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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 11, NUMBER 2 February 2011 ISSUE #85e
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
We've got the latest news items posted to Fascination! Web and, of
course, all the pertinent posts on Cirque du Soleil's various social
widgets in our OUTREACH section, and updates to Cirque's tour schedule
within.
In addition - Although Cirque du Soleil was not directly affected by
the accident on the set of Julie Tamyor's Spider Man musical: Turn Off
the Dark, it prompted many to review and re-evaluate their safety
procedures and protocols in response to the accident. You can see
Cirque du Soleil's response to inquiries on its own safety policies in
our CLUB CIRQUE section this month.
Wonder why certain songs were omitted from the Viva Elvis CD release?
Or how certain tracks were selected for the show? Find answers to
those questions and much more with our exclusive interview with Erich
Van Tourneau, the Musical Director for Viva Elvis! And, are you
curious about the newly released CRISS ANGEL BELIEVE album? If so,
check out Keith's review of the original score, which has just been
made available for download through Apple's iTunes platform.
Next month we'll check into the two new "LOVE version" tracks as part
of the newly announced THE BEATLES LOVE album exclusive release on
iTunes - "The Fool on the Hill" and "Girl" - as well as continue with
our interview series... I wonder: who will be next? I know! And you'll
definitely want to stay tuned for this one!
Okay, so, let's get started!
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
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o) Cirque Buzz -- News, Rumours & Sightings
o) Itinéraire -- Tour/Show Information
* Arena Shows -- In Stadium-like venues
* BigTop Shows -- Under the Grand Chapiteau
* Resident Shows -- Performed en Le Théâtre
* Venue Shows -- Venue & Seasonal Productions
o) Outreach -- Updates from Cirque's Social Widgets
* Club Cirque -- This Month at CirqueClub
* Networking -- Cirque on Facebook, YouTube & Flickr
o) Compartments -- A Peek Behind the Curtain
* Historia -- Cirque du Soleil's History
o) Fascination! Features
* INTERVIEW /// Exclusive Interview with the Musical
Director for Viva Elvis!: "Erich Van Tourneau -
Takin' Care Of Business"
By: Keith Johnson - Seattle, Washington (USA)
* CD Review: Criss Angel BeLIEve Soundtrack CD
By: Keith Johnson - Seattle, Washington (USA)
* Tokyo Dance Magazine Covers ZED [EXPANDED]
A Special Collection of Interviews
o) Subscription Information
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Now in its 18th year, 'Mystere' builds
durability with good humor [EXPANDED]
{Jan.01.2011}
-------------------------------------------------
There's the funny baby, the Red Bird and the giant snail we've
all come to love over the years. Still, it was hard not to think
about Spider-Man.
"Mystere" counted down to its born-on-Christmas Day 17th
anniversary at Treasure Island last week, the same one in which
a stunt man was seriously injured in previews for the Broadway
comic-book musical "Spider-Man: Turn Off the Dark."
Cirque du Soleil launched its Las Vegas empire with "Mystere."
Even if it doesn't need "Spider-Man" to further its scheme of
world domination, it's a safe bet the risk of injury would be
lower with Cirque in charge of the Broadway show's stunt work.
Just look at what they do twice a night, where they have "spider
men" in everything but the costume.
There's an aerialist who whirls in and around a giant cube, then
takes flight from the stage, suspended by only his forearms,
before he lands again to spin and twirl the cube on deck.
And look at the acrobats who climb poles upside down with only
their hands, pumping their legs for momentum as they inch their
way up.
Don't forget the people who spiral into the air from teeter-
boards, landing on the shoulders of others to make a two- and
three-person stack.
But chances are, if you've lived in Las Vegas for any period of
time you know all this. Only three shows have been around longer
now. Cirque's first permanent installation is a tradition in a
city that doesn't have many, and still a wide-eyed experience
for youngsters seeing it for the first time.
There have been a few changes over the years, mostly in the
connecting material between the big acts.
The venerable Brian Dewhurst is now in his late 70s, and the
longer he remains with the show, the more he becomes the
audience favorite and focal point. His role has expanded from
pre-show clowning; now he taunts the other characters with
British humor not part of the early editions.
The big "baby" in the diaper we've known for years (Francois
Dupuis) is now played in some performances by a "toddler" (Anna
Zlatkova): a cute girl in pigtails, jammies and piggy slippers.
She does all the same favorite audience bits -- hijacking an
audience member with a golf cart, crawling precariously close to
a sheer ledge -- but she also turns out to be a bit of an
acrobat herself (to say more would spoil it).
"Mystere" owes much of its durability to this good humor. Those
not fond of the French Canadians often fling the word
"pretentious," but one could argue there's humor even in the
teeter-board and trampoline acrobats conducting themselves like
courtiers in some royal palace.
Cirque has even taken action on one past complaint, that the
new-agey music has dated poorly and can sound a bit '90s and
Enya-like in places. They re-scored the climactic trapeze act
with more of a percussive orchestra sound in time for the
celebration of 8,000 performances last fall.
Christmas may be over, and "Mystere" takes a couple of weeks off
starting Wednesday, but a locals promotion (two tickets for $99)
carries into the new year. The novelty has faded, and some of
the wonders may have as well. But "Mystere" is still Cirque in
the company's early purity, without Elvis, Michael Jackson or
even Spider-Man getting in the way of the original vision.
{ SOURCE: Las Vegas Review-Journal }
BELIEVE IT: The Show Improves? [EXPANDED]
{Jan.03.2011}
-------------------------------------------------
To borrow a phrase, the whole thing has kind of freaked my mind.
How it was that I ushered in the New Year with Criss Angel, I
mean. How it was that I turned KatMobile II over to a parking
attendant at Angels grandiose estate, which he has dubbed
Serenity at Sun City Anthem, to ring in 2011 in high style.
There are closets in this manse that are larger than some
apartments Ive rented. At Serenity, you are met by a giant pool
outfitted with a set of stools sitting underwater next to an
open fireplace (or, fire effect in this context) overlooking a
staggering view of the Las Vegas Valley.
The glass-paneled wall separating the living area to the pool
opens fully for indoor-outdoor recreating. Nailed to the walls
of Serenity are life-size crucifixes (I joked that it shows the
Passion of the Criss) and the martini- and olive-inspired
artwork by the inherently whimsical artist Michael Godard.
Oh, and you are met by Godard, too. The artist himself. At least
you are on New Years Eve. Very engaging guy.
Its a cool experience to be invited to such an event, no
question, and Angel played gracious host to the dozens of well-
wishers on New Years Eve. Among them were many of his friends
and colleagues from the Las Vegas entertainment field: the
dependably dangerous Amazing Johnathan; a fit (and retired, he
says) Lance Burton; fellow Luxor headliner Carrot Top; and The
Mentalist Gerry McCambridge.
The terrific cast and production staff of Believe were on
hand, too, and Angel toasted them about 30 minutes before 2010
ebbed away, thanking them for their hard work and dedication in
helping push Believe to its 1,000th performance last month.
And while making my way around this scene, I could not help but
think of David Byrnes line from Once in a Lifetime -- Well,
how did I get here?
I would not have thought this sort of party/summit with Angel
would have been likely even 6 months ago. As anyone who reads
this column regularly (and God help you if you do), I have not
been a fan of Angels show, or of Angel himself, since he
unveiled Believe at Luxor in October 2008. I saw the show a
month after it opened, and I didnt like it, recognizing it as a
clumsy, disjointed attempt to merge Cirque du Soleil and
Mindfreak on a Las Vegas stage.
Whenever Id see an entertainer perform some sort of routine
trick onstage -- like a juggler working with a ping-pong ball,
an orange and a bowling pin -- Id say, This is more magic than
you will see in all of Believe. As a show host, I found
Angel to be pretentious, to the max, and felt Believe had
become Cirques Achilles heel.
This attitude went on for quite a while, and it seemed there
would be no other way to write about Angel than to knock him and
his show. But during this time, Angel was doing what a true
professional does -- working on his craft.
The changes he has made in Believe are pronounced and
effective. Absent now is the storyline centering on rabbits, and
how they have been sacrificed unfairly in the name of
entertainment. Banished is the creepy funeral scene. Also gone
is the confusing wedding segment, which should have been titled
Wha-A? In fact, there is no story thread at all, as Angel
pushes out about 40 illusions in rapid succession (he disappears
and reappears about a dozen times in the upgraded Believe).
For better or worse, Cirques influence is largely absent. The
great entertainment company is still on the marquee, but the
show today is more centered on Angel than when it opened. He
reaches back into the tricks of his youth, such illusions as
pulling a string of razorblades from his mouth (a trick that
went awry years ago during a birthday party performance for
Brooke Shields and sent a bloodied Angel to the hospital). He is
suspended upside down over the audience in a straitjacket and
works his way out in 10 seconds.
Angel, too, has become a better navigator of the show, eliciting
the support of the comic usher character Maestro to add badly
needed brevity to the banter onstage. That move alone has helped
smooth out the show, as Maestro brings a classic, self-mocking,
John Belushi-type attitude to Believe.
Angel has essentially taken over and made Believe a show about
magic, and as such it is far better than it was when it opened.
A cynic would say, Thats damning with faint praise, but Angel
has gone back to the work shed and rebuilt a show many observers
thought would have been long dead by now. Good for him.
And when it came time to mend fences in the field, Angel made
the move, asking if Id like to see the improved version of the
show. I was surprised, to put it mildly. As I told him, I would
not have invited me back to see his show or shared a burger or
anything else after some of the stuff Id written about him. But
I did go back to Believe in November, and I liked it way
better than the show I saw in November 2008.
When I met with Angel after the show, he said only that he
wanted a clean slate. Its obvious he wants to change the
trajectory of how he is treated in local media, and you cant
fault that. Hes clearly worked hard to make Believe a show
that can sustain what are, reportedly, strong audience counts
for the long term.
I respect all of that, honestly. Its been a raucous ride with
Mr. Angel, but as the fireworks blasted over The Strip in far-
away Las Vegas, I wished him and his great staff nothing but
good fortune in the New Year.
Life is too short to feel otherwise.
{SOURCE: Las Vegas Sun}
Flying Trapeze: Training And Trust [EXPANDED]
{Jan.05.2011}
-----------------------------------------------------
Cecil B. DeMille once called flying trapeze artists "the
daredevil performers who slap death in the face." That
description might be a little over the top, but it rings true
when you watch trapeze artists soar and somersault nearly 46
feet in the air.
This heart-stopping performance is part of OVO, the Cirque du
Soleil show currently touring the U.S. "It's an incredibly
difficult act to do," says Marjon van Grunsven, OVO's artistic
director. "Even just jumping. It takes courage to do that." A
flying act, she says, is built on trust but first, each artist
needs individual strength and training.
Take flier Andrey Shapin. He was a gymnast in Russia before he
joined Cirque du Soleil two years ago and he'd never flown
before. Van Grunsven describes Shapin as a highly disciplined,
elite athlete who literally had to learn to fly. Now, he does
most of the flights in the act, she says. "Andrey has developed
an incredible amount. This guy to me is like a rock star."
Shapin's main catcher is Sergei Philippenko. In both body type
and temperament, the two men could not be more different.
Philippenko is 6 feet, 1 inch, in his late 20s, and comes across
as easygoing. Shapin is much smaller and younger and admits he
gets nervous. "When I do my act, my heart ... knocks so fast,"
says Shapin, beating his heart with his fist. "I have a lot of
adrenaline every day."
Philippenko, on the other hand, is like Shapin's laid-back older
brother. Ask the statuesque catcher if he gets nervous, and he
shrugs, "Not really." To help the flier relax, especially before
a jump, Philippenko says the catcher needs to stay calm and
listen. "That's a very important part of the catcher," he says.
Cirque du Soleil's show OVO has an insect theme. The fliers and
catchers are scarabs it's like the heavy metal part of the
show. Even wearing thick costumes that look like armor Shapin
does flips, layouts and twists with astonishing grace.
Philippenko says he is there to protect him. "My job is to save
him all the time," Philippenko says.
Imagine saving someone while swinging by your legs, upside down
on a bar, while your partner is diving toward you at high speed.
Shapin says of his catcher Philippenko: "I just know he will
catch me. This is for sure."
"Their life literally is in each other's hands," says van
Grunsven, "so if they don't trust each other, we have a big
problem."
Shapin and Philippenko and the other artists in the flying act
perform eight, sometimes 10 times a week. And though they may
differ in size and demeanor, what they do have in common is the
hours and hours of training it takes to be in the exceptionally
adventurous Cirque du Soleil.
Philippenko and Shapin say the trust they've developed comes
from talking to each other a lot whether they're on the ground
or "up there." Shapin explains, "We always speak. We have fun,
[tell] jokes. Sometimes if I have [a] good song, I give it to
him and we're singing together, even when we're up there."
Philippenko calls the time they spend at the highest point of
the big top "privileged." When they're not performing, he says
they're constantly surrounded by the other 66 artists in Cirque
du Soleil they all live together in fairly close quarters. But
Shapin says Philippenko knows more about him than anyone else.
"We have a lot of people around us all the time, but when we're
up there, it's only us," Philippenko says. "I like this moment.
Nobody can touch us."
{ SOURCE: NPR }
Want to Cameo in Cirque? Join M-Life!
{Jan.10.2011}
-------------------------------------------------
LAS VEGAS, Jan. 10, 2011 /PRNewswire/ - Tomorrow, MGM Resorts
International (NYSE: MGM) will launch M life (www.mlife.com), a
loyalty program that leverages the combined power of its resorts
in Las Vegas, Mississippi and Detroit. Benefiting from an
unmatched collection of amenities, members will enjoy one-of-a-
kind experiences exclusive to MGM Resorts, insider privileges,
personalized rewards and an aspirational tiered approach with
escalating earning potential. M life is launching as a casino
rewards club; later this year, it will expand into a full
loyalty program recognizing guest spend on hotel stays,
shopping, dining and more.
(Logo: http://photos.prnewswire.com/prnh/20100618/MGMINTLOGO)
Among many benefits, M life members can earn unique M life
moments, including selecting The Fountains of Bellagio songs for
a day, enjoying a cameo role in Cirque du Soleil's Viva ELVIS at
ARIA Resort & Casino, serving as a guest DJ at one of Vegas'
hottest clubs at MGM Grand, becoming a dolphin trainer for a day
at The Mirage, cooking lessons with Bravo's Top Chef Masters
celebrity chef Rick Moonen at Mandalay Bay, receiving one-on-one
dance lessons with world-famous Jabbawockeez at Monte Carlo, and
much more.
{SOURCE: PRNewswire}
LA NOUBA: A Kinder, Simpler Cirque [EXPANDED]
{Jan.12.2011}
-------------------------------------------------
Commedia dellarte is a form of theatre characterized by masked
types, which began in Italy in the mid-1500s. About one
hundred years later, Italian troupes (known as Comédie-
Italienne) had achieved success in France where Moliére,
inspired by the use of stock characters, introduced a lovelorn
peasant named Pierrot in the play Don Juan. While the Comédie-
Italienne incorporated Pierrot as a sad clown in their future
endeavors, other French playwrights imbued Pierrot with a
distinct personality: that of the outsider isolated from the
social world around him. He presents a comic flair even as his
love is forsaken, which creates pathos that embraces the hearts
of audience members who can easily relate to Pierrots
estrangement.
When Pierrot appears in La Nouba, Cirque du Soleils permanent
show in Walt Disney World, Florida, he is one tiny element in
this phantasmagoria of re-imagined circus acts, but one that
stuck out for me because his presence brings humanity to a show
that could easily have fallen into the trap of some subsequent
Cirque shows in Las Vegas where the human is treated merely as
an acrobatic machine. Here, Pierrot is the sad clown as dancer
who interacts with a lost ballerina; without dialogue, their
time on stage in between other acts evinces longing, desire and
fear. There is also The Acrobatic Pierrot, who mimes a
commentary on the main acts of the show; he is still an
outsider, but he keeps us grounded as sixty-seven performers
festoon the stage. Unknown to the audience (there is no
program), he is called the Red Pierrot, after a species of
butterfly. Like his namesake, he flits about the stage, somehow
cross-pollinating his fellow acrobats.
One of the most mesmerizing acts is the stunt-riding wizard
doing tricks on a BMX bike; he coils, curls and spins on one
wheel. The second half of the act features another artist who
hops his bike up and down steps and into the audience. Even more
amazing was the background company who morphed into a completely
different stage picture every time a new trick was completed,
silently mirroring our own amazement the effect is uncanny.
The acts in and of themselves are brilliant. One in particular
had the audience screaming with delight: The Diabolo, or Chinese
yo-yo, is a childrens game where four young Chinese performers
hold two sticks linked by a string they slide, juggle and toss
a wooden spool while executing flips in the air. They were
delightful and entrancing.
There are aerial ballets, flying trapeze artists and a mind-
boggling juggler. Other characters include the nightmarish
Titan, the playful Green Bird and my favorite, the Four Nuts,
whose job it is to mind everyones business but their own.
La Nouba never pretends to be more than it is: a thrilling
evening of performers at the height of their acrobatic skills,
lovingly supported by an array of characters that seem to mimic
the many dimensions of our psyche. Plus, there are the Everyman
Clowns who show us the comical side of mans occasional
inability to complete the simplest of tasks (make sure you show
up early for the pre-show). La Nouba is dreamy, entertaining,
inspiring and fun.
{ SOURCE: Stage and Cinema }
Do you have $1.9 Million? [EXPANDED]
{Jan.18.2011}
-------------------------------------------------
Guy Laliberté is selling a choice piece of Las Vegas real
estate. According to the Las Vegas Review Journal the Cirque du
Soleil owner has put up for sale a house that was formerly used
for temporary corporate housing (and, we're guessing, the
occasional party). The asking price is in the $1.9 million
range. Given that he's a high roller, that's just a medium-sized
pile of poker chips. And it doesn't look like he'll be making
much of a profit either, given the current state of the Vegas
market. The place was apparently purchased in 1994 for about
$1.4 million. Imagine what you could get for a half million in
Vegas these days.
# # #
SELLER: Guy Laliberté
LOCATION: Las Vegas, NV
SIZE: 7,906 square feet, 5 bedrooms, 5.5 bathrooms
PRICE: $1,899,999
Watching a Cirque du Soleil show is a bit like partaking of an
illegal substance then carelessly entering and wandering wide-
eyed through a death-defying and fantastical world of freaky
body benders, mystical creatures on stilts and fearless
aerialists whom Your Mama thinks must have less common sense
than a boll weevel to even consider pouring themselves into
genitalia-revealing outfits and flinging their lithe and lust-
producing bodies up into the air like they dont have a damn
bone to break.
The Cirque du Soleil, an super-surreal animal free circus-like
spectacle that raised street performance to a high art of
extreme athleticism, was co-founded in the mid-1980s by seasoned
French-Canadian street performers Daniel Gauthier and Guy
Laliberté, the latter who bought out Monsieur Gauthiers
ownership in the year 2000. In 1991 casino king Steve Wynn
opened the first of many permanent Cirque du Soleil shows in Las
Vegas, NV. In addition to the half-dozen or so permanent Cirque
shows in Las Vegas, there are several touring groups that take
the various productions around the world and employ thousands of
otherwise unemployable people with resumés that include
fascinating but little sought-after skills like, able to keep
24 hula-hoops going all at once, capable of folding body up
like a piece of paper and can be tossed into the air, perform
72 somersaults with a twist and alight safely on the shoulders
of a midget dressed like a giant. For all of that, Cirque du
Soleil has legions of awe-struck fans and rakes in almost a
billion dollars in annual revenue.
Monsieur Laliberté, who continues as the visionary face of
Cirque du Soleil, went from busker to billionaire and like all
good newly-minted billionaires Monsieur Laliberté has a swollen
portfolio of high-end properties in various parts of the world.
Thanks to the Bizzy Boys at Celebrity Address Aerial weve
learned that Monsieur Lalibertéor, more accurately, a corporate
entity known to be attached to the smooth-pated space tourist
has recently opted to either lighten his real estate load in Las
Vegas or perhaps to trade up for a new crib in Sin City even
more grandiloquent than the mansion recently hoisted on the
market with an unnecessarily complicated asking price of
$1,899,999, a number more sensibly known among those not in the
real estate dog-and-pony show as one-point-nine million clams.
Property records show that a Quebecois company with the very
same mailing address as the Cirque du Soleil offices in
Montrealthats Canada dillweedspurchased an architecturally
insufferable mansion in a small guard-gated Las Vegas-area
community in March of 1996 for $1,400,000. According to listing
information for the bulky two-story mock-Mediterranean mansion
that pushes the edges of the .57-acre lot and makes a mockery of
real Mediterranean architecture there are a total of 5 bedrooms
and 5.5 poopers in 7,906 square feet.
Given the rather outlandish nature of and visual complexity of
Cirque du Soleil shows, it really should not have been such a
slap-in-the-face surprise to Your Mama that the decorative
decisions of Monsieur Laliberté have the same sort oflets be
nice and call itunrestrained joie de vivre as the whimsical
extravaganzas he imagines and produces.
A squat portico on the front facade of the unwieldy, unassuming
and unredeeming exterior give way to a hangar-sized 1,200 square
foot foyer/great room with both marble and wood floors. The
colossal combined spaces shriek and vibrate with a cacophony of
color that looks like a damn Crayola box was exploded by a
decorative terrorist. Some of the walls are sunflower yellow,
others the color of Cabernet Sauvignon, at least one pumpkin
orange color and still more a muddy shade of taupe. Many of the
moldings around the windows and doors are punished with the same
eye-popping hot pink paint slathered on the floating curved
staircase that dramatically ascends to a bridge that spans the
great room and connects the second floor bedroom wings.
A trio of Hyundai-sized chandeliers that look like they were
ripped right out of one of Saddam Husseins palaces hang over a
banquet-hall length farmhouse-style table in the great room
surrounded by a menagerie of chairs upholstered in various
jewel-tone shades of velveteen. Altogether, bless its poor
little decorative heart, it feels to Your Mama like looking dead
in the glassy eyes of a deliriously happy seizure, if there
could be such a thing.
The kitchen, which looks to Your Mama like a very ordinary tract
house kitchen hopped on steroids, has a walk-in pantry,
breakfast nook and walls punched up with a particularly deep and
disturbing teal color. A voluminous family/game room has built
in bar with ziggurat canopy in one corner, more multi-colored
walls than we care to acknowldege, an orange sectional sofa
(that we l.o.v.e.), and various video games for the children and
the child-like. Even the home fitness room at Monsieur
Lalibertés Las Vegas pad was painted in a near kaleidoscope of
color and includes body-torture devices with baby blue seat
cushions and back rests.
The mansion contains two master suites, according to listing
information, including one with with fireplace, wood floors,
dressing room and private balcony. Although a rather restrained
palette prevails in this master bedroom, the dizzying array of
disharmonious and warring patterns on rugs and bed linens take
soul-crushing and dictatorial visual control of the room.
Thankfully questionable paint choices and zebra pattern woven
rugs disappear quickly with the owner and a can of paint. A set
of double doors swing open into the attached terliting and
bathing suite where a gigantic jetted tub with brass hardware
was set into an over-sized marble plinth tucked into a big bay
window lined with depressing glass block filled punctuations.
The too-green-for-the-desert grounds include a backyard ringed
by trees and thick foliage where a fountain tumbles into a large
heated swimming pool and a covered outdoor dining terrace has a
fully equipped outdoor kitchen area complete with range and wall
mounted microwave oven. Your Mama can only hope and pray that
outdoor dining area has been fitted with a misting system lest
diners melt into puddles of human goo just like creme brulée set
out in the rabid desert heat.
Property records reveal that the same Quebecois holding company
that prop records show as the taxpaying owner of the above-
discussed house in Las Vegas also owns a hillside abode tucked
up in the Post Office area of Beverly Hills, CA. Property
records show the 4,261 square foot two-bedroom residence was
purchased way back in June of 1995 for $2,250,000.
The children will note that Monsieur Lalibertés mansions in
Beverly Hills, CA and Las Vegas, NV are real estate childs play
compared to some of the other dee-luxe digs in the artsy
entrepreneurs property portfolio. Naturally the native
Montrealian maintains a home base near his home town. Since
sometime in the 1990s Monsieur Laliberté has owned a large and
lavish estate on the private Lac du Moulin in Montreals
suburban outskirt Mont Saint-Bruno. It is here where Monsieur
Laliberté threw a much gossiped about annual Bacchanalia
reportedly attended by leading lights, luminaries, off-duty
members of the po-po and various b-list pleasure seekers who
were asked to sign confidentiality agreements before admittance.
The annual soiree stretched for several days each June and
allegedly included internationally known djs, drug-fueled orgies
and theatrical entrances by the shirtless and fire breathing
master of ceremonies, Monsieur Laliberté. After numerous
complaints from neighbors Monsieur Laliberté was compelled to
move his notoriously lubricious shindig in 2003 to an air base
of some sort where, by all accounts, it now cuts a far less
hedonistic rug than than when it was held within the confines of
Monsieur Lalibertés heavily secured private domain in Mont
Saint-Bruno.
In August of 2007, Monsieur Laliberté forked over a very-
billionaire $29,000,000 to purchase a sprawling oceanfront
compound with 10 bedrooms and 14 full and 4 half poopers located
in the über-deluxe Mauna Kea Resort in Kamuela on the Big Island
of Hawaii. A peep and poke through the somewhat confusing
property records indicates that the same corporate entity, also
with the same mailing address as Cirque du Soliel headquarters
in Montreal, that purchased the Kamuela compound also owns at
least two other far less lavish nearby properties.
Of course, Your Mama know know a donut hole from a diamond ring
so we cant say with any authority what Monsieur Laliberté does
with then these two smaller homes in Hawaii. Perhaps they house
staff, serve as over-flow guest quarters for visiting members of
the Cirque or, maybe, each gets used by Mister Lalibertés two
baby mommas when they bring his brood of five giblets to visit?
Who knows?
{SOURCE: The Montreal Gazette}
Viva Elvis Tweaked [EXPANDED]
{Jan.19.2011}
-------------------------------------------------
According to Robin Leach on his Luxe Life column for the Las
Vegas Weekly, Viva Elvis recently received a "subtle but
instrumental makeover".
# # #
Its almost a classic chicken and egg story. Which came first?
Originally, it was the old Elvis Presley recordings that stayed
out of the spotlight in Cirque du Soleils Viva Elvis at MGM
CityCenters Aria. They were raw -- and to be honest -- ancient
in terms of our digital age. As the show continued to change,
tweak and polish itself to perfection, the masters of music went
to work, and now its their new soundtrack that drives the
spectacular.
Musical arranger and album producer Erich van Tourneau told
VegasDeLuxe.com last November what it took to remaster the
shows recordings, and now after more than a year of studio
engineering, its the new soundtrack that propels the show along
at a much faster pace and energy.
Erich told me: I gave a new lease on life to the original
superstar. Every track has the same energy he had back in 1954,
but in a 2010 technological way.
In the early stages of Viva Elvis, it told a familiar story in
an almost flat monotone. Its now been given new blood with
excitement and a controlled but frantic fever pitch. The
narrative has been cut down and the Col. Tom Parker character
relocated. The dancing seems faster and more electrically
charged. Now its all showmanship throughout and makes the blue
suede shoe even larger than it is with the dancers sprawled all
over it.
I didnt see major changes to the Jailhouse Rock number, which
is my favorite in the show. I still sat mesmerized watching the
performers walk upside down in the air. How can you improve on
that feat anyway? The amazing trampoline gymnastics seem faster
and more challenging. Even the showgirl Viva Las Vegas finale
seems a bigger and better spectacle.
No wonder everybody from Priscilla Presley herself, who still
pops in regularly to keep an eye on the production, to rescued
Chilean miner Edison Pena just last week raves about the new
look to the show. Edison was in Graceland for The King of Rock
and Rolls birthday celebrations Jan. 8 and traveled here
directly from Graceland. The miner, who sang Elvis songs to
bolster his 33 co-workers trapped for more than 60 days, was
totally amazed by the seventh Cirque show on The Strip.
Priscilla, who will be here for the Woman of the Year tribute by
the Nevada Ballet Theater on Jan. 29, says, Elvis would have
loved the show on The Strip and the new soundtrack album. His
presence is on The Strip where he loved to perform. So I think
hed be very honored by it.
Priscilla said she loved the new feel to the show and the new
sound because its bringing a whole new generation of fans to
Elvis music. The night I was there, the theater was packed, and
the audience was young and old alike. The only difference was
that the younger people got out of their seats to dance, while
the older ones clapped and sang along with the hits. Parents and
grandparents brought their youngsters with them, and there was
no age barrier to the love of Presleys power.
Cirque has a reputation of always fine tuning and tinkering its
productions, and now a year after it opened, Viva Elvis has
found its heart and soul -- and produced its own soundtrack
music for Elvis to rock on for years to come. Theres no danger
that hes ever going to be forgotten.
He isnt leaving this house for a very long time. If he returned
to see it, Im certain that hed be speechless, except for:
Thank you. Thank you very much.
{SOURCE: Las Vegas Weekly}
Cirque in London? [EXPANDED]
{Jan.24.2011}
-------------------------------------------------
Cirque du Soleil, the surreal circus company currently playing
at the Royal Albert Hall in London, is expecting record profits
of $250m (£156m) on revenue of $1bn this year, according to its
founder, Guy Laliberté.
Mr Laliberté said: "We are working hard trying to find a place
in London. We have been looking all over for 10 years.
Eventually, we will be at the right place at the right moment
with the right real-estate developer. We have looked at the O2.
It has been part of the discussion." David Campbell, the chief
executive of AEG Europe, which owns the O2, confirmed the talks:
"We have looked at it and it's just a question of getting the
right business model. It's not imminent but it's not been
dismissed."
The move would give a further boost to Cirque's fortunes, which
have ballooned as it cornered a niche in avant-garde acrobatics.
"In 2010, revenues were $850m, and this year we could ring the
bell of a billion dollars," said Mr Laliberté in London last
week.
Cirque has now performed to more than 100 million spectators in
more than 300 cities, and is still growing. "Last year we sold a
little over 11 million tickets, [up] one and a half million on
2009," he said. "Over the past two years, except for three or
four weeks, our Vegas shows were over 97 per cent occupancy."
The shows bring in around 60 per cent of revenue.
Mr Laliberté has 10 touring shows and 10 others based in
permanent theatres in Las Vegas, Macau, Orlando and Tokyo.
Istithmar World Capital, a Dubai-based private equity investor,
and Nakheel, a real-estate developer, own 20 per cent of the
business. Mr Laliberté owns the rest.
Cirque is to launch a new tour mixing acrobatics with the music
of Michael Jackson; Mr Laliberté hopes for $40m in advance
sales, saying: "This has the potential to be one of the biggest
deals we have done."
In O, a Cirque extravaganza, synchronised swimmers rise from a
1.5 million-gallon pool of water which turns into a solid stage
floor. "O has grossed over a billion dollars since it opened in
1998," said Mr Laliberté. Two other shows open this year: one in
New York's Radio City music hall, the other in the Kodak
Theatre, Los Angeles, which is home to the Oscars.
The productions have been financed with a $50m fund raised by
private investors from the US and Canada. "We could extend this
type of fund to real estate," said Mr Laliberté. "If successful
it will give us great credibility in the market without having
to go public."
{SOURCE: The Independent}
KÀ in NYC!
{Jan.26.2011}
-------------------------------------------------
Seven performers from the resident production of Cirque du
Soleil's KÀ, at MGM Grand in Las Vegas, will participate in the
2011 Chinatown Lunar New Year Parade in New York City on Sunday,
February 6. The parade will kick off at 1pm, with the KÀ
performance to be held at Sarah Roosevelt Park (near Grand &
Forsyth streets) at approximately 2:30pm.
The show's central characters - the Imperial Twins - will also
march in the parade. The four-minute performance will feature a
combination of martial arts including Wushu, Chinese Opera and
Capoeira.
{SOURCE: Theater Mania}
University awards first Beatles degree
{Jan.27}
-------------------------------------------------
A Canadian woman has become the first person in the world to
graduate with a Masters degree in Beatles studies.
The launch of the unique MA in Beatles, Popular Music and
Society was a world first when it took its first class. Zahalan-
Kennedy was the first to accept her degree in person from the
university.
The course looks at the studio sound and composition of the
Beatles and how Liverpool helped to shape their music. The MA
examines the significance of their music and how it helped to
define identities, culture and society.
Mike Brocken, founder and leader of the Beatles MA at Liverpool
Hope University, said the postgraduate degree makes Zahalan-
Kennedy a member of a select group of popular music experts.
"Mary-Lu now joins an internationally recognized group of
scholars of Popular Music Studies who are able to offer fresh
and thought-provoking insights into the discipline of
musicology."
{SOURCE: Reuters}
Cirque Looking for New Partner? [EXPANDED]
{Jan.31.2011}
-------------------------------------------------
There's an interesting article out of London about Cirque du
Soleil and its future prospects. Within the article, Guy
Laliberte is quoted to be interested in selling another 10% of
Cirque du Soleil to another strategic partner. With 20% already
in the hands of Istithmar World Capital/Nakeel, why another 10%?
# # #
Cirque du Soleil, the modern circus troupe which has transformed
the way the once old-fashioned theatrical event is viewed, would
be willing to sell a further 10pc equity stake to a strategic
partner, founder Guy Laliberté has admitted.
In 2008, Dubai-based private equity investor Istithmar World
Capital and real estate developer Nakheel bought a 20pc stake in
Cirque from Laliberté for an estimated $500m (£315m).
It left 80pc in his hands and he hoped that his new partners
would fuel expansion, but the recession and the effect that had
on Dubai's economic fortunes prevented that from happening.
"There has been no contribution to growth from that partner,"
said Laliberté. "I sold to them to have a partner who was
heavily expanding in real estate but from the moment I got the
cheque to the month afterwards everything was totally different
so I was just left with the money."
Since then a planned Cirque show on Dubai's Palm island has been
put on ice and it has been rumoured that Nakheel and Istithmar
have been considering a sale of their stakes.
"They can't sell the shares without our approval so they are
locked in but I am totally open if they come with somebody that
could be strategic," says Laliberté adding: "I would be willing
probably to spin off another 10pc for strategic reasons."
He says that Cirque is worth "somewhere between $2bn and $3bn.
It was valued at that price when we sold to Dubai and although
the multiple was very high we have had growth since then."
In October, it was reported that Cirque had appointed investment
bank Allen & Co to find a strategic partner to locate a source
of capital and fund a permanent London show. Although the O2
arena in Greenwich has been mooted as a possible home, nothing
has yet been finalised. Allen & Co is working with Laliberté on
his search for a new investor for the whole business.
Laliberté started the company in 1984 after touring through
Europe as a street-performer. He reinvented the circus by
removing animals from his shows and replacing them with
dramatically coloured lighting and astonishing acrobatics.
Cirque now runs 20 shows around the world including tours which
have travelled to more than 200 cities and permanent
performances in locations as diverse as Las Vegas and Macau.
To protect against over-expansion Laliberté says "we have made a
decision of not creating more than three new tours or permanent
shows a year."
Cirque currently performing its Totem show at the Royal Albert
Hall will this year début two new permanent shows: one in New
York's historic Radio City Music Hall with the other in Los
Angeles's Kodak Theatre, the home of the Academy Awards.
The Montreal-based company will also launch a show which sets
acrobatics to the music of Michael Jackson, following in the
footsteps of other Cirque productions themed to the music of
Elvis Presley and the Beatles. Laliberté also revealed that more
music collaborations could be coming: "I have been offered Bob
Marley but I don't want to touch it because I don't think our
creativity would fit with that." He added: "I would like to do
Dark Side of the Moon, something to do with Pink Floyd, but that
is a personal thing."
{SOURCE: The Telegraph}
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Corteo, Koozå, OVO, Totem & Varekai}
o) ARENA - In Stadium-like venues
{Saltimbanco, Alegría, Quidam, Dralion
& Michael Jackson THE IMMORTAL World Tour}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
ZAIA, ZED, Believe & VIVA Elvis}
o) VENUE - Venue & Seasonal productions
{Iris, & Zarkana}
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/ >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Online at: < http://www.cirquefascination.com/?page_id=39 >
Corteo:
Vienna, AT -- Feb 10, 2011 to Mar 13, 2011
Madrid, ES -- Apr 2, 2011 to May 8, 2011
Valencia, ES -- Jun 16, 2011 to Jul 10, 2011
Alicante, ES -- Jul 28, 2011 to Aug 21, 2011
Sevilla, ES -- Sep 8, 2011 to Oct 9, 2011
Paris, FR -- Nov 11, 2011 to TBA
Koozå:
Tokyo, JPN -- Feb 2, 2011 to May 8, 2011
Osaka, JPN -- Aug 4, 2011 to Oct 10, 2011
Nagoya, JPN -- Nov 23, 2011 to Jan 22, 2012
Fukuoka, JPN -- Feb 9, 2012 to Apr 1, 2012
Sendai, JPN -- Apr 19, 2012 to Jun 3, 2012
Ovo:
Dallas, TX -- Jan 28, 2011 to Feb 27, 2011
Houston, TX -- Mar 10, 2011 to Apr 3, 2011
Cincinnati, OH -- Apr 21, 2011 to May 15, 2011
Minneapolis, MN -- May 26, 2011 to Jun 12, 2011
Chicago, IL -- Jun 30, 2011 to Jul 31, 2011
Seattle, WA -- Nov 17, 2011 to Dec 22, 2011
Totem:
London, UK -- Jan 5, 2011 to Feb 17, 2011
Charlotte, NC -- Mar 3, 2011 to Mar 20, 2011
Baltimore, MD -- Apr 7, 2011 to Apr 24, 2011
Pittsburgh, PA -- May 12, 2011 to May 29, 2011
Montreal, QC -- Jun 16, 2011 to Jul 17, 2011
Toronto, ON -- Aug 11, 2011 to Sep 4, 2011
San Francisco, CA -- Oct 21, 2011 to Dec 18, 2011
Varekai:
Taipei, TW -- Jan 20, 2011 to Mar 6, 2011
Seoul, SKR -- Apr 6, 2011 to May 29, 2011
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Online at: < http://www.cirquefascination.com/?page_id=1831 >
Saltimbanco:
Friedrichshafen, DE -- Feb 11, 2011 to Feb 13, 2011
Istanbul, TR -- Feb 18, 2011 to Mar 5, 2011
Johannesburg, ZA -- Mar 9, 2011 to Mar 20, 2011
Cape Town, ZA -- Mar 23, 2011 to Apr 3, 2011
Perth, AU -- Apr 21, 2011 to May 1, 2011
Adelaide, AU -- May 12, 2011 to May 20, 2011
Melbourne, AU -- May 25, 2011 to Jun 3, 2011
Hobart, AU -- Jun 15, 2011 to Jun 19, 2011
Brisbane, AU -- Jul 8, 2011 to Jul 15, 2011
Newcastle, AU -- Jul 20, 2011 to Jul 24, 2011
Sydney, AU -- Jul 27, 2011 to Aug 5, 2011
Wollongong, AU -- Aug 17, 2011 to Aug 21, 2011
Auckland, NZ -- Aug 25, 2011 to TBA
Alegría:
Laredo, TX -- Feb 2, 2011 to Feb 6, 2011
Hidalgo, TX -- Feb 9, 2011 to Feb 13, 2011
Corpus Christi, TX -- Feb 16, 2011 to Feb 20, 2011
Tulsa, OK -- Feb 23, 2011 to Feb 27, 2011
North Charleston, SC -- Mar 17, 2011 to Mar 20, 2011
Knoxville, TN -- Mar 23, 2011 to Mar 27, 2011
Charlotesville, VA -- Mar 30, 2011 to Apr 3, 2011
Atlantic City, NJ -- Apr 7, 2011 to Apr 10, 2011
Greensboro, NC -- Apr 13, 2011 to Apr 17, 2011
Biloxi, MS -- Apr 20, 2011 to Apr 24, 2011
Southaver, MS -- Apr 27, 2011 to May 1, 2011
Roanoke, VA -- May 4, 2011 to May 8, 2011
Columbia, SC -- May 11, 2011 to TBA
Toledo, OH - May 18, 2011 to May 22, 2011
Louisville, KY -- Jun 9, 2011 to TBA
Nashville, TN -- Jun 15, 2011 to Jun 19, 2011
Tampa, FL -- Jun 22, 2011 to Jun 26, 2011
Jacksonville, FL -- Jun 29, 2011 to Jul 3, 2011
Raleigh, NC -- Jul 6, 2011 to TBA
Duluth, GA -- Jul 13, 2011 to TBA
Sunrise, FL -- Jul 20, 2011 to Jul 31, 2011
Charlotte, NC -- Aug 3, 2011 to TBA
Estero, FL -- Aug 10, 2011 to Aug 14, 2011
Oberhausen, DE -- Sep 7, 2011 to Sep 11, 2011
Leipzig, DE -- Sep 14, 2011 to Sep 18, 2011
Stuttgart, DE -- Sep 21, 2011 to Sep 25, 2011
Munich, DE -- Sep 28, 2011 to Oct 2, 2011
Salzburg, AT -- Oct 5, 2011 to Oct 9, 2011
Berlin, DE -- Oct 12, 2011 to Oct 16, 2011
Bremen, DE -- Oct 19, 2011 to Oct 23, 2011
cologne, DE -- Oct 26, 2011 to Oct 30, 2011
Frankfurt, DE -- Nov 2, 2011 to Nov 6, 2011
Mannheim, DE -- Nov 9, 2011 to Nov 13, 2011
Quidam:
Vancouver, BC -- Mar 9, 2011 to Mar 13, 2011
Everett, WA -- Mar 16, 2011 to Mar 20, 2011
San Jose, CA -- Mar 24, 2011 to Mar 27, 2011
San Diego, CA -- Mar 30, 2011 to Apr 3, 2011
San Francisco, CA -- Apr 6, 2011 to Apr 17, 2011
Long Beach, CA -- Apr 20, 2011 to Apr 24, 2011
Ontario, CA -- Apr 27, 2011 to May 1, 2011
Reno, NV -- May 4, 2011 to May 8, 2011
Sacramento, CA -- May 11, 2011 to May 15, 2011
London, ON -- Jun 2, 2011 to TBA
Hamilton, ON -- Jun 8, 2011 to TBA
Wilkes-Barre, PA -- Jun 15, 2011 to TBA
Ottawa, ON -- Jun 22, 2011 to TBA
St. John's, NL -- Jul 6, 2011 to TBA
Saint John, NB -- Jul 13, 2011 to TBA
Halifax, NS -- Jul 20, 2011 to TBA
Providence, RI -- Jul 27, 2011 to TBA
Hershey, PA -- Aug 18, 2011 to TBA
Baltimore, MD -- Aug 31, 2011 to TBA
Amherst, MA -- Sep 7, 2011 to TBA
State College, PA -- Sep 14, 2011 to TBA
Fort Wayne, IN -- Sep 21, 2011 to TBA
Hartford, CT -- Sep 28, 2011 to TBA
Reading, PA -- Oct 5, 2011 to TBA
Pittsburgh, PA -- Oct 12, 2011 to TBA
Milwaukee, WI -- Oct 19, 2011 to TBA
Washington, DC -- Nov 16, 2011 to TBA
Fayetteville, NC -- Nov 23, 2011 to TBA
Greenville, SC -- Nov 30, 2011 to TBA
Hampton, VA -- Dec 7, 2011 to TBA
Worcester, MA -- Dec 14, 2011 to TBA
Toronto, ON -- Dec 20, 2011 to TBA
Dralion:
Mobile, AL - Feb 2, 2011 to Feb 6, 2011
Columbus, OH - Feb 9, 2011 to Feb 13, 2011
Detroit, MI -- Feb 16, 2011 to Feb 20, 2011
Austin, TX -- Mar 10, 2011 to Mar 21, 2011
San Antonio, TX -- Mar 23, 2011 to Mar 27, 2011
Des Moines, IA -- Mar 30, 2011 to Apr 3, 2011
Fargo, ND -- Apr 5, 2011 to TBA
Sioux City, IA -- Apr 9, 201 to TBA
Council Bluffs, IA -- Apr 13, 2011 to Apr 17, 2011
Moline, IL -- Apr 19, 2011 to TBA
Peoria, IL -- Apr 22, 2011 to Apr 24, 2011
Madison, WI -- Apr 26, 2011 to Apr 27, 2011
Green Bay, WI -- Apr 29, 2011 to May 1, 2011
Rockford, IL -- May 4, 2011 to May 8, 2011
Kansas City, MO -- May 11, 2011 to May 15, 2011
Abbotsford, BC -- Jun 2, 2011 to Jun 5, 2011
Eugene, OR -- Jun 8, 2011 to TBA
Portland, OR -- Jun 15, 2011 to TBA
Victoria, BC -- Jun 22, 2011 to Jun 26, 2011
Edmonton, AB -- Jul 6, 2011 to TBA
Saskatoon, SK -- Jul 13, 2011 to TBA
Winnipeg, MB -- Jul 20, 2011 to TBA
Frisco, TX -- Jul 27, 2011 to TBA
Indianapolis, IN -- Aug 3, 2011 to TBA
Atlanta, GA -- Aug 25, 2011 to TBA
Albany, NY -- Sep 7, 2011 to TBA
Syracuse, NY -- Sep 14, 2011 to TBA
Binghampton, NY -- Sep 20, 2011 to TBA
Glens Falls, NY -- Sep 24, 2011 to TBA
Portland, ME -- Sep 28, 2011 to TBA
Cypress, TX -- Nov 17, 2011 to TBA
Beaumont, TX -- Nov 23, 2011 to TBA
Springfield, IL -- Nov 30, 2011 to TBA
Richmond, VA -- Dec 7, 2011 to TBA
Montreal, QC -- Dec 19, 2011 to TBA
Michael Jackson THE IMMORTAL World Tour:
Montreal, QC -- Oct 2, 2011 & Oct 3, 2011
Ottawa, ON -- Oct 7, 2011 to Oct 8, 2011
Hamilton, ON -- Oct 12, 2011
Detroit, MI -- Oct 15, 2011
London, ON -- Oct 18, 2011
Toronto, ON -- Oct 21, 2011 & Oct 22, 2011
Winnipeg, MB -- Oct 26, 2011
Saskatoon, SK -- Oct 29, 2011
Edmonton, AB -- Nov 1, 2011 & Nov 2, 2011
Vancouver, BC -- Nov 4, 2011 & Nov 5, 2011
Seattle, WA -- Nov 9, 2011
Portland, OR -- Nov 18, 2011
Salt Lake City, UT -- Nov 29, 2011
Las Vegas, NV -- Dec 3, 2011 to Dec 11, 2011
Denver, CO -- Jan 6, 2012
Sacramento, CA -- Jan 10, 2012
San Jose, CA -- Jan 13, 2012
Oakland, CA -- Jan 18, 2012
San Diego, CA -- Jan 21, 2012
Anaheim, CA -- Jan 24, 2012
Los Angeles, CA -- Jan 27, 2012 & Jan 28, 2012
Houston, TX -- Feb 10, 2012
Miami, FL -- Mar 2, 2012
Montreal -- Mar 20, 2012 to Mar 22, 2012
Quebec City, QC -- Mar 24, 2012 & Mar 25, 2012
New York City, NY -- Apr 3, 2012
Philadelphia, PA -- Apr 10, 2012
Atlanta, GA -- Jun 29, 2012
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
NOTE: (*) Prices are in United States Dollars (USD) unless otherwise
noted.
(*) Ticket prices exclude the 10% Live Entertainment Tax, the
$7.50 per-ticket processing fee, and sales tax where
applicable.
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 - 7:00pm & 9:30pm
2011 Ticket Prices (adult) / (child 5-12):
o Category 1: $109.00 / $54.50
o Category 2: $99.00 / $49.50
o Category 3: $79.00 / $39.50
o Category 4: $69.00 / $34.50
o Category 5: $60.00 / $30.00 (Limited View)
2011 Dark Dates:
o January 5-19
o February 6
o March 2
o May 8-11
o July 6
o September 3-7
o November 2
2011 Added Performances:
o July 14th
o December 30th
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:00pm
2011 Ticket Prices:
o Orchestra: $150.00
o Loggia: $130.00
o Balcony: $99.00
o Limited View: $93.50
2011 Dark Dates:
o February 6-9
o April 13-17
o June 12
o August 10-14
o October 9
o December 5-18
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
2011 Ticket Prices (adults) / (child 3-9):
o Category 0: $120.00 / $97.00
o Category 1: $105.00 / $85.00
o Category 2: $85.00 / $69.00
o Category 3: $69.00 / $56.00
o Category 4: $55.00 / $45.00
2011 Dark Dates:
o January 18-22
o March 22
o May 17-28
o July 26
o September 20-24
o November 22
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Friday through Tuesday
Dark: Wednesday & Thursday
Two Shows Nightly - 7:30pm and 10:00pm
2011 Ticket Prices (18+ Only!):
o Duo Sofas: $129.00
o Orchestra Seats: $105.00
o Upper Orchestra Seats: $79.00
o Balcony Seats: $69.00
o Cabaret Stools: $69.00
2011 Dark Dates:
o February 6, 15
o April 15-19
o June 21
o August 26-30
o Septembre 2-6
o October 17-18
o December 16-20
2011 Added Performances:
o November 23rd
o December 31st
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
2011 Ticket Prices (adult) / (child 5-12):
o Category 1: $150.00 / $75.00
o Category 2: $130.00 / $65.00
o Category 3: $99.00 / $49.50
o Category 4: $69.00 / $34.50
2011 Dark Dates:
o January 18-29
o April 5
o May 31 - June 4
o July 12
o August 30 - September 7
o November 15-16
2011 Added Performances:
o January 16
o May 29
o November 27
o December 26
o December 31
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
2011 Ticket Prices:
o Lower Orchestra: $150.00
o Upper Orchestra: $130.00
o Lower Balcony: $99.00
o Middle Balcony: $93.50
2011 Dark Dates:
o February 7-8
o April 7-11
o May 16
o June 6
o August 4-8
o October 3
o December 1-12
2011 Added Performances:
o May 18th
o December 28th
o December 31st
ZAIA:
Location: Venetian, Macao (China)
Performs: Every Day, Dark: Wednesday
One to Two Shows Daily - Times Vary
2011 Ticket Prices (adult) / (child 2-11):
o VIP Seating: MOP$ 1288 / MOP$ 1288
o Reserve A: MOP$ 788 / MOP$ 394
o Reserve B: MOP$ 588 / MOP$ 294
o Reserve C: MOP$ 388 / MOP$ 194
ZED:
Location: Tokyo Disneyland, Tokyo (Japan)
Performs: Varies
One to Two Shows Daily - Showtimes vary
2011 Ticket Prices (Non-Peek / Peek Time):
o Category 1 ("Premium"): ¥15,000 / ¥16,000
o Category 2 ("Stage-Side"): ¥12,500 / ¥13,500
o Category 2 ("Center"): ¥12,500 / ¥13,500
o Category 3 ("Wide View"): ¥9,500 / ¥10,500
o Category 4 ("Value"): ¥7,500 / ¥8,500
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.
2011 Ticket Prices (all):
o Category 1: $160.00
o Category 2: $130.00
o Category 3: $109.00
o Category 4: $89.00
o Category 5: $59.00
2011 Dark Dates:
o January 11-15
o March 1-5
o June 7-14
o September 6-10
o December 6-17
VIVA ELVIS:
Location: Aria, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
2011 Ticket Prices
o Category 1: $175.00
o Category 2: $150.00
o Category 3: $125.00
o Category 4: $99.00
2011 Dark Dates:
o January 18-19
o March 15-19
o May 10-11
o July 5-16
o September 13-14
o November 8-12
2011 Added Performances:
o May 29th
o November 27th
o December 26, 31
--------------------------------------
VENUE - Venue & Seasonal Productions
--------------------------------------
Online at: < http://www.cirquefascination.com/?page_id=251 >
IRIS:
Location ///
Kodak Theatre
Hollywood, CA (USA)
Performances ///
Opens July 22, 2011
Ticket Prices ///
Previews:
Category 0 = $203.00
Category 1 = $100.50
Category 2 = $78.00
Category 3 = $59.25
Category 4 = $33.00
Weekday Matinee:
Category 0: $253.00
Category 1: $123.00
Category 2: $93.00
Category 3: $68.00
Category 4: $43.00
Saturday Matinee:
Category 0: $253.00
Category 1: $133.00
Category 2: $103.00
Category 3: $78.00
Category 4: $43.00
ZARKANA:
Location ///
Radio City Music Hall
New York City, NY (USA)
Performances ///
June 9, 2011 through September 4, 2011.
2011 Dark Dates:
o June 13-15, 20-22, 27-28
o July 4, 11, 18, 25
o August 1, 8, 15, 22, 29
o September 5, 12, 19, 26
o October 3
Ticket Prices ///
Previews:
Category 1 = $250.00
Category 2 = $120.00
Category 3 = $70.00
Category 4 = $47.00
Fri Eve, Sat Mat, Sat Eve, Sun Mat:
Category 1: $300.00
Category 2: $130.00
Category 3: $75.00
Category 4: $52.00
Tues Eve, Wed Mat, Wed Eve, Thurs Eve,
Fri Mat, Sun Eve:
Category 1: $250.00
Category 2: $130.00
Category 3: $75.00
Category 4: $52.00
=======================================================================
OUTREACH - UPDATES FROM CIRQUE'S SOCIAL WIDGETS
=======================================================================
o) Club Cirque -- This Month at CirqueClub
o) Networking -- Cirque on Facebook, Youtube & Twitter
---------------------------------------
CLUB CIRQUE: This Month at CirqueClub
---------------------------------------
SAFETY AT CIRQUE DU SOLEIL
AN ABSOLUTE PRIORITY SINCE 1984
{Jan.13}
Since 1984 Cirque du Soleil has considered the safety of its artists
on all its show and training sites as an absolute priority. Deeply
rooted in its corporate culture, the concern for the artists' health
and safety takes precedence over any artistic endeavor or business
decision.
Cirque du Soleil has established working methods that ensure the
artists' work is done in highly controlled environments, day in and
day out, in order to effectively manage performance risk. The company
leaves nothing to chance, making sure that its equipment and work
environments comply with the highest safety standards.
Customized training programs for a safe learning experience
From the moment a professional artist is hired at Cirque du Soleil
right up to his integration in a show, that artist undergoes a
comprehensive training program provided by expert trainers. A
customized training and performance program and optimal working
conditions are imperative for an artist to execute his act safely.
Prior to being integrated in a show, the majority of the artists
Cirque du Soleil recruits must undergo personalized training for
several weeks, even several months. Whether the performers are former
high-level athletes or specialists already well versed in the circus
arts, they will be trained on two levels: the acrobatic component
teaches them to master all of the movements the act requires, while
the artistic component helps them to develop their ability to express
emotions in order to play a character.
Artist training unquestionably includes an important safety component.
Particular interest is given, among other things, to teaching the
various maneuvers involved in handling the equipment and safety lines
as well as the proper positioning of the artist on the acrobatic
equipment. The staff makes sure the artist is brought through his
training safely. Close to 100 trainers hailing from the four corners
of the world are involved in artist training. These experts come from
backgrounds as diverse as sports, acrobatics, dance, music and
theatre. On the basis of their area of expertise, each one supervises
the artists individually and accompanies them along their path every
step of the way. In 2010, nearly 600 artists will benefit from custom-
designed training in Montreal so they are adequately prepared to take
part safely in any one of the shows.
Accompaniment by elite specialists as a means of prevention
In addition to these coaches and trainers, an interdisciplinary team
of highly qualified specialists is made available to each artist,
ensuring his physical and psychological well-being. The presence of
these experts helps create a controlled and safe environment.
Two or three physiotherapists are on hand on each show site and
approximately 10 are available continuously at the international
headquarters in Montreal. These professionals provide care on a daily
basis whenever required, and work with the trainers and physical
fitness specialists to implement specific training programs designed
to improve posture and flexibility or to correct weaknesses.
Performance psychologists provide psychological support to the
artists, assisting them in developing and integrating both mental and
professional skills such as concentration and relaxation. In addition
to helping artists manage certain difficulties such as fatigue, stress
and the anxiety of being away from their family, they also help those
with a sports background-more than 50% of Cirque du Soleil's 1,200
artists-to adapt to the realities of the arts and entertainment world.
A nutritionist is also on hand to respond to those who request
nutritional advice or seek ways to maintain a balanced diet.
In addition to these specialists, there is a large team of experienced
riggers and technicians whose jobs are directly related to artist
safety: they are responsible for installing the equipment, operating
the various technical systems, including automation and lighting,
verifying the equipment, maintaining safety lines and harnesses, etc.
Cirque du Soleil is also constantly in touch with a medical network,
available anytime and anywhere on the planet.
Safety protocols and detailed risk analyses
In the industrial sector (e.g., aeronautics), safety protocols and
risk analyses are all part of a regular day. At Cirque du Soleil-where
artists leap or are flung in the air and where complex automation
systems are used to move huge set elements-, risk analysis and safety
protocols are part of the landscape too.
Precise protocols and detailed performance risk management analyses
are required for all of the acrobatic acts performed in every Cirque
du Soleil show. Nothing is improvised; each acrobatic element is
analyzed and scrutinized, whether it's a piece of equipment used by an
artist or an individual physical performance.
Each act is deconstructed in a series of individual movements that may
entail risks. For each movement, experts identify:
o) The potential risk accurately
o) The source of the risk
o) The person(s) exposed to the risk
o) The probability of the risk materializing
o) Its degree of severity
o) The measures to be taken to reduce the risk.
This analysis grid is documented meticulously and extensively. It is
developed in conjunction with all equipment and acrobatic performance
designers in order to provide artists with the safest workplace.
In addition to the risk analyses linked to the various acrobatic acts,
Cirque du Soleil has also developed a series of strict and
comprehensive safety protocols that cover a wide variety of aspects
related to its operations. Emergency and rescue procedures, acrobatic
equipment certification and inspection and performance risk management
are some of the processes that are governed by protocols. The scope of
these protocols covers even the weather! In the case of outdoor
performances, for example, weather conditions-wind, rain, humidity and
cold-entail risk factors that must be taken into consideration.
Low incidence of injuries
A series of preventative measures thus ensure the health and safety of
Cirque du Soleil artists. These include optimal training conditions
and experienced staff qualified to provide proper training; experts in
every field to see to the artists' physical and psychological well-
being; precise protocols and risk management processes that ensure
equipment safety and reliability allowing the artists to execute their
acts safely.
It is not surprising, therefore, that a comprehensive epidemiological
study of the nature of injuries at Cirque du Soleil conducted between
2002 and 2010 by physician-scientists affiliated with five
universities in Canada and the United States concluded that the
incidence of severe injuries at Cirque is markedly lower than for
National Collegiate Athletic Association sports such as football,
hockey, soccer, basketball and gymnastics in the United States.
The staging of physical prowess is a crucial part of circus arts. But
the safety of the artists must take precedence over any other
consideration.
---------------------------------------------------
NETWORKING: Cirque on Facebook, YouTube & Twitter
---------------------------------------------------
---[ "O" ]---
{Jan.28}
Shooting the pre-recorded opener for the February 15th UNLV vs.
Air Force game with our amazingly talented high divers!!
FOTO [1] /// < http://www.facebook.com/photo.php?
fbid=10150102813169417&set=a.98604589416.
79108.26000574416 >
{Jan.27}
Interested in taking a backstage tour at "O"? Here's everything
you need to know!
LINK /// < http://www.8newsnow.com/category/28259/
8-news-now-video?clipId=5507979&a >
---[ ALEGRIA ]---
{Jan.30}
Heading to Laredo, TX! Opening @ Laredo Energy Arena on
Wednesday, Feb 2
LINK /// < http://www.elmanana.com.mx/notas.asp?id=218601 >
{Jan.27}
Alegria is in the Mountains, Colorado!
LINK /// < http://www.coloradoan.com/article/20110127/
NEWS01/101270366/Events-center-soars-with-
big-Alegr-a-show >
{Jan.09}
Colorado Springs here we come! Opening on Wednesday, Jan 12!
LINK /// < http://www.csindy.com/colorado/joy-division/
Content?oid=1995242 >
{Jan.06}
In this article, Slava Petrakov, Aerial High Bar flyer, talks
about his artistic background, life on tour with Alegria, etc.
Don't forget to listen to the interview!
LINK /// < http://www.csindy.com/IndyBlog/archives/2011/
01/06/cirque-du-soleil-in-the-springs-part-four >
---[ CRISS ANGEL: BELIEVE ]---
{Jan.21}
Our new creative is up on billboards around town - check it out!
FOTO [1] /// < http://www.facebook.com/photo.php?
fbid=10150089267753599&set=a.103473593598.
94236.18869703598 >
{Jan.18}
In case you missed Criss' appearance on CBS' Rules of Engagement
last night, see below for a short snippet from the episode!
VIDEO /// < http://www.youtube.com/watch?v=08crNRQSkts >
---[ CORTEO ]---
{Jan.05}
Corteo beaming stunt on Le Meridien Brussels Hotel
façade...Corteo is in Brussels until January 30, 2011
LINK /// < http://photos-g.ak.fbcdn.net/hphotos-ak-ash1/
hs799.ash1/168954_480947726178_34657386178_
6460935_5060823_s.jpg >
---[ DRALION ]---
{Jan.30}
Cirque du Soleil never makes it simple. But then, simple is
boring. The famed company's latest voyage to the Gulf Coast
brings the production "Dralion" to the University of South
Alabama Mitchell Center for seven shows over the course of five
days starting Wednesday, Feb. 2.
LINK /// < http://blog.al.com/entertainment-press-
register/2011/01/cirque_du_soleils_dralion_brin.html >
{Jan.25}
Cirque's 'Dralion' merges East and West in Hoffman Estates
LINK /// < http://www.dailyherald.com/article/
20110123/entlife/701219971/ >
{Jan.21}
If you missed Anthony Cooperwood on Great Day St. Louis
yesterday! Here's your chance to see it!
LINK /// < http://www.kmov.com/great-day-st-louis/
Cirque-du-Soleil-Dralion-114274534.html >
{Jan.19}
Watch Tim Ezell from KTVI-TV (FOX) guest starring in the Pas de
Deux act.
LINK /// < http://www.fox2now.com/videobeta/23b35283-d3a3-4160-
a30a-64590924e530/News/Tim-s-Travels-Tim-Joins-t >
{Jan.13}
Great review in Grand Rapids!!! Playing at the Van Andel Arena!
LINK /// < http://www.mlive.com/entertainment/grand-
rapids/index.ssf/2011/01/cirque_du_soleils_
dralion_dazz.html >
{Jan.09}
Dralion by Cirque du Soleil Grand Rapids - Here we come!
LINK /// < http://www.mlive.com/entertainment/grand-
rapids/index.ssf/2011/01/post_19.html >
{Jan.09}
Dralion was selected photo of the week in the Boston Globe!
FOTO /// < http://www.boston.com/bostonglobe/photos/
photos_galleries/boston_globe_staff_
photos_of_the_week_010711/?
p1=Features_link2#/11 >
{Jan.06}
Watch behind the scene footage from the Agganis Arena and also
meet one of our performers - Marie Eve Bisson!
LINK /// < http://www.boston.com/bostonglobe/video/ >
{Jan.02}
Meet one of our main singer: Cristian Zabala. Dralion is opening
at the Agganis Arena in Boston this coming Wednesday!
LINK /// < http://npaper-wehaa.com/elplaneta/2010/
12/31/?%3Farticle=1127222 >
---[ IRIS ]---
{Jan.06}
Had a blast at the LA Arts Month kick-off event. A great way to
start the new year. We're glad to be a part of Los Angeles'
cultural and entertainment arts community!
L.A. Arts Month Kick-Off Celebration
FOTO [6] /// < http://www.facebook.com/album.php?
aid=34697&id=161171830587832&ref=mf >
{Jan.05}
While the creative team in Montreal is busy preparing for IRIS,
here is a video showcasing acts that give you a feel of what you
can expect at the Kodak Theatre.
IRIS: Teaser Trailer
VIDEO [1:00] /// < http://www.facebook.com/video/video.php?
v=1672632208034&oid=161171830587832&comments&ref=mf >
---[ KÀ ]---
{Jan.20}
Hello everyone! We're 4 days into our vacation and things here
are super quiet so we're making an announcement (ATTN: Diana
Lettiere Tedone): KÀ will present a shortened version of the
martial arts performance from Pageant at the New York City Lunar
New Year Parade on Sunday, Feb. 6th. It's going to be COLD so we
will need as much warmth and love from all of you as we can get!
LINK /// < http://www.facebook.com/photo.php?
fbid=10150143635116929&set=a.176667951928.
146847.31527171928 >
{Jan.04}
We know a bunch of you probably made the annual "this year I'm
going to get in shape" resolution, so here are a few tips on how
to do just that from several Las Vegans, including KÀ artist
Emmanuel Kizayilawoko. Now get out there and jump off stuff!
LINK /// < http://www.desertcompanion.com/
article.cfm?articleID=79 >
{Jan.01}
Wishing all of our KÀ friends a happy and healthy 2011! We ended
last year/started this one with some love from our local
newspaper. What do you think, should we have been higher on his
top 10 list? :o)
LINK /// < http://www.lvrj.com/living/garth-brooks-rules-roost-
with-meaningful-one-man-acoustic-show-112467939.html >
---[ LA NOUBA ]---
{Jan.13}
Favorite quote from this Stage and Cinema review: "La Nouba
never pretends to be more than it is: a thrilling evening of
performers at the height of their acrobatic skills, lovingly
supported by an array of characters that seem to mimic the many
dimensions of our psyche."
LINK /// < http://www.stageandcinema.com/2011/01/12/la-nouba/ >
{Jan.06}
VIDEO [2:37] /// < http://www.facebook.com/video/video.php?
v=1812290870016&oid=16315569901&comments&ref=mf >
{Jan.04}
Check out the official La Nouba trading pin we gave exclusively
to our guests on New Year's Eve! It is so shiny it was hard to
take a photo that does it justice. Now for that 2012 design...
*scratches chin*
FOTO [1] /// < http://www.facebook.com/photo.php?
fbid=482588989901&set=a.190647189901.
126413.16315569901 >
---[ MYSTERE ]---
{Jan.20}
We're back from our break on Saturday and the stage looks
beautiful again! Here's a full time-lapse video of the whole
project, and we'll put some still photos in the gallery as well.
Yes, that is ONE member of our Props team painting the stage one
color at a time. (Janet is our hero!)
How to replace a stage by the Crew of Mystère
VIDEO [1:28] /// < http://www.facebook.com/video/video.php?
v=1822943539777&oid=18155469918&comments&ref=mf >
{Jan.12}
Hello Mystère fans! You'll be happy to know our construction
project is going well and we're a few days ahead of schedule.
@Austin Kunis was right-for the 1st time in 17 years we are
completely replacing and refinishing the stage! We'll have more
in depth still photos later this week but enjoy this time-lapse
video from the first day of work. (Looks sort of like Mystère On
Ice, n'est-ce pas?)
The Mystère Stage Gets a Facelift - Jan. 2011
VIDEO [0:30] /// < http://www.facebook.com/video/video.php?
v=1810087818392&oid=18155469918&comments&ref=mf >
{Jan.04}
Hello everyone! This is our last night of shows before we take a
break for a couple of weeks. We'll have some images to share in
the coming days from a major construction project we're doing in
theatre over the vacation, and in the meantime please enjoy the
fourth and final installment of our behind-the-scenes en español
fiesta party.
Mystère Israel & Ross interview on "Acceso Total" (Telemundo LA)
VIDEO [2:00] /// < http://www.facebook.com/video/video.php?
v=1796268392915&oid=18155469918&comments&ref=mf >
---[ OVO ]---
{Jan.26}
Have a look on the interview that Deborah Colker (director and
creator of OVO) did for nature.org.
LINK /// < http://www.nature.org/wherewework/northamerica/
states/texas/features/art32941.html >
{Jan.21}
In the Frisco Enterprise!
LINK /// < http://www.friscoenterprise.com/articles/2011/01/19/
frisco_enterprise/news/243.txt >
---[ QUIDAM ]---
{Jan.11}
Salut Saguenay, le Cirque est en ville!
LINK /// < http://www.cyberpresse.ca/le-quotidien/arts-
spectacles/201101/11/01-4358930-le-cirque-
du-soleil-sinstalle.php >
{Jan.05}
Revue de Presse Quidam à Québec
LINK /// < http://www.cyberpresse.ca/le-soleil/arts-et-
spectacles/sur-scene/201101/04/01-4357230-dans-
lunivers-des-quidams-du-cirque-du-Soleil.php?
utm_categorieinterne=trafficdrivers&utm_
contenuinterne=cyberpresse_vous_suggere_
4357229_article_POS1 >
---[ SALTIMBANCO ]---
{Jan.15}
La Couverture de l'Équipe Mag ce matin !!
LINK /// < http://www.lequipemag.fr/EquipeMag/
Mag/flip/index_flip.html >
{Jan.14}
De nouveaux sièges ajoutés à Bercy !
LINK /// < http://www.facebook.com/photo.php?
fbid=10150118556217959&set=a.121288542958.
129859.41245692958 >
{Jan.09}
À Paris dès jeudi !! Dépêchez-vous pour les derniers billets
disponibles !
LINK /// < http://www.m6replay.fr/#/jeunesse/barbapapa/21450 >
{Jan.07}
L'implacable et rêveur " Saltimbanco "
LINK /// < http://www.nordeclair.fr/Loisirs/Magazine/
2011/01/07/l-implacable-et-reveur-saltimbanco.shtml >
{Jan.06}
Quelques photos du spectacle de hier!
LINK /// < http://photos.lavoix.com/main.php?g2_itemId=171833 >
---[ TOTEM ]---
{Jan.21}
CAST in LONDON
FOTO [1] /// < http://www.facebook.com/photo.php?
fbid=185008721519826&set=a.111837202170312.
12495.111798252174207 >
{Jan.15}
Cirque du Soleil: Taking circus to new heights
LINK /// < http://www.express.co.uk/posts/view/221955/
Cirque-du-Soleil-Taking-circus-to-new-heights >
{Jan.11}
Totem is thrilling when it gets its act together
LINK /// < http://www.thisislondon.co.uk/theatre/review-
23911395-totem-is-thrilling-when-it-gets-
its-act-together.do >
{Jan.06}
Celebs at premiere of Cirque du Soleil's Totem
LINK /// < http://www.thisislondon.co.uk/standard-
pictures/Celebs+at+premiere+of+Cirque+du+Soleil%
27s+Totem-latest.do?id=23380137 >
---[ THE BEALTES LOVE ]---
{Jan.16}
Paul McCartney is so funny! Sir Paul McCartney and Jimmy Fallon
sing "Scrambled Eggs"
VIDEO /// < http://www.youtube.com/watch?v=V3WcCZFwZlw&sns=fb >
{Jan.11}
We've got an air date for our episode of American Idol! Make
sure to tune in on Wednesday, Feb. 23!
{Jan.10}
Steve Martin & Paul McCartney!!!
LINK /// < http://www.kansascity.com/2011/01/10/2574775/steve-
martin-strums-again-with.html >
{Jan.03}
Happy 85th birthday to one of the best music producers that ever
lived - Sir George Martin!
{Jan.01}
Cheers from the girls of LOVE backstage :)
LINK /// < http://www.facebook.com/photo.php?
fbid=496328658665&set=a.101066423665.
92500.14653468665 >
---[ VAREKAI ]---
{Jan.26}
It's official!!! Varekai is going to Korea as of April 6th 2011!
Tickets are now for sale... are you coming??
LINK /// < http://ticket.interpark.com/Ticket/Goods/
GoodsInfo.asp?GoodsCode=11000461 >
{Jan.13}
Our big top was raised Tuesday in the city of Taipei!
LINK /// < http://udn.com/NEWS/READING/REA3/6089948.shtml >
{Jan.13}
Varekai in Taipei!
VIDEO /// < http://www.youtube.com/watch?v=1ZBnQHuHPBg >
---[ VIVA ELVIS ]---
{Jan.27}
Check out Viva ELVIS on The Bachelor on Monday, January 31 (8
p.m. - 10 p.m ET) on ABC! You'll get a behind the scenes look at
our show when it airs, but here's a sneak peek!
The Bachelor at Viva ELVIS (Jan. 31, 2011)
FOTO [5] /// < http://www.facebook.com/album.php?
aid=261220&id=167136344108&ref=mf >
{Jan.21}
"Bossa Nova Baby," a track from 'Viva Elvis - The Album' can be
heard in the trailer for Natalie Portman and Ashton Kutcher's
film, 'No Strings Attached' which opens today! Check out this
clip from the new movie with Ashton Kutcher and Natalie Portman
"No Strings Attached" featuring Elvis' "Bossa Nova Baby"!
VIDEO [0:32] /// < http://www.facebook.com/video/video.php?
v=562974467684&oid=19838724152&comments&ref=mf >
{Jan.15}
We definitely enjoyed the time we spent with Chilean miner
Edison Peña! Here is a short video and some fotos of his visit!
FOTO [10] /// < http://www.facebook.com/album.php?
aid=257939&id=167136344108&ref=mf >
VIDEO [3:11] /// < http://www.facebook.com/video/video.php?
v=10100301878729489&oid=167136344108&comments&ref=mf >
{Jan.12}
Edison Peña made a guest appearance in tonight's 7pm show,
riding in the pink Cadillac. He had a great time backstage with
the cast and serenaded them with some of the Elvis tunes he
knows so well!
FOTO [1] /// < http://www.facebook.com/photo.php?
fbid=481962729108&set=a.167799494108.
119733.167136344108 >
{Jan.11}
Chilean miner Edison Peña will be with us tonight! While the
miners were trapped he would sing Elvis songs to pass the time -
- we definitely hope he enjoys the show!
LINK /// < http://www.latimes.com/sns-ap-us-chilean-
miner-elvis,0,1132599.story >
{Jan.09}
Elvis' 76th birthday celebration
FOTO [5] /// < http://www.facebook.com/album.php?
aid=256309&id=167136344108&ref=mf >
{Jan.09}
Here's a shot of our special finale for Elvis' birthday tonight.
Elvis' birthday cake was created by one of our acrobats, Ashley
Kupets. The singers did a great rendition of Happy Birthday and
the audience loved it!
FOTO [1] /// < http://www.facebook.com/photo.php?
fbid=480429224108&set=a.167799494108.
119733.167136344108 >
{Jan.08}
Check out another birthday video from the cast, produced and
directed by our very talented performer, Aaron Felske.
VIDEO [1:07] /// < http://www.facebook.com/video/video.php?
v=495436177001&oid=167136344108&comments&ref=mf >
{Jan.08}
Happy Birthday Elvis! The audiences at tonight's shows will see
a special birthday performance. Hope you can join us!
VIDEO [1:06] /// < http://www.facebook.com/video/video.php?
v=495311547001&oid=167136344108&comments&ref=mf >
{Jan.06}
Take a look at our performance at around 1:05:00! We had a blast
doing it! If you're in town for CES or otherwise, we've also got
a special $75 ticket off for Elvis' birthday! You can grab that
here near the bottom:
LINK /// < http://bit.ly/ElvisBDay >
{Jan.04}
Sign a virtual birthday card for Elvis and see a video from our
cast at our new site!
LINK /// < http://bit.ly/ElvisBDay >
---[ WINTUK ]---
{Jan.03}
We had our final performances in NYC yesterday! Congratulations
to the cast & crew and thank you to New York for four great
years!!
FOTO [1] /// < http://www.facebook.com/photo.php?
fbid=10150357997950321&set=
a.222882910320.276944.98244255320 >
---[ ZAIA ]---
{Jan.27}
ZAIA on live TV broadcast in China for the first time! Watch our
artists presenting a fantastic act on the Spring Festival Gala
on Hunan TV!!!
LINK /// < http://v.youku.com/v_show/id_XMjQwMDU1MzYw.html >
---[ ZARKANA ]---
{Jan.14}
ZARKANA Creation Sketches
LINK /// < http://www.facebook.com/album.php?
aid=30733&id=139797212738843&ref=mf >
---[ ZUMANITY ]---
{Jan.07}
2011 Mashable Awards at Zumanity!
FOTO [4] /// < http://www.facebook.com/album.php?
aid=276125&id=13931088846&ref=mf >
{Jan.07}
We had a great time playing host to the 4th annual Mashable
Awards Gala! Here's a look at Julia performing 'Hoops' for the
award audience!
LINK /// < http://www.facebook.com/photo.php?
fbid=492384453846&set=a.103927633846.
92609.13931088846 >
=======================================================================
COMPARTMENTS -- A PEEK BEHIND THE CURTAIN
=======================================================================
------------------------------------
HISTORIA: Cirque du Soleil History
------------------------------------
* Feb.01.2008 -- Delirium opened Oberhausen, Germany
* Feb.01.2008 -- Announcement that Delirium will fold in London, UK
* Feb.02.2001 -- La Nouba celebrated 1000th performance [Friday, 6:00pm]
* Feb.02.2010 -- Saltimbanco Arena opened Nantes, FR
* Feb.02.2011 -- Koozå opened Tokyo, Japan
* Feb.02.2011 -- Alegria Arena opened Laredo, TX
* Feb.02.2011 -- Dralion Arena opened Mobile, AL
* Feb.03.2000 -- Dralion opened San Francisco, California
* Feb.03.2005 -- KÀ Premiere Gala (Previews End)
* Feb.04.1988 -- Le Cirque Réinventé opened Santa Monica (again)
* Feb.04.2007 -- Cirque du Soleil performs at Super Bowl XLI.
* Feb.04.2009 -- Corteo opened Tokyo, Japan
* Feb.04.2009 -- Saltimbanco Arena opened St. Charles, MO
* Feb.04.2010 -- Alegría Arena opened Detroit, MI
* Feb.04.2010 -- OVO opened San Jose, CA
* Feb.05.2007 -- iShares Announces Sponsorship of 2007-2008 US Teams
* Feb.05.2008 -- Delirium opened Hanover, Germany
* Feb.05.2009 -- Varekai opened Seville, Spain
* Feb.06.2003 -- Dralion opened New Orleans
* Feb.06.2010 -- Saltimbanco Arena opened Insbruck, AT
* Feb.07.2002 -- Quidam opened Miami, Florida
* Feb.07.2003 -- Region 2 DVDs released: Saltimbanco, Quidam, Dralion
* Feb.07.2003 -- Quidam opened Tokyo
* Feb.07.2007 -- Dralion opened Tokyo
* Feb.07.2007 -- Koozå Creative Team Announced
* Feb.07.2007 -- Delirium opened Moline, IL
* Feb.07.2008 -- Alegria opened Sao Paulo
* Feb.08.1996 -- Saltimbanco opened Hambourg
* Feb.09.2001 -- Saltimbanco opened Fukuoka, Japan
* Feb.09.2005 -- Alegría opened Fukuoka, Japan
* Feb.09.2007 -- Corteo opened Dallas
* Feb.09.2007 -- Delirium opened Minneapolis/St. Paul, MN.
* Feb.09.2011 -- Alegria Arena opened Hidalgo, TX
* Feb.09.2011 -- Dralion Arena opened Columbus, OH
* Feb.10.2008 -- Delirium opened Bremen, Germany
* Feb.10.2006 -- Cirque announced/launched Fashion Line
* Feb.10.2008 -- Cirque du Soleil performs "A Day in the Life"
from The Beatles/Cirque du Soleil LOVE at the
Mirage at Grammy's.
* Feb.10.2008 -- Cirque du Soleil wins 2 Grammy's for LOVE album.
- "Best Compilation Soundtrack Album for
Motion Picture, Television or other Visual
Medium"
- "Best Surround Sound Album"
* Feb.10.2011 -- Corteo opened Vienna, AT
* Feb.11.1998 -- Quidam opened Dallas
* Feb.11.2010 -- Alegría Arena opened Indianoplis, IN
* Feb.11.2010 -- Corteo opened Fukuoka, Japan
* Feb.11.2011 -- Saltimbanco Arena opened Friedrichshafen, DE
* Feb.12.2007 -- Cirque & Orange Business Services sign Partnership
* Feb.12.2009 -- Saltimbanco Arena opened Indianapolis, IN
* Feb.13.2008 -- Delirium opened Stockholm, Sweden
* Feb.14.2001 -- Dralion opened Miami, Florida
* Feb.14.2002 -- Saltimbanco opened Amsterdam
* Feb.14.2007 -- Delirium opened Fort Wayne, IN
* Feb.15.2005 -- Cirque Music available on iTunes
* Feb.15.2007 -- Cirque Partners with Champ Car race
* Feb.16.2001 -- Quidam opened Manchester
* Feb.16.2008 -- Delirium opened Turku, Finland
* Feb.16.2011 -- Alegria Arena opened Corpus Christi, TX
* Feb.16.2011 -- Dralion Arena opened Detroit, MI
* Feb.17.2005 -- Saltimbanco (2005) CD Released (CDS Musique)
* Feb.17.2007 -- Delirium opened Chicago, IL.
* Feb.17.2010 -- Alegría Arena opened Austin, TX
* Feb.18.2009 -- Saltimbanco Arena opened Batton Rouge, LA
* Feb.18.2011 -- Saltimbanco Arena opened Istanbul, TR
* Feb.19.1998 -- Alegría opened Madrid
* Feb.19.2002 -- Quidam Extended CD Released (BMG/CDS Musique)
* Feb.19.2004 -- Alegría opened St. Petersburg
* Feb.20.2007 -- Cimarron gives KÀ new visual style
* Feb.20.2008 -- Saltimbanco Arena opened Memphis, TN
* Feb.21.2007 -- CirqueCon's 2007 & 2008 Announced
* Feb.21.2007 -- Delirium opened Kansas City, MO
* Feb.22.1991 -- Nouvelle Expérience opened Cosa Mesa
* Feb.22.2000 -- Alegría: Le Film CD Released in US (RCA/Victor)
* Feb.22.2007 -- Alegría opened Barcelona
* Feb.23.2006 -- Alegría opened Milan
* Feb.23.2011 -- Alegria Arena opened Tulsa, OK
* Feb.24.2005 -- Saltimbanco opened Birmingham
* Feb.24.2005 -- Varekai opened Austin
* Feb.24.2007 -- Delirium opened Ames, IA
* Feb.24.2009 -- Saltimbanco Arena opened Rockford, IL
* Feb.24.2009 -- Varekai celebrated 2,500th performance [Seville, Spain]
* Feb.24.2010 -- Alegría Arena opened Frisco, TX
* Feb.25.1988 -- Le Cirque Réinventé opened Calgary
* Feb.25.2001 -- Quidam opened Manchester
* Feb.25.2008 -- Delirium opened Zurich, Germany
* Feb.25.2010 -- Varekai opened Manchester, UK
* Feb.25.2010 -- Koozå opened San Diego, CA
* Feb.25.2010 -- Banana Shpeel opened NYC (Previews)
* Feb.26.2003 -- Saltimbanco opened Bilbao
* Feb.26.2008 -- Saltimbanco Arena opened Charlottesville, VA
* Feb.26.2009 -- Cirque & Reebok announce "Fit to Fly"
* Feb.26.2009 -- Quidam opened Liverpool, UK (Temporarily Arena)
* Feb.26.2010 -- Quidam opened Sao Paulo
* Feb.27.2005 -- Dralion opened Amsterdam
* Feb.27.2008 -- Quidam opened Veracrux, Mexico
* Feb.28.2000 -- La Nouba celebrated 500th performance [Monday]
* Feb.28.2002 -- Alegría opened Singapore
* Feb.28.2007 -- Delirium opened Green Bay, WI
* Feb.29.2008 -- Varekai opened Amsterdam
* Feb.29.2008 -- Delirium opened Budapest, Hungary
=======================================================================
FASCINATION! FEATURES
=======================================================================
-------------------------------------------------------
INTERVIEW /// Exclusive Interview with the Musical
Director for Viva Elvis!: "Erich Van Tourneau -
Takin' Care Of Business"
By: Keith Johnson - Seattle, Washington (USA)
-------------------------------------------------------
Cirque du Soleil was quick to realize, with the critical and financial
success of The Beatles Love, that it could expand its stable of
productions beyond ideas and characters generated exclusively in-
house. Many of the lessons learned during the creation of the Beatles
project would be applied to its next collaborative endeavor - a show
based on the life and work of The King Of Rock And Roll, Elvis
Presley. But while the creative thrust of the Fab Four show -
illustrating the life and times that inspired the Beatles along with
bringing the characters from their songs to life - worked well for
that show, it would not work as well with Presley.
Instead of placing him within a strictly historical context it was
decided to update The King's songs and image, bringing both into the
21st century for modern audiences. But it wasn't going to be a remix
effort (most notable of which was the JXL remix of "A Little Less
Conversation"). This would involve updating the music and
arrangements, utilizing Elvis' vocals while placing them inside
arrangements and instrumentation different (sometimes vastly
different) from when they were originally recorded.
This task fell to Viva Elvis! Musical Director Erick Van Tourneau.
When we spoke with Mr. Van Tourneau back in early December from his
cottage in Montréal Blanc (in northern Montréal), it was just weeks
after the release of the soundtrack CD, Viva Elvis - The Album (2010,
Sony/RCA Legacy 88697-77582-2). The album has gotten high marks for
its creativity and power, if criticized for its brevity. (At 42 1/2
minutes it's the shortest Cirque soundtrack album since the very first
Cirque album back in 1987, which was originally produced for vinyl
LP.)
Mr. Van Tourneau first came to Cirque's attention at the end of 2007.
"[Someone at] Cirque du Soleil called me a couple of months before
Elvis [was announced], to have my press kit and information about the
work I did to [put] in their bank of creators, because I've produced
several albums in Montréal for different genres of music and for
different labels."
"[Then] I heard about the Elvis project [and] they asked me to do a
pitch. I pitched two songs; "Hound Dog" and "One Night With You" (Ed:
both of which are in the show but not on the CD). I didn't have
access to masters at the time so I found a version of "Hound Dog," I
believe from the '68 comeback special, and worked with that version."
These demos, it turned out, are "really really close" to the way they
sound in the finished show. "It's funny, sometimes you create
something and it's more unconscious. I hadn't explored and listened
to the catalog of Elvis songs [when I did the pitch], so in a way what
I created in the moment was really pure."
"The director [Vincent Paterson, was] really happy with the music he
heard, so that was the beginning of this great adventure."
Sample This
His research included listening to all of the Elvis recordings he
could, both official and unofficial, a task that took more than 3,000
hours and resulted in a bank of more than 17,000 samples of music.
But only a fraction of those samples made it into the final show, and
not all of the samples in the show made it to the CD. Fortunately,
for those who are interested there is a listing of the samples used in
the CD at www.vivaelvis.com/samples. (It doesn't include samples (if
any) used in "Memories," "You'll Never Walk Alone (Piano Interlude)"
and "Suspicious Minds.")
Working on the actual songs involved a great number of creative
decisions, not the least of which was what material out of Elvis'
original recordings to keep and what to re-arrange or augment. "It
[was] really a case-by-case situation, depending on the song. Like
I've mentioned many times the most important thing, the heart of the
project, was really Elvis' voice. In each song I tried to keep the
melodic line and Elvis' voice intact and paint new colors around him.
The clash was really coming from that, keeping the heart of the song,
meaning Elvis' voice, and clash that against new colors."
"[Let's] talk about "That's All Right" for instance. [The version I
used] was the one from 1954 where he recorded at Sun, it really
represents the ripe incarnation of Elvis. It's not a version from the
1970's, it's the purest one. In "That's All Right" there's no drum,
the upright bass was really doing the drums job. So to really bring
the song into 2010 and have the same kind of force that it had in '54
I had to bring a drum into the new arrangement. Also to have that
hard rock feel I had to muscle up the rhythm section and record new
bass and new guitars. But it was really important to me to have that
clash, that mixture of tones. [So I kept] Scotty Moore's guitar in
there, because the sound of Elvis back in '54 was coming from his
voice but also from Scotty Moore's guitar. That's something everybody
can easily recognize. So I kept [snippets] from Scotty Moore's
guitar, but mainly it really goes around the voice."
Creating the soundscapes involved technology unavailable during
Presley's time. "To isolate Elvis' vocal I worked with the program,
"Digital Performer" (Ed: a software recording/editing/mixing package
from MOTU-Mark of the Unicorn, www.motu.com/products/software/dp/).
But I used a program called "Melodyne" when I had to change the
harmony in the Jordainaires introduction to "Can't Help Falling In
Love." It came from "Known Only To Him," an old gospel song. I had
to change the harmony because it was clashing with the chord
progression. (Ed: Melodyne is a digital studio package from Celemony,
www.celemony.com.)"
He also worked with an old friend, a pioneering stereo digital sampler
released in 1988, the Akai S-1000 (see a picture with info at
en.wikipedia.org/wiki/Akai_S1000). "[Laughs] It's my sampler, my
companion; I've had that sampler for years. I [had to make] some new
knobs [out of] Fimo clay (Ed: a polymer clay paste like Sculpey,
www.fimo.com). It's really archaic, really old, I think the memory is
32 meg so it's a joke. But it's my old companion and I did a lot of
mash-ups and breakbeats on the album [with it]."
To CD or Not to CD
As Mr. Van Tourneau worked on creating the show's music, he wasn't
thinking toward an eventual CD soundtrack release. Indeed, though
it's desired to have a soundtrack as part of a Cirque shows
merchandise mix it's never a given, especially when somebody else's
music is involved.
"In this industry nothing is taken for granted," said Mr. Van
Tourneau. "Of course it's natural to think there would be an album,
[as with] LOVE. But I didn't take that for granted. I was delivering
song after song and doing my best just to stay on the boat in this
adventure and keep everyone into it. Because [this] was my first
project with Cirque and I didn't have the name or history of (Beatles
producer) George Martin."
"[At one point] we were in Las Vegas at Guy Laliberte's place there,
and we had a meeting listening to all the songs with the people at
Sony. And it was really the first time that I could feel and sense
that [people] were really into it and interested in the music by
itself, not just as part of the show. Because the music is serving
the show and, depending on the act, it has to serve a purpose. [But]
there was really a good vibe and it was really the first time I could
feel that we could have an album [that would stand] by itself."
"I really began to work on the project at the beginning of June. (Ed:
In order to meet Sony's desire to have the CD in stores by the 2010
Holiday Season.) I [had produced an album during the summer] once
before and promised myself [I wouldn't do that again]! [laughs]"
"Working during summer is really tough for a creator," he continued.
"I was working from 5am until 10pm. Mentally it was tough to [be
working and] see my dog running outside. But I couldn't refuse to
produce [the CD] because it was my baby. Sony only gave me three
months so it was really really fast. The vocals were really
complicated to deal with, so three months was [not a lot of time]."
Keeping with the practice of recent Cirque soundtracks, Mr. Van
Tourneau made efforts to include musicians and singers from the live
Vegas band. He even went so far as to have show guitarist Jean-
Sebastian "The Flash" Chouinard record parts in the Viva Elvis Theater
at night after shows.
Yet there is one notable musician missing from the CD, percussionist
Kit Chatham (who is a very present musical personality in the show).
Kit is a fan favorite from his days as drummer with Corteo, why does
he not appear on the CD? "Because of his bad attitude! [laughs] No,
no, I'm kidding. Kit is so cool and has a strong presence in the
show. I clearly remember when I saw his audition tape. [I got] a
really strong impression of Kit and he was the first musician that I
chose."
"I think the main difference between the album and the live
performance is really an aesthetic one. [With the CD] I tried to
bring Elvis samples into the picture as much as possible. So when I
had a choice between using a musician from the show or using samples
coming from Elvis' work or world, I would use Elvis samples. I tried
to use the musicians every time it was possible, but if I had access
to nice percussion coming from [the world] of Elvis I would use
those." (Indeed, there is no one listed as performing "Percussion" on
the CD.)
The resulting CD features Elvis on 10 of the CD's 12 tracks with a
running time of just over 42 minutes. Why not more tracks and a
longer running time? "It was just a question of time. If I would
have had six months I would add maybe four more cuts. But in my
opinion more than 16 cuts on an album is too much. When you listen to
the album as it is now, for me I'm exhausted at the end. Because it's
really intense emotionally and energy[-wise], it's like a 45-minute
long rock concert. So I preferred to leave on a high note rather than
do 20 cuts."
Missing from the CD are such show set-pieces as "Got a Lot of Livin'
To Do," "Hound Dog," "Are You Lonesome Tonight," "It's Now or Never,"
"Jailhouse Rock," and "One Night With You." The short time to produce
the album meant hard decisions of which songs to include had to be
made. "I really loved "One Night With You." I didn't touch a hair to
[it] since the creation of [the original pitch demo], it was really
solid. I loved the emotional side, it's really different. But it was
[a duet, and it would be] too much to have four duets on the album.
That was really the main argument for song choices, to have Elvis
singing on the album. The name of the show and album is Viva Elvis,
so for me it was fun to have maybe a couple of duets, but other than
that it was too much."
Might this lead to a second volume of the show's music? "Personally I
would love to work on a "Volume Two." After that I think it's a
question for Sony and Cirque. We'll see how "Volume One" goes. I did
ask Sony to print a vinyl version of the album for collectors. It
[would be] so cool, having access to [an Elvis album on] vinyl. I am
anxious to see that happen, I would buy one!"
(Answering his request, the soundtrack album has since been released
on 180-gram audiophile vinyl by Sony Legacy Recordings, with a UPC
code of 8-86977-67661-1 and can be purchased through Amazon and other
sources. But it doesn't look like there will be a surround-sound
version as there was with the limited-edition CD/DVD-A package for The
Beatles Love.)
The final CD also incorporated assistance to mix the final tracks,
bringing in Serban Ghemea and renowned mixer Brendon O'Brien.
Utilizing them helped in several ways, Mr. Van Tourneau explained.
"It was [a matter of] time but also competence. I am a big fan of
Brendon O'Brien's work. And Serban Ghemea is an amazing mixer, I
think he's mixed more than 1,000 albums. I wanted Brendon to work on
the songs that were really rock (Ed: he mixed "That's All Right,"
"Heartbreak Hotel," and "Suspicious Minds"). And I wanted Serban to
work on the songs that were more urban and hip-hoppish, with machines
and drum machines (Ed: he mixed "Blue Suede Shoes," "Bossa Nova Baby,"
"Burning Love," and "Can't Help Falling in Love"). Serban did a
really cool job because it's a big range. [Like in] "Blue Suede
Shoes," where it's more urban with the beat and handclaps, and you
have real drums and real fat guitars."
"It was really complicated to find someone that could understand all
the musical influences that are in there. I was fortunate to have
those two guys."
It wasn't too difficult for him to pick his favorites from the CD. "I
don't have the set list [in front of me], but for sure "Blue Suede
Shoes" is one of my favorites. It's so eclectic and modern and at the
same time so relevant to and using all of Elvis' roots. Like using
Delta blues, a harmonica and a Bo Diddley beat. But clashing that
with DJ scratching (such as the stuttering "go-go-go"), all the
samples coming from Milton Berle, and all that stuff. I really love
the infectious energy of "Blue Suede Shoes," it's really decadent."
"On the other side I [also] love "Can't Help Falling In Love." It's
sensibility, [with] Elvis' voice sounding so amazing and rich, and I
love the female vocal. The beat is really urban, a really 2010 kind
of R&B, Bill Withers beat. And the ending is really one of my
favorite mash-ups [where] I bring "Love Me" into the picture. You
have Elvis singing and the curtain falls, and there's a big gospel
choir [with] Elvis in front of them. For me it's really a nice
tribute to Elvis' roots, he was so into gospel music. Those two I
really like."
The Sound of Silence
When he finished working on the show and soundtrack CD it was time to
take a well-deserved break. "I just came back from a road trip, I was
on the road almost two months in the United States. And every time
I'm driving - and I did a lot of driving, sometimes fifteen hours a
day - I didn't listen to music at all. Because it was so intense,
working so hard during the summer and the last two years. When I can
I don't listen to music. Sometimes I like to play piano and guitar
with friends at parties, and have a glass of wine and play and jam,
but I don't listen to a lot of music at the moment."
"I imagine it's the same when you work [hard], like you're working
sixteen hours a day, when you have a chance to disconnect and do other
things I think you do that. When I work I listen to everything that
can have a connection with the project. I'm a big big fan and freak
of music of all kinds, so it's really from Abba to Zappa. I like that
expression really, because I listen to everything."
As our time drew to a close, we asked Mr. Van Tourneau what
characteristic he felt was most critical for success in music. In a
word, "Discipline."
"Because you can have talent; if you don't have talent don't expect to
work one hour in the business. I think that's the minimum, the first
thing you need to have. But after that it's really hard work. I was
fortunate to have a father that is really a kick-ass person that is
really disciplined with his projects, and I learned a lot just
[watching] him."
Discipline that equipped him to create a powerful album starring the
King of Rock And Roll in a short three-month time-span.
Takin' Care Of Business, indeed.
(Another great interview with Mr. Van Tourneau can be found at
www.elvisthemusic.com/us/conversation-erich. Parts of that interview
can be heard in audio form (including a great segment with him
discussing - and playing - his update of the Elvis classic "Suspicious
Minds") on the "Elvis.com Podcast" at http://www.elvis.com/news/
follow-elvis/weekly-podcast/default.aspx (4-part "Special Edition -
Viva Elvis between November 1-8, 2010, just prior to Episode #50).
My sincere thanks go to: Mr. Van Tourneau for so graciously spending
time with us, Chantal Côte, Corporate PR Manager, and my wife LouAnna
for putting up with my sometimes obsessive hobby.
-------------------------------------------------------
"CD Review: Criss Angel BeLIEve Soundtrack CD"
By: Keith Johnson - Seattle, Washington (USA)
-------------------------------------------------------
What are you to do when the music for a show that has been in
development for years goes through a wholesale revamping a short time
after its debut? If you're Cirque du Soleil, realizing this is a
possibility you tend to hedge your bets, letting a show go through its
"fixation" process before considering a CD release, so as to have the
most current music available on the soundtrack.
With TOTEM being an exception (the CD being released six months after
the shows debut in Montreal) the average time to release a CD has been
a year or more. And in the first case of a show to go through a major
post-premiere revamp - Mystere - the solution was to re-record the CD
in a live performance setting with the new musical score.
But what do you do if you have a completed soundtrack CD already in
the can, ready to release, when the show unexpectantly goes through
significant changes? How can that be representative of the current
show?
Welcome to the Criss Angel BeLIEve soundtrack CD.
Available for the last few months in the Cirque Boutique and at the
Luxor BeLIEve gift shop as a physical CD (Cirque du Soleil Musique
CDSMCD-10032, 2010) the soundtrack has just been made available for
download on ITunes ($10.00) and Amazon (where it's currently $8.00).
The album can also be sampled in its entirety (not snippets, but full
versions of all of CD songs) on the Cirque du Soleil website, in the
Audio section of the Multimedia Gallery.
For a show that had "Version 1.0" with music and storyline dominant,
and a "Version 2.0" where those take a backseat, the question becomes
which version of the show does the CD document? Since it was recorded
before the changes to the show this CD is obviously for Version 1.0,
but how would a buyer know? And how many of the songs from Version
1.0 made it into Version 2.0?
For the first question, one need look no further than the CD front cover.
Emblazoned there, on the booket first page, and CD label is a thick red
banner saying in French and English "Original Soundtrack by Eric Serra
09-2008 through 09-2009." So there is truth in advertising going on
here, Cirque is being very clear in saying this is the music for the
first year of the show. As to the second question, depend on
your friends at Fascination! But more about that in a minute. Is the
CD worth it or not?
It isn't just the red-band "warning" that makes this most-recent CD
release different from other recent Cirque CD's. While the packaging
is the standard Cirque tri-panel recycled cardboard (with artwork
evoking the tone of the show), and there are pictures of show
characters Kayala, Crimson and the clown quartet there are no pictures
of Criss Angel anywhere. The booklet is a simple 4-page affair, there
are no producer, composer, or musical director notes to be found (as
have appeared on other CD's lately). The booklet has the feeling of
just presenting the basics in order to get the CD released and be done
with it, it doesn't have the "feel" of a graphics team that wanted to
evoke the show with more graphics within its pages.
But the booklet is revealing. It shows that most of the sounds are
played by Eric Serra himself, eschewing the original live BeLIEve
band, which included..
o) Vocalist Nitza
o) Guitarist Elvis Lederer
o) Bandleader and Bassist Jean-François (DJeff) Houle
o) Percussionist José Pepe Jimenez
The CD does feature vocals by Nitza on four tracks, as well as soprano
InvaMula. Jim & Jon Grandcamp, who play guitar and drums on Serra's
side project RXRA, contribute to two tracks. There are also symphonic
parts performed by the London Session Orchestra. But the rest of the
keyboards, guitars, drums and sounds are Serra's (though he does
credit several sample libraries).
The 64 minutes of music centers on slow and mid-tempo rhythms
featuring exotic sounds and carries the ethos of Angel's darker gothic
persona throughout. A few themes recur - the fun"Homage to the
Rabbits" theme appears in several places, as well as a grander
"wedding" theme that comes into play towards the end of the CD (the
orchestral version of the theme on the last two songs are highlights).
Many cuts incorporate several short musical ideas, as if Serra were
editing different ideas together to make a full track. While most of
the mash-ups are successful, some of the combinations make me want to
slice the CD up into smaller tracks so the musical ideas don't mash
together.
As a CD, despite the troubled show to which it's attached, there are
some interesting melodies and sounds to be heard here. The "Homage"
and "Magic Wedding" tracks stand up against some of the best Cirque
has to offer. I would have liked to hear more of the creation
musicians, but since the show no longer uses them it doesn't matter.
As to the question of whether it's a worthy soundtrack to Criss Angel
BeLIEve 2.0...
At the risk of eliciting sympathy (or more likely noting how much
money I "wasted") from BeLIEve haters I should state that my wife and
I have seen the show twice (on the same date a year apart it turns
out), once for Version 1.0 and once for Version 2.0. The show is now
much more suitable to Angel's persona, dropping the "storyline"(and
with it a majority of the "Cirque" input) and taking a straight-ahead
magic show approach. Criss talks much more and has more audience
interaction now, but keeps the show the same length, so there is less
chance for music. As we recall, some cues sounded like recordings of
the old live band, while several cues sounded like they came straight
from the CD. Our recollection is that the following tracks on the CD
are used in Version 2.0 of the show:
o) 1-Homage to the Rabbits
o) 2-The Life Factory (last section)
o) 4-Flying With The Birds (first section)
o) 13-Prewed
o) 15-She is Gone to the Sky
o) 16-The Magic Wedding
You can decide for yourself if six tracks (though it may be more like
seven or eight) is enough to make it a "soundtrack" or if this
relegates the BeLIEve CD to the scorned stack of Cirque soundtrack
mis-fires like "Zumanity" (and to a lesser extent Varekai). Though
before you do (as you should do with all Cirque CD's) give it a listen
on the Cirque website first, it has several things to recommend it.
Because I doubt we will be getting a soundtrack dedicated to the time
after September 2009.
Unless something magical happens.
-------------------------------------------------------
Tokyo Dance Magazine Covers ZED [EXPANDED]
A Special Collection of Interviews
-------------------------------------------------------
Tokyo Dance Magazine has a cover story this month about ZED,
featuring Bungee/Hammock artists Mai Sato & Giulia Piolanti,
Artistic Director Luc Ouellette, Rigger Shoji Kurata, and Costumer
Chihiro Tafuku. The interviews were originally conducted and printed
in Japanese, and were translated into English by the TDM staff.
While translations are... a little bizarre, we've decided to leave
leave them as is.
# # # # #
Inaugurating ZED; an original show by Cirque du Soleil, at the summer
of 2008, we have watched its trial one month before its premier.
We had already heard many times about its successes in show business
home, Las Vegas, and its presence of Cirque du Soleil enthralling
audiences all around the world, though, it made us amazed by the
magnificent performances beyond our imaginations as appeared.
Normally, we should have reported such current issues at that time,
though, all the medias proclaimed its great performances and we did
not have topics directly relevant to you, therefore we believed and
waited for its timing. Then, the time has come to us. We had a
previous interview for Mai Sato who passed a demanding audition of
Cirque du Soleil. She is performing in ZED since the summer of 2010.
She told us to introduce Cirque du Soleil to dancers and appreciate
it, thus, we could have interview for her again.
We watched ZED again before the interview. Then, we realised big
differences comparing to its trial we had watched; it has renovated
the techniques and performances qualities, expanded its show time,
and enhanced totally. ZED has made progress within itself. We would
understand why it has gathered and fascinated audiences over one
million for one year and nine months since it began. Thanks to Cirque
du Soleil, we could interview Giulia Piolanti; one of the artists and
Mais friend, Mr. Luc Ouellette; Artistic Director, Mr. Shoji Kurata;
rigger, and Ms. Chihiro Tafuku; costume unit. We could infer the
reason, by their childlike smiles, it widely acclaimed asthe most
renown entertainment in the world and fully comprehend depth and
kindness of Cirque du Soleil.
ZED
ZED is names of the show premiered on October 1st, 2008 and its
first magnificent residential theatre, except North America,
established by renowned circus, Cirque du Soleil, founded by Canadian,
Guy Laliberte and Gilles Ste-Croix in 1984. he show was structured on
dramatic storyline representing its main character; Zed, the same name
as the theme, performs acrobatically traveling around the worlds in
heaven and earth. Producing its skilled performances and athletic
beauty, live at the performances by musicians, audience cannot stop
getting excited and elated for its series of acts of artistic quality
and spectacles in the show. This is the only unprecedented
entertainment in the world, which ran over three years everyday and
has collected over one million audiences. ZED appears in different
views from angles and places has developed and renovated itself since
it began, so that draws repeating audiences. Shoji Inagaki, taken his
role as Djinn, the world champion of Baton Twirling, is currently
performing in the show.
MAI
Mai won at International Pole Championship in 2009 and 2010. Seeing a
several artists belong to Cirque du Soleil introduced by friends of
hers in 2007, she came to be interested in aerial acts, and started
training for aerial tissue with Ms. Asa Kubiak. She took audition for
bungee, aerial, and hammock performances of Cirque du Soleil cheered
by Giulia Piolanti; her friend and also an artist of ZED, and
eventually passed. She stayed at Montreal about a month to have
intensive trainings for choreography, voice, making up, getting
dressed in costumes. Since August 2010, she performs as an artist of
ZED in the acts of bungee, aerial and hammock.
GIULIA PIOLANTI
Giulia has participated in international championships as an athlete
in Rhythmic Gymnastics from at the age of six to nineteen. She went to
dance school after for three years and learned dance, singing, acting,
and vocal exercise. She expanded her career from a dance company,
Kataklo, in Italy and performed at various events all around the
world, including the opening ceremony of Turin Olympic games in 2006,
for seven years. Since 2003, she started her model career in
exhibitions and art books. Working with photographers from the U.S.A.,
Australia, Switzerland, Italy, and the U.K., she won at the
international photographic competitions in 2004 by her three pictures.
She invited as an artist for ZED in 2007 and performing bungee, aerial
and hammock.
LUC OUELLETTE
Luc was born in Montreal, Canada and performed as a professional
contemporary dancer from 1984 to 2000. Working as a director assistant
at a choreography centre of Circuit-Est from 1999 to 2003, he assigned
as an Artistic Coordinator in Japan tour of Quidam since 2003. He
traveled with as Artistic Coordinator of Alegria for three years since
2004 in the U.S.A., Europe and Japan tour. After that, for three
years, he was allocated as Artistic Director of O at a residential
theatre, the Bellagio Hotel and Casino in Las Vegas. Currently he
directs ZED as an Artistic Director.
# # #
TDM: We did not imagine at a previous interview, which although you
have told us you had a friend of yours in Cirque du Soleil, you joined
there.
Mai: Me neither. It was my friend, Giulia. I did not imagine to join
Cirque du Soleil, too.
TDM: No. Could you tell us your process to Cirque du Soleil?
Mai: Cirque du Soleil provides social action programs as a member of
society by the section; Global Citizenship. I am interested in its
program at first, Cirque du Monde which teaches circus for street
children, young at youth or etc. I went and saw there to participate
in to which its artists also came, and I regretted that I could not
teach anything because I would not be a professional. At the same
time, I wondered if I were an artist of Cirque du Soleil, I could
change myself. That was my motive. I won at a championship of pole
dancing in 2009 where its scouting team watched our performances and
asked me to send a video, and also I had submitted another one over
the Internet. After that, I had a phone call suggesting we are
looking for a replacement for bungee of ZED, then, could you apply for
it?
TDM: Did it come around to you in a spontaneous way?
Mai: Yes, it did. The former was to perform in another show, so I have
taken a role in ZED since its audition. And then I stayed at Montreal
about a month.
TDM: What was impressed you there?
Mai: I am scared of higher place. (haha) First, I fall down from
aerial swing hanged from ceiling to start my bungee performance,
though, I could not even stand there. I need to take my hands off but
I could not. I feared to jump off from there.
TDM: But you do that every day, dont you? Maybe you had demanding
training for it, didnt you?
Mai: I came to be able to do that. Also, I had other classes, such as
dance or act where I practiced to express my feelings of happiness or
sadness. I have trained pole and hammock performed on a trampoline
many times as well, since I had my routine there.
TDM: How did you feel that you have exercised at, most renowned circus
in the world, Cirqu du Soleil?
Mai: I was going to participate in the existing show, ZED, then I
concentrated on the training personally at Montreal. While, as I came
back to Japan and took part in the show, I recognised a big difference
because the artists here have played rhythmic gymnastics or ballet,
whose bodies have been worked out exquisitely. Therefore, it was hard
for me to do what they could do very easily. But, Gulia always helped
me, whom explained how to do many times until I understood and
practiced together.
TDM: Have you obtained any confidence since you joined Cirque du
Soleil?
Mai: I have not yet. I think that will take a time more. I am afraid
of the responsibility as a Japanese for standing on stage of Cirque du
Soleil, and feel pressure. I have not taken over it yet. Though, I am
trying not to think about that.
TDM: How was your first stage?
Mai: My debut was on 31st August, 2010, but I could not remember it so
much.
TDM: Did you feel any changes?
Mai: Gradually I am getting not to be conscious of the pressure so
much. Members here are very kind to me. Although I cannot speak in
English so much, they are trying to see what I want to tell. When I
disappoint, they concern me with saying Are you okay?.
TDM: Could you tell us the superior point of Cirque du Soleil since
you have participated in ZED currently?
Mai: It should be not only the acrobatic skills but also the stage
settings, the light and the costumes, which have collected all the
talents in each section. Stage operation, as well. I see their works
on a certain way because I would work to put across stuff-flow by
manipulating computer graphics.
TDM: We have heard that your trustworthy relationships by costume and
technical teams are brilliant, but do you feel that?
Mai: Yes. They explain to me about their systems or structures very
much. They scrutinize, such as a part of clasp of harness, closely and
when I ask them, they answer quickly. They have been acquiring
knowledge of them much so that I can be really assured.
TDM: We see your costumes very beautiful from our seats, in which you
get dressed during the show, but do you like them?
Mai: Yes, I do. I have three costumes; one of them for bungee is white
clothes but seem to be more brighter reflecting on the black light,
the second one is, for hammock, dressed in green one and exchanged it
for purple clothes at the final scene, Charivari. When I try the
costumes at first, our staffs fix them to my personal size, not big or
small. Especially for our aerial performance, they make my costumes
precise since the clothes are rubbed together.
TDM: All of you may have main parts in the show?
Mai: Yes, we do. We take roles in it mainly and supportively. My job
is to make audience dream.
TDM: How did you meet each other?
Giulia: When I moved to Japan, we had some friends in common. I found
out that she was doing pole dancing, and taught me how to.
TDM: How did you join Cirque du Soleil?
Giulia: In Italy, I was a dancer in an acrobatic dance company for
seven years during which I was doing rhythmic gymnastics, jazz, and
modern dance. Although Cirque du Soleil never had official audition in
Italy, one day, I felt it was a moment for challenge thus I sent it my
performance video. As one month past, I had e-mail from Cirque du
Soleil offered me a contract to work a new project in Tokyo, ZED. Of
course I didnt have any doubt and signed the contract immediately.
TDM: Is this your first time to live in Japan?
Giulia: Yes, this is the first time I live in Japan. I had been longed
for coming Tokyo, so I am very happy.
TDM: Generally, for dancers, it is lucky to perform the same shows
five times at most, but you are performing it everyday, so that you
would be grateful. Could you tell us how to motivate for your
performances?
Mai: This is the third month for me to perform on the stage,
therefore, I could not fully satisfy myself then I adapt to every
show. I have feedback of my performances day by day whether I can
perform better than yesterday, whose adjustment is very crucial.
Physical control is vital, as well. As I was working in a computer
graphics company, I could switch my life rhythm to dancing easily so
far, however, I cannot shift it on my personal business at present and
also need to build up my body to suit my aerial performance completely
different from dance on the ground. I exercise joints especially since
it is very pivotal for my performance.
Giulia: For me because I am here since ZED begins, I have already had
around nine hundred shows, while, its audience is different everyday.
Although we have so many performances of the same show, it might be
the first time for audience to watch, then, their reactions are
various, where is necessary to give them our best performances. My job
is to make them dream. Sometimes I am tired or even had a thing as for
a human being, though, the moments on the stage is my life, thus, I
would like to share with the people watching it for the first time and
perform the best for them. We are connecting the world by human
bodies expressions.
TDM: How do you feel now and pursue the goal as mentioned before I
would like to be a dancer who can perform spectacularly regardless in
what I get dressed.
Mai: I have not changed it. But, I had never done bungee which was
different from tissue performance I did before joined Cirque du
Soleil. My body could not accept it well and sometimes freely work but
sometimes not, then, I would like to work out my body to make
appropriate for the performance enough. Giulias performance is very
beautiful.
TDM: Please give your current message for dancers.
Mai: For me I cannot be confident so much anytime, but, it is very
crucial to trust yourselves.
Giulia: Keep going, never stop dreaming, and trying to make those
dreams come true. By dancing and jumping, we only can share those
feelings or energy with all the people in the world, not only other
dancers or choreographers but also people who love dances and want to
see us. I think movements of dance are one of the best ways to keep
this world connected together with smile.
TDM: Thank you very much! All the best for today's show!
# # #
LUC OUELLETTE, Artistic Director
Cirque du Soleil is in pursuit of its creativity and synergy All of
the people, take part in the show, motivate for and work on their
creations. Luc, Artistic Director, endeavours to offer artists not
only professional performances but also their present and future as
human beings. He communicates with each other specifically by his
experience acquired as a dancer. We impressed its precisely structured
stage management, supportive environment, and its nurture for artists
to be grateful for its assistance.
Luc was born in Montreal, Canada and performed as a professional
contemporary dancer from 1984 to 2000. Working as a director assistant
at a choreography centre of Circuit-Est from 1999 to 2003, he assigned
as an Artistic Coordinator in Japan tour of Quidam since 2003.
He traveled with as Artistic Coordinator of Alegria for three years
since 2004 in the U.S.A., Europe and Japan tour. After that, for three
years, he was allocated as Artistic Director of O at a residential
theatre, the Bellagio Hotel and Casino in Las Vegas. Currently he
directs ZED as an Artistic Director.
* * *
TDM: What impressed us at most was playing music live during the show,
as we watched. Especially, their music and performances, are suited
precisely, seem to make their synergy. Could you tell us how you would
direct your performances when the musicians are sometimes in darkness
or under the stage?
Luc: Yes, they have visual cues by the artists audience may not
realise and play music with earphones to hear our musical director.
They also play in the shade, though, have light audience could not see
in darkness, which is the magic of Cirque du Soleil. Because they have
been working for it more than two years, they have memorised their
musical notes, which should be one of the reasons they can play in the
darkness.
TDM: I see. We do not hear your title; Artistic Director so often, but
what would you really do?
Luc: Well, I cannot express it in one word, however, Artistic Director
embraces our quite large mandates to motivate the artists around well
and happy environments. I commit myself to giving their better
performances, making them happy and brisk, and considering how they
keep motivated.
TDM: How would you exactly keep them happy or motivated?
Luc: I always try to be a kind of father for casts in a big family.
Artistically, I have to be guardian for the concept of ZED with
understanding and maintaining, so trying to always provide audience
our best performance with fully comprehending its concept. Sometimes
we have artists very young coming from a small town in Russia, for
example. I endeavour to build relationship comfortable enough to share
with me; easy to tell about not only the show but also their lives in
general, and think about what to do when the artists injured. I am
working at Cirqu du Soleil for eight years and directed Alegria,
Quidam and O. And I have been assigned as an Artistic Director of ZED
at the summer of 2010. Those shows are running over ten years, then,
allocated the Artistic Directors more than ten, and their roles are
specific for each. While, ZED is very embryotic, I am the second one
here. The former director of ZED participated in since it begun to
create, whom gave me all the information about its creation. I put
them together and learned as much as possible. Currently I have to
liaise with the director to retain its concept and to make it evolve.
Of course, although sometimes I put a few elements to the show, I do
not touch it so much, thus, valued on its fundamental concept; how ZED
should be.
TDM: Is there any difference has been made after you become its
Artistic Director?
Luc: Not yet. Since I have been working with the artists for four
months here (interviewed on November, 2010), still a brand new guy in
the family. I am a person who likes to take a time, also would like
the artists to trust me first and to be careful of what I do; not
necessary to make big changes. I correct or bring it to the origin in
a respect of technical thing, but I believe that the show is beautiful
so that I do not feel a sense of urgency to make any changes. Ideal
supportive system; foreseeing assistance for artists.
TDM: We think that your insurance systems for the artists are very
ideal for us, but could you tell us how you would support them as a
company?
Luc: When injured during the contracts, they are fully covered by our
insurance and support. And also we make sure that they are to be
brought back to the same positions before the accident or injury. As
we have an artist wants to move to somewhere else on his/her some
points in careers, we have a program, called Crossroad, which helps
them to see what they would like to do in the future. For ZED, we have
our staffs to assist the artists houses or lives the same as ordinary
people. They can be technicians for the shows after retiring artists
if hope, it is possible to train special technique in Montreal. They
are surrounded by supportive environment, meanwhile, I want to make
sure that the artists stay in connection with the real life. They need
to also be responsible, for instance, when they buy mobile phones in
Japan, they have a choice to ask for our helps. On the other hand,
they need to understand some points they do not go that way outside of
here. I would tell the artists need to be curious, proactive on what
they need and want to do, otherwise they might become extremely
passive so that it is not healthy for them. They cannot be as physical
as present forever, which last for a short period in their lives, for
ten to fifteen years at most. We have an example such as Artistic
Directors who used to be artists in Cirque du Soleil. It is essential
for them to acknowledge there are their lives after Cirque du Soleil
for which they need to prepare well, and be educated and curious,
while performing on the stage.
TDM: You have worked for a lot of different shows, such as O or
Quidam, so what would you say ZED is most particular as compared to
the other shows?
Luc: Alegria is a very classic touring show. O, because of the water
and its set, it is also unique. When I got an offer to be in charge of
ZED, I thought it seemed to be poetic and theatrical, like O, though,
I reckoned such an impressive show different from existing ones. It is
highly structured especially for the balance in its created way, and
the subtle links between its act, set, and music. ZED was created by
Francois Girard who came from background of cinema and had never
created Crique du Soleil works, it represents something spectacular in
its stage structure and creation, jazzed up his movie tones. Comparing
to the other shows, it has more diverse performances in aerial region.
Because running in a residential theatre, we could perform exclusively
and have the theme of ZED; earth meets heaven, which integrates
crucial points to express heaven. Trustworthy relationship built by
not hesitating to show our weakness and strength
TDM: You probably have one thing to believe until now over your
process from a dancer to Artistic Director. Please give a message to
readers and tell us your belief as a last word.
Luc: My artistic background was mainly a dancer for fifteen years so
that I was trying to talk to our casts as a dancer as I started my
job; Artistic Director. Meanwhile, I shifted the way to achieve with
changing my vocabularies or approach because the way, I used to do,
did not liaise with them smoothly. I intended to inspire their minds
with mentioning something personal for them, rather than telling how
to. I have one thing as a dancer; maintaining to be true to myself,
not shame to show my weakness and strength. It is important to be as
genuine as possible. I tell our artists, even if they are playing
roles as dancers in the show, still they have to be close to what
strongly believe, as persons in the performance. I would say follow
your instinct; do on what your really believe and go ahead with it.
TDM: Thank you very much indeed.
# # #
Casts and staffs are participating in creation of Cirque du Soleil,
whom seem to be comfortable that they know how to have fun with
working and outdoing themselves. That was implied in each story heard
from Mr. Kurata supporting Mai technically and Ms. Tafuku in costume
unit. They are working on caring about others and liaising with each
other after committed to their jobs, which they are doing all the best
for success of the show.
SHOJI KURATA, Rigger
o) I used to be a stuntman.
I had this job offer from my old friend, which I believed that I could
work with my experience and knowledge, and then got fond of. I had
been performing as a stuntman about for twenty years until I came
here.
o) For what I could apply by my experience; from a stuntman to rigger
I work at seventh floor, called grid which is the highest floor. It
is twenty meters from the stage and aerial region, where the artists
fall down and I assist them to perform in the middle of the show.
As they fall down to the stage from there, I put various sets to the
artists bodies and confirm security, which my knack had been obtained
is put as well. There are four people working in the basket set at the
center of the region; standing on the right and left, two of us for
each. There is one higher place, called seventh floor and grid, at
which I work everyday.
o) Supporting Mais performances by the aspects of security and
technique
At first for bungee, artists fasten harnesses; life belts. They have
two points to connect, which fix a bunch of gum to lower backs and
link to wires directly associated with a machine, called winch. The
artists can bungee by the machine manipulating rolling up and falling
down.
I confirm not only the bungee operations but also its cords as it is
fixing and fixed, also make sure if lines between the bungee and the
cords have no problem, and the winch can work smoothly. Since
another divisions, automations, staffs manipulate the winch and
control its systems, I have knowledge of it, at least, as it is deeply
connected to our work.
I have learned a lot of things had not known, and broaden my knowledge
that I had never obtained before, so that I integrate them to put out
here.
o) I would like to be a person who can always stand on performers
side.
Having worked here about for two years since this theatre opened, I am
worth to do on the back stage. Though, I am comprising the show, then,
as I felt reaction from audience good, saying to myself Well done!.
I used to be the performing side, thus, a sort of sensitive for their
reactions. I would like to be a person who can always stand on
performers side.
Basically, most of staffs in this theatre are foreigners, then, we
communicate with each other in English. I am not good at speaking in
it, so, that may be hard for me sometimes. But, I can liaise easier
with Mai, a one of a very few Japaneses. I try to talk to her not only
during the show but also training as I meet her.
Also, people here have their happy natures. I would belong to a job
which was juxtaposed to danger, though, here is also too. While we
must concentrate on acting and, of course, get nervous during the
show, we turn off switch and often joke after each performance.
Our artists are consisted of circus, therefore, some of them are from
circus family or former Olympic champions such as in gymnastics, whom
have been commonly trained since they are children. Young artists also
participate in our shows and their generations are diverse, but it
should be comfortable environment.
o) Pursuing my goal to be a leading head in the future.
I have been working in rigging team, where allocated its positions
from head (called chief,) assistant head, to crew. Personally, I was
placed as an assistant head about three months ago. Then, I pursue my
goal to be a leading head, one step forward from here. To be it, I
have to learn a lot of things, of course.
o) Do what comes up to your mind
Many people would say that, but, do what comes up to your mind. That
may be applied to anything, but, if wander, you have to do it.
Sometimes you may encounter difficulty, meanwhile, if you do not do
that, you cannot have any possibilities broaden. When you do not try
it and waste time, you might regret; go for it!
# # #
CHIHIRO TAFUKU, Costumes
o) Longed for taking parting in the costume team, I made an appeal for
Cirque to go to Montreal
My course was specliased in shoes, then I am a technician to repair
them at present.
Because I went to costume school, I was interested in stage costumes
rather than normal clothes. Especially, since I was enthralled by the
costume of Cirque du Soleil at most, I had been longed for taking
parting in its costume team so that I made an appeal for it to go to
Montreal.
One day, I noticed that Cirque du Soleil built a residential theatre
in Japan, then I found a job opening page over the Internet and
applied for it. Soon after, I had a job interview in Japan, then, I
got back to Japan and passed it.
I am working in costume team, so, I repair artists shoes mainly, but
also help to maintain and wash costumes, and get them dressed in the
costumes during the show.
o) What I am trying to retain
For shoes mainly, but, I offer samples our artists as they tell us
which material is suitable for the floor to prevent sliding more
during the show, or which soles appropriate. It is the same about the
costume as well. We cannot change its design, though, confirm with the
Head Quarters case by case when its texture should be exchanged. If it
does not have any problems with its design, we would take it.
o) About Mais costumes in ZED
For her bungee costume, it is made by a texture closed to leotard
fitting her body and crossing waving clothes at points of her legs,
which processed UV and become brighter in the darkness. And these
clothes are quite long to cross at the points of them, so their
lengths are more longer.
Another point is, to get undressed quickly, loops are fixed for each,
crossing them with each other and pulling them off from the other side
in a quick succession. But, it is often broken. Thus, when the clothes
are necessary to maintain, we take them off from the costume. We
maintain this and can wash separately, which is very convenient.
o) Care and process thrashed out precisely
It is often broken and shredded. This is her second costume, for
hammock, another waving decoration is also easily come off.
We all work on maintenances as the theatre closed, but, we have to
spread a certain material, like shining sand, in it by our fingers.
That is very hard. I suppose these detailed decoration is an
outstanding point of Cirque du Soleil, which audience may not realise
so much.
This is the last one in which she gets dressed at last scene,
Charivari, when all casts appear on the stage. It is put wing-like
things on her back. We all like this one.
We have many artists, then, we are allocated for each of them. We
maintain their colours since they are damaged everyday, and also
respond to all the artists demands certainly as they tell.
As they have performed many times, they come to feel pain regardless
it have no problem at first. For example, an artist tells us that he
feels pain on his back as lying on the floor in the show. We sew a pat
on his inner wear in this case. And we sew on it more and more
.
Positions of the pats are really different, depending on the person.
Characteristics of our costumes are mainly fitted to artists bodies
sizes and also fire-proofed to prevent transmitting fire in the show
which we wash in the morning, fire-proofed and artists can wear next
day. That should be a particular point of us.
o) Sustaining the basic quality with responding to artists demands
I really like shoes, then, I often pop around material shops and go to
the shoe shop where I used to work. I could learn a lot of things
there and really enjoy myself with doing so. I motivate since shoe
shapes from Montreal are manifold and interesting.
I make effort on on keeping the basic shape provided by the Head
Quarters with responding to artists demands. It is crucial for us to
sustain their basic qualities.
I enjoy hearing diverse opinions, because the artists come from all
around the world. They have their happy natures and give us various
reactions.
My highlight of ZED costumes is effect clothes, worked specially.
For instance, clowns wear the costumes can smoke and balloon. Their
shoes are also exclusive which you may not see in other shows. (hehe)
Maintenance is demanding as well, but, for that, they should be unique
in this theatre.
Especially in a scene of juggling, the singer is wearing his costume
fixing spin-like stuffs which are turning one by one actually. I
expect that audience in the most front seats can check such a small
point; even you may say I cannot see it!, which is also a
spectacular point here.
And also costumes installed with stage sets would be also good.
Nouits costume, a female singer coming down from heaven to earth, is
hanged and singing at aerial region fourteen meters from the stage,
and Abraka, a male singers costume is to go up his long robe
connected to ceiling at the final scene of Lasso (rope act). Even I
cannot judge they are included in whether stage sets or costumes.
Without changing their designs, I would like to adjust in technique
with proposing costumes processing way to work smoothly not only for
the casts but also the Head Quarters.
Once we had a costume said That a good idea by the Head Quarters. We
suggested for them to make some changes in costumes of, duo strap,
performed by two female artists dressed in red and blue costumes;
wearing tights inside of tutus which used to be connected with each
other.
Although they would perform wearing the former, they easily made holes
on tights so that we had to repair all of them. Thus, we proposed
separating tights from tutus to repair only tights when they made
holes and left tutus. As the artists tried the new costumes, they, of
course, had no problem, and said Thats a very good idea. by the
Head Quarters in Montreal.
o) I simply enjoyed myself with working on shoes.
I had frankly imagined neither I could work in Cirque du Soleil
specialising in shoes nor learned such useful knowledge for my current
job as I would work in the other shoe shop. I simply enjoyed myself
with doing so, I never believe that I know what is going on.
If you have what you can enjoy yourselves and learn, go for it. I
would recommend you never give up and enjoy yourselves to do it.
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 11, Number 2 (Issue #85) - February 2011
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2011 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
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infringement intended.
{ Feb.05.2011 }
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