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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 10, NUMBER 11 November 2010 ISSUE #82e
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Bonjour et bienvenue!
Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter. With the announcement of CirqueWeek in Las Vegas
to the unveiling of Michael Jackson THE IMMORTAL World Tour just as
we're going to press - wow, what a busy month!
In addition, weve been busy behind the scenes getting dotting all
Our Is and crossing all our Ts on this: an exclusive interview
with Mr. Jerry Nadal, Senior Vice-President of Cirque du Soleil
Resident Shows division! Mr. Nadal sat down with our own Keith
Johnson last month to speak frankly with us about Cirques present
and future in regards to its resident shows. Youll find the first
of this two-part interview within!
Also inside this month 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.
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
===========
CONTENTS
===========
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 /// "Jerry Nadal: Keeping the Value" (Part 1 of 2)
By: Keith Johnson - Seattle, Washington (USA)
* "Cirque Week is coming!"
By: Cirque du Soleil
* "Michael Jackson THE IMMORTAL World Tour!"
By: Cirque du Soleil
* Luxe-Life: "A Conversation with Daniel Lamarre" [EXPANDED]
Michael Jackson Cirque Shows Set & Mystere's 8,000th
By: Robin Leach - Las Vegas Weekly
o) Subscription Information
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Banana Shpeel - Canceled!
{Oct.05.2010}
-----------------------------------------------
According to the Examiner.com, Banana Shpeel, Cirque du Soleil's
new style vaudeville show, just cancelled its San Francisco
engagement. The show, currently running in Toronto through
October 10th, was to play the Golden Gate Theatre October 16
through November 14, 2010.
Patrons who have purchased tickets for Banana Shpeel
performances through SHN Theaters will receive a full refund.
They will be contacted by SHN Audience Services or they may call
888-SHN-1799 directly.
Banana Shpeel was also set to play to audiences in Orange
County, California following the San Francisco engagement.
Information pertaining to that engagement or the show's
immediate future has not beenmade available.
Cirque Radio City to Begin Previews June 10, 2011
{Oct.05.2010}
-----------------------------------------------
Cirque du Soleils upcoming (and as yet unnamed) production at
the Radio City Music Hall in New York City is set to begin
preview performances from Friday, June 10th through Tuesday,
June 28th, 2011.
Regular performances will then commence from Thursday, June 30th
through Sunday, October 9th.
Ticket prices and schedule are to be announced.
Stay tuned!
Making the music of KÀ [EXPANDED]
{Oct.07.2010}
------------------------------------------------
While the presence of muscled, scantily clad performers is a
standard in Cirque du Soleil shows, there was an obvious
difference when its show Kà opened at the MGM Grand in Las Vegas
in 2005. Unlike earlier Cirque productions like Mystère and O
that were known not only for the breathtaking visuals but also
for abstract stories, Kà was the first Cirque production to have
a more straightforward story with a beginning, middle and end.
In the production, which is still going strong in its 5th year
on the Vegas Strip, imperial twins who are separated during
their youth venture on a journey of self discovery and their
various encounters along the way (both fun and dangerous) are
what fuel the show. With an unconventional stage that consists
of two giant moving platforms and five smaller platforms all
above a seemingly bottomless space, Kà easily lives up to the
Cirque tradition of being a production you remember long after
you've left Sin City.
EDGE's Jim Halterman was recently in Las Vegas and, after being
wow'd by the production of Kà, he had the chance to talk with
conductor Richard Oberacker, assistant conductor Janine
DeLorenzo and singer/cellist Julie McInnes about how they stay
focused with all those amazing (near-naked) bodies around them
all the time and how they don't get bored doing the same show
night after night to sell-out crowds.
# # #
WHERE ARE THE TATTOOS?
Q. Richard, youre the first American to hold a conductors
position in a Cirque show. What took them so long to hire an
American in that role?
Richard: It happened in 1999 and the company was just beginning
its first major expansion and in a 12-month period they opened
3 shows, they opened O in its original debut, they opened La
Nouba and they opened the big top show Dralion. Up until that
point they had been putting out a show roughly every three years
and so it just became a necessity to go outside their Montreal
talent pool and they were really using the first creative teams.
It was also one of the Franco [Dragone]-free projects with a new
composer that they hadnt worked with before and new designers
all the way around. I lucked out in coming in with a show that
was unique in that it was a complete departure for the company
and they had invested in a lot of new people. After three years
of Dralion, I took two years off to launch the first national
The Lion King and then I came back for Kà because they wanted to
staff such a big show with people who had been in the fire
before.
Q. How do you stay focused with all these terrific bodies
running around?
Janine: You can either let it be a distraction or just enjoy it!
In a way, were separate so were not among the artists on the
stage all the time and there are certain times when we will go
on stage to play drums or play guitar or whatever the case may
be but were kind of separate. I dont find it as a distraction.
I find it to be lovely eye candy.
Julie: There certainly are a lot of extraordinary bodies. Its
not distracting to me [but] probably should be. I used to paint
and draw the human body, still do a bit, [and] what a haven to
live in appreciation of the human body in so many forms of
greatness because I see what it takes to shape up and stay that
way. Yes, muscles and curves expressed in so many directions,
twirling in the air, leaping up and down and all about,
explosive and sustained... I m no perve but whats not to like?
Janine: I thought that six-pack was a tattoo, actually!
Richard: No, No! I have other tattoos but not there!
TWEAKING IT DAILY
Q. Are there still tweaks that are made in the show on a regular
basis or is it just a well-oiled machine that runs on course?
Richard: There are two levels to that. The first level is that
what we do as musicians is real-time film scoring. Were
literally watching this film go by, because were watching on
the video monitor and were actually scoring to it in real time.
That movie changes every night. Sometimes the changes are very
small but sometimes that movie will change very drastically if
there is a technical glitch or if were trying out a new act.
Thats one low-grade tweak that happens any given day of the
week. The second is a larger sort of upgrade of tweaks that
happen on a fairly regular basis. If a new artist comes in with
a brand new discipline then that will require a fairly
substantial arrangement. If they add a new technical element,
which they have done, it will affect the music. In other cases,
the band is just so gifted and so creative and theyre full of
ideas so, yeah, tweaking happens on a regular basis. One of the
founding principals of the company is that there would never be
a Cirque show that doesnt continue to evolve.
Q. Janine, you were inspired to join Cirque from seeing O. How
did that dream become a reality?
Janine: Julie plays a big role in that. Julie and I have known
each other for close to twenty years and when Jules left
Australia to be a part of the new show, I came to visit for a
week and I was lucky enough to be taken into the rehearsal with
the band for one afternoon so my inspiration came from Julie
being a part of that. I took that inspiration away with me for a
few years and went back to Australia and then they asked me to
audition. The audition process was your typical audition process
and then youre accepted into what is called the pool of
potential artists and that process can be anything from a month
to a couple of years. I think it was maybe a year or year and a
half later before the offer to come join Kà. For me, there was
no question about dropping everything in my life in Australia
and coming to join the Cirque family here. Its been a great
journey.
Q. Julie, youre singing in a different language in the show.
Can you talk about the process for doing this in Kà and
whether the words have meaning to you or is it better that
they dont have a specific translation?
Julie: The vocal language used in the show is invented
language - syllables taken from many linguistic sources. We
hear blends of Russian, African, Latin and more. I do understand
from my experience as a composer for physical performance that
layering a performance with a specific meaning in words is too
much information and too confining. There is this tradition in
Cirque to speak to all stylistically in any country. I find
meaning in the sounds and sensibility of the words. I can
interpret the words in many ways over a long time in a long-
running show and this feels more open and freeing.
Richard: When I first joined in 1999, I had certainly worked out
and was reasonably health conscious but to be completely
immersed in this world as well as when youre on tour with a
Cirque show youre around the artists and you cant get away
from them. It inspired and taught me a lot about physical
fitness and because of working for Cirque I now have an
admirable six-pack and you maintain it sort of religiously.
Q. How do you keep the show fresh for yourselves and the
audience?
Richard: I think one of the key components is that we are able
to talk to one another during the show. Because we all have
talkback mics so we all have the ability to talk back to one
another and were in a unique position with Kà in that
predominantly were not seen by the audience unless were
playing a character onstage. We happen to just really, really
like hanging together and so what we do is we crack each other
up.
Janine: For me, its the collection of people down there that
makes the job easier. Its the combination of characters that we
have. If Im having a hard night there are a few little tricks
that I use. I think to myself I cant play this one more time
and I pretend its the first time Ive ever played it or its
the last time that I ever played it. It doesnt happen to often
but when it happens, thats the trick I use. Mostly its pure
enjoyment!
Julie: There is a live show, a new audience and I am sensitive
to and invigorated by that. My instruments are both very organic
and keep me humbled most of the time. When Im relaxed there is
an incomparable release. I also give my attention when not
playing to have some fun and discussion with my playing pals, to
read and look at pictures, manuals interior design magazines,
French, all of Gary Larsons "The Far Side" just to keep my
humor, otherness and sane mind alongside me.
{SOURCE: EDGE Media Network}
Exclusive Backstage Experiences @ LOVE, "O"!
{Oct.14.2010}
-----------------------------------------------
ENTERTAINMENT BENEFITS GROUP AND BESTOFVEGAS.COM ANNOUNCE
EXCLUSIVE BACKSTAGE EXPERIENCE WITH CIRQUE DU SOLEIL
New partnership announces the Exclusive Insider Access
Experience at Cirque du Soleil shows in Las Vegas
Entertainment Benefits Group (EBG) is proud to announce an
exciting new experience brought to you by Cirque du Soleil that
will include exclusive backstage experiences at The Beatles LOVE
at The Mirage and «O» at Bellagio. The packages will include a
premium ticket and a special backstage tour for one of these Las
Vegas production shows, creating an intimate experience for a
select number of guests. The Cirque Insider Access package
will be available for select performances starting October 29th
and will be exclusively sold through BestOfVegas.com and select
retail partners of Entertainment Benefits Group.
We are thrilled to be partnering with Cirque du Soleil to allow
fans to experience something so special and that has never been
available before now, said Brett D. Reizen, President and CEO
for Entertainment Benefits Group. Cirque du Soleil is known
throughout the world for creating some of the most beautiful and
amazing experiences for their audiences. Now, with
BestOfVegas.com, we can take the audience even further into the
creative world of Cirque du Soleil by giving customers an
upfront and exclusive behind-the-scenes look at two of the most
spectacular shows in the world.
The Cirque du Soleil Insider Access package will include an
exclusive and intimate backstage tour of either show. A limited
number of guests each night will hear the history of the shows
production, get a peek behind the scenes, receive a special
Insider Access VIP lanyard, plus a special limited edition bag
with Cirque du Soleil merchandise items. Most important, guests
will enjoy the show from special reserved seating from the best
seats in the theaters and enjoy front of line concession passes.
After the performances, guests who enjoyed The Beatles LOVE will
receive special access with a Front of Line VIP Pass for Jet
Nightclub at Mirage, the while guests that enjoyed «O» will be
given a Front of Line VIP Pass for Bank Nightclub at Bellagio.
Special offers will also be included for Revolution Lounge at
Mirage and Caramel at Bellagio.
The Cirque Insider Access package will be available for purchase
exclusively through BestOfVegas.com and go on sale October 13th
at 10am EST for select performances starting on October 29th.
The price per person for this experience is $260, plus service
fees, all inclusive for the package. There will be a limited
number of Cirque Insider Access packages available for certain
performances. For more information please visit
www.BestOfVegas.com or call 1-800-947-1081.
{SOURCE: Cirque du Soleil}
TOTEM CD Released!
{Oct.15.2010}
-----------------------------------------------
Just like the show, the music on this album evokes a marriage of
different styles and cultures. We have taken bits and pieces
from a wide variety of genres to create a musical hybrid that is
both visual and atmospheric. We drew inspiration from tribal
music-that is, the sounds and instruments of different peoples
around the world, from North Americas First Nations to the
Incas and as far as the Indian subcontinent-and incorporated it
with our more contemporary sound. Enjoy the journey!
Tracks:
01: Omé Kayo (4:41)
02: Cum Sancto Spiritu (4:00)
03: Indie-Hip (6:38)
04: Koumaya (5:35)
05: Crystal Pyramid (4:45)
06: Thunder (4:46)
07: Toreador (4:39)
08: Qué Viyéra (4:43)
09: Mr. Beaker (3:41)
10: Onta (6:28)
11: Kunda Tayé (4:18)
12: Fast Boat (2:29)
13: Terre-Mère (4:28)
14: Omé Yo Kanoubé (4:41)
Music written by BOB & BILL (Guy Dubuc & Marc Lessard)
Products details:
o) Playing Time: 65:50 minutes
o) Release: October 6, 2010
o) Country of Origin: Canada
o) UPC #: 8-43277-03173-1
o) Price: $15.00 USD
{SOURCE: Cirque Boutique}
"ZED in Tokyo" DVD Now Available!
{Oct.15.2010}
-----------------------------------------------
Discover the lyrical, sensitive spirit of the ZED show, a new
creation by Cirque du Soleil captained by stage and screen
director François Girard. By way of a series of vignettes, ZED
in Tokyo follows the team through the creative process, both on
stage and in the wings, as they make their way from Montreal to
the busy streets of Tokyo. This documentary portrays a strange
and edifying encounter between the land of Cirque du Soleil and
the Land of the Rising Sun as expressed by the work of creators,
artists and technicians from several different cultures who join
forces to stage a truly extraordinary show.
BONUS FEATURES: Tarot, The Composer, ZED trailer, Then & Now,
Let your talent shine, on-stage career opportunities, and A
message from ONE DROP
o) Subtitles: English, French, Spanish
o) Audio: Dolby Digital 5.1
o) Run Time: 67 Minutes
o) SRP: $25.00 USD
{SOURCE: Cirque Boutique}
La Nouba "leaps, twirls, jumps and soars" [EXPANDED]
{Oct.17.2010}
----------------------------------------------------
Matt Palm, of the Orlando Sentinels Theater Blog, recently
reviewed La Nouba for his column. Check out what he had to say
about the show and its recent changes:
# # #
Anyone who has seen a long-running stage show knows how
staleness can creep in, a tiredness can fall over the
production. But nearing its 12th year of performances at
Downtown Disney, Cirque du Soleils La Nouba leaps, twirls,
jumps and soars with reinvigorated imagination and verve. Two
new acts juggling and jump roping have joined the lineup in
recent months, freshening the show, but the older acts remain as
lively as ever.
In fact, the corps of young girls spinning and throwing diabolos
large spools tossed and caught on strings still get the
biggest ovation of the night.
Viewers can make as little or as much as they want of a story
line for La Nouba, written and directed by Franco Dragone. A
cleaning woman who goes about dusting and tidying seems to
represent the ordinary, while a fantastic array of tumblers,
high-wire walkers, cyclists and clowns bring color to an
extraordinary world around her. A muscular man stalks the stage,
his costume bearing technological references such as the at-
symbol or dot.com. What does he want? Four white-faced men
hustle about the stage, sometimes screaming, one inexplicably in
a skirt. Why?
The answers lie only in the depths or heights of your
imagination.
La Nouba comes from a French phrase faire la nouba, which
means to live it up and this production does just that with a
dizzying, dazzling combination of colorful costumes,
exhilarating live music and incredible feats of athleticism,
balance, strength and skill.
The jump-roping duo is the first act of the show, after an
introductory parade featuring many of the productions oddball
characters.
Jumping rope may sound a bit pedestrian, especially for an
opening number, but Yusuke Funaki and Shoichi Kasuo (and their
ropes) bring the sort of energy needed to get a spectacle such
as this off the ground. The futuristic costumes by Dominique
Lemieux add to the visual interest, and a stunt involving other
performers in rapid succession jumping ropes they werent
holding made me gasp.
The other new act, juggler Anthony Gatto comes late in the show
and gives a jolt of energy after some clowning and the more
tranquil spectacle of an aerial silks act. While keeping his
balls in the air, Gatto has some humorous interaction with the
Green Bird character, who attempts to assist him. But their
clowning doesnt interfere with his tricks with clubs, rings and
a teapot perched on a pole.
Other acts include the aforementioned diabolo girls, a frenzy of
undulating ropes and spools flying through the air, and trick
cyclists. The bikers act has been tweaked over the years, and
now feels more dangerous as they jump over an audience member or
race toward the edge of the stage, stopping at the last possible
moment.
Curiously, after all the spectacle that has gone before them,
the trapeze artists feel a little quaint. Sure, their aerial
feats impress, but theres not the sense of the unexpected or
bizarre that the other acts bring. They, along with the high-
wire act, seem a reminder of the traditional circus acts that
inspired the Cirque du Soleil fantasies.
The clowning interludes havent changed much over the years, and
though their slapstick visual humor still earns laughs, the
skits in which they mostly fight with each other dont hold up
as well to repeated viewings.
Singers Sisaundra Lewis-Reid, mostly belting, and Ralph Daniel
Rawe, with a clear falsetto, bring an otherworldly overlay to
the music that propels the show to the very end.
The final act is a spectacle of acrobats leaping up to the roof
of a multistoried building. Its a shell of a building, perhaps
a colorless office with gaping windows. But in bright blue and
green, acrobats hurtle themselves through the air, leaping into
windows, diving out of windows, running up the walls before
tumbling back to earth.
At this latest viewing, I for the first time saw the rising and
falling tumblers as an epic battle between creativity and the
rigidity of routine. As the plodding Titan the man with
dot.com printed on his back repeatedly sent a man clad in a
ruffled red outfit over the side of that monotone building, I
thought, Ah, beating down the spark of ingenuity.
Is that what its really about? I wouldnt presume to tell you.
Let your own imagination take flight.
{SOURCE: Orlando Sentinel}
Cirque Loses Money on 'Summerfest' [EXPANDED]
{Oct.18.2010}
-----------------------------------------------
It appears very likely Cirque du Soleil is not coming back to
Charlottetown next summer, despite the fact that Tourism
Charlottetown signed a three-year deal with the company this
year.
Doug Newson, president of TCI, confirmed this morning that TCI
is attempting to negotiate its way out of the contract and that
Cirque is co-operating thus far.
Newson said Summerfest (formerly known as Festival of Lights)
has struggled the past two years.
He said Cirque du Soleil lost a significant amount of money
this past summer. Tourism Charlottetown should know in the next
few weeks whether it is successful in breaking its deal.
Cirque du Soleil lost a significant" amount of money this past
summer. Tourism Charlottetown should know in the next few weeks
whether it is successful in breaking its deal.
In terms of what Summerfest will look like in 2011, Newson said
it is too early to say.
Tourism Charlottetown is also struggling financially. The
provincial government has gone so far as to hire a Halifax
consultant to take a look at the overall operation, including
the convention portion of the business.
Newson said theyre looking for approximately an extra $1
million, about five per cent of their annual operating budget.
TCI also plans on approaching the City of Charlottetown and the
hotel association about boosting the financial contribution it
receives off the hotel room tax. Right now, TCI gets two per
cent and would like to increase it to three per cent. That would
bring in an additional $200,000 per year.
{SOURCE: The Guardian}
Mystère Celebrates 8,000th
{Oct.05.2010}
-----------------------------------------------
Introduced in 1993, Mystere, the flower in the desert, is the
first Cirque du Soleil production to reach this important
milestone.
LAS VEGAS, Oct. 18 /PRNewswire/ Las Vegas original permanent
Cirque du Soleil production, Mystere, will celebrate bringing
its signature mix of energy, athleticism and imagination to the
stage for the record-breaking 8,000th time on Monday, October
18.
Deemed the flower in the desert by Guy Laliberte, Founder of
Cirque du Soleil, the exhilarating production has been credited
with changing the face of Las Vegas entertainment since its
premiere on December 25, 1993. This 90-minute production has
captivated over 12 million people. The 1,629-seat Mystere
Theatre was the first permanent Cirque du Soleil theatre to be
custom-built to exact show specifications.
Very few live shows in the world have reached such an important
number of performances, audience and longevity. This impressive
achievement places Mystere in a very exclusive list of long-
running live productions.
This important milestone for Mystere defines what Cirque du
Soleil is all about: creativity, audacity and keeping the dream
alive. The flower in the desert has bloomed beautifully and will
bloom forever, commented Daniel Lamarre, President and CEO of
Cirque du Soleil.
New music for signature act
Mystere, now in its 17th year at Treasure Island Hotel and
Casino, will also use Mondays performances to debut new music
by composer Benoit Jutras for the shows high-energy, high-
elevation Highbar act, written especially to commemorate this
achievement. A special show introduction has been prepared for
the occasion and guests at both performances can expect to be
showered with colorful confetti and souvenir balloons during the
finale.
Mystere fun facts:
o) 12.2 million = number of people who have seen Mystere
o) 1,456,000 = number of trampoline jumps over 8,000
performances
o) 48,000 = number of buckets of popcorn dumped on unsuspecting
audience members
o) 12,000 = number of hours guitar player Bruce Rickerd has
played (perfect attendance record!)
o) 300 = number of times the stage has been painted by ONE
MEMBER of the Props department
o) 22 = miles of bungee cord used in the show
o) 1 = number of 25-foot tall snails in the world
Mystere is pure Cirque du Soleil, featuring an exhilarating
blend of thrilling acrobatic acts such as Chinese Poles, Hand to
Hand balancing, Aerial High Bar and Bungee with powerful music
and colorful costumes and sets. Mingling in the mystique is a
cast of 75 international artists, whose spectrum of characters
include a mischievous Clown, an electrifying Red Bird and one
jumbo-sized Baby.
Mystere can be experienced Saturday through Wednesday at 7:00 pm
and 9:30 pm. Tickets for Mystere are $60, $69, $79, $99 and $109
(plus taxes and fees) and can be purchased on-line at
www.cirquedusoleil.com or www.treasureisland.com, by calling
800-392-1999 or 702-8947722, or by visiting the Mystere box
office at Treasure Island.
Read the original press release here:
< http://www.prnewswire.com/news-releases/mystere-by-cirque-du-
soleil-celebrates-record-breaking-8000-performances-
105167874.html
{SOURCE: PRNewswire}
Wintuk: $1 Million 'Snow Day' Offered!
{Oct.19.2010}
-----------------------------------------------
WINTUK BY CIRQUE DU SOLEIL ANNOUNCES THE $1 MILLION SNOW DAY TO
CELEBRATE THE MAGIC OF NYCS FIRST SNOW FALL
Madison Square Garden Entertainment (MSGE) and Cirque du Soleil
announce the launch of the $1 Million Snow Day in celebration of
the Cirque du Soleil family show, Wintuk. Now entering its final
season at The Theater at Madison Square Garden, Wintuk is taking
the country by storm and 100 lucky fans will share $1 million if
it snows in New York City on November 17.
From October 16 through November 9, 2010, snow fans (18 years
& older) are encouraged to enter the $1 Million Snow Day by
visiting cirquedusoleil.com/wintuksnowday where 100 Wintuk
winners will be awarded $10,000 dollars each if snow falls in
New York City on November 17, 2010 to coincide with the shows
opening day. Snow must fall in New York Citys Central Park to
be officially evaluated for participants to win.
On the website, participants can also download an interactive
snow note to be shared with friends and family to encourage
them to join the winter fun. The snow note makes snow fall
on your desktop through social media applications.
On November 10, 100 winners will be randomly selected and
announced to, give them an entire week to keep an eye on the
weather forecast and their fingers crossed in hopes of a
snowfall on November 17. As an added bonus, all 100 winners will
receive two complimentary tickets to a private dress rehearsal
of Wintuk.
The $1 Million Snow Day campaign is open to all US residents
(excluding Florida) and begins Saturday, October 16 and ends on
Wednesday, November 9 at 11:59pm PST. The winners will be
randomly selected and announced on November 10.
For more information, visit
< http://www.cirquedusoleil.com/wintuksnowday >
{SOURCE: Cirque du Soleil}
Varekai Meets GrandMa [EXPANDED]
{Oct.21.2010}
-----------------------------------------------
Cirque Du Soleils Varekai show currently touring Europe has
transferred its lighting control to a grandMA2 system, with a
grandMA2 light as the main show console and another grandMA2
light running in full tracking backup.
The decision to change was made by head of lighting, Karl
Jenkins. He says: I think MA offers the best current solution
for this type of show which is run live and changes every
night. They also needed to change the consoles they were using,
which had been onboard since the show first started touring
seven years ago, so it was high time for an update and an
upgrade. The grandMA2 is an international control standard,
confirms Jenkins, And the idea is to introduce this platform
across other Cirque shows.
Much of the show had to be re-programmed and re-built from
scratch on the grandMA2 light. It was transferred during their
run in Cologne, Germany, with just three intense days in which
to achieve their objective and be up and running seamlessly on
the new console, for which they received technical support from
Callum Howie out of MA Lightings UK office.
Jenkins has been using grandMA consoles for the last six years,
and so knows the architecture and philosophy well, which also
underlined his confidence in recommending the change. He likes
many features of the grandMA2 including the way it deals with
presets. Each time the Varekai show's big top venue changes
location, the preset focuses - which have to be extremely
accurate to ensure the artists have the correct light in which
to work - need updating.
Jenkins thinks the tracking functions and the fact that channels
can be tracked right through the show are "extremely good", as
well as the auto-update facility, whereby any cue change is
updated immediately across the network.
The show is operated in rotation by Jenkins, Istvan Fazekas and
Jon Vivash, all of whom received training on the new console in-
situ in Cologne from Callum Howie. Jenkins describes MA's
service and support as "phenomenal".
{SOURCE: LSI Online}
Luxe-Life: Michael Jackson Cirque Shows Set
{Oct.21.2010}
-----------------------------------------------
Robin Leach, from his Luxe-Life blog on Las Vegas Weekly, talked
at length with Cirque head honcho Daniel Lamarre on Monday night
after the 8,000th performance of Mystere at Phil Ruffins
Treasure Island. Check out the full conversation within our
features section this month. For now, some highlights...
o) The first Michael Jackson show, a rock concert arena-type
show, opens Dec. 15, 2011, with tickets going on sale Nov.
3rd.
o) The official announcement will be made from Los Angeles on
Nov. 3. Tickets go on sale simultaneously in 25 cities for
what will be the largest-ever music show going on tour in
North America and around the world.
o) The second MJ show, which will be a permanent residency show
in Las Vegas, arrives in 2013.
o) Cirque has budgeted an amazing $100 million just for creating
and developing the two shows and expects that another $150
million will be added to the final costs for staging and
theater construction.
{SOURCE: Luxe-Life, Las Vegas Weekly}
Cirque's Social Media [EXPANDED]
{Oct.25.2010}
-----------------------------------------------
Jeremy Daniel, editor for online analysis site Memeburn, took a
few moments recently to speak with Jessica Berlin, the social
media manager for Cirque du Soleil based in Las Vegas.
As social media manager she is responsible for planning social
media marketing campaigns, developing and distributing content
as well as coordinating blogger outreach Jessica took the time
to share some tips and insights on how Cirque Du Soleil use
social media.
# # #
Q. What is the most successful social media campaign that CDS
has been involved in?
I think weve had several successful initiatives but blogger
outreach remains the primary focus of our social media
activities. Just because a particular blog may not have the same
number of views or readers as a magazine or newspaper, that
doesnt make them any less valuable. In fact, the smaller
audience may actually be a more targeted/relevant audience for
Cirque and potential ticket sales. While seeing our shows is
entertaining, it can also be an emotional experience and no one
tells that story better than a blogger. So many bloggers like to
express their feelings and not just report on the facts, which
is great for describing a Cirque du Soleil performance.
Q. Should companies roll out all social media at once, or bit by
bit? How did CDS do it?
We definitely started things out bit by bit and I would always
recommend that strategy. It takes a while to become familiar
with each social media channel and what and how those followers
like receiving information about your brand. Also, the proper
amount of time and resources need to be invested in developing
great content and building relationships with your followers.
Its much better to choose one channel to focus on than starting
with five.
Q. What do you see as the strengths and weaknesses of Twitter?
For us, Twitter is a great way to spread information quickly,
its probably the best channel we have to distribute last-minute
information and ticket discounts. Of course, this also refers to
the weakness of Twitter. Information is moving so quickly that
even though you have a large number of followers, in reality you
are only reaching a small percentage of them with each tweet.
Thats why its critical to produce relevant content and
participate in your followers conversations, so that they in
turn trust you enough to re-tweet your posts.
Q. Facebook?
We love how easy Facebook makes it to share all types of
content. For us, the targeting and tracking available is key.
Since our shows tour and we put on special events in particular
cities, we regularly target our updates based on where people
live. The best part its free! One of the current weaknesses
with Facebook is the constant changes to pages. Its hard for
businesses to continually adopt and adjust their creative,
particularly for anything they have had specially designed for a
Facebook page.
Q. Blogging?
There are so many great benefits of blogging, particularly SEO,
brand building and the low cost. Most importantly, blogging is a
wonderful way for us to tell a story in a longer-form. The best
part of blogging for a brand is that you can empower other
employees as guest bloggers to help tell the companys story
from a different perspective. When you remain authentic, I dont
think there is any weakness to blogging.
Q. What other social media tools do you use for campaigns?
For online contests we use Wildfire, which is a great
application to integrate a branded campaign with the viral
features of Facebook. We just launched our new Seven Worlds
campaign which utilises Facebook Connect to integrate a users
information with a Cirque du Soleil experience.
Q. How do you respond when the chatter around a show of yours
starts to get negative? Can you give us an example?
I am so lucky to work for a brand that people not only like but
have an emotional connection to. When we do get negative
comments about a show, fans or followers will actually respond
to it before we even do and defend the show or recommend another
show to that person. Other comments arent specific to a show
and are more customer service based. No matter what the comment
is, we always respond.
Q. Is it important to monitor the statistics of what is being
spoken about and how much? How do you do it?
Yes! For measurement we use Radian6 which is a great platform to
listen, measure conversations and engage with our customers
across the social web. Everyday Im looking at how much online
conversation each show has and the overall sentiment. If there
is a special event or appearance happening, its important to
track the online impact of that as well.
Q. Is social media important to use in conjunction with other
media forms, or can it work on its own?
While social media can be effective on its own, it can be even
more powerful when used in conjunction with other marketing and
PR efforts. Traditional media is still an important part of our
overall marketing strategy but we now incorporate our social
into print ads, etc. to try to drive people to our Facebook
pages or Twitter so they can learn more about the shows. Thats
the beauty of social media for us, you get a sense of each
shows personality by visiting the Facebook page, and sometimes
this is a better perspective than the company website because
youre reading about other peoples experiences.
Q. What is it about social media that makes it such an effective
tool of communication for CDS?
Twenty-five years ago, Cirque du Soleil was built on grassroots
efforts. In a way, social media is bringing us back to our
roots. We want to be a part of the conversation that is already
happening about our shows online, but also contribute by sending
out news and show access that people dont usually see, directly
from us. By participating in social media, we want customers to
recognise that were an approachable brand, we also want to
reach a new audience that may not be that familiar with our
shows. And obviously, we hope by engaging online we can
eventually translate that to ticket sales.
{SOURCE: Memeburn}
Cirque MJ is...
{Oct.27.2010}
-----------------------------------------------
Although theres been no official word yet from Cirque du
Soleil, it appears that Ticketmaster has let the cat out of the
bag.
According to Ticketmaster (who immediately took down the link)
the name of the arena tour will be
MICHAEL JACKSON THE IMMORTAL WORLD TOUR BY CIRQUE DU SOLEIL
Tickets go on sale November 4th for this location (in San Jose)
and around the country. Stay tuned!
{SOURCE: Ticketmaster}
Interview with OVO creator, Deborah Colker [EXPANDED]
{Oct.27.2010}
-----------------------------------------------------
Amazing but true: Before Deborah Colker was recruited to create
Ovo, she had never seen a performance of Cirque du Soleil, the
Montreal-based juggernaut that has transformed not only the
circus world but also performing arts around the world since
launching in 1984.
Admittedly, the Rio de Janeiro choreographer has been a little
busy. Since 1994, shes run her own contemporary dance company,
Companhia de Dança Deborah Colker, which has toured South
America, Europe and Asia and concluded a run at Washingtons
Kennedy Center on Saturday.
In fact, it was the sometimes gravity-defying physicality and
overt passion of her troupes work that led Gilles Ste-Croix,
Cirques vice president of creation, to approach Colker after
seeing it perform at Londons Barbican in 2006. The
choreographer was astonished but game, signing on to become the
first woman to create a Cirque show in the companys 25-year
history.
Ovo (Portuguese for egg) is set in the kingdom of vibrantly
colored insects and transpires during a single day under a
magnifying glass. Since premiering in May 2009, its won kudos
for its hot Brazilian shadings and for boasting a more coherent
story line than most of Cirques recent tour shows.
Before Ovo opens under the blue-and-yellow Grand Chapiteau
(big top) at Atlantic Station on Thursday, we reached Colker,
who speaks in a Portuguese accent as strong as caipirinha. She
was completing a mad last day of rehearsals in Rio before
jumping on a jet to Washington.
On her reaction to being recruited by Cirque: I was so
surprised. And I didnt understand. I said, You want me to
choreograph a show? What is it exactly? And [Gilles] said, No,
no, no, we want you to create a show for us!
[In 2007], they told me the subject: Guy [Laliberté, Cirque
CEO] wanted a show about nature, about biodiversity, and thats
it. Oh, and it needs to be in the tent.
He told me, You must do a great show, and that he was very
excited. He said, Usually this show will stay around the world
for 15 years, and its for grandmothers, grandfathers, adults,
children, everybody and every different culture.
I said, OK, I have to think about it.
On how she decided to focus on insects: I came back to Brazil,
and I began to work with the insect world because of the
relationship between the acrobats and insects. All the insects
have six legs, only the spiders have eight. I thought, oh, the
insects have many legs, and the acrobats, theyre not normal
human beings. Its like they have more legs, more arms than
everybody. Acrobats really can fly, climb walls, they can jump,
they can walk down the floor. And with this, I really began the
idea of Ovo.
On what else she likes about bugs: Insects really can subvert
totally the space. They play with gravity, for example. And this
is something as a choreographer that always interests me. The
way they can fly, their different dynamics of movement.
Also, because I live in the city, I used to love to go to the
country ... to be in touch with nature, with the earth. And in
these places, we can find many different flowers and insects.
On determining the personalities of her insect stars: I tried
to give each family of insects personality, feelings and a way
of moving. Because its a story, to bring emotion and feeling
for this show, it was necessary to give them different
personalities.
I created this together with my team, including the costume
designer; how the fleas they will be more adolescent and more
sexy. ... The ants will be the children of our community. And we
have one chief, the ladybug, who is the lonely one. She doesnt
have a family and shes waiting for someone, shes waiting for
one love.
On the Brazilian vibe that spices Ovo: I didnt think, Oh, I
will create something Brazilian or I want to make this show a
Brazilian show. I didnt use any folklore, I didnt use any
labels, any Brazilian codes. I didnt think about Brazil, but I
am Brazilian. My experiences are here, my background is
Brazilian, my breathing is Brazilian, my inspiration is
Brazilian.
On the enigmatic symbolism of the recurring large egg on stage:
The egg for me is something very important: The egg is the
enigma, the metaphor of life. We dont know exactly about life,
what comes before. We have the joke: What comes before, the egg
or the chicken? Also the egg is so aesthetic.
On the importance of telling a full story: Sometimes what
happens is [Cirque shows] have a name and a theme, but during
the show I lose the story and its more dealing with the
[acrobatic] numbers, not a whole show.
I didnt want to do that. If my show will have a subject, will
have a name, I want to have a story that everybody will
understand. Its very simple: Its a love story, its an egg
story, and its really easy to connect with the story.
The audience can choose how many metaphors they will connect
with, they will find.
On making the various acts cohere rather than stand out
individually: I tried to convince all my artists on the stage
with me that we will be a journey. And its not about each
number: My number is this and then another number is that.
No, I say to everybody, Lets bring the audience together with
us inside a journey. When we finish one number, its the
beginning of another one. Lets try fusion. Lets try to be
inside the community of insects.
On choosing acrobats to dance instead of vice versa: Cirque
asked me if I wanted to have many dancers on the stage. I
answered no. I said I wanted to have high-level, Cirque-level
acrobats on my stage, and I will make them dance.
On how that worked out: [Audience members and critics] have
said that the performers were amazing on the stage. And I was
very happy with this, because its not easy to make Russian
traditional acrobats and Chinese acrobats dance. I think some of
them [dance] more, some of them less.
But the dance is printed on the show, because I think through
movement. I think we can see and recognize that its a Cirque
show directed by Deborah Colker, who is a choreographer,
understand?
{SOURCE: Access Atlanta}
Circus Dreams [EXPANDED]
{Oct.28.2010}
-----------------------------------------
It's such a clichéd fantasyescaping the misery of one's life by
running away and joining the circus. But if you're a highly
expressive dancer with a creative bent and an interest in long-
term employment, you may want to seriously consider turning that
circus fantasy into reality with Cirque du Soleil. Because while
the groundbreaking shows it produces all over the world feature
performers with traditional circus skills, the esteemed
organization also employs numerous dancers. So even if you have
no acrobatic, clowning, or aerial abilities, you should not rule
out auditioning for Cirque. For the right kind of dancer, it can
offer extremely gratifying work.
"That acrobatic stereotype has been my biggest challenge over
the last five years," says Rick Tjia, senior talent scout in the
organization's dance casting sector. It seems that the dance
community doesn't realize how many opportunities Cirque du
Soleil now offers dancers who are not circus performers. About
six years ago, he says, "when I first came to work in casting
here, there were only about 20-some dance roles in the entire
company, but within two years that number had jumped to over
100. The exact number varies as we create new shows, but I'd say
that now we fluctuate between 130 and 180 dance roles at any
given time."
A Cirque du Soleil dancer needs to have a strong interest in the
creative process and a willingness to play an integral role in
the development of a show's dance material. "The way this
company works is that the roles are created around the dancers
who are cast, rather than the choreographer first setting a role
in stone and then finding a dancer to fill it," Tjia explains.
"We look for dancers who will inspire the creation of the
material. Being a technically strong dancer or just being able
to do tricks is not enough. Imagination, an open mind, and the
willingness to jump into something unknown and find a way to
make that interesting together with the creators are what's
essential."
Even a dancer hired to fill a role in an already-running
production is expected to participate in the creative process,
as it doesn't end when the show opens. "The big difference
between dancing in a Broadway show, for example, and what we
do," Tjia says, "is that we like dancers to evolve in their
roles, to bring something new and fresh and different to every
performance. It's a lot like what actors normally do but that
dancers usually don't."
According to Tjia, when audiences come to see a Cirque du Soleil
production, they expect to be wowed and touched: "But 'wowed'
doesn't necessarily mean you're going to do 10 pirouettes. That
won't sustain an audience's attention for two hours. You have to
wow them through the heart. That's what makes this company's
shows so specialthe artistic, expressive side. We want the kind
of dancers who can really touch people through the execution of
their movements." Once hired to work on a new production,
dancers will often receive classes in physical acting, in
addition to a daily morning technique class.
Among the various Cirque productions currently playing, there
are roles for dancers who specialize in a multitude of styles.
"The type of dancer for which we have the most roles is
contemporary," says Tjia, "but right now we also have 12 or 13
tap-dance roles, around six hip-hop or B-boy roles, three
Georgian folk dancers, a Romanian folk dancer, and a role that
mixes contemporary or jazz and classical Indian dancing, which
is one of the most difficult roles to fill, because of that
mix."
Dancer Laura Cota is performing in "Love," Cirque du Soleil's
Beatles-inspired show, at the Mirage in Las Vegas. After many
years of dancing in music videos, with concert dance companies,
and on cruise ships, Cota decided to audition for Cirque du
Soleil because she wanted a job "that had a little more
longevity to it," she says. Though she has been dancing in
"Love" for a year and a half, she is the show's newest cast
member. "Every other dancer has been here for at least two and a
half years," she says. "It's a very positive work environment,
and we've become like a family." She also notes that dancing
with Cirque never gets boring, because of all the creative work
involved and the educational opportunities: "I have never done
another job that offers as much training as this one does."
In addition to performing two shows a night, the dancers in
"Love" take a mandatory biweekly dance class and get daily
workshops focusing on different forms of dance or physical
performance, such as clowning or aerial work. Though Cota
describes a Cirque du Soleil show as a "demanding" jobher
audition alone took 18 hours over the course of two daysshe
also claims it's by far her favorite.
{SOURCE: Backstage}
Living La Vie de Cirque in Las Vegas [EXPANDED]
{Oct.28.2010}
-------------------------------------------------
Its definitely cool having friends in the theatre. Catching up
with them usually means meeting them after the show in New York,
but this time, the location was Las Vegashome of gambling,
strip clubs, and the one and only Cirque du Soleil.
My old Wagner College buddies Mary Cloutier Barnett and Becky
Slater Stephenson are former East Coast residents who love their
life and work in Vegas. They were good friends in college and
are now even better friends through Cirque; Mary is one of the
stage managers at LOVE and Becky is one at nearby Ka, the show
that is often referred to as the opera of Cirque du Soleil.
I didnt know what a stage manager was when I first was at
school, Mary admitted . In fact, unlike myself, she had entered
the theatre program for performance until I saw the error of my
ways, she jokes. She began to look at stage management as a
viable option for a career, worked on show after show at Wagner
in a backstage or management capacity, and the rest is history.
While its clear that she ultimately learned what a stage
manager was while we were at Wagner, I can tell you that there
was nothing at our college that could prepare anyone for the
craziness that is Cirque. Frankly, no college canno Broadway
theatre, let alone a college theatre, could literally contain a
Cirque show. In fact, Mary told me that Cirque shows usually
require theatres to be built or renovated specifically to
accommodate them.
So how does one become a stage manager at Cirque? Stage
management is 80 to 85 percent communication, says Becky,
referring to the fact that she is the link between the cast,
crew, and everything and everyone in between. Mary agrees.
Despite Cirque being unlike any other show on stage, it is like
other shows off stage. You learn by experience, she says. And
while a theatre degree certainly helps, Becky says that she
would advise any aspiring stage manager to also take classes in
management and communication to prepare them for backstage life.
I caught up with Becky and Mary when they were both on maternity
leave. Becky said the Cirque cast and crew has prepared her well
for motherhood. Im a glorified mother [at Cirque], Becky said
with a laugh. Its truepart of being a stage manager means
rounding up the kids, making sure they are ready for the show,
and generally keeping the rest of the family happy.
The technical part of the job, of course, comes with calling
the show, the term used for the cues the stage manager gives
during the show as to when lights go on or off, when sets
change, and, in true Cirque du Soleil fashion, when a cast
member literally comes flying onto the stage.
I have a healthy fear of calling shows, Becky says when I
questioned her about what its like at work. But shes no
shrinking violet; this fear is simply something that keeps her
on her toes for every second of the performance. And rightly so:
there are 80 cast members in Ka (Mary has 65 in LOVE), and
theres a whole lot that can go wrong. Is every show a marvel of
technical perfection? No, but thats the beauty of live theatre.
It used to frustrate Mary to no end when shed go and talk to
her advisor about her future career in the theatre. What do you
think? shed ask, and hed reply, Figure it out. But that was
one of the best lessons she could learn during school.
Professors adviseyou figure it out, she says.
In college, theatre majors often set their sights on Broadway,
but Las Vegas is about 2,000 miles away from midtown Manhattan.
You wont hear any complaints from Becky or Mary, though; be it
Vegas or New York or any random city they experienced from their
touring days, theyre doing the work that they love.
{SOURCE: College Bound Network}
BELIEVE - Radically Transformed? [EXPANDED]
{Oct.29.2010}
-----------------------------------------------
Once again Mike Weatherford of the Las Vegas Review-Journal has
scored a number of juicy bits regarding the ongoing
transformation of the Criss Angel/Cirque du Soleil partnership
BELIEVE:
# # #
Life is death without change, right?"
For most of us, that's metaphoric wisdom. For Criss Angel, it's
a little more literal.
The magician says it in the same positive-thinking context that
absorbs much of a late-night chat, after the second of two
Saturday shows. It's one that's otherwise upbeat with animated
talk of how he is "obsessed and passionate with the art of
magic," and how he wants to "share my passion and my love for
this art and make it the best it can be. Not because I have to,
but because I want to."
But two years ago this weekend? Well, it can't be stated in any
high-planed way.
"I got my ass handed to me."
"Criss Angel: Believe" was supposed to be a can't-miss
proposition. It teamed a magician who commanded a formidable TV
fan base with the unstoppable Cirque du Soleil, which had
conquered the Strip with five hit shows.
On the day they went public in March 2007, there was no reason
to doubt Angel and Cirque's promise to "reinvent magic like
(Cirque) reinvented the circus."
But from the earliest previews, word spread that "Believe" was
coming off more like a shotgun marriage. The attempt to blend
Cirque's artsy visuals with Angel's goth-rock appeal played like
an art-damaged ballet. The Los Angeles Times called it a
"gloomy, gothic muddle of a show that officially lurched into
being on Halloween night like some patched-together
Frankenstein's monster."
Cut to the two-year anniversary. The props and costumes are
familiar, but "Believe" has radically transformed; more than any
Las Vegas production in recent memory.
Gone down the rabbithole is most of Cirque's original
contribution: dancers, musicians and a surreal storyline framing
the illusions as a near-death experience when one of Angel's
stunts goes awry.
What's replaced it? The show many fans might have expected in
the first place: Angel playing the David Copperfield of his
generation, chatting with fans and serving up one illusion after
another; nearly 40, by his count, with two more still on the
way.
"People wanted to see 'Mindfreak,' " the 42-year-old says of the
A&E series that took magic to real locations and young audiences
in a six-season run. "They wanted to get to know Criss Angel,
and they wanted to see parts of my personality that they
typically wouldn't see on TV."
Instead, Angel seemed more like the miscast star of a spectacle
designed for another personality. "What we tried to do was just
not right for the time and for Criss Angel. Maybe it would have
been great if it was somebody else."
The new "Believe" could be read as a giant step backward, to the
more predictable showcase people might have expected before
Cirque was attached. "I could have done it without Cirque and I
could have made a lot more money, to be perfectly frank with
you," he says.
But he is philosophic about aiming high. "We tried to go down a
road that hasn't been traveled," he says. "We were embarking on
a journey together that was going to try to push the envelope.
You try things, you think they're going to work. They're great
in theory, but then they don't play out."
In the early weeks after fans and critics jeered, Cirque
officials stuck to the usual plan of "fixation" -- adjustments
based on audience reaction -- that it employs for all its
titles, whether they needed just a bit of tweaking ("Love") or a
lot of work ("Zumanity").
But after six months, Cirque no longer promised a delivery date
for an overhauled "Believe." Angel now says he and then-Luxor
president Felix Rappaport lobbied to "give me the free rein to
do what I wanted to do with the show." The near-death premise
vanished a year ago; the dancers were released in June.
When Cirque was readying "Viva Elvis" last winter, Gilles Ste-
Croix, the company's top creative executive, noted, "We have
changed our point of view on how to do magic. It rests really on
the magician."
"I wanted to direct the show from the beginning," Angel says of
the job Cirque gave to Serge Denoncourt. "But I understand why,
(with that) huge amount of money, you want to have somebody
being the gatekeeper." The changes have saved Cirque money, and
Angel claims "Believe" is "the No. 1 best-selling magic show in
the world. The proof is somewhat in the pudding."
(Copperfield might dispute that claim. In Las Vegas, he performs
fewer shows each year in a smaller venue. But he still tours and
plays sports arenas in some overseas markets.)
Without officially closing the show for more than its scheduled
breaks, Angel came in early each day to rehearse new illusions.
"The pacing is now like a rock concert," he says. "No filler, no
taking one moment and extending it longer than it has to be."
The same seems to be true of Angel's offstage life. Two years
ago, the magician was living in a Luxor suite and -- possibly
playing the press to his own promotional ends --seemed to
welcome any and all photos of him with his celebrity date of the
week.
But his image imploded with several bad-boy episodes, including
a threatening outburst directed at Review-Journal columnist Norm
Clarke at the Miss USA pageant in 2008.
Angel has now turned into a suburban homeowner and significantly
dialed down his club-hopping image.
"Criss has learned," Ste-Croix noted last winter. "He was a big
mouth to the press, and I think he has learned from that. The
press has to be your ally and not against you."
Angel now talks of being "a citizen of the world doing good
things." Instead of "crawling under a rock," he says he "just
chose to say, 'You know what? I'm not going to be the fuel for
anybody to put stuff out there.' So I made a conscious decision
to focus on the show, focus on my career, to try to better
myself as opposed to letting myself get caught up in the
negativity."
So the haters will be frustrated. "Believe" goes on, and so does
its star. "Four months from now, you'll see something new in
there," he promises.
"I'm a maniac as far as trying to make things the best they can
be. We try to finesse and refine all of the moments. It's a
never-ending process. And I think that's a very healthy
process."
{SOURCE: Las Vegas Review-Journal}
=======================================================================
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
{Wintuk, Iris, & "Radio City"}
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:
Moscow, Russia -- Oct 9, 2010 to Dec 12, 2010
Brussels, BE -- Jan 4, 2011 to Jan 16, 2011
Vienna, AT -- Feb 11, 2011 to Mar, 6, 2011
Madrid, ES -- Apr 2, 2011 to TBA
Valencia, ES -- Jun 16, 2011 to TBA
Alicante, ES -- Jul 28, 2011 to TBA
Sevilla, ES -- Sep 8, 2011 to TBA
Paris, FR -- TBA
Koozå:
Miami, FL -- Nov 12, 2010 to Dec 5, 2010
Tokyo, JPN -- Feb 2, 2011 to Apr 12, 2011
Ovo:
Atlanta, GA -- Nov 4, 2010 to Dec 31, 2010
Dallas, TX -- Jan 28, 2011 to Feb 13, 2011
Houston, TX -- Mar 10, 2011 to Mar 27, 2011
Cincinnati, OH -- Apr 22, 2011 to May 8, 2011
Minneapolis, MN - May 26, 2011 to Jun 12, 2011
Chicago, IL -- Jun 30, 2011 to TBA
Seattle, WA -- Nov 17, 2011 to TBA
Quidam:
Bogota, CO -- Oct 19, 2010 to Nov 21, 2010
NOTE: Begins Arena Tour after Bogota!
Totem:
Amsterdam, NL -- Oct 7, 2010 to Dec 5, 2010
London, UK -- Jan 5, 2011 to Jan 30, 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 4, 2011 to Sep 4, 2011
San Francisco, CA -- Oct 21, 2011 to TBA
Varekai:
Barcelona, ES -- Nov 5, 2010 to Dec 5, 2010
Taipei, TW -- Jan 20, 2011 to TBA
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Online at: < http://www.cirquefascination.com/?page_id=1831 >
Saltimbanco:
Granada, ES -- Sep 29, 2010 to Oct 3, 2010
Madrid, ES -- Oct 5, 2010 to Oct 10, 2010
Lisbon, PT -- Oct 13, 2010 to Oct 24, 2010
Prague, CZ -- Nov 12, 2010 to Nov 14, 2010
Zagreb, HR -- Nov 17, 2010 to Nov 21, 2010
Belgrade, SB -- Nov 24, 2010 to Nov 28, 2010
Basel, CH -- Dec 1, 2010 to Dec 5, 2010
Budapest, HU -- Dec 8, 2010 to Dec 12, 2010
Nurnberg, DE -- Dec 15, 2010 to Dec 19, 2010
Antwerp, BE -- Dec 22, 2010 to Jan 2, 2011
Lille, FR -- Jan 5, 2011 to Jan 9, 2011
Paris, FR -- Jan 13, 2011 to Jan 15, 2011
Friedrichshafen, DE - Feb 11, 2011 to Feb 13, 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 Apr 29, 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:
Honolulu, HI -- Oct 15, 2010 to Oct 31, 2010
Boise, ID -- Nov 4, 2010 to Nov 7, 2010
Houston, TX -- Nov 10, 2010 to Nov 14, 2010
Phoenix, AZ -- Nov 17, 2010 to Nov 21, 2010
Tucson, AZ -- Nov 24, 2010 to Nov 28, 2010
El Paso, TX -- Dec 1, 2010 to Dec 5, 2010
Oklahoma City, OK -- Dec 22, 2010 to Dec 26, 2010
Wichita, KS -- Dec 29, 2010 to Jan 2, 2011
Baton Rouge, LA -- Jan 5, 2011 to Jan 9, 2011
Colorado Springs, CO -- Jan 12, 2011 to Jan 16, 2011
Broomfield, CO -- Jan 19, 2011 to Jan 23, 2011
Loveland, CO -- Jan 26, 2011 to Jan 30, 2011
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 TBA
Knoxville, TN -- Mar 23, 2011 to TBA
Charlotesville, VA -- Mar 30, 2011 to TBA
Atlantic City, NJ -- Apr 6, 2011 to TBA
Greensboro, NC -- Apr 13, 2011 to Apr 17, 2011
Biloxi, MS -- Apr 20, 2011 to TBA
Southaver, MS -- Apr 27, 2011 to TBA
Roanoke, VA -- May 4, 2011 to TBA
Columbia, SC -- May 11, 2011 to TBA
Toledo, OH May 18, 2011 to TBA
Louisville, KY -- Jun 9, 2011 to TBA
Nashville, TN -- Jun 15, 2011 to TBA
Tampa, FL -- Jun 22, 2011 to TBA
Jacksonville, FL -- Jun 29, 2011 to TBA
Raleigh, NC -- Jul 6, 2011 to TBA
Duluth, GA -- Jul 13, 2011 to TBA
Sunrise, FL -- Jul 20, 2011 to TBA
Charlotte, NC -- Aug 3, 2011 to TBA
Estero, FL -- Aug 10, 2011 to TBA
Quidam:
Kingson, ON -- Dec 11, 2010 to Dec 14, 2010
Montréal, QC -- Dec 18, 2010 to Dec 30, 2010
Quebec, QC -- Jan 4, 2011 to Jan 9, 2011
Chicoutimi, QC -- Jan 12, 2011 to Jan 16, 2011
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 TBA
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 TBA
Sacramento, CA - May 11, 2011 to TBA
London, ON -- TBA
Hamilton, ON -- TBA
Wilkes-Barre, PA - Jun 15, 2011 to TBA
Ottawa, ON -- TBA
St. John's, NL -- TBA
Saint John, NB -- 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 -- TBA
Toronto, ON -- TBA
Dralion:
Trenton, NJ -- Oct 20, 2010 to Oct 24, 2010
Buffalo, NY -- Oct 27, 2010 to Oct 31, 2010
Reading, PA -- Nov 3, 2010 to Nov 7, 2010
Youngstown, OH -- Nov 10, 2010 to Nov 14, 2010
Windsow, ON -- Nov 17, 2010 to Nov 21, 2010
Oshawa, ON -- Nov 24, 2010 to Nov 28, 2010
Worcester, MA -- Dec 16, 2010 to Dec 19, 2010
Philadelphia, PA -- Dec 21, 2010 to Jan 2, 2011
Boston, MA -- Jan 5, 2011 to Jan 9, 2011
Grand Rapids, MI -- Jan 12, 2011 to Jan 16, 2011
St. Louis, MO -- Jan 19, 2011 to Jan 23, 2011
Hoffman Estates, IL -- Jan 26, 2011 to Jan 30, 2011
Mobile, AL Feb 2, 2011 to TBA
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 20, 2011
San Antonio, TX -- Mar 23, 2011 to Mar 27, 2011
Des Moines, IA - Mar 30, 2011 to TBA
Springfield, IL - Apr 6, 2011 to TBA
Moline, IL - Apr 19, 2011 to TBA
Peoria, IL - Apr 22, 2011 to Apr 24, 2011
Madison, WI - Apr 26, 2011 to TBA
Green Bay, WI - Apr 29, 2011 to TBA
Rockford, IL - May 3, 2011 to TBA
Kansas City, MO - May 11, 2011 to TBA
Abbotsford, BC - Jun 2, 2011 to TBA
Eugene, OR - Jun 8, 2011 to TBA
Victoria, BC - Jun 22, 2011 to TBA
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
Hamilton, ON -- Oct 12, 2011
Detroit, MI -- Oct 15, 2011
London, ON -- Oct 18, 2011
Toronto, ON -- Oct 21, 2011
Winnipeg, MB -- Oct 26, 2011
Saskatoon, SK -- Oct 29, 2011
Edmonton, AB -- Nov 1, 2011
Vancouver, BC -- Nov 4, 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
Houston, TX -- Feb 10, 2012
Miami, FL -- Mar 2, 2012
Quebec City, QC -- Mar 24, 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
2010 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)
2010 Dark Dates:
o November 3
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:30pm
2010 Ticket Prices:
o Orchestra: $150.00
o Loggia: $130.00
o Balcony: $99.00
o Limited View: $93.50
2010 Dark Dates:
o December 8 - 21
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
2010 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
2010 Dark Dates:
o November 16
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Friday through Tuesday
Dark: Wednesday & Thursday
Two Shows Nightly - 7:30pm and 10:00pm
2010 Ticket Prices (18+ Only!):
o Duo Sofas: $135.00
o Orchestra Seats: $99.00
o Upper Orchestra Seats: $79.00
o Balcony Seats: $69.00
o Cabaret Stools: $69.00
2010 Dark Dates:
o November 30
o December 1 - 14
2010 Added Performances:
o November 29th
o December 30th
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
2010 Ticket Prices (adult) / (child 5-12):
o Category 1: $150.00 / $75.00
o Category 2: $125.00 / $62.50
o Category 3: $99.00 / $49.50
o Category 4: $69.00 / $34.50
2010 Dark Dates
o November 16 - 17
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
2010 Ticket Prices:
o Lower Orchestra: $150.00
o Upper Orchestra: $130.00
o Lower Balcony: $99.00
o Middle Balcony: $93.50
2010 Dark Dates:
o December 3 - 13
ZAIA:
Location: Venetian, Macao (China)
Performs: Every Day, Dark: Wednesday
One to Two Shows Daily - Times Vary
2010 Ticket Prices (adult) / (child 2-11):
o VIP Seating: MOP$ 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
2010 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 / ¥7,800
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.
2010 Ticket Prices (all):
o Category 1: $160.00
o Category 2: $125.00
o Category 3: $99.00
o Category 4: $79.00
o Category 5: $59.00
2010 Dark Dates:
o None Remaining
VIVA ELVIS:
Location: Aria, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
2010 Ticket Prices (Previews / Regular)
o Category 1: $149.38 / $175.00
o Category 2: $128.75 / $150.00
o Category 3: $108.13 / $125.00
o Category 4: $86.68 / $99.00
2010 Dark Dates:
o November 17 - 25
--------------------------------------
VENUE - Venue & Seasonal Productions
--------------------------------------
Online at: < http://www.cirquefascination.com/?page_id=251 >
Wintuk:
Location ///
Madison Square Garden
New York City, NY (USA)
Regular Performances ///
November 17, 2010 through January 2, 2010
Wenesdays through Sundays
No Performances ///
There are no performances on Monday and Tuesday
(with the exception of December 21, 27 and 28, 2010).
Ticket Prices ///
Ticket prices range from from $30 to $220 based on category
and performance date. Please see the Cirque du Soleil
website for ticket details:
< http://www.cirquedusoleil.com/en/shows/wintuk/
tickets/schedule.aspx >
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: $133.00
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:
http://www.facebook.com/ZarkanaCirque
Location ///
Radio City Music Hall
New York City, NY (USA)
Performances ///
June 9, 2011 through September 4, 2011.
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
=======================================================================
--- [ ALEGRIA ] ---
{Oct.22}
"If youre going for a spectacle, go see 'Alegría'; If you want
to laugh, go see 'Alegría.' If you want to be awestruck by the
creativity of the human mind and the diverse capabilities of the
human body, go see 'Alegría'."
LINK /// < http://www.honolulupulse.com/events/
review-cirque-du-soleils-alegria >
{Oct.16}
In Hawai'i, it is the custom to welcome malihini, visitors, with
aloha. Yesterday, children of Kawaiaha'o School welcomed the
cast with a lei greeting...a colorful and vibrant moment!
FOTO [6] /// < http://www.facebook.com/album.php?
aid=294910&id=38543815745&ref=mf >
{Oct.15}
Training with High Bar in Hawai'i... after the weather!
VIDEO /// < http://www.hawaiinewsnow.com/Global/
category.asp?C=6743&clipId=5198111&autostart=true >
{Oct.01}
Take a look at some photos from our Honolulu media event! After
the event, some members of the media had the chance to snap some
photos with some members of our cast.
FOTO [15] /// < http://www.facebook.com/album.php?
aid=284230&id=38543815745&ref=mf >
--- [ CORTEO ] ---
{Oct.08}
Film about a Cirque du soleil show, Corteo. Part 1.
VIDEO [6:54] /// < http://www.youtube.com/watch?v=4sb9Er2Ohbo >
--- [ CRISS ANGEL BELIEVE ] ---
{Oct.26}
In case you missed it, check us out on last night's episode of
Lopez Tonight on TBS!
LINK /// < http://www.stumbleupon.com/su/7znLFO/www.
lopeztonight.com/episode_recaps_and_
highlights/criss_angel_eats_razor_blades.php >
--- [ DRALION ] ---
{Oct.28}
Great review from Dralion in Buffalo!
LINK /// < http://www.buffalonews.com/
entertainment/article233677.ece >
{Oct.17}
Here's amazing pictures from our rehearsal in Charlottesville
FOTO [14] /// < http://www.facebook.com/album.php?
aid=538325&id=39340140194&ref=mf >
{Oct.15}
Cirque Du Soleil's 'Dralion' unites East and West - NJ.com
LINK /// < http://www.nj.com/entertainment/times/index.ssf
?%2Fbase%2Fentertainment-2%2F128712153466700.xml&coll=5 >
{Oct.11}
Entering the USA
FOTO [8] /// < http://www.facebook.com/album.php?
aid=524880&id=39340140194&ref=mf >
{Oct.08}
Wardrobe doing some last touch on a costume. Last week of
rehearsals in Montreal!!!
FOTO [2] /// < http://www.facebook.com/album.php?
aid=518547&id=39340140194&ref=mf >
--- [ KA ] ---
{Oct.29}
Happy almost Halloween, KÀ fans! If anyone is dressing up as a
KÀ character this year, please send us some pics! A few weeks
ago we hosted a blogger to watch a special rehearsal of the
Battle scene, one that no one has seen yet. We can't give
everything away, but here's a hint. Enjoy and be safe this
weekend!
LINK /// < http://escaping-mediocrity.com/uncommon-
business/grow-evolve-strive/ >
{Oct.27}
Arts & KÀ-rafts: Who says gingerbread houses are only for
Christmas? The artists and staff at KÀ decided to give some hot
glue and empty calorie love to Halloween this year. We'll be
using them to raise some money for charity but all you need to
do is tell us which one is your favorite!
FOTO [5] /// < http://www.facebook.com/album.php?
aid=297548&id=31527171928&ref=mf >
{Oct.17}
Here are a few behind-the-scenes shots from our photo shoot from
a few weeks ago. This is just a small sample, because we don't
want to give everything away, but let us know which are your
favorites so far!
FOTO [17] /// < http://www.facebook.com/album.php?
aid=294458&id=31527171928&ref=mf >
--- [ KOOZA ] ---
{Oct.08}
5 minutes with: Adam Miller, Artistic Director of KOOZA
LINK /// < http://www.metronews.ca/calgary/local/article/
637467--5-minutes-with-adam-miller >
{Oct.04}
How to become a good Pickpocket? Learn a few lessons from the
KOOZA pickpocket Michael Halvarson!
LINK /// < http://www.calgarysun.com/news/alberta/
2010/09/30/15540141.html >
--- [ LA NOUBA ] ---
{Oct.01}
La Nouba by Cirque du Soleil The cast and crew at La Nouba do
their part on World Smile Day, which is the first Friday in
October each year. The theme this year is Do an act of kindness
to make one person smile! The iconic Smiley is one of the most
recognizable symbols on the planet. It was created in 1963 by
Harvey Ball, a commercial artist from Worcester, MA.
FOTO [62] /// < http://www.facebook.com/album.php?
aid=217931&id=16315569901&ref=mf >
--- [ MYSTERE ] ---
{Oct.30}
Hello Mystère fans! A few weeks ago Marco and Paulo Lorador, the
brothers who perform our spectacular Hand-to-Hand act, were
inducted as 2010 Acrobatic Legends in the World Acrobatic
Society. Please join us in congratulating them on this well-
deserved honor!
FOTO [1] /// < http://www.facebook.com/photo.php?fbid=
485467374918&set=a.121054974918.123251.
18155469918 >
{Oct.29}
Mystère by Cirque du Soleil Happy almost Halloween, Mystère
fans! If you don't have a costume yet, here's a suggestion - a
mix of the Mystère Frog and Lizard with a little bit of Elvis.
Here's a photo for inspiration. (Thanks to our friends at Viva
ELVIS for letting us invade their theatre last night!) If anyone
is dressing up as a Mystère character for Halloween please send
us your pics!
LINK /// < http://www.facebook.com/photo.php?fbid=
484985064918&set=a.121054974918.123251.
18155469918 >
{Oct.26}
Last Monday Mystère invaded Treasure Island's popular country
bar Gilley's with a bunch of Spermatos, Spermatites, a Lizard
and a flowy and ethereal singer in honor of our 8,000th
performance. We even enjoyed a performance of our own from
Gilley's fantastic trick bullrider, until the Mystère characters
took over! 8,000th Performance Cocktails & Spermatos!
FOTO [28] /// < http://www.facebook.com/album.php?
aid=287820&id=18155469918&ref=mf >
{Oct.16}
This past Wednesday, Mystère and Treasure Island welcomed guests
out to the pool to enjoy some music, food and drinks in honor of
our upcoming 8,000th performance. A huge thank you to everyone
for spending time with us on a beautiful October evening, and
special thanks to our friends at 107.9FM and Kahunaville!
FOTO [14] /// < http://www.facebook.com/album.php?
aid=284854&id=18155469918&ref=mf >
--- [ SALTIMBANCO ] ---
{Oct.20}
Saltimbanco by Cirque du Soleil Going to Prague real soon !!
LINK /// < http://www.expats.cz/prague/article/prague-
entertainment/cirque-du-soleil-in-prague/ >
{Oct.06}
Check out this great review of Saltimbanco!
LINK /// < http://www.rtve.es/noticias/20101006/circo-del-sol-
trae-esencia-su-filosofia-circense-
saltimbanco/359365.shtml >
{Oct.05}
Saltimbanco by Cirque du Soleil En Madrid!
LINK /// < http://www.adn.es/impresa/cultura/
20101004/NWS-0143-Llega.html >
{Oct.04}
The latest group shot taken in Granada!
FOTO [1] /// < http://www.facebook.com/photo.php?
fbid=473705077958&set=a.121288542958.
129859.41245692958 >
--- [ TOTEM ] ---
{Oct.15}
Totem in the Press:
LINK /// < http://www.facebook.com/photo.php?
fbid=160736130613752&set=a.111837202170312
.12495.111798252174207 >
--- [ WINTUK ] ---
{Oct.27}
Throw a Wintuk virtual snowball at your friends. It's cool!
You've Been Hit by a Snow Note! There's a snowy surprise from
Wintuk (and me!) waiting for you on the other side of this
link...
LINK /// < www.wintuksnownote.com >
{Oct.25}
Russian Bars Training
FOTO [6] /// < http://www.facebook.com/album.php?
aid=550936&id=98244255320&ref=mf >
{Oct.25}
The Wintuk artists continue rehearsals in Montreal at the Cirque
du Soleil Headquarters. See how fast a Power Track artist
moves...
FOTO [1] /// < http://www.facebook.com/photo.php?fbid=
10150293116590321&set=a.222882910320.
276944.98244255320 >
{Oct.21}
Here's a look at what the Wintuk promo team was up to lately!
FOTO [10] /// < http://www.facebook.com/album.php?
aid=475966&id=98244255320&ref=mf >
{Oct.18}
Wintuk at Time Out NY Fall Kids Festival
FOTO [6] /// < http://www.facebook.com/album.php?
aid=547714&id=98244255320&ref=mf >
{Oct.15}
Bringing sunshine and winter to young patients...
LINK /// < http://www.facebook.com/photo.php?fbid=
10150284239320321&set=a.222882910320.
276944.98244255320 >
--- [ ZED ] ---
{Oct.29}
ZED was part of the Otobutai Festival at the Todaiji Temple in
Nara with our beautiful Hand to Hand act. Watch on MBS TBS on
November 3rd from 9:55 to 10:50
LINK /// < http://www.mbs.jp/oto/ >
{Oct.26}
For our friends in Brasil- Serginho Groisman visited ZED and
interviewed our 4 Brazilian artists: Douglas, Pedro, Lenny and
Paulo
LINK /// < http://video.globo.com/Videos/Player/Entretenimento/
0,,GIM1362119-7822-SERGINHO+GROISMAN+APRESENTA+OS+
BASTIDORES+DO+CIRQUE+DU+SOLEIL,00.html >
--- [ ZUMANITY ] ---
{Oct.27}
Did you miss us on KTNV Channel 13 tonight? Have no fear.... see
below for a clip from the segment that features amazing how-to
makeup tips for this Halloween!
VIDEO [3:06] /// < http://www.youtube.com/watch?v=pjxguTIm46Q >
{Oct.26}
Zumanity Celebrates Seven Sensual Years!
FOTO [17] /// < http://www.facebook.com/album.php?
aid=252641&id=13931088846&ref=mf >
{Oct.19}
Check out the Wedding Issue of SoCal Scene magazine, out now!
Photo shoot at our gorgeous theatre and showcasing our fabulous
Botero Sisters & Edie!
LINK /// < http://flipflashpages.uniflip.com/1/23982/42335/pub/ >
{Oct.04}
Zumanity at 13th Annual Gay Days Anaheim - 10/02/10
FOTO [11] /// < http://www.facebook.com/album.php?
aid=246754&id=13931088846&ref=mf >
=======================================================================
COMPARTMENTS -- A PEEK BEHIND THE CURTAIN
=======================================================================
------------------------------------
HISTORIA: Cirque du Soleil History
------------------------------------
* Nov.01.1996 - Alegría opened Hong Kong
* Nov.01.2004 -- "20 Years Under the Sun" Book Published
* Nov.02.2004 - Region 01 DVD Release: Fire Within and La Nouba
* Nov.02.2006 - Saltimbanco opened Rio de Janiero, Brazil
* Nov.03.1999 - Quidam opened Madrid, Spain
* Nov.03.2005 - Quidam opened Hong Kong
* Nov.03.2010 - Cirque Announces CIRQUE MJ
* Nov.04.2001 - Dralion wins 3 Emmys:
Outstanding Variety, Music or Comedy Special
Outstanding Directing for a Variety or Musical
Outstanding Costumes for a Variety or Music Program
* Nov.04.2004 - Quidam opened Brisbane
* Nov.04.2004 - Varekai opened Dallas
* Nov.04.2009 - Corteo opened Tokyo
* Nov.04.2010 - OVO opened Atlanta, GA
* Nov.04.2010 - Alegría Arena opened Boise, ID
* Nov.04.2010 - Tickets go on sale for Cirque MJ Extravaganza
* Nov.05.2002 -- Varekai CD released in Canada (BMG/CDS Musique)
* Nov.05.2002 - NBC purchased BRAVO, the Official Network of Cirque in US
* Nov.05.2004 -- Dralion celebrated its 2000th performance [Madrid, Spain]
* Nov.05.2010 - Varekai opened Barcelona, ES
* Nov.06.2002 - Quidam opened Tampa Bay
* Nov.06.2003 - Alegría opened San Francisco
* Nov.06.2009 - Cirque officially announces VIVA ELVIS name
* Nov.07.1996 -- Saltimbanco opened Frankfurt
* Nov.07.1997 - Alegría opened Dusseldorf
* Nov.07.2002 - Varekai opened San Francisco
* Nov.07.2002 - Varekai canceled in San Francisco due to Wind Gusts
* Nov.07.2009 - Mystère/KÀ performs at Latin Grammys
* Nov.08.1987 -- Cirque Réinventé (Vol 1) CD Released (Nâga)
* Nov.08.1994 -- Cirque Réinventé CD Released in US (RCA/Victor)
* Nov.08.1994 -- Mystère CD released in US (RCA/Victor)
* Nov.08.2007 - Corteo opened Orange County, California
* Nov.09.1999 -- Dralion CD released in US (RCA/Victor)
* Nov.09.2006 - Varekai opened Brisbane
* Nov.09.2010 - VIVA ELVIS CD Released
* Nov.10.1992 -- Nouvelle Expérience opened in Las Vegas
* Nov.10.1995 -- Saltimbanco opened Vienne
* Nov.10.2010 -- Alegría Arena opened Houston, TX
* Nov.10.2010 - Dralion Arena opened Youngstown, OH
* Nov.11.2005 - Corteo opened San Francisco
* Nov.12.1996 -- Mystère Live CD released in US (RCA/Victor)
* Nov.12.1998 - Alegría opened Frankfurt
* Nov.12.2010 - Koozå opened Miami, FL
* Nov.12.2010 - Saltimbanco Arena opened Prague, CZ
* Nov.13.2002 - Dralion opened Phoenix
* Nov.13.2003 - Cirque presented at the Air Canada Centre in Toronto
to Honor Prime Minister Jean Chrétien
* Nov.13.2008 - Corteo opened Miami
* Nov.14.2009 - ZAIA celebrated 500th Performance
* Nov.15.1993 -- "Cirque du Soleil" 10th Anniversary Book Published
* Nov.16.1995 -- Alegría opened Atlanta
* Nov.16.2001 -- Dralion opened Dallas
* Nov.16.2007 - Quidam opened Mexico City, Mexico
* Nov.16.2007 - Koozå opened San Francisco, California
* Nov.17.2005 - Saltimbanco opened Guadalajara
* Nov.17.2010 - Saltimbanco Arena opened Zagreb, HR
* Nov.17.2010 -- Alegría Arena opened Phoenix, AZ
* Nov.17.2010 -- Dralion Arena opened Windsow, ON
* Nov.18.1993 -- Saltimbanco opened Atlanta
* Nov.18.2005 - Dralion opened Bilbao
* Nov.19.1991 -- Nouvelle Expérience opened Atlanta
* Nov.19.1998 -- «O» CD Released in Canada (RCA/Victor)
* Nov.19.2001 - Region 01 DVD Release: Inside La Nouba
* Nov.19.2002 -- Alegría premiered on Bravo at 8:00pm EST
* Nov.20.1989 -- Cirque Réinventé opened San Diego
* Nov.20.1997 - Quidam opened Houston
* Nov.20.2006 - Diesel Marketing (Cirque Website) becomes Sid Lee
* Nov.20.2008 - Varekai opened Madrid
* Nov.21.1993 -- Nouvele Expérience closed in Las Vegas
* Nov.21.2006 - LOVE CD Released in US (Capitol Records)
* Nov.21.2008 - ZED Celebrated 100th Performance
* Nov.21.2010 - Curtain falls on Quidam Bigtop Tour (Bogota, Columbia)
* Nov.22.2001 -- Quidam opened London
* Nov.22.2005 - Saltimbanco opened Mexico City
* Nov.22.2007 - Alegría opened Belo Horizonte, Brazil
* Nov.23.2009 - Dralion Juggling act on Mexican Awards Show, Los Premios
* Nov.24.1998 -- «O» CD Released in US (RCA/Victor)
* Nov.24.2010 - Saltimbanco Arena opened Belgrade, SB
* Nov.24.2010 -- Alegría Arena opened Tucson, AZ
* Nov.24.2010 -- Dralion Arena opened Oshawa, ON
* Nov.25.1999 -- Saltimbanco opened Singapore
* Nov.25.2004 - Saltimbanco opened Lille
* Nov.26.2004 -- KÀ Premiered (Preview Performances Begin)
* Nov.26.2009 - Dralion opened Mexico City
* Nov.27.2008 -- Asociación de Cronistas del Espectáculo awards Alegría
* Nov.27.2008 - Dralion opened Brisbane
* Nov.27.2009 - OVO opened San Francisco
* Nov.28.1989 - Cirque Réinventé opened Phoenix
* Nov.28.2002 - Run Before You Fly documentary premiered on BRAVO
* Nov.28.2003 - Saltimbanco opened Valencia
* Nov.29.1991 - Nouvelle Expérience opened Atlanta
* Nov.30.2000 - Dralion opened Atlanta
* Nov.30.2002 - Fire Within premiered on ArTV in Canada
* Nov.30.2003 - SOLSTROM premiered on CBC
* Nov.xx.1999 - Region 01 DVD release: Alegría: Le Film
* Nov.xx.2001 - Quidam celebrated 2000th performance [Zurich]
=======================================================================
FASCINATION! FEATURES
=======================================================================
-------------------------------------------------------
"Jerry Nadal: Keeping the Value (Part 1 of 2)"
By: Keith Johnson - Seattle, Washington (USA)
-------------------------------------------------------
We love Las Vegas, my wife and I. Not the gambling mind you, but the
atmosphere, the ambiance, the life of the place. And the shows,
especially the Cirque shows. Seeing Mystère together, and realizing
the joy we shared in that beautiful show, was one of the experiences
that helped cement our relationship.
Over the years the Las Vegas market has become a critical part of
Cirques business as they have expanded from one to now seven (soon to
be eight) shows on the strip. The overall management of those shows,
as well as others taking up residencies in cities around the world,
now rests in the hands of Jerry Nadal, Senior Vice-President of the
Resident Shows Division.
We got to know Mr. Nadal during the planning and execution of
CirqueCon 2006: Las Vegas! (www.cirquecon.com), when he was General
Manager of Resident Shows. With his approval the Resident Shows
division staff (as well as staff at the five Vegas shows) pulled out
the stops to make the weekend truly memorable for our members.
As we were preparing for our latest trip to Las Vegas (to see Viva
Elvis! and catch BeLIEve 2.0) we asked if we could sit down with Mr.
Nadal for a chat, to talk about the shows and his outlook on things of
interest to Cirque fans. We were delighted when the theater veteran
with much press experience (I was even asked why we hire kids,
because its child abuse.) found time in his busy schedule.
Our hopes were dashed, however, when an equipment delay on our
connecting flight to Las Vegas meant we would miss our appointment.
But fortunately for us, Mr. Nadal (who was also experiencing travel
mishaps himself) had time on our last day in Vegas.
It was mid-morning on Monday, September 17, 2010 when we arrived at
the newly-renovated Cirque Resident Shows HQ just south of McCarran
Airport. The heat of mid-morning abated quickly as we waited inside
the building just next to the new front desk area. It was also the
day representatives from several area universities were in the
building talking with artists about educational opportunities and
career transition topics.
Mr. Nadal greeted us soon after we arrived and escorted us back to his
office on the south side of the building, a private office with
windows facing the Airport. The occasional soft roar of jets and
heavy trucks rumbling down East Sunset Road provided a backdrop to our
conversation.
51 year-old Jerry Nadal (Nay-DELL Its Spanish; my grandfather came
from Spain.) hails originally from New York. He spoke openly and
frankly about Cirque and its business. Some of what we spoke about at
the time would later change it wouldnt be too long after we spoke
that Banana Shpeel was cancelled and closed, the Radio City Music Hall
show was named (Zarkana) , and the Michael Jackson The Immortal World
Tour was announced and tickets put on sale.
Placing Priorities
------------------
But we first wanted to hear about his history. While he might have
ended up where he wanted to be, it didnt start out that way. I have
a bachelors degree in Transportation Management and Id always wanted
to go to law school. You think of all the touring I did, it actually
works! (laughs). I really did a whole business track.
In my junior year of college I worked for Irving Trust Bank on Wall
Street and from there went to United States Lines. Then I started
going back to school, looking at some marketing courses, and left U.S.
Lines because they were going through bankruptcy. I ended up at Chase
Manhattan Bank doing marketing at the branch level. But I had always
done theater work on the side, tons of community theater.
When I was 28 I realized I was calling in sick for a week at a time
because I was working [overnights during technical rehearsals] at the
theater as a Technical Director. I forget what production I was
doing, I think it was, Anything Goes. I came home [one morning] and
it was like 5:30am. I was [living] at my parents house and they were
having breakfast, getting ready to go to work. They knew it was tech
week so my Dad said, Are you going to work today? I said, No, Im
not going in all week. And he said, Dont you think your priorities
are a little misplaced? I said, Id love to have this conversation
with you, but Im going upstairs and going to sleep now. (laughs)
But the question stayed with him and got him thinking, though perhaps
not in the way his father might have intended. Right after the show
opened I went in to Chase and quit. I just said nope, not interested
in doing this anymore. And they thought it was a joke until they
realized everything was gone from my desk.
My first [real theater] job was a couple of months after that in
the Equity Library Theater in Manhattan which has since closed (Ed: in
1990). They were like a workshop place, a letter of agreement
theater. That was my first gig, five dollars a day. My parents
thought I had completely lost my mind, but they were supportive. They
said, As long as you can pay your bills, do you thing. And thats
where I started doing theater work.
As his career developed, Mr. Nadal worked his way up through the
theater ranks to working in Las Vegas. I was Business Manager on
Starlight Express when it was running at the Las Vegas Hilton. We
opened on September [14] of 1993, a few months before Mystère opened.
I [had] never lived here; I was working for Troika Entertainment
(www.troika.com) doing a lot of Broadway stuff - one-night-ers,
touring. When Starlight closed in 1997 (Ed: Nov 30) Karen Gay (who
is now our Director of Global Citizenship) was Company Manager.
[Cirque] had just posted an opening for a Company Manager job on
Mystère [which Karen got]. Karen called me one day a couple of months
later and said, Hey, theyre looking for a Company Manager in Biloxi
[Mississippi]. Steve Wynns (Ed: then-CEO of Mirage Resorts) building
a place down there and theyre going to put in one of the touring
shows. Would that be something youd be interested in?
Id had enough of the one-nighter Broadway circuit so I put my resume
in [and] flew out to Vegas [to meet] with Bill Riske (the General
Manager at the time) and June Wood (the H.R. director). [Cirque] had
four shows running at the time, and we talked about Biloxi and they
asked if I would ever be interested in a position in Vegas. And I
said no, I dont like Las Vegas - and I learned never say never!
It seemed he was in the right place at the right time as he accepted
the Company Manager position for Alegría at the Beau Rivage. I
think timing in life is everything.
When I started [Cirque] was a very small company [and] in 1998 we had
just de-centralized. Which, if you look back now, was probably too
much too soon given that we didnt have all that much product [at the
time]. But [that] was the year we almost doubled the size of the
company; O and La Nouba opened and we had Dralion in production
which opened in April of 99.
We moved Alegría into the theater at the Beau Rivage in Biloxi (Ed:
opening on May 20, 1999). So I started in the Resident Shows
division, which was brand new at the time. They created the division
because [prior to that] it had only been Mystère, and O was coming
online [soon]. I got to work with the European division because
Alegría was in Europe, and I went over there to negotiate contracts
with the artists [for the Biloxi run]. So I got to meet all the
people in the Amsterdam office and worked with that group. I [also]
stayed with [Alegría] for the last few cities because the Tour Manager
at the time was getting ready to bring Quidam over from the U.S.
Then in Montréal I met a lot of people because we had a production
team [there]. [And also] working with the Vegas [Resident Shows]
division proper. We ran about 18 months down [in Biloxi] and then put
the show on tour (Ed: to Australia and Singapore). They asked me to
stay as the Tour Manager, so I took the show over to Asia and got to
work with everybody in the Singapore office. [It was during] our Asia
tour in 2001 when [Cirque President] Daniel Gauthier gave his notice
and said he was leaving the company. So we re-centralized the
company, closing the Singapore office and downsized the Amsterdam
operation. I then began working under Jacques Marois and the people
in Montréal for a year. I then left the [Alegría] tour to come here
and start as Company Manager on KÀ, which then started to have its
multiple delays because of the size and scale of the thing.
So I really made my way around the company and got to meet all of the
major players at the time. And about three months before we were
going to open KÀ Michael Bolingbroke, who was [General Manager of
Resident Shows] at the time was given a promotion. [Cirque CEO]
Daniel [Lamarre] wanted him back in Montréal and he became Senior
Vice-President [of Resident Shows]. They posted the General Manager
job and I got [it]. And when Michael left the company (Ed: In 2007 to
become Chief Operating officer of Englands Manchester United football
club (www.manutd.com)), Daniel then took his job and split it up. It
wasnt even an option - he said, Im making you Senior Vice-
President! (laughter) So thats how we get to today.
As befits the title of Senior Vice-President his responsibilities are
wide-ranging, which means lots of meetings and travel. It also gives
him the opportunity to be on the Board of Directors for the local NPR
affiliate, KNPR 88.9FM. Though it makes him wish for more time for
himself and his kids, twin boys Harrison and Wilson that he and his
partner Gene Lubas (Artistic Director at Viva Elvis!) adopted in 2007.
For the Resident Shows Ive got [responsibility for] 12 shows. Seven
here [in Las Vegas], one [each] in Orlando, Macao and Tokyo. And
Theater Shows [which includes] Wintuk, Banana Shpeel, the Radio City
Music Hall production, and Kodak. And the Asia operations.
So I oversee two General Managers and everything thats under them.
(Ed: They would be Kathy Meranchnik-VP & GM Theatre Shows Division and
Jack Kenn-VP & GM Resident Shows Division.) The General Managers are
really focused on operations for the shows. And I have the division
level stuff; finance, H.R., I.T., Marketing & Sales. [Im] generally
[responsible for] the operations of shows and anything thats new,
[such as] when the contract is signed [and] it comes to us and we
start gearing up for the operational and sales and marketing aspect.
Looking for Opportunity
-----------------------
We began our discussion of Cirque business by asking how the
demographics of the various show types (touring, arena, resident,
theater) vary. The one thing I found, even doing the touring shows
in Australia and Asia and over in Europe with Alegría, is that the
demographics on tour tend to be more families. Although with La Nouba
at Downtown Disney we find that the audience is never more than 10%
children at any given time. We see fewer families, obviously, here in
Las Vegas.
In Tokyo [for ZED] its much broader. Many more kids, mostly women
and children. Men make up a much smaller proportion of that market
just because of the way Japanese culture works. [In] most families
the wife does not work and stays home with the kids. So thats why we
have primarily a matinee schedule in Tokyo. And also because of the
distance from Tokyo out to Tokyo Disney Resort. The shows are at 1pm
and 4pm now. We have about 20 night-time shows scheduled at 7pm (Ed:
spaced out over several months) because of school trips and the group
sales we do, and then were adding performances where necessary.
With seven shows currently running in Las Vegas, press and fans are
wondering if the forthcoming Michael Jackson resident show will be the
long-discussed saturation point? Guys take was always, If
theres a theater there [and] somebodys going to have a show in it,
it may as well be one of mine. And I think weve made a conscious
effort that, [although] there are similarities between O and Mystère
- what you might call classic old-style Cirque shows - I think
everything else weve done since then has been a broad departure.
There are people that look at Viva Elvis! and say its not enough
Cirque. But if we asked people, If we took the Cirque name off of it
what would you think? theyd say its phenomenal. So its an
educational process with the audience, on the marketing side its
about how we market and how we go after market segmentation.
I think Michael Jackson will be something different, and [will] bring
a whole different audience. Because Michael Jackson was popular
across generations. So I think youll have people that are my age
that grew up with Michael Jackson and youll have those fans that
continue to follow him. And its going to bring us a large African-
American audience which we dont currently attract right now. So I
see nothing but opportunity there for us.
Mr. Nadal has been qoted as saying that 85-89% of Cirques Las Vegas
tickets are sold within 1 week of performance, and that half of
Mystères tickets are sold day of show. Changing economic conditions
mean that statistic is in need of revision. That was an old article.
Now I would go even further and say the majority of our tickets are
being sold within 3 days of performance, the majority being sold day
of. Especially in this market.
Even O with its legendary sell-outs? O doesnt have the advance
[sales] it used to. [In Las Vegas] we sell on a four-month rolling
advance, so were always opening up weeks of shows [four months in the
future] as we move forward. And [for O they] would always
essentially sell out [way in advance]. But thats not the case
anymore; were probably selling out a maximum of a month [in
advance].
But it totally reflects the traffic coming into the market. Theres
a lot of last-minute people coming in, a lot of package deals. Weve
sold a lot more tickets within the context of packaging with tour
operators than weve had in the past, because people that are coming
here [now] are really on a budget. Very quickly, within three months
in 2009 the market went from high-end convention into maybe what Vegas
was 20 years ago.
But that change doesnt mean they would consider revamping the Las
Vegas shows, as has been done with La Nouba, ZED and ZAIA. Lets
take Mystère for example, which is the oldest [Las Vegas] show (Ed:
debuting at the end of 1994). Its still doing very good business;
were still [at] 80% [ticket sales]. [For] the amount of money it
would take to do any kind of major refresh of the show, you couldnt
lift the occupancy enough to cover the cost. [From a marketing
standpoint] you wouldnt be able to say its all new or half-new.
[The changes to La Nouba were] a Disney request; we accommodated them
on it. [With] La Nouba we hadnt touched anything. It was
essentially the same, a lot of the same people stayed. So we replaced
the German Wheels at the beginning with a Japanese skipping act. That
concept [came] from Quidam and [we] took it to the next level. Then
we replaced the chair balancing, which is in Viva Elvis! now, with the
juggler from Kooza.
Cirque has seen much growth come through creating new shows and
converting older ones to a format that can tour arenas, opening up
new, smaller markets. With a number of successful resident shows, we
wondered what factors determine where a resident show might be a good
fit. Is it the city, the demographics, the deal with the theater
partner? All of the above.
Obviously we look at the demographics, not just the city. Its
really got to be more of a tourist destination, thats why [Cirque]
has worked so well [in Las Vegas]. [Its] why Orlando is working, why
it made complete sense for us to go to Tokyo, and Macao, frankly.
[Decisions] come from Montréal, thats Daniel Lamarre. We all discuss
it - see opportunities that come up - and discussions happen with
Daniel and the Executive Committee.
It has been our understanding that casino resident show contracts
forbid issuing videos of shows, but we wanted to know for sure.
Dovetailing on the answer given by Cirque CEO Daniel Lamarre in our
exclusive interview with him back in Fascination #77, June 2010, not
issuing Las Vegas show videos is by mutual agreement. [The
contracts] dont forbid it, but they have exclusivity. And weve
never felt there was value [in doing a video]. And the casinos didnt
feel that there was a value in broadcasting the show or making it
available. They wanted that exclusivity, that if you want to see it
you have to come here to see it.
That runs counter to the success Cirque found with the La Nouba DVD,
however, as the broadcast and DVD sales of that show did boost ticket
sales. [As opposed to Las Vegas] youre going down [to Orlando] with
a different mindset; youre going down there for the theme parks and
everything. Because of our deal with Bravo at the time [after the
broadcast of La Nouba in April of 2005] we actually saw an increase
[in sales]. People would say they saw it on TV and it was something
that interested them. It did [increase sales] and weve said that to
people.
But the hotels say they want to maintain that exclusivity and we
dont have a problem with that.
That means the broadcast of KÀ on ARTE-TV (Association Relative à la
Télévision Européenne, a French-German TV network, www.arte.tv) back
in late December of 2008 wasnt a hint of a future DVD release. It
was an opportunity that came to us from the TV station; they asked to
do it. It was [broadcast] over two nights over a holiday period. One
night was [the show] and one night was behind-the-scenes. We thought
it was a good opportunity. At the time because of the growing
international market we thought there was great value in showing what
was there, the size and scale of it, because what weve had through
Europe have been touring shows.
So we thought there would be good value there. And we knew that
through social media and YouTube there would be chunks that would end
up making the rounds. I dont think its hurt the show at all.
For shows outside of Las Vegas however, we have reason to be hopeful.
With regards to both ZED and ZAIA, We are looking at taping those
shows. We havent done it as of yet, but if we taped them obviously
theyd be for sale in North America.
The upcoming 2-hour PBS special, Flowers in the Desert, coming in
late November, is also something for fans to look forward to. I know
Daniel Lamarre is in the middle of negotiating that now. Weve had
conversations with the hotels because it will involve filming at each
of the shows. I think it will be a great selling card for us.
More Belief
-----------
One of our major reasons (or, really, excuses) for visiting Las Vegas
this time was to re-visit Criss Angel BeLIEve to see the revamped
production. If there is one show that has been extensively revamped,
it is this one. It is much different now than when we first saw it.
We agree with what several others have said and written most of the
Cirque-ish elements have been removed in favor of a more straight-
forward magic show. But we wondered if we had seen the final
version of the show, and what might happen next.
Was the straight jacket back in? Mr. Nadal asked. No, Criss did not
do his straight jacket escape in the show that we saw. Thats going
back in; we had some rigging stuff we needed to correct on that. I
think the majority of it is in now. Cast changes are in, costume
changes are in, music changes are in.
He was talking about wanting to add additional stuff but at [some]
point we had to say, Heres the budget, we dont have any more money
for that. Because he, like us, is one of those guys that will dream
something up and want to put it into production. And we would [have
to] say - no, we have to present a show thats finished and let it
run.
He then talked about changes being made to the marketing of the show.
Were redoing the marketing visual. The names going to stay the
same but the visual, the key art, is going to change. There will be a
whole new marketing campaign that will go out around the second
anniversary, right around Halloween. And then I think it will be more
of a PR push. (Ed: Criss Angel has since announced that two more
illusions will be worked into the show, with a re-launch in January,
2011.
What weve seen is that when he went out and did his whole P.R.
circuit for the sixthseason of Mindfreak our sales jumped
significantly. And hes been much more low profile with [BeLIEve]
because he wanted to get all of his changes in. And with all of his
responsibilities thats not something you [can] change in two or three
months.
Indeed, the process has taken more than a year. Its taken that
long. We had contracts with the other artists and we didnt want to
[suddenly] say, Youre out. We let the contracts play out until
July when they were finished. So I think it just took this long,
without killing anybody, to get to where we are.
[So theres] going to be a big promotional component to it. I cant
envision doing another press night and having it all ride on another
night individually. The press has been wanting to come back but
theyve been respectful [when weve told them] its not done yet.
But if we go out and say Were done! and people want to come
back and see it, theyll come back and see it.
I think social media has much more influential power than the
mainstream press does anymore in that regard anyway. So if people
have seen it in blogs, that kind of thing, I think it will take on a
life of its own.
Criss has since done a series of interviews discussing the changes to
the show, check out the best one we found at: <
http://www.lasvegasweekly.com/blogs/luxe-life/2010/oct/29/exclusive-
criss-angels-magic-warehouse-and-all-new/ >
The other show we came to Vegas to see was Viva Elvis! We liked the
show, it was large and powerful and very personality-centric and
literal; appropriate for an icon as large as Elvis Presley. We were
surprised, though, to find an insert in the newly-published program
crediting Napolean and Tabatha NappyTabs Dumo (who have become
highly visible due to their work on Foxs, So You Think You Can
Dance) as well as Mark Swany Swanhart and Catherine Archambautt as
choreographers. Were they brought in late, we asked, to assist Writer
and Director Vincent Paterson, who is listed in the main program as
co-choreographer along with Bonnie Story?
Mr. Nadal was frank. Thats part of the evolution were going through
with it now. Viva Elvis! started with Vincent Patterson doing
everything. And Guys feeling was it was too traditional an approach,
including the choreography [which] at the time was very 50s to match
the costuming. Guys whole take was always - If Elvis were here
today, if Elvis was performing on that stage, and [knowing] he was
cutting edge and revolutionary in his time, what would be on stage
right now? [It would] be more contemporary, more hip-hop kinda stuff.
Napoleon and Tabatha represent all of that so we brought them in and
it did change the choreography around quite a bit.
No Breathing Space
------------------
Turning our attention to other shows under Mr. Nadals purvue, we had
to ask about Banana Shpeels closing two months early in New York.
(When we talked it was still intended for the show to continue
touring, it would be some weeks later the tour was cancelled and
Banana Shpeel erased from Cirques website memory.) I think we had
so much baggage attributed to the show because of the delays in New
York that the shows fate was sealed, he replied. Regardless of the
fact that the reviews for the show were much better than they were in
Chicago. So it was a financial decision to close it.
Were more changes made to the show before its opening in Toronto? We
had the layoff during the summer and there were more changes and
tightening that was done. We just opened in Toronto; last night was
press night. And it got 3 out of 4 stars from the Toronto Star. I
think the review was like, Third Times the Charm! (laughter) Ill
take it. (Ed: See the original review from Sept 20 by Richard Ouzounian
at < http://www.thestar.com/entertainment/theatre/
article/864038--banana-Shpeel-third-time-s-a-charm-for-cirque-act >.
But [it was] a very different departure for Cirque and the reviews
said it, even in Chicago. We were constantly compared to a touring
show or a Vegas show, and its not. And we asked people specifically,
If this did not have the Cirque name on it what would you think?
Oh, it would be different then.
The idea that the name Cirque du Soleil conjures a certain image in
the mind of the public, and that perhaps Banana Shpeel didnt fit into
that image, is not lost on him. Theres a huge expectation factor
with the Cirque name. Weve managed to get a certain degree of
success and set a certain degree of expectation. The name of the
company is big and it brings big expectations.
Mr. Nadal commented that future engagements for Shpeel would have
been,
three weeks, two weeks, one week. Its on a North American
Broadway-style tour. After Toronto were next at the Golden Gate
[Theater] in San Francisco (Ed: www.shnfs.com/theatres/goldengate).
We have it booked until next July, and well see how it does and take
it from there. The idea is to keep it [touring].
And what was the biggest take-away from the difficulties of launching
the show? You do not do it in the eye of the New York press!
(laughter) And Chicago is not an out-of-town market! (laughter)
The instant (and mostly negative) reaction Cirque got from the first
previews of Shpeel in Chicago got us to talking about a larger issue.
There was a great article in the Wall Street Journal talking to
Broadway producers. [And it talked about how] in live entertainment
you need an audience to shake a show down. You can rehearse comedy in
a studio as long as you want. [But you need] somebody sitting out
there that its fresh for, and [see if] theyre laughing or not.
Thats how you shake down your show and work on it. And that was
always the idea behind preview periods. You got to work on your show,
whether it was in New York or on the road, before you basically said
you had a finished product on your hands.
Now the minute you open your doors [and] let somebody in with an
iPhone or any kind of device, they sit there and theyre tweeting away
and
Theres a review up on the web the next day, we added. Theres no
breathing space anymore. No breathing space, he agreed. And its
unfortunate because it needs that. Its a challenge for the industry
for sure. (Ed: See the original Jan 22 article from the Wall Street
Journal here < http://online.wsj.com/article/
SB10001424052748704320104575015092801295862.html >
Turning to another New York production, it seems Wintuks future is in
doubt after this fourth season, a victim of Cirques prodigious
replication. We were talking about touring it, redesigning the sets
to fit into theaters. But weve got so much product in North America
we thought it probably wasnt a good idea. So Ive been looking
around for different places to put it.
His mention of so much product in North America set my wife and me off
on our latest Cirque rant. For some reason Cirque du Soleil has
decided to inundate the Seattle market with no less than four shows
over a two-year period. In 2010 we had Kooza in the Spring and
Alegría Arena in the Fall. In 2011 we can expect Quidam Arena in the
Spring and OVO in late fall. While some might think this an abundance
of riches we think having so many shows in so short a time can burn
out the specialness of a Cirque du Soleil visit. Mr. Nadal agreed
adding, Were looking at that internally now. Because last year
Daniel divvied us up into Resident & Theater Shows (Ed: which Mr.
Nadal oversees) and Arena & Touring Shows (Ed: overseen by Jacques
Marois). And weve been discussing a much more comprehensive review
[of the touring plan] for the last couple of months.
(To be Continued...)
Next month, in the conclusion of our exclusive interview, Mr. Nadal
talks about the changes to ZED and ZAIA, the forthcoming new shows in
New York and LA, and how he stays current (including a shout out to a
Cirque fannish website!).
-------------------------------------------------------
"Cirque Week is Coming!"
By: Cirque du Soleil
-------------------------------------------------------
7 Incredible Shows. 5 Ticket Packages. 1 Amazing Week!
Who: YOU!
What: In collaboration between Cirque du Soleil and the Las Vegas
Convention and Visitors Authority, join us for Cirque Week an all
inclusive open house at all seven of Cirque du Soleils
extravaganzas in Las Vegas!
When: November 29th through December 5th
Where: Las Vegas, Nevada!
Why: Why not?!
# # #
Q. What kind of events are offered at Cirque Week?
A. Whether youre just a casual fan, an enthusiast, a Cirque Devotee,
a Super fan or an Aficionado, Cirque Week is for you heres whats
on tap:
REGISTRATION, TICKET, CREDENTIAL & GIFT BAG PICK-UP
Monday, November 29 Welcome Reception
CRISS ANGEL Believe Theater at Luxor
11:00 a.m. 4:00 p.m.
Join us for this fun come-and-go welcome reception as we kick-off
Cirque Week in style with photo opportunities, character animations,
snacks and more. This is also where you pick up your Cirque Week
credentials, tickets and gift bags.
Tuesday, November 30 Saturday, December 4
Viva ELVIS at ARIA Resort and Casino
1:00 p.m. 4:00 p.m.
CIRQUE WEEK DAILY EVENTS HOSTED BY SHOWS
/// Monday, November 29
The Beatles LOVE by Cirque du Soleil at The Mirage
Custom Theater Technology Demonstration and Q&A
The Beatles LOVE Theatre at The Mirage
3:00 p.m. 4:00 p.m.
This event will bring music to your ears with a Cirque Week exclusive!
Visit the most technically advanced Cirque du Soleil theater in Las
Vegas The Beatles LOVE featuring a state-of-the-art sound
demonstration through over 6,300 custom-made speakers. In addition,
the technical presentation will showcase 11 lifts that make up the
stage, 24 digital projectors, 204 moving lights and much more! A Q&A
opportunity will follow the technology demonstration, featuring
experts in the areas of Sound, Automation, Lighting, and Projections.
Learn all about the technical aspects of LOVE, from the theater
construction and working with the Creators, to what it takes to run
shows each night at LOVE. A magical mystery tour you will not want to
miss!
/// Tuesday, November 30
Zumanity, at New York-New York Hotel & Casino
Go Behind the Scenes with the Sensual Side of Cirque du Soleil
Zumanity Theatre at New York-New York
4:30 p.m.-5:30 p.m.
Zumanity hosts rehearsal and Q&A session with artists and crew.
/// Wednesday, December 1
Viva ELVIS at ARIA Resort and Casino
Viva ELVIS Unplugged Musical Performance and
Q&A with the Music Supervisor
GOLD Lounge Aria Resort and Casino
5:30 p.m. 6:00 p.m.
On Wednesday, youll find out why TIME Magazine proclaimed, The Strip
Has Another King Now as Viva ELVIS musicians serenade you with an
acoustic performance from the show. Following the performance, the
musicians and the shows music supervisor will be available for a Q&A
(about the re-imagined music from the show). Be sure to check out the
historical photo collection of ELVIS and his jumpsuits.
(Also on Wednesday)
Meet & Greet with celebrity Criss Angel following CRISS ANGEL Believe*
(Limited Availability)
CRISS ANGEL Believe Theater at Luxor
Following Wednesday evening performance, approximately 8:30 p.m.
Meet & Greet with celebrity CRISS ANGEL following CRISS ANGEL Believe*
*Please note this event is limited to the first 100 guests who
purchase Cirque Week show packages and book the Wednesday night show
of CRISS ANGEL Believe.
/// Thursday, December 2
KÀ at MGM Grand
KÀ Theatre Pre-set & Tech Q&A
KÀ Theatre at MGM Grand
4:30 p.m. 5:30 p.m.
Technology enthusiasts wont want to miss Thursdays setup of the
impressive KÀ stage and opportunity to talk with the people who keep
the show climbing the ranks of visitor favorites. Presented in the
unprecedented performance space, the KÀ Theatre at MGM Grand, KÀ
unfolds on a colossal, 360 degree rotating stage which forms the
backdrop for this cinematic journey of aerial adventure and
perpendicular acrobatics.
/// Friday, December 3
Q&A with O Coaches
O Theatre at Bellagio
4:00 p.m. 5:00 p.m.
Dive into the aquatic world of O with this exclusive, behind-the-
scenes Q&A with the coaches who keep this show flowing nightly.
///Saturday, December 4
Cirque du Soleil Creative & Technical Panel
Viva ELVIS at ARIA Resort and Casino at CityCenter
3:00 p.m. 4:30 p.m.
Ever wondered what it takes to create and produce a show of Cirque du
Soleil caliber? Saturday afternoon is your chance to find out from the
people who work behind-the-scenes to keep the shows and the company
running smoothly. Representatives from several different facets of
Cirque du Soleil will be on-hand to share their experiences and answer
audience questions.
/// Sunday, December 5
Mystère at Treasure Island
Mystère Taiko Drum Demonstration and Costume Q&A
Mystère Theatre at Treasure Island
1:00 p.m. 2:00 p.m.
Youve got rhythm this Sunday afternoon as you enjoy the beat of a
Taiko drum demonstration presented by the talented Mystère
percussionist and Taiko soloist. Enjoy a costume display and
conversation with the head of wardrobe about the challenges of
creating over 10,000 costumes for Mystère.
# # #
Q. So, how much will Cirque Week cost me?
A. There are five different ticket packages to help make this
extraordinary event affordable. They are:
FAN
o) 2 Show Package, $160.00
o) Pick one from: O, LOVE, KA or Viva Elvis.
o) Pick one from: Zumanity, Criss Angel Believe, or Mystere
o) Access to all Cirque Week Events
o) Cirque du Soleil Gift bag
o) Merchandise discount.
ENTHUSIAST
o) 3 Show Package, $220.00
o) Pick one from: O, LOVE, or Viva Elvis.
o) Pick two from: KA, Criss Angel Believe, Mystere, or Zumanity.
o) Access to all Cirque Week Events
o) Cirque du Soleil Gift bag
o) Merchandise discount.
DEVOTEE
o) 5 Show Package, $350.00
o) Included: O, LOVE, Viva Elvis, and KA
o) Pick one from: Criss Angel Believe, Zumanity or Mystere
o) Access to all Cirque Week Events
o) Cirque du Soleil Gift bag
o) Merchandise discount.
SUPER FAN
o) 6 Show Package, $400.00
o) Included: O, LOVE, Viva Elvis, and KA
o) Pick two from: Criss Angel Believe, Zumanity or Mystere
o) Access to all Cirque Week Events
o) Cirque du Soleil Gift bag
o) Merchandise discount.
o) AND Autographed programs
AFICIONADO
o) 7 Show Package, $445.00
o) All shows included O, LOVE, Viva Elvis, Criss Angel
Believe, Zumanity, Mystere and KA.
o) Access to all Cirque Week Events
o) Cirque du Soleil Gift bag
o) Merchandise discount.
o) AND Autographed programs
NOTE:
(*) Please note that The Beatles LOVE is only available for Monday,
November 29th performances.
(**) Prices do not include tax and service fees. Prices, performances
and seating locations are subject to availability. Management
reserves all rights.
(***) Pass holders will have access to all Cirque Week events except
CRISS ANGEL Believe meet & greet which is limited to the first
100 guests who purchase Cirque Week show packages and book the
Wednesday night show of CRISS ANGEL Believe.
# # #
Q. How do I sign up?!
A. For information on hotel reservations, purchasing one of the ticket
packages, or just getting more on the week-long activities, visit
these links:
< http://www.cirquedusoleil.com/specials/cirque-week/index.html >
< http://www.facebook.com/cirqueweek >
-------------------------------------------------------
"Michael Jackson THE IMMORTAL World Tour!"
By: Cirque du Soleil
-------------------------------------------------------
Michael Jackson THE IMMORTAL WORLD TOUR by Cirque du Soleil - WRITTEN
AND DIRECTED BY JAMIE KING - TOUR BEGINS IN OCTOBER 2011
The Estate of Michael Jackson and Cirque du Soleil announced today the
official international launch of Michael Jackson THE IMMORTAL World
Tour written and directed by Jamie King, the leading concert director
in pop music today. This once-in-a-lifetime electrifying production
will combine Michael Jackson music and choreography with Cirque du
Soleil creativity to give fans worldwide a unique view into the
spirit, passion and heart of the artistic genius who forever
transformed global pop culture.
A riveting fusion of visuals, dance, music and fantasy that immerses
audiences in Michaels creative world and literally turns his
signature moves upside down, Michael Jackson THE IMMORTAL World Tour
unfolds Michael Jacksons artistry before the eyes of the audience.
Aimed at lifelong fans as well as those experiencing Michaels
creative genius for the first time, the show captures the essence,
soul and inspiration of the King of Pop, celebrating a legacy that
continues to transcend generations.
THE IMMORTAL World Tour takes place in a fantastical realm where we
discover Michaels inspirational Giving Treethe wellspring of his
creativity. The secrets of Michaels inner world are unlockedhis love
of music and dance, fairy tale and magic, and the fragile beauty of
nature.
The underpinnings of THE IMMORTAL World Tour are Michael Jacksons
powerful, inspirational music and lyricsthe driving force behind the
showbrought to life with extraordinary power and breathless
intensity. Through unforgettable performances Michael Jackson THE
IMMORTAL World Tour underscores Michaels global messages of love,
peace and unity. In selecting Jamie King as Writer and Director for
Michael Jackson THE IMMORTAL World Tour which will feature 60
international performers, The Estate of Michael Jackson and Cirque du
Soleil chose a director Variety called one of the most influential
movers and shakers in the music industry, and the Jerry Bruckheimer
of tent-pole concert tours". A multiple Emmy Award® and MTV Video
Music Award® nominee, and greatly influenced by his early years
working for both Prince and Michael Jackson, he has choreographed some
of the most popular music videos and directed some of the highest
grossing concert tours of all time. For the past 12 years, he has
served as Madonna's creative director, having most recently directed
her 2008 Sticky & Sweet world tour, as well as her 2006 record-
breaking Confessions world tour and hit music video, Sorry. He most
recently directed Rihanna's Last Girl On Earth world tour, Celine
Dions Taking Chances world tour, The Return of the Spice Girls
reunion tour, Britney Spears' Circus tour and Avril Lavignes Best
Damn tour. He previously directed and choreographed world tours for
Madonna (Re-Invention and Drowned World); Asian superstar Rain (Rains
Coming); Ricky Martin (Black & White and La Vida Loca); Pink (Try
This); Christina Aguilera (Back to Basics and Stripped); and his first
collaboration with Britney Spears (Oops! I Did It Again). He has
worked with an array of superstars including Mariah Carey, Shakira,
George Michael, Elton John, Diana Ross, Jennifer Lopez and even Ellen
DeGeneres. This is Jamies first show with Cirque du Soleil.
Michael Jackson THE IMMORTAL World Tour will call on the diverse
talents of the following creative minds:
Guy Laliberté Creative Guide
Jamie King Writer and Director
Chantal Tremblay Director of Creation
Mark Fisher Set Designer
Zaldy Goco Costume Designer
Kevin Antunes Musical Designer
Martin Labrecque Lighting Designer
Olivier Goulet Projection and Video Content Designer
François Desjardins Sound Designer
Scott Osgood Rigging and Acrobatic Equipment Designer
Germain Guillemot Acrobatic Performance Designer
Michael Curry Props Designer
Michael Jackson THE IMMORTAL World Tour will begin in Montreal in
October 2011 and travel to select North American cities including Las
Vegas, Los Angeles, Miami, New York, Philadelphia, Atlanta, Houston,
Seattle, Toronto and Vancouver. Additional cities and dates will be
announced.
For three days only, Cirque Club members and MichaelJackson.com
subscribers will have exclusive access to purchase presale tickets
online beginning Wednesday, November 3 at 10am Eastern Daylight Time.
Cirque Club membership is free and benefits include access to advance
tickets, special offers and exclusive behind the scenes information.
To join, go to www.cirqueclub.com.
Starting Saturday, November 6 at 12pm local time, tickets will go on
sale to the public for the cities and dates listed below.
For complete tour and ticket information, visit www.cirquedusoleil.com
or www.MichaelJackson.com -- The tour schedule is subject to change.
2011 TOUR SCHEDULE
October 2-3 Montreal, QC - Bell Centre
October 7 Ottawa, ON - Scotiabank Place
October 12 Hamilton, ON - Copps Coliseum
October 15 Detroit, MI - Joe Louis Arena
October 18 London, ON - John Labatt Centre
October 21 Toronto, ON - Air Canada Centre
October 26 Winnipeg, MB - MTS Centre
October 29 Saskatoon, SK - Credit Union Centre
November 1 Edmonton, AB - Rexall Place
November 4 Vancouver, BC - Rogers Arena
November 9 Seattle, WA - KeyArena
November 18 Portland, OR - Rose Garden
November 29 Salt Lake City, UT - EnergySolutions Arena
December 3-11 Las Vegas, NV - Mandalay Bay Events Center
2012 TOUR SCHEDULE
January 6 Denver, CO - Pepsi Center
January 10 Sacramento, CA - ARCO Arena
January 13 San Jose, CA - HP Pavillion at San Jose
January 18 Oakland, CA - Oracle Arena
January 21 San Diego, CA - Valley View Casino Center
January 24 Anaheim, CA - Honda Center
January 27 Los Angeles, CA - STAPLES Center
February 10 Houston, TX - Toyota Center
March 2 Miami, FL - AmericanAirlines Arena
March 24 Quebec City, QC - Colisée Pepsi
April 3 New York, NY - Madison Square Garden
April 10 Philadelphia, PA - Wells Fargo Center
June 29 Atlanta, GA - Philips Arena
Creators Bio
Jamie King Writer and Director
Jamie King is the leading concert director in the world of pop music
today. In 2006, Variety named King one of the most influential movers
and shakers in the music industry, branding him the Jerry
Bruckheimer of ten-pole concert tours". A multiple Emmy Award ® and
MTV Video Music Award ® nominee, and greatly influenced by his early
years working for both Prince and Michael Jackson, he has
choreographed some of the most popular music videos and directed some
of the highest grossing concert tours of all time. For the past twelve
years, he has served as Madonna's creative director, having most
recently directed her 2008 Sticky & Sweet world tour, as well as her
2006 record-breaking Confessions world tour and hit music video,
Sorry. He most recently directed Rihanna's Last Girl On Earth world
tour, Céline Dions Taking Chances world tour, The Return of the Spice
Girls reunion tour, Britney Spears' Circus tour and Avril Lavignes
Best Damn tour. He previously directed and choreographed world tours
for Madonna (Re-Invention and Drowned World); Asian superstar Rain
(Rains Coming); Ricky Martin (Black & White and La Vida Loca); Pink
(Try This); Christina Aguilera (Back to Basics and Stripped); and his
first collaboration with Britney Spears (Oops I Did It Again). He has
worked with an array of superstars including Mariah Carey, Shakira,
George Michael, Elton John, Diana Ross, Jennifer Lopez and even Ellen
DeGeneres. This is Jamies first show with Cirque du Soleil.
Chantal Tremblay Director of Creation
At the end of the 1980s, while living in New York pursuing a career in
dance, Chantal Tremblay decides to join Cirque du Soleil after having
seen one the companys shows. Chantal started out as a dancer on a
Cirque project and then became choreographer Debra Browns assistant
on the creation of Mystère. Chantal has worked on many Cirque projects
including the shows Alegría, La Nouba and Mystère for which she once
was the Artistic Director. Later on her solid credentials helped her
land the position of Director of Creation on both The Beatles LOVE and
OVO.
Mark Fisher Set Designer
British architect Mark Fishers interest in building temporary
structures and inflatables caught the attention of Roger Waters and
led to his first rock n roll commission for Pink Floyds Animals
tour in 1977. Mark has since earned an international reputation for
his spectacular concert designs. His best-known work includes The Wall
and Division Bell for Pink Floyd, Steel Wheels, Bridges to Babylon and
Bigger Bang for the Rolling Stones, as well as Popmart for U2. Most
recently Mark was Chief Designer for the opening and closing
ceremonies of the 2006 Winter Olympics in Turin, the 2008 Beijing
Summer Olympics and U2s 2009-2010 360° tour. This will be Mark
Fishers third collaboration with Cirque du Soleil following KÀ and
Viva ELVIS.
Zaldy Goco Costume Designer
Zaldy is one of New Yorks most celebrated and innovative designers.
Since 2001 he has created custom looks for entertainment icons such as
Michael Jackson, Gwen Stefani, Lady Gaga, Beyonce, Jennifer Lopez,
Mary J Blige, Will I. Am, Rufus Wainwright, Scissor Sisters, Alicia
Keys, Britney Spears, Halle Berry, Parker Posey, Gabourey Sidebe, and
Mick Jagger among others. In 2009 Zaldy was named head designer for
Michael Jacksons This Is It concert series as well as Lady Gagas
first North American Monster Ball Tour. He was the man behind Gwen
Stefanis label L.A.M.B. collaborating with Stefani for nearly four
years while maintaining his namesake label. This is his first
collaboration with Cirque du Soleil.
Kevin Antunes Musical Designer
Kevin Antunes is a musical designer, musical director, keyboardist and
digital audio programmer. His most recent tour was working directly
for Madonna on her record breaking Sticky & Sweet world tour. Kevin
produced the stereo and surround sound audio mix for the live stadium
concert from Argentina released on DVD in 2010. Kevin has also worked
with Justin Timberlake for the past 12 years starting with *NSYNC,
which then transitioned into Justin's solo career. The stereo and
surround sound audio of Justins HBO Live Concert Broadcast of his
FutureSex/LoveSounds (which was released on DVD) was also mixed by
Kevin. Throughout his career Kevin has performed with Janet Jackson,
Timbaland, Britney Spears, Aerosmith, Mary J Blige, Alicia Keys,
Taylor Swift, Snoop Dogg, Christina Aguilera, Lady Antebellum, P
Diddy, Pharrell Williams, Enrique Iglesias, Backstreet Boys, Marky
Mark & the Funky Bunch, and the New Kids on the Block, among others.
Kevin has performed on many major television events and music award
shows including The Grammy Awards, The Academy Awards, two different
Super Bowl Halftime Performances, HBO & Showtime Original Live
Concerts, Hope for Haiti Now benefit concert, Canadian SARS benefit
concert, Amnesty International, Rock-n-Rio, MTV Awards, The Brit
Awards, The Tonight Show, Late Night with David Letterman, and
Saturday Night Live. Kevin is working with Cirque du Soleil for the
first time.
Martin Labrecque Lighting Designer
Martin Labrecques professional credits include more than a hundred
theatrical productions, as well as circus shows. Martin contributed to
the critical success of several Quebec shows. He has won many Quebec
awards for his lighting design in addition to several nominations.
Martin Labrecque created the lighting for two critically acclaimed
circus shows produced by Cirque Éloize, Rain and Nomade, as well as
Cirque du Soleil shows Corteo, KOOZA and Viva ELVIS. In 2009, Martin
designed the lighting for an eleven-hour show by Canadian author,
director and actor Wajdi Mouawad, which was presented in the courtyard
of the Palais des Papes in Avignon, France. He also worked on the show
Paradis Perdu, directed by Dominic Champagne and presented in
Montreal.
Olivier Goulet Projection Designer
Active in the field of video design since 2001, Quebec producer, stage
and video content designer Olivier Goulet specializes in video stage
design. Since 2007, he has designed and produced video content for
many productions and artists including Maria Carey, Alicia Keys, Joe
Cocker, Michael Bublé, Tina Turner, Pink, the shows of Cher and Bette
Midler at Ceasars Palace in Las Vegas, as well as the production
Paradis Perdu in Montreal. Olivier is the President of the Montreal-
based video stage design company Geodezik, which collaborated with
Cirque du Soleil on the shows DELIRIUM and ZAIA. Other Quebec (Gilles
Maheu, O Vertigo Danse) and American (Linkin Park and The Killers,
Justin Timberlake) artists turned to Geodezik to enhance their show
through video imagery.
François Desjardins Sound Designer
For nearly 25 years, François Desjardins has devoted himself entirely
to enhancing sound environments in the music world. As a sound
designer, he creates soundscapes that are tailored to each artists
expectations. Since 1992, François has toured with Céline Dion on all
her live shows, He has also worked with several Canadian and foreign
artists including Garou, Roch Voisine, Tragically Hip, Tom Cochrane
and Pavarotti. As a crew chief, he has installed, maintained and
operated the most sophisticated sound systems available in the
industry. François also participated in a large number of events as
Head Sound Technician of Solotech (Montreal) and Chief Technical
Advisor of Solotech (United States). He was sound designer during the
World Youth Day in Toronto in 2002 (Papal visit) and for the re-
staging of Cirque du Soleils Saltimbanco.
Scott Osgood Rigging and Acrobatic Equipment Designer
Scott started his career as an acrobat as part of the Sailor Circus
program in Sarasota, California. His disciplines included ladder,
teeterboard, clowning and juggling. Scott picked up his knowledge of
acrobatic equipment and rigging design from veterans in the business.
He worked in the worlds of theatre and rock music, where his rigging
expertise was in demand. At the same time, he continued to work around
the world as a performer, appearing with many circus companies
including the Ringling Brothers, and Barnum and Bailey. He also worked
as an acrobat in theme parks including Tivoli Gardens in Copenhagen,
Disneyland and Walt Disney World. Scotts first assignment with Cirque
du Soleil came when the Cirque show La Nouba was being created in
1997. He worked on the rigging design for that production. ZED was
Scott Osgoods first mandate with Cirque du Soleil as Rigging and
Acrobatic Equipment Designer.
Germain Guillemot Acrobatic Performance Designer
A graduate from Centre national des arts du cirque in Châlon, France,
Germain Guillemot started his career with the French troupe Cirque
Archaos and toured with the company for two years. With other circus
fellows he created the French circus company Les Arts Sauts where he
worked both as a creator and performer for 15 years. Germain joined
Cirque du Soleil in 2007 as a coach for the flying trapeze act on ZED
and then became Acrobatic Training Manager for Viva ELVIS. This is
Germain Guillemots first collaboration with Cirque du Soleil as
Acrobatic Performance Designer.
Michael Curry Props Designer
Puppet Designer Michael Curry works widely in both conceptual and
technical development with the foremost entertainment companies such
as the Metropolitan Opera, London's Royal National Theatre, Disney
Theatrical Productions, LA Opera, and Universal Pictures. Michael has
been the recipient of many prestigious awards from his peers,
including several awards for his puppet and costume work on Broadway,
Olympic ceremonies as well as his continuing innovations in the fields
of visual effects and puppetry design. He has collaborated with Julie
Taymor on many stage and opera productions. Among his numerous awards,
he received the 1998 Drama Desk Award for Outstanding Puppet Design in
recognition of his work for Taymor on The Lion King. Michaels other
credits include an opera directed by Robert Lepage at the Paris Opera,
an opera at La Scala, Milan, directed by William Friedkin, and the
Broadway production of Spider Man with music by Bono and Edge,
directed by Julie Taymor. After KÀ and Wintuk, Michael Curry
collaborates with Cirque du Soleil for the third time.
-------------------------------------------------------
Luxe-Life: "A Conversation with Daniel Lamarre" [EXPANDED]
Michael Jackson Cirque Shows Set & Mystere's 8,000th
By: Robin Leach - Las Vegas Weekly
-------------------------------------------------------
Robin Leach, from his Luxe-Life blog on Las Vegas Weekly, talked at
length with Cirque head honcho Daniel Lamarre on Monday night after
the 8,000th performance of Mystere at Phil Ruffins Treasure Island.
Check out their conversation about the two new King of Pop shows and
Daniels analysis of the extraordinary long-lasting appeal of Mystere,
Cirques first residency show in Las Vegas.
# # #
For the first time, Cirque du Soleils chief Daniel Lamarre has
confirmed start dates for the two new Michael Jackson shows coming to
Las Vegas. The first, a rock concert arena-type show, opens Dec. 15,
2011, with tickets going on sale Nov. 3.
The official announcement will be made from Los Angeles on Nov. 3, but
you have the advance news here at Vegas DeLuxe in this exclusive.
Tickets go on sale simultaneously in 25 cities for what will be the
largest-ever music show going on tour in North America and around the
world for four nonstop years.
The second, which will be a permanent residency show here, Cirques
eighth, arrives in 2013. Both shows have the blessing of the Michael
Jackson estate administrators. Cirque has budgeted an amazing $100
million just for creating and developing the two shows and expects
that another $150 million will be added to the final costs for staging
and theater construction.
The Jackson concert show will be performed twice nightly for two
months in a reconfigured Mandalay Bay Events Center with just 8,000
seats per show. Cirque and MGM have not yet decided upon a hotel home
for the second Jackson residency show and will come to that decision
after seeing how the arena show works with all of its mind-blowing
logistics.
Robin Leach talked at length with Cirque head honcho Daniel on Monday
night after the 8,000th performance of Mystere at Phil Ruffins
Treasure Island. Heres our conversation about the two new King of Pop
shows and Daniels analysis of the extraordinary long-lasting appeal
of Mystere, Cirques first residency show in Las Vegas.
Q. Now comes Michael Jackson -- two Michael Jackson shows. The first
show is the one coming here to Mandalay Bay for a little while before
going out on tour. The second show will be the residency show. Have
you decided what hotel theater will become its home?
Were still struggling with that final decision. We are still talking
with people at MGM. I think the arena show will be a good test for us,
and it certainly will have an impact on the final decision for MGM.
Q. When do you open the Mandalay Bay show?
The first show opens Dec. 15, 2011. The second show will be at the
beginning of 2013. The first arena show will globally tour in North
America for two years and then as it leaves to go onto Europe and the
rest of the world, we will open the permanent show here in a theater
yet to be designated.
Q. How different will that show be to the arena touring show?
The arena touring show is as close as you can get to a rock concert.
Our audiences will have the feeling that Michael Jackson is alive. The
permanent show will be much more theatrical. We are looking right now
at a lot of new technology that we want to bring into Vegas for the
first time.
Q. How far along in the development of both shows are you at this
moment?
For the arena show, we are done. The concept exists. It is approved by
all parties. We will start rehearsing in Montreal this December, so we
are really there already for the arena show. For the permanent show,
were still exploring the new technologies that we would like to bring
to Vegas. The preliminary concept exists for the theatrical show, but
depending on how far we can go with new technologies, that will
influence the final concept of the second show.
Q. Now when we talked about that several months ago, I sensed it would
be 3D on steroids, where the audience gets inside as the show wraps
all around outside them?
Yes, thats right. We really want to use the newest, latest of
breakthrough technologies that have never been seen before or used
theatrically before. There are a lot of conversations going on with a
lot of different companies to see who can deliver to us the advanced
technology that were looking for.
Q. Now that the concert show is 100 percent concept completed, is it
with a Michael Jackson or without?
Michael Jackson will be there on video, and then again we will bring
in technologies that will make it seem that Michael is with us.
Q. But no lookalikes or soundalikes?
People want to see the real Michael, and the real Michael will be
very, very present on the unique video. His estate administrators have
completely accepted the concept of the show, which is a great relief
for us. Not only are we happy they have accepted it, but were happy
theyre enthusiastic about the concept of the show. It will be a 90-
minute show with all of his big hits, over 20 of the bestselling
songs. The show will have about 72 artists: dancers, musicians and
acrobats.
Q. Anything in this first show that Michael was developing for his
London This Is It concerts?
We have some video that was for the London show that will be
integrated into the new show.
Q. What will we be amazed by most?
I think the challenge here is to give the feeling to people that
Michael is on that stage. We will do everything we can in terms of
video and technologies to bring his presence to life.
Q. Did you learn anything from presenting Viva Elvis to tackle the
Michael Jackson shows?
If you take Love or Elvis, the challenge is always to be
representative of that era. Obviously, Michael is from a different era
than Elvis, and we have to make sure that if Michael were onstage,
thats what he would deliver. It will be him as he would be today.
Q. When do tickets go on sale?
Nov. 3, 2010, we start selling tickets for the arena show at the
Mandalay Bay box office and everywhere around North America. We have
two shows a night to sell out for two months at 8,000 seats each
performance. Thats the challenge. Were cutting the number of seats
down because we want to keep the proximity for the audience to the
stage. This is going to be just like a real rock and roll tour. Dozens
of trucks -- well over 30 -- with staging and equipment will arrive in
Las Vegas exactly as it will be when we go off around the world. Two
years touring in North America and then another two years of global
capitals. A monumental four-year world tour! Its a huge challenge --
the largest we have ever undertaken, but were very excited about it.
Q. I always have to ask the money questions. What will be the cost of
both shows?
Were talking close to $100 million for the two shows -- thats just
for the production. Then the cost of the theaters for both shows will
add another $100 million to $150 million.
* * *
Since we were sitting together in the Mystere Theater at Treasure
Island after watching the 8,000th performance.
Q. Why does Mystere seem the best it's ever been?
Its amazing, I could feel the emotion because I met the artists
before the show. I know how emotional they were about this 8,000
representation, and Ive seen the reaction of the public tonight.
Standing ovations throughout. Whats amazing to me is that the magic
still works. The artists are still excited every performance. Mystere
has made history in the industry of entertainment because no one show
of this magnitude has lasted so long. All the other shows that have
more than 8,000 representations have duplicates, like The Phantom of
the Opera or others with different casts in different places. This is
only one show, one cast, one crew and 8,000 performances.
Q. There have been several updates over the years to Mystere. Is that
how you ensure that each night looks better than ever before?
Thats the only way. We have an artistic team working here, and every
day they train, they try to make their show evolve, and thats why
after 17 years, the show is still relevant.
Q. Phil Ruffin told me a while ago that hes given the show another
five years extension here at T.I. Is that your understanding?
That was the first thing that Phil told me when he bought the property
from MGM. He said, Daniel, dont change anything. I love this show.
We renewed right away for an additional five years. Its just amazing
the occupancy level even in a struggling market. This show is still
doing very well. Our house was full, and we still have standing
ovations.
Q. Do you think its because it was the very first Cirque show and
everything that came after was really a child to the parent?
I think thats what it is. I have people coming to me saying, Daniel,
this is the original. There is a real extraordinary emotional link
between the public, Cirque du Soleil and Mystere. To them, Mystere is
the classic that will be around forever.
Mystere remains in place as the timetable moves forward now for the
premieres of the two Jackson shows. It is not a changing of the guard.
This is where the proud parent welcomes the new arrivals and makes
history all over again.
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Fascination! Newsletter
Volume 10, Number 11 (Issue #82) - November 2010
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2010 Ricky Russo, published by Vortex/RGR Productions, a
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{ Nov.09.2010 }
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