show inside the scale of the [insect
world]. Inside this world is the community of insects.
There is one insect that is a foreigner. He arrives in this community
inside a big egg. All of the insects are totally interested in this
egg and they steal it. This foreigner is a crazy fly, and he is trying
to get his egg back. During the time that he is trying to do this, he
falls in love with a ladybug. She's American, a New Yorker! She's very
funny. There are two stories [in Ovo], one about the egg and the love
story. This is a show that has a story that everybody [can relate to].
Even a child will see Ovo and understand it. It's a community of
insects and it's a love story. The egg is a metaphor for many things:
hope, love, knowledge... We must never break the egg. All of the
artists onstage are acrobats, and every one is a dancer. When I
choreographed the show, it was not only the positions but the scenes
inside the numbers. And I created some new numbers. Really, I think
that this show features a lot of dance, a lot of movement. The action
and movements are working together all the time. And also, there are a
lot of Brazilian songs!
Q. Was the music composed ahead of time?
It's a special composition. I brought in Berna Ceppas, who works with
me in my dance company. He has been working with me [for a long time],
and I fought a lot to bring this guy in to compose for me. The music
of Cirque du Soleil is usually within a single style. With Ovo we
change completely.
Q. So it's largely Brazilian music?
Yes. Not only Brazilian, but we brought a lot of rhythms and sounds
from Brazil. For example, in Ovo we have a forro dance. We have one
number written from Mato Grosso, which is in the center of Brazil, a
kind of dance [specific to that region]. We have samba from Rio, we
have funky carioca
Q. I know with Cirque you're not really able to develop the piece
during rehearsals to the extent that you usually like to. Was that
difficult, having to prepare so much ahead of time?
It was a long process. I began this process in 2006 and began the work
in 2007. I worked with them for two and a half years. What I could do
with them, I worked them from September until May. I had moved to
Montreal from December until May as we rehearsed. I stayed for five
months. Because I work with my company all the time and [was
splitting my time] between the company and Cirque du Soleil, this last
year I traveled to Montreal 12 times!! From Brazil! Can you believe
it? [Laughs.] It was a long trip.
It's really different from my company. With my company, all of the
creative process is done together- the conception, the artistic
elements, etc. I'm working with the sets, with the lights, with the
costumes, with the music. It's everything together. We usually spend
between two years and three years to create a performance for my
company. What happened with Cirque du Soleil, it was quite the same
but it was different. We began at a table [working] on the
intellectual conception and the aesthetic, working on the ideas. After
a year and a half I went back to begin practicing. This was a huge
challenge. I love to explore movement and space. Since the beginning
of this process I began to think about space. Space is the residence
between the dialogue and the dance. In the past I would create
something on paper, build the set and then begin to dance. With my
company we create and develop it together.
Q. Now, you're returning to New York with your company for the first
time in almost 10 years. How did you choose 4 X 4 as the piece to
present this time?
The performance that I did last time was ROTA, which means "Root."
After 4 X 4 I created two more performances. I have KNOT and I have
CRUEL, which is my newest one. We decided to bring 4 X 4, I think, for
many reasons. It's an emblematic performance. I think it represents a
lot about my vision. I think that with 4 X 4 I began to make some
important changes. I've worked with space a long time, but with 4 X 4
the space is used in a different way. The spaces in 4 X 4 have a lot
of metaphor and a lot of [new ways] to relate to the dance. This work
we developed differently. With this work I began to make a lot of
changes, especially in my conceptions- to [approach the work] not only
like a choreographer but like an artist, like a director. I began to
make many changes. We've traveled [the piece] a lot with the company,
not only in the U.S. but also to Europe, China, Singapore, New
Zealand
We have been to Kennedy Center many times, but it has taken
nine years to come back to New York!
Q. You did 4 X 4 at Kennedy Center about six years ago. Do your pieces
tend to change over time?
I've changed many things. [Dance] is something alive, no? Sometimes
the dancers change, or sometimes I change. It's really [a lot of
work]. We rehearse every day for 7 hours and 45 minutes. Every day! We
do ballet class everyday; we do contemporary class most days. It's
about passion. But I usually change the pieces because of the change
in my dancers. Here, I changed the costumes, for example, in the third
choreography of the first act. It's called Poinho. The theme is that
it's a huge painting. It is so big and so colorful, so I thought that
it was good, with the costumes, to have only one color. Also, there is
a dance in the second act which we began with two dancers. Now we use
four dancers.
Q. This is the Mozart piece?
Yes, now it's four dancers.
Q. And you will be playing the piano for that part of the performance.
That's right. I'm not a concert pianist. I am someone who studied
piano as well as dance. It's very unpretentious. In 4 X 4 I relate
all of the pieces, all of the choreographies, with some visual arts
and space and movement. The beginning of the second act is the only
moment where it's an empty stage. It's only the piano and the dancers
and the simplicity of the music. Little by little, all of the dancers
in the company begin to build the Vases configuration. We need to
bring to the stage 90 vases. They are brought on one by one. And they
need to be precise because we dance through them and around them. And
then we suspend these vases from the floor and we dance under them.
That's why they need to be placed so precisely on the stage, spaced
exactly one meter vertically and one meter horizontally.
Q. How many members of the company are performing in this piece?
17. It's really exciting for the dancers because it's really something
that is a huge risk. It's the risk of delicacy. Nobody dies, but if
one vase falls [gasps] it's a different kind of danger. [Laughs.] But
everybody is breathing together.
Q. For anybody who isn't familiar with your work, would you say there
is a particular theme or a message to this piece?
Really I am just fascinated with that relationship between movement
and space, and I love the relation between visual arts and dance. I
think that 4 X 4 is a performance about restriction and limitations.
It is also about our lives living in the big cities of the world.
These restrictions and limitations, this is something that we are
living in these cities. More and more we have more people, more cars
and less space! We need a lot of concentration. The piece is about
needing to learn to work in this space and how, through creativity, we
can find our way to dance inside this reality that we have to deal
with.
Q. Are you working on anything new at the moment?
I've begun to create a new performance with my company. I've spent a
few years working on Cirque du Soleil and liked it very much. Now I'm
thinking of telling new stories. I need to grow as an artist. I like
to research and develop a lot and I spend usually 2 years minimum to
create a performance.
Q. Well thank you for taking the time to talk to us. We're looking
forward to having you back in New York.
I just want to say this: It's taken us 9 years to come back to New
York, but I hope that people did not forget us! New York is a city
that is the big capital to play. I have two sensations [about
performing in New York]. One is that it's a big responsibility. The
other is that it's a big honor and pleasure. I'm counting the days!
I'm nervous and afraid, almost like when we have a birthday and throw
a party and we fear that nobody will show up! [Laughs].
Q. I think you'll have no problem finding an audience here!
Good! I will sleep better today!
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 9, Number 8 (Issue #70) - November 2009
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2009 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination!
Newsletter." By sending us correspondence, you give us permission
(unless otherwise noted) to use the submission as we see fit, without
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Newsletter." "Fascination! Newsletter" is not affiliated in any way
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Copyright (c) and are registered trademarks (TM) of Cirque du Soleil,
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infringement intended.
{ Nov.07.2009 }
=======================================================================
