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Fascination Issue 089 expanded
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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
------------------------------------------------------------
E X P A N D E D I S S U E
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=======================================================================
VOLUME 11, NUMBER 6 June 2011 ISSUE #89e
=======================================================================
Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
With the summer season now upon us, it's time to turn our eyes to
Cirque du Soleil's creative talent as they prepare to debut two new
shows for us. In just a few short weeks Cirque du Soleil will premiere
two of its newest resident/venue shows to the world: ZARKANA - an
irresistibly odd escape into the fantastical and suspenseful world of
Zark (Jun 9th) at Radio City Music Hall in New York City, and IRIS - a
journey through the world of cinematic art (Jul 21st) at the Kodak
Theater in Hollywood, California. Both shows, vastly different yet
eerily similar, hold considerable promise for Cirque du Soleil and
fans alike. With the lost gamble of Banana Shpeel still hanging in the
balance, we at Fascination will be watching intently as these shows
make their first curtain calls.
We'll be in the audience too! First, for Zarakana, we'll catch one of
the last preview shows before the Gala Premiere on Sunday, June 26th.
And at IRIS, we'll see how the show has developed after its Gala
Premiere, catching the show on Friday, December 2nd as part of
CirqueCon 2011: Hollywood! So although we won't be able to say much
about IRIS once it premieres, we're sure to have volumes to speak
about ZARKANA next issue!
Inside the issue this month I'm pleased to say there's a plethora of
material from Cirque du Soleil via its CirqueClub outlet. A number of
fantastic articles and behind-the-scenes pieces were published there
this month, so I urge you all to check them out in our OUTREACH
section. In addition to all 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 (including
updated touring schedules). We're also excited to bring you yet
another interview - this time with Mark Ward, a fifteen-plus year
veteran of Cirque du Soleil currently keeping the quirky character of
John in Quidam fresh and invigorated. Check out what he has to say
about his role with Cirque du Soleil through the years within!
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
* Didyaknow? -- Facts About Cirque
* Historia -- Cirque du Soleil's History
o) Fascination! Features
* "Creation: An Organic Process that Promotes Creativity"
By: Cirque du Soleil Press Room Materials
* INTERVIEW /// "Mark Ward - A Career Backwards"
By: Keith Johnson - Seattle, Washington (USA)
* "Luxe Life Celebrates Michael Jackson" [EXPANDED]
By: Robin Leach, A Special Reprint
* "Behind the Scenes of 'KÀ'" [EXPANDED]
By: Angela Mitchell, A Special Reprint
o) Subscription Information
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Ian Halperin apologizes to Guy Laliberte
{May.08.2011}
-------------------------------------------------
According to a report in Canadian Press celeb-chasing
journalist/author Ian Halperin has offered his apologies to
Cirque du Soleil owner Guy Laliberté, as well as to Laliberté's
ex-girlfriend and their children for any harm that may have been
caused by his book titled Guy Laliberté: la vie fabuleuse du
créateur du Cirque du Soleil, published in both French and
English in 2009.
The book included the kind of salaciouos details that even TMZ
tends to overlook about the couple's relationship, as well as
other aspects of Laliberté's personal life. Laliberté was not
amused. Nor were his lawyers. But now, apparently an amicable
agreement was reached, between lawyers, after lengthy
negotiations. And Laliberté has accepted the apologies, without
offering further comment.
{SOURCE: Montreal Gazette}
Journey of Man Coming to 3-D Blu-Ray!
{May.17.2011}
-------------------------------------------------
The world-renowned performance troupe comes to Blu-ray's third
dimension in June.
In an announcement to retailers, Sony is readying 'Cirque du
Soleil: Journey of a Man - 3D' narrated by Ian McKellen for the
Blu-ray 3D format on June 7.
# # #
Acclaimed by an audience of over 23 million worldwide, Cirque du
Soleil is a distinctive and remarkable troupe that has
reinvented and revolutionized the circus arts. Journey of Man is
a breathtaking odyssey that follows the stages of human
development from birth to maturity, with each stage presented by
a Cirque du Soleil act. The signature Cirque du Soleil
celebration of color, light, music, and costume combines with a
backdrop of various natural and historical landmarks around the
world, creating a triumph of artistry beyond compare. From the
opening explosion of light and sound that represents the
universe's formation, Cirque du Soleil's Journey of Man leads us
through the birth of the Universal Child as it travels from
childhood through adolescence and manhood on to maturity. An
awe-inspiring feast for the senses, incomparable artistry and
stylish elegance make this an adventure of a lifetime.
# # #
Suggested list price for the 3D Blu-ray is set at only $19.95.
{SOURCE: Hi-Def Digest}
Cirque Announces ZARAKANA
{May.24.2011}
-------------------------------------------------
ZARKANA - CIRQUE DU SOLEIL'S SURREAL ACROBATIC SPECTACLE Written
and Directed by François Girard - PREVIEW PERFORMANCES BEGIN
JUNE 9 AT RADIO CITY MUSIC HALL IN NEW YORK
NEW YORK (May 24, 2011) Cirque du Soleil will present its major
new acrobatic spectacle, Zarkana, at the legendary Radio City
Music Hall in New York City with performances starting June 9,
2011 for a limited engagement through October 8, 2011. The
Premiere performance is June 29, 2011. Proudly presented by
iShares, Zarkana is written and directed by acclaimed film and
theatre director François Girard (The Red Violin, Silk).
Zarkana is an acrobatic rock opera that blends circus arts with
the surreal to create a world where physical virtuosity rubs
shoulders with the strange. The story follows Zark, a magician
who has lost his powers - and the love of his life - in an
abandoned theatre populated by a motley collection of off-the-
wall characters and incomparable acrobats. He runs into the
Mutants, four sirens as sinister as they are fabulous, who are
determined to divert him from his quest.
Zarkana is a visual vortex set in a slightly twisted musical and
acrobatic fantasy universe where, little by little, chaos and
craziness give way to festivity and love regained. The diverse
cast of more than 75 international artists transports the
audience into a fantastical and suspenseful world, blurring the
boundaries between the real and imaginary.
ABOUT THE DIRECTOR
One of Quebec's most highly regarded creators, François Girard
is equally at ease in cinema (Silk, The Red Violin), opera,
visual arts and theatre and has earned an enviable international
reputation over the years. A keen music lover, he is
particularly known for the hybrid worlds he creates in which
music plays a predominant role. His works are recognized for
their great musicality, both in terms of sound and image. This
will be his second creation for Cirque du Soleil, following ZED,
the Tokyo resident show.
THE CREATIVE TEAM
Along with François Girard, the creative team consists of the
following distinctive talents:
o) Guy Laliberté -- Artistic Guide
o) Gilles Ste-Croix -- Artistic Guide
o) François Girard -- Writer and Director
o) Line Tremblay -- Director of Creation
o) Stéphane Roy -- Set and Props Designer
o) Alan Hranitelj -- Costume Designer
o) Nick Littlemore -- Composer and Musical Director
o) Debra Brown -- Choreographer
o) Jean-Jacques Pillet -- Choreographer
o) Alain Lortie -- Lighting Designer
o) Raymond St-Jean -- Image Content Designer
o) Steven Dubuc -- Sound Designer
o) Florence Pot -- Acrobatic Performance Designer
o) Danny Zen -- Rigging and Acrobatic Equipment Designer
o) Eleni Uranis -- Makeup Designer
TICKET INFORMATION
Tickets range from $47 to $130 with a limited number of premium
tickets available for all performances.
Special Offer from American Express(r): Receive a complimentary
gift when you purchase Zarkana tickets using your American
Express Card. For Preferred Seating and other American Express
Cardmember benefits, please visit www.cirquedusoleil.com/amex.
SPONSORS
iShares is the presenting sponsor of this new production.
American Express, Infiniti and Sun Life Financial are the
official sponsors.
For more information, visit www.cirquedusoleil.com.
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Corteo, Koozå, OVO, Totem & Varekai}
o) ARENA - In Stadium-like venues
{Saltimbanco, Alegría, Quidam, Dralion
& Michael Jackson THE IMMORTAL World Tour}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
ZAIA, ZED, Believe & VIVA Elvis}
o) VENUE - Venue & Seasonal productions
{Iris & Zarkana}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
.) Dates so marked (*) are not official until released by Cirque
du Soleil.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Corteo:
Madrid, ES -- Apr 2, 2011 to Jun 5, 2011
Valencia, ES -- Jun 16, 2011 to Jul 10, 2011
Alicante, ES -- Jul 28, 2011 to Aug 28, 2011
Sevilla, ES -- Sep 8, 2011 to Oct 9, 2011
Paris, FR -- Nov 4, 2011 to Dec 31, 2011
Barcelona, ES -- Jan 19, 2012 to Mar 18, 2012
Gijón, ES -- Jul 25, 2012 to Aug 26, 2012
Koozå:
Tokyo, JPN -- Feb 2, 2011 to July 18, 2011
Osaka, JPN -- Aug 4, 2011 to Oct 10, 2011
Nagoya, JPN -- Nov 23, 2011 to Jan 22, 2012
Fukuoka, JPN -- Feb 9, 2012 to Apr 1, 2012
Sendai, JPN -- Apr 19, 2012 to Jun 3, 2012
Ovo:
Minneapolis, MN -- May 26, 2011 to Jun 19, 2011
Chicago, IL -- Jun 29, 2011 to Jul 31, 2011
Calgary, AB -- Sep 7, 2011 to Sep 25, 2011
Seattle, WA -- Nov 17, 2011 to Dec 22, 2011
Santa Monica, CA -- Jan 20, 2012 to Mar 25, 2012
Mexico City, MX -- TBA
Portland, OR -- TBA
Brisbane, AU -- TBA
Sydney, AU -- TBA
Melbourne, AU -- TBA
Totem:
Pittsburgh, PA -- May 12, 2011 to Jun 5, 2011
Montreal, QC -- Jun 15, 2011 to Jul 31, 2011
Toronto, ON -- Aug 11, 2011 to Sep 4, 2011
San Francisco, CA -- Oct 21, 2011 to Dec 18, 2011
London, UK -- Jan 6, 2010 to Jan 29, 2012
San Jose, CA -- Mar 1, 2012 to TBA
Varekai:
Manila, PH -- Jun 22, 2011 to Jul 10, 2011
São Paulo, BR -- Sep 15, 2011 to Nov 27, 2011
Rio De Janeiro, BR -- Dec 7, 2011 to Jan 8, 2012
Belo Horizonte, BR -- Jan 18, 2012 to Feb 12, 2012
Brasilia, BR -- Feb 22, 2012 to Mar 18, 2012
Recife, BR -- Mar 29, 2012 to Apr 22, 2012
Salvador, BR -- May 3, 2012 to May 27, 2012
Curitiba, BR -- Jun 7, 2012 to Jul 1, 2012
Porto Alegre, BR -- Jul 11, 2012 to Aug 1, 2012
Buenos Aires, AR -- Aug 17, 2012 to Sep 16, 2012
Santiago, CL -- Sep 28, 2012 to Oct 28, 2012
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Saltimbanco:
Asia-Pacific
------------
Melbourne, AU -- May 25, 2011 to Jun 5, 2011
Hobart, AU -- Jun 15, 2011 to Jun 19, 2011
Brisbane, AU -- Jul 8, 2011 to Jul 17, 2011
Newcastle, AU -- Jul 20, 2011 to Jul 24, 2011
Sydney, AU -- Jul 27, 2011 to Aug 7, 2011
Wollongong, AU -- Aug 17, 2011 to Aug 21, 2011
Auckland, NZ -- Aug 25, 2011 to Sep 4, 2011
Russia & Beyond
----------------
Ekaterinburg, RU -- Oct 15, 2011 to Oct 23, 2011
Kazan, RU -- Oct 26, 2011 to Oct 30, 2011
Moscow, RU -- Nov 3, 2011 to Nov 13, 2011
St. Petersburg, RU -- Nov 16, 2011 to Nov 21, 2011
Vilnius, LT -- Dec 15, 2011 to Dec 17, 2011
Riga, LV -- Dec 21, 2011 to Dec 23, 2011
Tallin, EE -- Dec 28, 2011 to Dec 30, 2011
Graz, AT -- Feb 22, 2012 to Feb 26, 2012
Alegría:
North American Tour
-------------------
Southaver, MS -- Apr 27, 2011 to May 1, 2011
Roanoke, VA -- May 4, 2011 to May 8, 2011
Columbia, SC -- May 11, 2011 to May 15, 2011
Toledo, OH - May 18, 2011 to May 22, 2011
Louisville, KY -- Jun 9, 2011 to Jun 12, 2011
Nashville, TN -- Jun 15, 2011 to Jun 19, 2011
Tampa, FL -- Jun 22, 2011 to Jun 26, 2011
Jacksonville, FL -- Jun 29, 2011 to Jul 3, 2011
Raleigh, NC -- Jul 6, 2011 to Jul 10, 2011
Florence, SC -- Jul 13, 2011 to Jul 17
Sunrise, FL -- Jul 20, 2011 to Jul 31, 2011
Charlotte, NC -- Aug 3, 2011 to Aug 7, 2011
Estero, FL -- Aug 10, 2011 to Aug 14, 2011
European Tour
-------------
Oberhausen, DE -- Sep 7, 2011 to Sep 11, 2011
Leipzig, DE -- Sep 14, 2011 to Sep 18, 2011
Stuttgart, DE -- Sep 21, 2011 to Sep 25, 2011
Munich, DE -- Sep 28, 2011 to Oct 2, 2011
Salzburg, AT -- Oct 5, 2011 to Oct 9, 2011
Berlin, DE -- Oct 12, 2011 to Oct 16, 2011
Bremen, DE -- Oct 19, 2011 to Oct 23, 2011
cologne, DE -- Oct 26, 2011 to Oct 30, 2011
Frankfurt, DE -- Nov 2, 2011 to Nov 6, 2011
Mannheim, DE -- Nov 9, 2011 to Nov 13, 2011
Malaga, ES -- Dec 1, 2011 to Dec 4, 2011
Santiago, ES -- Dec 7, 2011 to Dec 11, 2011
Zaragoza, ES -- Dec 14, 2011 to Dec 18, 2011
Lisbon, PT -- Dec 21, 2011 to Dec 25, 2011
Granada, ES -- Dec 28, 2011 to Jan 1, 2012
Toulouse, FR -- Jan 25, 2012 to Feb 29, 2012
Nantes, FR -- Feb 1, 2012 to Feb 5, 2012
Lyon, FR -- Feb 22, 2012 to Feb 26, 2012
Toulon, FR -- Feb 29, 2012 to Mar 4, 2012
Nice, FR -- Mar 7, 2012 to Mar 11, 2012
Montpellier, FR -- Mar 14, 2012 to Mar 18, 2012
Strasbourg, FR -- Mar 21, 2012 to Mar 25, 2012
Quidam:
London, ON -- Jun 2, 2011 to Jun 5, 2011
Hamilton, ON -- Jun 8, 2011 to Jun 12, 2011
Wilkes-Barre, PA -- Jun 15, 2011 to Jun 19, 2011
Ottawa, ON -- Jun 22, 2011 to Jun 30, 2011
St. John's, NL -- Jul 6, 2011 to Jul 10, 2011
Saint John, NB -- Jul 13, 2011 to Jul 17, 2011
Halifax, NS -- Jul 20, 2011 to Jul 24, 2011
Providence, RI -- Jul 27, 2011 to Jul 31, 2011
Hershey, PA -- Aug 18, 2011 to Aug 21, 2011
Baltimore, MD -- Aug 24, 2011 to Aug 28, 2011
Amherst, MA -- Sep 7, 2011 to Sep 11, 2011
State College, PA -- Sep 14, 2011 to Sep 18, 2011
Fort Wayne, IN -- Sep 21, 2011 to Sep 25, 2011
Hartford, CT -- Sep 28, 2011 to Oct 2, 2011
Reading, PA -- Oct 5, 2011 to Oct 9, 2011
Pittsburgh, PA -- Oct 12, 2011 to Oct 16, 2011
Milwaukee, WI -- Oct 19, 2011 to Oct 23, 2011
Washington, DC -- Nov 16, 2011 to Nov 20, 2011
Fayetteville, NC -- Nov 23, 2011 to TBA
Greenville, SC -- Nov 30, 2011 to TBA
Hampton, VA -- Dec 7, 2011 to TBA
Worcester, MA -- Dec 14, 2011 to TBA
Toronto, ON -- Dec 20, 2011 to TBA
Dralion:
Abbotsford, BC -- Jun 2, 2011 to Jun 5, 2011
Eugene, OR -- Jun 8, 2011 to Jun 12, 2011
Portland, OR -- Jun 15, 2011 to Jun 19, 2011
Victoria, BC -- Jun 22, 2011 to Jun 26, 2011
Penticon, BC -- Jun 29, 2011 to Jul 3, 2011
Edmonton, AB -- Jul 6, 2011 to Jul 10, 2011
Saskatoon, SK -- Jul 13, 2011 to Jul 17, 2011
Winnipeg, MB -- Jul 20, 2011 to Jul 24, 2011
Frisco, TX -- Jul 27, 2011 to Jul 31, 2011
Indianapolis, IN -- Aug 3, 2011 to Aug 7, 2011
Atlanta, GA -- Aug 25, 2011 to Aug 28, 2011
Duluth, GA -- Aug 31, 2011 to Sep 4, 2011
Tupelo, MS -- Sep 6, 2011 to TBA
Huntsville, AL -- Sep 10, 2011 to Sep 11, 2011
New Orleans, LA -- Sep 14, 2011 to TBA
Orlando, FL -- Sep 21, 2011 to Sep 25, 2011
Tallahassee, FL -- Sep 28, 2011 to Oct 2, 2011
Gainesville, FL -- Oct 11, 2011 to Oct 13, 2011
San Juan, PR -- Oct 12, 2011 to TBA
Cypress, TX -- Nov 17, 2011 to Nov 20, 2011
Beaumont, TX -- Nov 23, 2011 to Nov 27, 2011
Houston, TX -- Nov 30, 2011 to Dec 4, 2011
Richmond, VA -- Dec 7, 2011 to TBA
Kitchener, ON -- Dec 12, 2011 to TBA
Montreal, QC -- Dec 19, 2011 to TBA
Michael Jackson THE IMMORTAL World Tour:
Montreal, QC -- Oct 2, 2011 & Oct 3, 2011
Ottawa, ON -- Oct 7, 2011 to Oct 8, 2011
Hamilton, ON -- Oct 12 & Oct 13, 2011
Detroit, MI -- Oct 15 & Oct 16, 2011
London, ON -- Oct 18, 2011
Toronto, ON -- Oct 21, 2011 to Oct 23, 2011
Winnipeg, MB -- Oct 26, 2011
Saskatoon, SK -- Oct 29, 2011
Edmonton, AB -- Nov 1 & Nov 2, 2011
Vancouver, BC -- Nov 4, 2011 to Nov 6, 2011
Seattle, WA -- Nov 9 & Nov 10, 2011
Spokane, WA -- Nov 12 & Nov 13, 2011
Euguene OR -- Nov 15, 2011
Portland, OR -- Nov 18 to Nov 20, 2011
Salt Lake City, UT -- Nov 28, 2011
Las Vegas, NV -- Dec 3, 2011 to Dec 27, 2011
Phoenix, AZ -- Dec 30 & Dec 31, 2011
Boise, ID -- Jan 3 & Jan 4, 2012
Denver, CO -- Jan 6 to Jan 8, 2012
Sacramento, CA -- Jan 10 & Jan 11, 2012
San Jose, CA -- Jan 13 to Jan 15, 2012
Oakland, CA -- Jan 17 & Jan 18, 2012
San Diego, CA -- Jan 21 & Jan 22, 2012
Anaheim, CA -- Jan 24 & Jan 25, 2012
Los Angeles, CA -- Jan 27 to Jan 29, 2012
St. Louis, MO -- Feb 7 & Feb 8, 2012
Houston, TX -- Feb 10 to Feb 12, 2012
New Orleans, LA -- Feb 15 & Feb 16, 2012
Tulsa, OK -- Feb 18 & Feb 19, 2012
Kansas City, MO -- Feb 21 & Feb 22, 2012
Indianapolis, IN -- Feb 24 & Feb 25, 2012
Miami, FL -- Mar 2, 2012
Milwaukee, WI -- Mar 16, 2012 to Mar 18, 2012
Montreal -- Mar 20, 2012 to Mar 22, 2012
Quebec City, QC -- Mar 24 & Mar 25, 2012
Minneapolis, MN -- Mar 27 & Mar 28, 2012
Newark, NJ -- Mar 30 & Apr 1, 2012
New York City, NY -- Apr 3, 2012 to Apr 5, 2012
Uniondale, NY -- Apr 7 & Apr 8, 2012
Philadelphia, PA -- Apr 10 & Apr 11, 2012
Pittsburg, PA -- Apr 13, 14 & 15, 2012
State College, PA -- Apr 24 & 25, 2012
Worcester, MA -- May 16, 2012
Dayton, OH -- Jun 6 & Jun 7, 2012
Columbus, OH -- Jun 9 & Jun 10, 2012
Austin, TX -- Jun 15, 2012
San Antonio, TX -- Jun 23, 2012
Atlanta, GA -- Jun 29, 2012
Montreal, QC -- Jul 6 & Jul 7, 2012
Washington, DC -- Jul 13, 14 & 15 2012
Cleveland, OH -- Jul 17 & 18, 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.
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
2011 Ticket Prices (adult) / (child 5-12):
o Category 1: $109.00 / $54.50
o Category 2: $99.00 / $49.50
o Category 3: $79.00 / $39.50
o Category 4: $69.00 / $34.50
o Category 5: $60.00 / $30.00 (Limited View)
2011 Dark Dates:
o July 6
o September 3-7
o November 2
2011 Added Performances:
o July 14th
o December 30th
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:00pm
2011 Ticket Prices:
o Orchestra: $150.00
o Loggia: $130.00
o Balcony: $99.00
o Limited View: $93.50
2011 Dark Dates:
o June 12
o August 10-14
o October 9
o December 5-18
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
2011 Ticket Prices (adults) / (child 3-9):
o Category 0: $120.00 / $97.00
o Category 1: $105.00 / $85.00
o Category 2: $85.00 / $69.00
o Category 3: $69.00 / $56.00
o Category 4: $55.00 / $45.00
2011 Dark Dates:
o July 26
o September 20-24
o November 22
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Friday through Tuesday
Dark: Wednesday & Thursday
Two Shows Nightly - 7:30pm and 10:00pm
2011 Ticket Prices (18+ Only!):
o Duo Sofas: $129.00
o Orchestra Seats: $105.00
o Upper Orchestra Seats: $79.00
o Balcony Seats: $69.00
o Cabaret Stools: $69.00
2011 Dark Dates:
o June 21
o August 26-30
o Septembre 2-6
o October 17-18
o December 16-20
2011 Added Performances:
o November 23rd
o December 31st
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
2011 Ticket Prices (adult) / (child 5-12):
o Category 1: $150.00 / $75.00
o Category 2: $130.00 / $65.00
o Category 3: $99.00 / $49.50
o Category 4: $69.00 / $34.50
2011 Dark Dates:
o May 31 - June 4
o July 12
o August 30 - September 7
o November 15-16
2011 Added Performances:
o November 27
o December 26
o December 31
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
2011 Ticket Prices:
o Lower Orchestra: $150.00
o Upper Orchestra: $130.00
o Lower Balcony: $99.00
o Middle Balcony: $93.50
2011 Dark Dates:
o June 6
o August 4-8
o October 3
o December 1-12
2011 Added Performances:
o December 28th
o December 31st
ZAIA:
Location: Venetian, Macao (China)
Performs: Every Day, Dark: Wednesday
One to Two Shows Daily - Times Vary
2011 Ticket Prices (adult) / (child 2-11):
o VIP Seating: MOP$ 1288 / MOP$ 1288
o Reserve A: MOP$ 788 / MOP$ 394
o Reserve B: MOP$ 588 / MOP$ 294
o Reserve C: MOP$ 388 / MOP$ 194
ZED:
Location: Tokyo Disneyland, Tokyo (Japan)
Performs: Varies
One to Two Shows Daily - Showtimes vary
2011 Ticket Prices (Non-Peek / Peek Time):
o Category 1 ("Premium"): ¥15,000 / ¥16,000
o Category 2 ("Stage-Side"): ¥12,500 / ¥13,500
o Category 2 ("Center"): ¥12,500 / ¥13,500
o Category 3 ("Wide View"): ¥9,500 / ¥10,500
o Category 4 ("Value"): ¥7,500 / ¥8,500
BELIEVE:
Location: Luxor, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 10:00pm
NOTE: Children under the age of 12 must be accompanied by
an adult. Children under the age of five are not permitted
into the theater.
2011 Ticket Prices (all):
o Category 1: $160.00
o Category 2: $130.00
o Category 3: $109.00
o Category 4: $89.00
o Category 5: $59.00
2011 Dark Dates:
o June 7-14
o September 6-10
o December 6-17
VIVA ELVIS:
Location: Aria, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
2011 Ticket Prices
o Category 1: $175.00
o Category 2: $150.00
o Category 3: $125.00
o Category 4: $99.00
2011 Dark Dates:
o July 5-16
o September 13-14
o November 8-12
2011 Added Performances:
o May 29th
o November 27th
o December 26, 31
--------------------------------------
VENUE - Venue & Seasonal Productions
--------------------------------------
IRIS:
Location: Kodak Theatre, Hollywood, CA (USA)
Performs: Opens July 22, 2011
Times: TBA
2011 Ticket Prices
Previews:
Category 0 = $203.00
Category 1 = $100.50
Category 2 = $78.00
Category 3 = $59.25
Category 4 = $33.00
Weekday Matinee:
Category 0: $253.00
Category 1: $123.00
Category 2: $93.00
Category 3: $68.00
Category 4: $43.00
Saturday Matinee:
Category 0: $253.00
Category 1: $133.00
Category 2: $103.00
Category 3: $78.00
Category 4: $43.00
ZARKANA:
Location ///
New York, NY -- Jun 9, 2011 to Sep 4, 2011
Madrid, ES -- Nov 9, 2011 to Jan 1, 2012
Moscow, RU -- Feb 2, 2012 to Apr 26, 2012
Performances ///
2011 Dark Dates:
o June 13-15, 20-22, 27-28
o July 4, 11, 18, 25
o August 1, 8, 15, 22, 29
Ticket Prices ///
Previews:
Category 1 = $250.00
Category 2 = $120.00
Category 3 = $70.00
Category 4 = $47.00
Fri Eve, Sat Mat, Sat Eve, Sun Mat:
Category 1: $300.00
Category 2: $130.00
Category 3: $75.00
Category 4: $52.00
Tues Eve, Wed Mat, Wed Eve, Thurs Eve,
Fri Mat, Sun Eve:
Category 1: $250.00
Category 2: $130.00
Category 3: $75.00
Category 4: $52.00
=======================================================================
OUTREACH - UPDATES FROM CIRQUE'S SOCIAL WIDGETS
=======================================================================
o) Club Cirque -- This Month at CirqueClub
o) Networking -- Cirque on Facebook, Youtube & Twitter
---------------------------------------
CLUB CIRQUE: This Month at CirqueClub
---------------------------------------
FROM THE NEVADA OASIS TO YOUR SCREEN:
CIRQUE DU SOLEIL PRESENTS "FLOWERS IN THE DESERT"
{May.02}
As of May 31 through June 12, the Cirque team invites you to tune in
to PBS to check out highlights from our Las Vegas shows in a new two-
hour special entertainment experience: Cirque du Soleil: Flowers in
the Desert.
Since 1993, Cirque du Soleil has produced seven original, permanent
shows in Las Vegas, creating an exotic garden of delights that has
transformed the very nature of live entertainment in this desert
oasis. Cirque du Soleil has since challenged its creators and artists
to reach new heights of artistic expression and to create darker more
sensual flowers in its desert garden.
Follow the cast and crew behind the scenes for interviews and
backstage footage to explore the creative process behind the
performances. Embark on a High Definition ride of mesmerizing
performances of Mystère, "O", KÀ, LOVE, and their latest
production, Viva ELVIS, as well as sneak peeks of Zumanity and CRISS
ANGEL Believe.
Only on PBS. Check your local station for dates and times:
< http://www.flowersinthedesert.com/stations.pdf >
Learn more about Flowers in the Desert:
< http://www.flowersinthedesert.com/ >
Read the original article:
< http://www.cirquedusoleil.com/en/cirque-club/news/2011/2011-05-02-
flowers-in-desert.aspx >
TEAMWORK ON OVO
{May.06}
By Peter de Baaij, Tour Manager
At the end of April, severe rains caused the Ohio River's water levels
to reach flood stage in Cincinnati, Ohio. Our OVO team, presently in
Coney Island, combined efforts to save the Big Top. Peter de Baaji,
Tour Manager for OVO, talks about his team's work and dedication on
tour these past few weeks.
"Over the past two weeks, I have been privileged to see and be a part
of true teamwork. The Ohio River has been playing bad guy with us on
OVO since our arrival in Cincinnati. After only two shows, we were
forced to tear down part of the kit to keep it safe from the rising
water. On Easter weekend, after an initial forecast of the river
rising to 56 feet - 4 feet above the lowest part of our site - the
river receded and we set everything back up, did validations with the
artists on Saturday and were ready for a Sunday show. This however all
changed at 6 p.m. on Saturday, when a new forecast and warning from
the fire department gave us 3 hours to tear it all down again before
the river would close us in. The water was rising so fast that you
could see it come towards us. This was the moment when every
department jumped up and helped each other out getting everything off
the ground to a minimum height of 2 feet. The forecast was for a high
of 57.5 feet. This was 1.5 feet above the highest point of the site.
The amount of work that was accomplished in 3 hours was astonishing.
Clearing the Artistic tent, taking out chairs and bleachers from all
lower sections, [moving furniture in the concession tent, rising all
electrical including HVAC, backstage sound and all transformers,
emptying belly boxes from the trucks. Trucks were brought in at the
speed of light to store equipment.
About two hours into this tear down we got a radio call that we had a
problem with one of the plates holding [the cables and funicular for
one of the masts]. Due to the amount of water under the asphalt, this
plate was becoming a problem. The decision was made to put a giant
tube on the storm drain next to it to release some of the pressure of
the water underneath the plate. Many sandbags were needed to keep it
all in place and while standing there in 3 feet of water I looked up
and saw every single employee forming a human chain to pass down the
sandbags, from all technicians and site guys to public services,
artistic and tour services. Nobody cared about the cold and dirty
water anymore; the only goal was to save our infrastructure. In my ten
years at Cirque, I have never been more aware of what teamwork can do.
Over the last five days we have set up everything again, and the
necessary done validations and trainings. Thanks to the dedication and
hard work of everyone involved, we are now ready to reopen the show on
Tuesday, May 3.
We cannot thank our teams enough for their extreme hard work during
these days."
Peter de Baaij, Tour Manager
On behalf of the Directors' Committee for OVO: Marjon V., Shamayne S.
and Sacha B.
Read the original article:
< http://www.cirquedusoleil.com/en/cirque-club/news/2011/2011-05-06-
teamwork-on-ovo.aspx >
"TOTEM@DÉCOUVERT_"
FIRST ORIGINAL WEBSERIES BY CIRQUE DU SOLEIL
{May.16}
See "TOTEM@DÉCOUVERT_", an original documentary webseries by Cirque du
Soleil, and meet artists from TOTEM, the live Cirque du Soleil show.
The webseries offers a rare personal, perhaps surprising yet authentic
look, at the artists embodying the characters inhabiting the imaginary
world of TOTEM: Joe, Christian, Denise and Massimo, Pippo, Alya,
Dmitry, Louis-David and Rosalie share in turn their joy, challenges
and triumphs. View this original webseries exclusively on TOU.TV*, in
Canada only.
View the webseries' trailer:
< http://www.cirquedusoleil.com/en/cirque-club/news/2011/2011-05-16-
totem-decouvert.aspx >
QUIDAM: THE ARENA INCARNATION
{May.18}
Artistic Director Fabrice Lemire and Senior Artistic Director Richard
Dagenais tell us about the transformation process.
Q: What is the first thing to do when planning an arena transfer?
A: There are two main aspects to consider: our artists and their
performance, and the technical side. These factors take on even more
importance when the show includes a telepheric, as Quidam does! Let's
not forget that the show is 15 years old and has changed over time,
while maintaining its original spirit. We had to do the transfer
without betraying this.
Q: Technically speaking, what were the challenges involved in the
transfer?
A: We had to adapt all the set elements to facilitate quick set-up and
tear-down since arena shows are in town for an average of one week
only. The stage also had to be elevated to improve the audience's
view, which led to adjusting the height of the telepheric. On this
basis, a series of safety and performance adjustments were then
required. We also redid the lighting to make sure that the dramatic
effects of the big top could be felt in the vaster arena space. Plus
the entire sound was redone, and we were greatly surprised to find out
that it is better than it was under the big top!
Q: What was the greatest challenge in all of that?
A: Keeping the "WOW" factor that is specific to Quidam. This is when
all the elements of the show work together like they're supposed to.
In this regard, we can truly say, "Mission accomplished!" show has a
great vibe that can be felt by all. It has kept its soul, and we can
all be very proud each night it is performed to a new audience!
Read the original article:
< http://www.cirquedusoleil.com/en/cirque-club/news/2011/2011-05-18-
quidam-the-arena-incarnation.aspx >
"SECRETS OF SALTIMBANCO"
EXCLUSIVE FOOTAGE FROM THE AUSTRALIAN PREMIERE AND TOUR
{May.20}
Optus, our Presenting Sponsor of Saltimbanco in Australia, has created
a very interesting promotional campaign entitled "Secrets of
Saltimbanco". Optus has developed behind the scenes footage and
interviews to show you the Secrets of Saltimbanco including what
happens on opening night. More exclusive footage from the Australian
tour will be presented through a series of webisodes to come.
Watch the first two episodes:
o) Webisode #1 - The premiere
< http://www.youtube.com/watch?v=SCSFKD-jJNg >
o) Webisode #2 - Costume & Make Up
< http://www.youtube.com/watch?v=litMKf9Ej8A >
For more information, visit www.optus.com.au/cirque
Read the original article:
< http://www.cirquedusoleil.com/en/cirque-club/news/2011/2011-05-19-
secrets-of-saltimbanco.aspx >
GAIA: PHOTOGRAPHING THE EARTH'S SKIN
{May.25}
GAIA is the latest tour de force of Cirque du Soleil founder Guy
Laliberté, the first-ever private space explorer to publish a book
chronicling his photographic journey. Here in more than 300 pages,
Laliberté presents stunning photographs of the Earth taken from 220
miles away during an eleven-day trip in space, with unique views of
nearly forty countries. Documents both rare and captivating, his
images are natural works of art, rich in color and texture. GAIA
showcases the planet we inhabit as it has never been seen before.
Learn more, as Guy Laliberté speaks about the GAIA project:
< http://www.onedrop.org/en/projects/news/GAIA.aspx >
To order a copy of the book please visit:
< http://eboutique.cirquedusoleil.com/ >
"O" ON DISCOVERY CHANNEL
{May.25}
The well-known TV show Nerve Center airing on the Discovery Channel
recently featured "O".
Watch the show here:
< http://www.cirquedusoleil.com/en/cirque-club/news/2011/2011-05-25-o-
discoverychannel.aspx >
ALEGRIA: ORIGINAL COSTUME SKETCHES
{May.26}
On April 21st, 2011, Alegría blew out its 17th candles. Although the
show has travelled across five continents and performed for more than
10 million spectators, Alegría has nonetheless preserved its essence
and magic. In fact, the artists' costume designs have remained the
same since the first time Alegría set foot on stage some 6,220
presentations ago. To highlight its birthday, we pulled out a few of
the creators' original costume sketches for Fleur, Bronx and White
Singer.
See the costumes here:
< http://www.cirquedusoleil.com/en/cirque-club/news/2011/20110526-
alegria-costume.aspx >
SOCIAL CIRCUS IN ECUADOR
{May.30}
The Government of Ecuador, represented by Vice President Lenin Moreno
and Cirque du Soleil, represented by Vice-President Global Citizenship
Gaétan Morency, signed an agreement on May 23 to develop social circus
training throughout the country.
For Gaétan Morency, "Laughter is important for these children who have
had few opportunities and reasons to smile. Circus arts offer them a
safe environment where they can express themselves and learn many
important values such as solidarity and self-esteem. "
Vice-President Moreno hopes that in the long-term social circus
projects will bring communities together, allow the development of
local economies and improve living conditions in the country's poorest
neighborhoods. The first social circus training will be held in Quito
in June with the participation of circus artists and social workers
from Quito, Guayaquil, Cuenca and Tena.
Read the original article:
< http://www.cirquedusoleil.com/en/cirque-club/news/2011/2011-05-30-
social-circus-in-ecuador.aspx >
---------------------------------------------------
NETWORKING: Cirque on Facebook, YouTube & Twitter
---------------------------------------------------
---[ "O" ]---
{May.23}
Balloons dropping over the audience after the 6,000th
performance tonight!
LINK /// < http://www.facebook.com/photo.php?fbid=
10150205700644417&set=a.98604589416.
79108.26000574416&type=1&ref=nf >
{May.20}
We took "Casual Friday" to a new level when we visited Cirque du
Soleil's Resident Show Division offices today!
LINK /// < http://www.facebook.com/photo.php?fbid=
10150203719864417&set=a.98604589416.79108.
26000574416&type=1&ref=nf >
---[ ALEGRIA ]--
{May.18}
Toledo_Micah Naruo teaching the art of Fire-Knife dancing to CBS
reporter, Mike LaCett
LINK /// < http://www.facebook.com/media/set/?
set=a.10150244136095746.373945.38543815745 >
{May.11}
Wonderful photos of our touring life: backstage rehearsals, on
stage performances, make up before the show, set up and more...
LINK /// < http://www.thestate.com/2011/05/07/1810221/
cirque-du-soleil-alegria.html?KeepThis=true&TB_
iframe=true&height=515&width=910 >
{May.10}
Load-In, Load-Out, 18 trucks, 55 artists... yes! we are opening
in Columbia, SC tomorrow @ Colonial Center.
LINK /// < http://www.midlandsconnect.com/news/story.aspx?
id=613191&sms_ss=gmail&at_xt=4dc9817da721b049%2C0 >
{May.08}
For Trudy McIntosh (Power Track), "it's the best job in the
world"
LINK /// < http://www.wistv.com/Global/story.asp?S=14589082 >
---[ CRISS ANGEL BELIEVE ]---
{May.06}
Check out this new radio interview with Criss!
LINK /// < http://celebrityradio.co.uk/?p=4037 >
---[ CORTEO ]---
{May.24}
Corteo visited yesterday El Hormiguero TV show
LINK /// < http://www.cuatro.com/el-hormiguero/videos/
circo-sol-viene-hormiguero/20110523ctoultpro_46/ >
--[ DRALION ]---
{May.10}
Preparing for this week performances at the Sprint Center - KC
LINK /// < http://www.facebook.com/media/set/?set=
a.10150603433425195.687156.39340140194 >
{May.03}
Read about our Aerial Hoop performer on page 6 of Peak on the Go
Mag! Dralion opens tomorrow night at the Rockford MetroCentre
LINK /// < http://peak.newsmediacorp.com/ >
---[ IRIS ]---
{May.03}
Take in the story behind IRIS and catch glimpses of the
rehearsals of this impossible journey through the world of
cinema.
LINK /// < http://www.facebook.com/video/video.php
?v=658191167698&oid=161171830587832&comments >
---[ KA ]---
{May.16}
How many of you are in a KÀ mood today? (According to this
quiz, at least!)
LINK /// < http://www.getcirqued.com/quiz/ >
---[ LA NOUBA ]---
{May.31}
There are so many fun photos to share! We'll add a few here and
there so you can get an insider's view of life at La Nouba.
LINK /// < http://www.facebook.com/media/set/?set=
a.10150164531974902.304524.16315569901 >
---[ MYSTERE ]---
{May.12}
Only a few days to go before Mystère is back on our regular
schedule and ready for summer! Before we started our short break
we had pre-pre-pre-Memorial Day burgers delivered curbside to
all of our hardworking artists, crew, theatre and office staff.
LINK /// < http://www.facebook.com/media/set/?set=
a.10150236261314919.360860.18155469918 >
---[ OVO ]---
{May.31}
Cirque du Soleil OVO and Toddler Tuesdays event
FOTO [26] /// < http://www.facebook.com/media/set/?set=
a.10150199717659614.327304.62744104613 >
{May.16}
Cirque du Soleil Acrobats Show Off Skills
VIDEO /// < http://www.wlwt.com/video/27870503/detail.html >
{May.10}
Bob Herzog (local 12) tried to learn the Bug Dance
VIDEO /// < http://www.local12.com/content/dpf/
default.aspx?videoId=2439391&navCatId=19737 >
---[ QUIDAM ]---
{May.18}
Take a look at our new trailer recently shot in Nashville, TN!
VIDEO /// < http://www.youtube.com/watch?v=pwnQUJ_AfVo >
{May.06}
Behind the Scenes of Quidam
LINK /// < http://www.ktvn.com/story/14582119/
behind-the-scenes-of-quidam >
{May.06}
Cirque du Soleil Swings Through Reno
LINK /// < http://www.kolotv.com/daybreak/headlines/
Cirque_du_Soleil_Swings_Through_Reno_121258239.html >
{May.06}
Mysterious World of Quidam
LINK /// < http://www.ktvn.com/story/14581737/
mysterious-world-of-quidam >
---[ SALTIMBANCO ]---
{May.25}
Some interviews from yesterday's rehearsals in Melbourne.
LINK /// < http://media.theage.com.au/entertainment/red-
carpet/an-acrobats-life-with-cirque-du-soleil-2385996.html >
--- [ TOTEM ]---
{May.27}
Behind-the-scenes look at TOTEM in Pittsburgh!! Interview with
Pippo Crotti (aka Valentino!)
LINK /// < http://www.maniacexchange.com/ >
{May.20}
PITTSBURGH -- Cirque du Soleil performer Alevtyna Alya Titarenko
taught WPXI.com's Carly Noel the TOTEM finale dance.
LINK /// < http://www.wpxi.com/entertainment/
27970413/detail.html >
{May.19}
The Trapeze Duo on Pittsburgh Live Today!!
LINK /// < http://www.facebook.com/video/video.php?v=
10150176422396650&oid=111798252174207&comments >
---[ THE BEATLES LOVE ]---
{May.19}
LOVE receives "Best Show" honor from USA Today!!!
Celebrating its fifth anniversary in June, the Cirque du Soleil
tribute is set to a soundtrack of remastered Fab Four tapes and
stars five dozen actors, acrobats, dancers and skateboarders.
Says Las Vegas Magazine managing editor Houston: "The sound
quality is so good that when I got back to my car on a Beatles
high, I immediately ejected my copy of Rubber Soul from the CD
player because it sounded like it was recorded inside a tin can.
No other show marries music and visuals as well."
One reason: Each of the 2,013 seats has three speakers embedded,
along with the more than 300 others elsewhere in the theater-in-
the-round at The Mirage resort. The show is described by Cirque
as a "Beatles Experience" rather than a retelling of the super-
group's story. Sole surviving Beatles Paul and Ringo have seen
the show. One poignant moment: Eleanor Rigby, played by a 76-
year-old actress, drags the bits and pieces of her life across
the stage. but LOVE sends audiences home on a high note with a
joyous All You Need Is Love.
{May.03}
A recent addition to the backstage doors at LOVE :)
LINK /// < http://www.facebook.com/photo.php?fbid=
10150198164368666&set=a.101066423665.
92500.14653468665&type=1&ref=nf >
---[ VIVA ELVIS ]---
{May.23}
Last week our head of wardrobe, RuBen asked you a video trivia
question. Did you give the correct answer?
LINK /// < http://www.facebook.com/video/video.php?v=
664384346518&oid=167136344108&comments >
{May.20}
Our head of wardrobe, RuBen, has a video trivia question for
you! We'll post his answer next week, but give us your best
guess!
LINK /// < http://www.facebook.com/video/video.php?v=
10100600170141109&oid=167136344108&comments >
---[ ZARKANA ]---
{May.25}
Zarkana Press Conference Photos:
LINK /// < http://www.facebook.com/media/set/?set=
a.187951781256719.55201.139797212738843 >
{May.24}
Video from Zarkana Press Conference:
LINK /// < http://manhattan.ny1.com/content/top_stories/139697/
cirque-du-soleil-shares-taste-of-new-show-at-radio-city-
music-hall >
{May.24}
Zarkana Photos:
LINK /// < http://www.facebook.com/media/set/?set=
a.187685457950018.55047.139797212738843 >
{May.19}
Time-lapse footage of the Zarkana set as it was loaded into
Radio City Music Hall. This video was filmed over the course of
10 days.
LINK /// < http://www.facebook.com/video/video.php?v=
10150182440333640&oid=139797212738843&comments >
{May.11}
In this video, see artists from Zarkana as they embody their
characters while catching glimpses of the set as it comes
together.
LINK /// < http://www.facebook.com/video/video.php?v=
10150174226153640&oid=139797212738843&comments >
{May.10}
Updated Zarkana footage!
LINK /// < http://www.facebook.com/video/video.php?v=
10150173349153640&oid=139797212738843&comments >
---[ ZED ]---
{May.31}
Hello ZED Fans! Have trouble finding ZED tickets in English?
Please see the link below to find your multiple options for
purchasing our tickets.The tickets are also available in Chinese
and Korean :) Look forward to seeing you all at the theater!
LINK /// < http://bit.ly/kwVbjg >
======================================================================
COMPARTMENTS -- A PEEK BEHIND THE CURTAIN
=======================================================================
o) DIDYAKNOW - Facts at a Glance about Cirque
o) HISTORIA - Cirque du Soleil History
---------------------------------
DIDYAKNOW? - Facts About Cirque
---------------------------------
o) Here's another fun fact as "O"'s 6,000th show approaches: 24
original cast members still perform in the show and 20 original
crew still work behind the scenes!
o) "O"'s 6,000th show is almost here! Did you know that since we
opened, 35 different countries have been represented in our cast
and crew?
o) Around 1,200 costume and headpieces are used in every performance
of "O"!
o) "O" fun fact! The high divers dive 60 feet into the pool, which is
17 feet deep.
o) Between OSCAR(r) night 2010 and OSCAR(r) night 2011, Kodak Theatre
underwent 10 months of major construction to install massive stage
lifts required in presenting IRIS(tm).
o) Interesting fact: Some set pieces in IRIS are 6 stories high!
o) The boat in the Storm scene weighs 1,800 pounds and is completely
manipulated onstage by the artists!
o) Did you know that over 110 live arrows are shot through the air at
each performance?
o) Mystère fun fact! There are 800 light cues in the show!
o) 11,000 gallons of liquid nitrogen, enough to fill a back yard pool,
is stored behind the upstage wall here at Mystère!
o) Zarkana Costume Fun Fact! Some costumes were designed specifically
for video projections; they will never be seen live on stage.
o) Each trapeze acrobat in Zarkana wears over 284 beaded fringes which
are individually prepared and secured prior to being sewn to their
costume.
o) A FUN FACT about the ZED stage. The set takes its inspiration from
many eras and influences. Ancient science, the inventions of
Leonardo da Vinci, the products of the early days of the Mechanical
Age, nautical instruments and astronomy.
------------------------------------
HISTORIA: Cirque du Soleil History
------------------------------------
* Jun.02.2006 -- LOVE Premiered at Mirage (Previews Begin)
* Jun.02.2007 -- Ernst & Young named Cirque du Soleil CEO Guy Laliberté
"World Entrepreneur of 2007."
* Jun.02.2010 -- Saltimbanco Arena opened Glasgow, UK
* Jun.02.2010 -- Alegría Arena opened Sacramento, CA
* Jun.02.2010 -- Cirque du Soleil releases iPhone application
* Jun.03.2004 -- Varekai opened Denver
* Jun.03.2004 -- Dralion opened Vienna
* Jun.03.2005 -- Dralion opened Rotterdam
* Jun.03.2008 -- Name of of "Cirque Tokyo 2008" Announced - "ZED"
* Jun.03.2009 -- Corteo celebrated 1,500th Performance [Nagoya, JPN]
* Jun.03.2010 -- Koozå opened Seattle, WA
* Jun.04.2003 -- Alegría opened Calgary
* Jun.04.2008 -- Cirque Partners with YuuZoo, Online Video Sharing Website
* Jun.05.2003 -- Saltimbanco opened Cologne
* Jun.05.2008 -- Quidam opened Màlaga, Spain
* Jun.05.2008 -- Varekai opened Berlin, Germany
* Jun.06.2000 -- Dralion opened Denver, Colorado
* Jun.06.2002 -- Region 02 DVD release: Dralion
* Jun.06.2006 -- Cirque Las Vegas named 6th most popular attraction in
US by TripAdvisor
* Jun.07.1985 -- 1985 Tour opened in Sher-Brooke [Plateau Parc]
* Jun.07.1992 -- Fascination opened Nagoya
* Jun.08.2011 -- LOVE celebrates 5th Anniversary
* Jun.09.1994 -- Alegría opened Ste-Foy
* Jun.09.2010 -- Saltimbanco Arena opened Manchester, UK
* Jun.09.2010 -- Alegría Arena opened Rio Rancho, NM
* Jun.10.2002 -- Official Title of 13-episode TV series announced -
"Fire Within", previously titled "A Fly on the Wall"
* Jun.10.2009 -- Alegría Arena opened St. John, NB
* Jun.11.2002 -- Alegría Extended CD Released (BMG/CDS Musique)
* Jun.11.2009 -- Quidam opened Fortaleza, Brazil
* Jun.12.2002 -- Alegría opened Denver
* Jun.12.2002 -- Dralion opened Portland
* Jun.12.2007 -- La Nouba celebrated 4000th performance [Tuesday, 6:00pm]
* Jun.12.2008 -- Corteo opened Vancouver, BC, Canada
* Jun.13.1992 -- Saltimbanco opened Ste-Foy
* Jun.13.2002 -- Announcement of NY-NY and MGM-Grand Shows
* Jun.14.2003 -- Varekai premiered on BRAVO at 8:00pm EST
* Jun.14.2005 -- Quidam CD Released (CDS Musique)
* Jun.16.1984 -- Official Birth date of Cirque du Soleil
* Jun.16.1984 -- 1984 Tour opened Gaspé
* Jun.16.1995 -- Alegría opened Toronto
* Jun.16.2002 -- Dralion burglarized in Portland; stealing $11,000
* Jun.16.2003 -- Mystère celebrated 4500th performance [Monday, 7:30pm]
* Jun.16.2004 -- MGM-Mirage and Mandalay Resort Group merged
* Jun.16.2010 -- Alegría Arena opened Cypress, TX
* Jun.17.2010 -- Varekai opened Frankfurt, DE
* Jun.17.2010 -- OVO opened Hartford, CT
* Jun.17.2010 -- Saltimbanco Arena opened Birmingham, UK
* Jun.18.1993 -- Saltimbanco opened Toronto
* Jun.19.2008 -- La Nouba celebrated 4500th performance [Thursday, 6:00pm]
* Jun.19.2009 -- Alegría Arena opened St. John's, Newfoundland
* Jun.20.1991 -- Nouvelle Expérience opened Ste-Foy
* Jun.20.2002 -- Quidam opened Detroit, Michigan
* Jun.20.2008 -- Alegría opened Buenos Aires, Argentina
* Jun.21.1985 -- 1985 Tour opened in Ottawa [Plaines Le Breton]
* Jun.21.2001 -- Saltimbanco 2000 opened Osaka, Japan
* Jun.22.1999 -- La Nouba CD Released in Canada (RCA/Victor)
* Jun.22.2001 -- Dralion opened Chicago
* Jun.22.2005 -- Entertainment Complexes in Montréal announced
* Jun.22.2006 -- Dralion opened Malaga
* Jun.22.2006 -- Varekai opened Vancouver
* Jun.22.2007 -- Corteo opened Denver
* Jun.23.1984 -- 1984 Tour opened Bai-Comeau
* Jun.23.2010 -- Alegría Arena opened Minneapolis, MN
* Jun.24.1999 -- Dralion opened Quebec
* Jun.24.2004 -- Quidam opened Calgary
* Jun.24.2008 -- Koozå CD Released US/Canada
* Jun.25.1992 -- Fascination opened Hiroshima
* Jun.25.2004 -- Saltimbanco opened Gijon
* Jun.25.2009 -- Saltimbanco Arena opened Tampa, FL
* Jun.26.2005 -- Alegría opened Osaka
* Jun.26.2008 -- Koozå opened Chicago, IL
* Jun.26.2010 -- Corteo opened St. Petersburg, RU
* Jun.27.1989 -- Cirque Réinventé opened Ste-Foy
* Jun.27.2002 -- Vaerkai opened Quebec City
* Jun.27.2004 -- Mystère celebrated 5000th performance [Sunday, 7:30pm]
* Jun.28.1984 -- 1984 Tour opened Jonquière
* Jun.28.2007 -- Quidam opened Shanghai, China (First time in China!)
* Jun.29.1999 -- La Nouba CD Released in US (RCA/Victor)
* Jun.29.1999 -- Dralion opened in Toronto
* Jun.30.2005 -- Corteo opened Quebec City
* Jun.30.2005 -- Quidam opened Perth
* Jun.30.2005 -- Varekai opened East Rutherford
* Jun.30.2006 -- LOVE Gala Premiere (Previews End)
* Jun.30.2008 -- BELIEVE officially delayed (#1)
* Jun.30.2010 -- Saltimbanco Arena opened Newcastle, UK
* Jun.30.2010 -- Alegría Arena opened Toronto, ON
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "Creation: An Organic Process that Promotes Creativity"
By: Cirque du Soleil Press Room Materials
o) INTERVIEW /// "Mark Ward - A Career Backwards"
By: Keith Johnson - Seattle, Washington (USA)
o) "Luxe Life Celebrates Michael Jackson" [EXPANDED]
By: Robin Leach, A Special Reprint
o) Behind the Scenes of 'KÀ' [EXPANDED]
By: Angela Mitchell, About Entertainment
---------------------------------------------------------
"Creation: An Organic Process that Promotes Creativity"
By: Cirque du Soleil Press Room Materials
---------------------------------------------------------
From its founding in 1984, Cirque du Soleil has chosen to put creation
at the very heart of everything it does and to give it free rein.
Cirque du Soleil has never stopped growing, and creation is the key
driving force behind this growth. Over the past 25 years, some 200
creators have contributed their talent and vision to imagine the 30 or
so shows that Cirque du Soleil has created since its inception.
Invoke, provoke and evoke
The creative mission of Cirque du Soleil is centred on three verbs:
invoke, provoke and evoke. The ultimate goal of the creation process
is to craft productions that invoke the imagination, provoke the
senses and evoke emotions in the audience. At Cirque du Soleil, this
process is very organic-that is, while it operates within clear
parameters, it is also influenced by the creators on the creation team
and their respective experience.
Each new production is first assigned a Director, a Production Manager
and a Director of Creation, who is in charge of liaising with
freelance creators and the various Cirque du Soleil in-house teams
such as Casting, costume workshops and coaches. This trio will develop
a preliminary idea based on a guideline formulated by artistic guide,
Guy Laliberté. Once the basic concept has been determined, other
creators join the creation team. This will usually include a set
designer, a costume designer, a composer, a choreographer, a lighting
designer, a sound designer, an acrobatic performance designer, a
rigging and acrobatic equipment designer, and a few other specialists
depending on what is required for the development of the show.
Once the main theme has been defined, an "acrobatic skeleton" (i.e.
the acts that will comprise the show) is developed. Floor acts, aerial
acts, solos and group acts will make up the show, depending on the
production's primary intent.
Room for discussion
The concept of a show then takes form based on extensive exchange and
discussion among members of the creation team. Between each of these
sessions, the creators retreat to work individually on developing
ideas in greater depth, produce sketches, compose music, and so on,
and then come back to the table to combine the fruits of their labour.
This leads to new conversations and orientations. The concept of a
show is constantly evolving and being fine-tuned as the discussions
take place, right up until the premiere and even beyond.
As all these exchanges are taking place and during the development of
the set and costume element prototypes, the Casting Department is
called on to find the artists who will bring the show's concept to
life. The Casting team, which is involved from the outset of the
process, will suggest artists to the Director either based on specific
requirements or proactively, i.e. artists with a special profile
discovered in auditions with the potential to enhance a show.
Sometimes a concept is changed or improved based on the artists
proposed by the Casting team.
The creation period may take from one to three years, depending on
whether it is atouring or resident show, and according to the very
nature of the show to be developed. The technical parameters for
touring shows are different than those for resident shows. Touring
shows must take into account the set-up and tear-down of
infrastructures, for instance. Resident shows, on the other hand, may
require a new theatre to be designed and built based on specific
artistic parameters. The length of the process varies according to
these parameters.
International Headquarters in Montreal - The initial incubator
Cirque du Soleil International Headquarters in Montreal is the
starting point for all new creations. Creation meetings, costume and
set design, as well as the first rehearsals are held here. Artists
from all over the world arrive in the city to begin exploratory
workshops and rehearsals eight to nine months before the premiere. The
creation team settles down in Montreal for a few months to fine-tune
the concept, right up until the transfer to the big top or theatre for
the last months of rehearsal and the adaptation of staging elements in
the final venue.
Laying the groundwork upstream
As it produces two to three new shows a year, Cirque du Soleil must
develop ideas on the periphery of creation, upstream. This
brainstorming work-which is done to seek out new talent, develop acts
and identify new areas of knowledge and technology-now also calls on
external resources. Cirque du Soleil has established strategic
alliances with educational institutions, including polytechnics and
circus schools, to feed its inspiration and stock its cupboard of
ideas. Acts and equipment are now thought out, tested and assessed
several months in advance. Based on assessment results, certain ideas
will be developed further in order to potentially incorporate them
into a show. Some 50 act concepts are now under study, and 15 or so
have come to fruition.
Cirque du Soleil is privileged to be able to attract renowned
creators with the desire to collaborate on various projects. The
company offers them stimulating creation platforms in which
exploration and innovation are the watchwords-and in turn, these
creators allow Cirque du Soleil to innovate through their vision and
diverse influences.
-------------------------------------------------------
INTERVIEW /// "Mark Ward - A Career Backwards"
By: Keith Johnson - Seattle, Washington (USA)
-------------------------------------------------------
When the arena tour of Quidam recently visited Everett, Washington, my
wife and I had the opportunity to revisit a show we first saw during
the first CirqueCon in 2004. One of the pleasant surprises was to
find that Mark Ward, who was kind enough to be part of the first
CirqueCon post-show Q&A years ago, was still performing the role of
John.
With the increasing number of older big top shows being converted to
the arena format we have often wondered what was involved in the
process of conversion. And who better to ask than someone who has
been on both sides - the big top and the arena. Mr. Ward fills that
role perfectly!
Mark Ward (Word with the "a" as in "ha," not Wohrd with the "a" as in
"war") was born December 11, 1965. In his youth he trained in ballet,
all types of dance, gymnastics, and classical piano. He joined Cirque
du Soleil in June of 1993 at the age of 27; this month marks his 18th
anniversary with the company.
It wasn't his first thought to go for the role of John, though, he
explains. "[In 1998] I'd just finished working for five years in
Mystére as an original member [Ed. Being with the show since its
premiere on December 25, 1994]. I did bungee, the Red, White & Blue
Bird, ball walking, Japanese taiko drums, dancing, fast track, a
little bit of everything - I had seven characters. Because it's a
large company what I've found over the years is that if you would like
to learn something, if you have the gumption, they're more than
willing to teach you another art, which is fabulous, I think that's
fantastic. They hired me as a dancer with acrobatic capabilities and
I've learned so many other things."
"I had aspirations to be an acrobat in Saltimbanco. But at the time I
was approached by Gilles Ste-Croix who thought I would be a good
candidate for the role of John in Quidam. So I took his advice and
accepted the part and now I've been in the role for 12 years." Mark
is the only other person to have played John, following on after role
creator John Gilkey, who performed the role for three years in North
America and [the first] two months of the European tour.
How does his "John" differ from Mr. Gilkey's "John?" "I just say
we're two different people! (laughs) Some things that John did worked
for him but didn't work for me. He was able to be a lot more stern in
his character and still get laughs. I found when I did that it didn't
work so well. I don't know why it didn't work but I didn't feel
comfortable and I just didn't feel I was getting the same reactions.
So I treat John more as a kid trapped inside of a man's body."
"As a principle character you have to be open and flexible and be
ready to change and sensitive to what the audience is giving you.
Because what worked in Japan may not work in the United States or in
South America and vice versa. There are just different things that
you learn along the way and you have to be flexible."
Different Yet The Same
Having been part of Quidam for a large portion of its big top life, we
wanted to find out from Mr. Ward about converting a Cirque show from
big top to arena format. They first found out, "a little over a year
ago [Ed. While on tour in South America] that they were thinking about
it; they tried to give people a heads up. Everyone knows that the
plan now is that the older shows that have been in existence longer
will at some point go to arenas. So we knew that after Alegría [went
to arena format] that we would go at some point. Dralion [Ed. which
was created after Quidam] went before us so we were prepared for it."
But that didn't mean this would be a totally new experience for the
artists and crew. "We had done a small arena tour in the UK [Ed. For
8 weeks in Feb-April of 2009, visiting Liverpool, Belfast, Newcastle,
Birmingham, Manchester, Dublin, Sheffield and Glasgow], and performed
in the Royal Albert Hall [Ed. In Jan-Feb of 2009]. So we had some
experience with Quidam in arenas, but [now] it was going into arenas
full-time."
They plunged right into the conversion process immediately after
drawing the curtain on Quidam's big top life. "We really didn't have
a break because [after closing in Bogotá, Columbia on Nov 21, 2010] we
did a six-week arena tour in Canada at the end of last year [Ed. From
Dec 11, 2010 - Jan 16, 2011] with the cast we had for the South
America tour. We played Kingston, Montréal, Québec City and
Chicoutimi. Then in January we stopped because we had a 60% new cast
of artists. So we went to training in Montréal for two weeks where we
met new members of the show. Then the whole group went to Nashville
and trained there for six weeks, to get everything together. We just
basically [rehearsed] the full show from beginning to end for
everybody - technical, artists, and everybody - to get an idea of how
it runs and put things together from top to bottom. For us it was
like being in a theater built for us because they set up a stage in
Nashville and we used that space every day for over a month."
"Then we immediately started on the arena tour leg that we're on now.
The first city was Vancouver, Canada [Ed. On March 9, 2011], this full
leg is ten cities [Ed. Essentially going from north to south along the
West Coast of the US, ending in Sacramento on May 15.]"
It came as a surprise to us that none of the original creative team
were involved in the conversion process, given what Cirque has
previously said about consistent checkbacks by the creators to ensure
artistic integrity. "Franco (Dragone, show director) did a revamp in
1999 but hasn't been back since. [Ed. The revamp was done in May '99
while the show was in Amsterdam preparing for its video recording,
three years after its premiere in Montréal on April 23, 1996.] Benoit
(Jutras, musical composer) comes in periodically to check on things.
[But] we have our own team of directors who work in Montréal full-
time. We have our stage managers, we have our show director, we have
our artistic director, and we have all those people that are working
with us 24-7."
A few press reviews of the arena-format version of Quidam have
suggested that the tone and underlying drama have been massaged (one
used the word "lightened") to work for a larger audience. Not so, Mr.
Ward responds, "It's still the same Quidam; it's still the exact same
show that was created by Franco Dragone." But there have been changes
to address some of the challenges presented by this style of touring.
"For instance, we don't have a school traveling with us anymore so we
don't have underage children. We used to have four little girls doing
the diabolo act, and now they're adults from 18 to 20-something."
"It's the same with Zoé. She's really really small and from the stage
people think she's a little girl. She's like 20-21 but she's actually
a small girl. A lot of people meet her and they're like, "Oh my gosh,
I thought you were 15 years old!""
"The only thing with the diabolos is [they're adults with] more
sophisticated costumes, more sultry if you will, and the movement is
different. But all the other acts are the same, the costumes are the
same, the tempo, the story and ending are the same. It isn't
"lighter." For me it's the most human show. There's a darker side to
it, but we still have the comedy elements we've always had."
Does the larger theater space mean he has to approach the role of John
differently? "I had a full career in musical theater, ballet,
acrobatics and music before I joined Cirque du Soleil so I know this
kind of thing. Of course they give everyone notes on how you have to
reach everyone in the arena. But for me my job, my main purpose, is
connecting with the people. So that doesn't change, it's just now
there are more of them. I remind myself all the time that there are
more people. So there are some things that I would have done more
intimately that I make bigger, or I allow more time to register far
away. But it still reads."
Life On The Road
The arena touring model brings its own new set of challenges and
opportunities for not only the company but the artists and crew as
well. "One thing we don't have is the intimacy of the big top. But
what you gain in arenas is the ability to have more people see the
show at one time. And [visit] smaller markets. But it could also be
a large city that doesn't have the capability of supporting a big top.
It could be a big international city [such as] Prague where you have
all these ancient buildings, where are you going to put a big top?
However, if they have [arenas], you can introduce a whole new set of
people to the world of Cirque du Soleil. And that's what the arena
tours are doing which is actually very exciting."
Having performed in each Mr. Ward has an informed perspective on the
different type of show models. "If you [work for] a permanent show
you can more easily have a family life. You can go to school, you can
have your kids there, you can do whatever and it's more of a "normal"
life. You can do things during the day with your family and you have
your two shows a night from 7 to 12 like a regular days work, and you
have two days off. So for people who are more family oriented or want
to stay in one place it might be beneficial for them to consider a
permanent show."
"With a [big top] touring show you're hitting more countries, but you
still have a chance to have a family and kids with you. But you don't
have the privilege of being home as you would at a permanent show."
"The arena tours are just faster than all those put together. You
have a day of travel, Sunday night. I have my days off and I see the
city on Monday and Tuesday. I usually work out in the gym on Tuesday,
in my hotel or in my room or onsite. [I work out] four times a week.
And I do 8 shows a week. However, we usually do 8-10 weeks then have
two weeks off. So I have several two-week vacations in between the
legs."
"It just depends on the person, how old you are, where you are in your
life at that moment. I've done my whole career backwards, I started
with a permanent show, then I went on a big top tour, and now I'm with
an arena tour. I actually love the schedule and the quick pace of
it."
What does he see as the greatest challenge in arena touring? "I guess
the switching [from one touring style to another]. Because with the
big top you're in a city for [from] six weeks to sometimes three
months depending on the size of the city. But [with arenas] I guess
the most is sometimes three weeks in a city. Normally you have five
days in a city, you do eight shows, and you leave Sunday night on a
plane or by bus for the next city. For the first couple of weeks it
takes a bit of getting used to but after a while you like it and enjoy
it because of the fast pace."
"Actually it hasn't been a challenge for me. I find that I see more
of the cities now that I have two free days of doing nothing. And I
find that I've been able to research and really get into these cities
and get to know them. Whereas when I was in a city for longer I'd
say, "Oh, I'll get around to doing it," and then I was leaving before
I get to know it."
"With the arenas you have to take advantage of what it is, but I like
it a lot. Just the opportunity to travel to more countries and visit
more cities. I love it." Any favorite places? "It's hard to say, I
like so many places. I loved Europe. I loved Spain, Denmark,
Switzerland. London was great. I loved Argentina, I live in Buenos
Aires. There are so many great cities in the States. They all have
their own special things, it depends on what happens there."
Prepared and Challenged
His role as a principle character in a Cirque du Soleil show means Mr.
Ward is often on the short list of people asked to meet the public and
participate in such things as Meet & Greets and Question and Answer
sessions. It's an aspect he relishes. "We know that we're touching
people, we get that feedback and it's our life's blood. But sometimes
when we do [one-on-one] things it gets us a little bit closer to
people. In South America we were able to get to know [groups like]
Cirque Nation [Ed. A South American Cirque du Soleil fan group]. It's
very overwhelming to say the least, it's a beautiful thing."
In fact, Mr. Ward was a part of the genesis of CirqueCon! While
attending a performance of Quidam in Vancouver back in 2004, our 31
first-ever Passionates were treated to a post-show Q&A with several
artists, including Mr. Ward. It was that experience in Vancouver that
spurred our imaginations to consider other trips to other (in some
cases exotic) locales (check us out at www.cirquecon.com).
When we mentioned this to Mr. Ward we had our most surprising moment
of our talk - he remembered! "There was a question and answer for
that I remember. And I remember a question from one of the guys
there, he asked, "Isn't it true that you were Quidam?" I thought it
was very surprising, really sweet [that someone would remember]."
And it was true! "I said that [the character of] Quidam is not a
prison sentence (laughs). When I joined Quidam in 1999, John Gilkey
went across with us to Europe. During the time John was working I did
all kinds of stuff in the show. I did animation, I did the ballerina
but they didn't want me to point my toes and I said I couldn't do bad
dancing. So they kicked me out [of the part], they said I looked too
much like a real ballerina!" (laughs)
"One tidbit of information that a lot of people don't know is that
during the show you can have up to three people playing Quidam,
including girls. People think it's the same person, but we have three
different times he appears and most times it's three different people!
[When] they were going to do the live filming of the Quidam DVD John
[Gilkey] was still there and I wasn't going to start [playing John]
until two and a half months later. But Franco was working with
everyone and I said, "You know what, Franco? I would really love to
help out and be a part of the DVD. Let me be Quidam!" So I'm Quidam
on the DVD."
Finally, as our time was winding down, we wondered what words Mr. Ward
might have for aspiring artists. "It's almost cliché to say "dream
your dream." Know what you want to do and make sure you give yourself
the steps to get there. Give yourself goals, a far off goal but also
goals you can reach easily. If someone says no, go to the next person
that's going to say yes."
"If you want to be in Cirque du Soleil come to impress, have your
stuff ready and be flexible. Come not only with what you think you
want to do but be open to other things. Come prepared but also be
ready to be challenged and to meet that challenge."
"But I also like to say - you know what, the reality is that we forget
who we are in life. I've been around long enough to know that I
survived before Cirque du Soleil and I will survive after Cirque du
Soleil no matter what I'm doing. I just happen to be lucky enough to
be in this company and it's been amazing to me and it's changed my
life. But I also know that if I weren't in Cirque du Soleil I would
be doing something else that would make me happy as well. But I've
been privileged enough to be in Cirque du Soleil."
"That's what you need to be true to yourself as an artist. Whether
it's with Cirque du Soleil or anyone, you have to find those things
that get you out there, get yourself noticed and make yourself happy."
"Because in the long run it has to be you."
My sincere thanks go to: Mr. Ward for spending time with us, Chantal
Côte, Corporate PR Manager, "Our" Jessica Leboeuf, Quidam publicist,
and my wife LouAnna for putting up with my sometimes obsessive hobby.
-------------------------------------------------------
"Luxe Life Celebrates Michael Jackson" [EXPANDED]
By: Robin Leach, A Special Reprint
-------------------------------------------------------
Robin Leach jumped right into the world of Michael Jackson in
celebration of Michael Jackson THE IMMORTAL World Tour coming to Las
Vegas. Check out his four-part series from his Luxe Life column here!
PART 1: MICHAEL JACKSON FAN-FEST DETAILS
----------------------------------------
Neverland Ranch that have never been seen publicly, photo
opportunities in re-created sets from Jackson videos and a behind-the-
scenes look at the creation of Michael Jackson: The Immortal World
Tour. There will be a main stage featuring contests and Q&A sessions
with members of the creative team from Immortal and Michaels other
associates.
In addition, the Fan Fest will give visitors the opportunity to play
and compete against others in contests centered around the recently
released Ubisoft video game Michael Jackson: The Experience. An
interactive, engaging and immersive design will create a larger-than-
life environment for all Fan Fest goers and promises to be a one-of-a-
kind event, one of the organizers said.
The Michael Jackson Fan Fest will be open to those who want to
participate in it and to ticket holders of the touring show. Fan Fest
will be set up in the Bay East and West Halls of Mandalay Bay
Convention Center.
This week, well post our interviews with the partners of Team Michael
Jackson involved with the new Cirque du Soleil shows headed here --
the touring show and the new permanent residency show opening in 2013
as part of an MJ Zone at the resort. First up is a rare and revealing
interview with the co-executor of the estate, attorney and former
manager John Branca.
Robin Leach: When you took on this enormous responsibility, I think
its safe to say that at that moment, neither his family nor his fans
understood what your role was. Youve not only polished the
reputation, youve protected the reputation, and youve built an
enormous industry going forward. When you sat down those first moments
after his tragic death and said I am the co-executor of the estate,
what was in your mind to achieve for the man you once managed?
John Branca: Thats a big question. First of all, when that job was
handed to me, I was thankful because a lot of Michaels fans were
really supportive. They had felt that since Id been there with him
since January 1980 that John McClain and I were the right co-executors
for the job. So that gave me some confidence, but we had to prove
ourselves, and there were a lot of challenges. The fact that Id
worked with Michael on and off for 30 years and that I had come to
know him so well in terms of his business approach gave me a big
advantage.
I kind of felt like I knew what to do right from the start. I think if
somebody brand new had come in, it would have taken them a year or two
just to figure everything out. But John McClain went to high school
with Michael, I worked with him on and off for 30 years. It almost
seemed natural.
It didnt seem like, OK, we have to figure this out. It was just
once the judge handed the baton to us, we just started running. The
one thing that I think made it easy was our decision to authorize and
release the movie This Is It because when I saw that footage, I
realized, in my opinion, that people would see Michael in a different
way. They would see Michael the perfectionist, they would see the
reason why he was a great artist. At the same time, you would see his
humanity. Michael did not talk down to his musicians and his dancers.
He was a very gentle but demanding human being.
We felt if we put this movie out, people would see Michael in a whole
different way, and fortunately that was the case. And it went on to
become by far the most successful concert documentary movie of all
time. As busy as he was, Im certain he got time to see the video shot
of himself from those final rehearsals. Im sure he did review it to
study it to see which parts he might want to do better. I dont know
for a fact, but Im pretty sure he reviewed some of it, although not
all of it.
RL: Do you get any criticism, or if there was any, how did you answer
it about making so much money out of his name? First of all, Im
presuming some of that moneymaking was forced on you because of his
large debts that had to be straightened out.
JB: We viewed our obligation as really to Michael, in terms of his
legacy and his work, and then to his mother and his children. And what
we wanted to do over time was to be able to put the Estate into a
condition where eventually when it was handed over to his own three
children down the line, it would be in much better shape than when we
inherited it. So its our job to generate income. If we sat around and
did nothing, it would be a disservice.
RL: Do you eventually relinquish this work, and then it goes to the
three children?
JB: Down the road. Well down the road. Under Michaels trust, which is
confidential, there is a date at which when the children reach a
certain age, the assets get distributed, and as is typical in high
income, high-network families, you dont turn it over too soon. You
wait until the kids are older.
RL: So they have to be well over 21. If Michael was witness to
everything thats going on now, with what youve done, what youve
managed to achieve, do you think he would approve and it would all
have his blessing?
JB: I think so. I think that because of the many conversations Id had
with him over the years. It wasnt so much that he spoke about his own
immortality, but he spoke about his legacy. I met with Michael the
week before he passed away, and we had an agenda to go over about
future affairs. A couple of months before, he had said through his
manager Frank DiLeo that he wanted me to start thinking things, ideas,
so when I came into that meeting, I had an agenda with a lot of ideas.
I left knowing which ones Michael wanted, and so what we have done is
what he wanted anyway.
The other thing is that John McClain had said to me, if we went to
Michael and said lets put out a film of your rehearsal footage, he
would have said, Are you of your mind? Michael was a perfectionist,
so purely rehearsal footage would have been a no. But if wed said to
him, Michael theyre gonna pay you X amount of money, and its going
to be the most successful concert film ever, and the album will go to
No. 1, and its going to outsell Taylor Swift and Justin Bieber
combined, what do you think then? He would have instantly said, Where
do I sign?
RL: This meeting that you had a week before he passed. Was it in any
way a premonition, or in getting ready to fly to London for an
extended stay with This Is It, was it just being protective and the
normal case of keeping ones life in order?
JB: I had not been working with Michael since 2006. I had resigned.
But in 2009, he signed up for the This Is It concert tour. I said to
myself humbly, Im not sure that theres anybody else that can help
Michael achieve what he wants to achieve. Not artistically, because he
was the master with that, but business-wise. I called the AEG people
and his manager to simply let Michael know if he wanted any help and
had the interest, Im here for him.
I got the calls back, and they said Michael wants you to implement a
plan. So over the course of a couple of months, we gave it a lot of
thought, and I was ready to meet him on the Wednesday -- never
thinking for a moment he would be dead that weekend. It was far more
about helping him have a plan from the concerts. The timing was
totally coincidental
it was not a premonition. Those outlines,
however, became our blueprint for protecting and ensuring his legacy.
Its what he wanted to do anyway.
RL: Would he have wanted this amazing partnership with Cirque du
Soleil?
JB: I took Michael to his first Cirque show. We went together back in
the early 80s. It was a tent show in a Santa Monica parking lot next
to the pier. He loved it! We had to go backstage after because he
wanted to say hello to all of the entertainers. He was a huge Cirque
fan. He saw every one of the Cirque shows. He went to Montreal to see
Cirque headquarters and watch all the performers at work. In his way,
he is now working with Cirque, which is something he always wanted to
do.
RL: Your prediction for Cirques arena tour and for the second show
and the Neverland re-created museum of memorabilia here -- a
prediction on it all?
JB: My philosophy is you do the best you can in creating what youre
creating. And if you do a good-enough job and its Michael Jackson and
Michaels music with Cirque and Jamie King, well, the results speak
for themselves.
RL: Final question: You worked with him for a long period of time.
What was his genius, what was it about him that had that mega appeal
to connect with everybody around the world? Did he even understand it
himself?
JB: Michaels genius was multifaceted. He started out as this
incredible young singer and dancer that then got molded through the
Berry Gordy Motown music factory into becoming the consummate
entertainer. He then started to write his own music. Who knew he was a
songwriter? Then after Off the Wall, he started to produce his own
music. He produced Billie Jean and Beat It with Quincy Jones and
co-produced Bad.
His talent kept unfolding and growing -- part of it because he was so
driven to perfection and he studied the other greats. The other part
was an innate likability about him. You read stories of great artists
with egos, and nobody wants to be around them. That was not Michael.
Michael was a great artist and a great genius, and everybody loved
him.
RL: I had the privilege of having a Chinese dinner with him one night
at the Wynn hotel here. He was the most regular, likeable guy in the
world.
BJ: Exactly, and then when he was ready to go onstage, he went to
another level of superstar.
John told me that Michael has 32 million friends on Facebook and that
his older brother Jackie Jackson is very involved with the Estate.
Jackie has been working with us at the estate on many projects,
including developing a very high-end leather jacket line inspired by
Michaels videos that will be available retail at the MJ Zone in
Mandalay Bay, he said.
Tomorrow, well post the conversation with Jackie, along with how
Mandalay Bay President Chuck Bowling plans to set up his hotel for the
experience. Later in the week, our interviews continue with Immortal
director Jamie King and Cirque President Daniel Lamarre.
John summed up: We are thrilled to establish Michaels home away from
home here at Mandalay Bay. Very few fans would ever get to visit
Michaels Neverland Ranch because of its remote location. But millions
of Michaels fans will now come to Mandalay Bay to hear Michaels
music and experience Michael in many other ways.
When we think about Fan Fest, Michael was always a fan of Beatles
Fest, Elvis Week, Star Wars conventions, and he used to say, Someday
I want to have my own fan convention. Michaels fans have told us
they also want the same thing, so we are thrilled to accomplish
another one of Michaels objectives. We look forward to working with
our partners to make happen all the things Michael himself wanted.
PART 2: JACKIE JACKSON, MANDALAY BAY HEAD DISCUSS MJ PLANS
----------------------------------------------------------
Michael Jacksons older brother Jackie Jackson is convinced that the
late King of Pop is fully supportive of all the Cirque du Soleil show
developments and the two productions set for Mandalay Bay starting in
December. Hes definitely watching over this. Hes going to be alive
in everybodys minds for all the years to come now. He lives on,
Jackie said.
Michael would have loved whats going on now for his legacy. He
always loved the business and the entertainment all his life. He loved
the flash. He loved Las Vegas. He loved Cirque and saw every Cirque
show they produced.
I still remember the very first Cirque that came out. He called and
told me, Jackie, youve got to see this show. And he flew me out,
and we saw the show together and from then on he saw every show. He
loved Guy (Laliberte), the Cirque founder, and the whole Cirque show
family. He loved them, so he really wanted to be a part of them.
Hes a part of it right now with these shows. It all fulfills his own
dreams, and I believe he knows all about this and would be very proud
and happy with it.
Jackie told me that the first Michael Jackson: Immortal show that
arrives at Mandalay Bay on Dec. 3 is a traveling rock concert
spectacular. The second show will be permanently housed at Mandalay
Bay. They will be completely different in the way they look and feel,
even though Michaels songs will be the same.
Obviously, because people want the hits in both. I cant get into the
other show right now because theres going to be surprises about it,
and I dont want to give anything away. All kinds of things will be
going on with the permanent show and the memorabilia zone.
His line of leather jackets from Michaels own designs will be
launched in about five weeks on Amazon and will be among items for
sale in the Michael Jackson Zone to be opened at Mandalay Bay.
Mandalay Bay President Chuck Bowling is the executive who has to
reconfigure his hotel gaming floor for the Michael Jackson invasion.
We have a reputation around the world for providing the best in
dining, the best in nightlife and for many, many years have provided
the highest quality of entertainment. Our sister MGM resort hotels are
homes to the most successful entertainment brands in the world largely
due to our partnership with the creative geniuses at Cirque De Soleil.
We are ready for this. We are confident of its success, and we know
Michael Jackson will be at Mandalay forever.
This relationship started back in 1992 with a tent show behind the
Mirage. But since then, the Las Vegas Cirque shows have attracted
millions of people from around the world annually and have set every
imaginable record for attendance in longevity. The shows know no
boundaries, they appeal to people from all walks of life, language is
not a barrier, home country is not a factor.
Simply put, theres a Cirque show for every kind of fan. In recent
years, Cirque has partnered with such powerful bands as The Beatles
and Elvis Presley, and that left only one other
who could join this
extraordinary group -- Michael Jackson!
Were honored that the relationship here at Mandalay Bay will ensure
it is home for all things Michael Jackson.
Michael stood in a
category all his own. Over his lifetime, he achieved and sustained a
level of success that transcended any one genre or any one audience.
Michael is an international icon renowned for his music, his dance,
his mystique and his style.
The world lost an extraordinary entertainer, but through the eyes of
the creative geniuses at Cirque De Soleil, Michael will now live on in
many new ways, for new audiences for years to come. Thats a wonderful
gift to us all. We look forward to welcoming the world here in the
coming months and years to enjoy experiences unlike anything Las Vegas
has seen before.
And the incredible logistics involved? Cirque will keep the 1,800-seat
Lion King Theater when they move in Dec. 31, but everything else
changes. Weve begun thinking about the process of putting all three
elements together: theater, interactive space, the MJ Zone with the
ultra lounge and retail. The logistics of it are still in design.
Well clearly create an amazing experience inside of the showroom that
were starting to define now.
So far, we have not developed a firm budget -- not even really a
tentative budget. Weve got ideas in the background, but it wouldnt
be accurate to quote you anything, but were working on that.
Certainly multi-, multi-million dollars. Were only going to do the
right thing, like Cirque and MGM resorts have always done: always
first class. Add the Michael Jackson element, it can only be one
thing, which is top-of-the-line first class.
We are very excited about all the Michael Jackson elements that will
elevate the total brand of Mandalay Bay. We know it will further our
entertainment footprint not only in Las Vegas but also all over the
world. This is an important message that Las Vegas is more than alive
and well.
This will bring hope.
Vegas DeLuxe tomorrow continues the interviews with the Cirque and MGM
executives planning the two shows with a sit-down with writer,
director and choreographer Jamie King and his status with the touring
Immortal. On Thursday, its a wrap with Cirque President Daniel
Lamarre.
PART 3: DIRECTOR JAMIE KING REVEALS SHOW SECRETS
------------------------------------------------
One-time Michael Jackson tour dancer Jamie King is the man now
entrusted with writing, directing and choreographing the upcoming 5-
year run of Michael Jackson: The Immortal World Tour. The premiere is
in October in Cirque du Soleils hometown of Montreal, and then 33
performances follow on the Strip starting Dec. 3 at Mandalay Bay.
An interview with Michael Jackson Estate co-executor John Branca was
posted Monday, talks with older brother Jackie Jackson and Mandalay
Bay President Chuck Bowling were posted yesterday, and its a wrap
tomorrow with Cirque du Soleil head honcho Daniel Lamarre.
Jamie said theres no doubt that the Immortal show will be the
biggest in the world. He explained: Were embarking on a hugely
massive show. About 9 months ago, Cirque asked me to devise, scheme,
put together a show that would be the biggest show in the world as
only Michael Jackson would do it. That has now all become the Immortal
tour, and I told Guy (Laliberte, Cirques founder), absolutely, Id
love the opportunity.
I was chosen by Michael Jackson to be a dancer on the Dangerous Tour.
So for me it has all come full circle, not only perform with and for
him but now to actually immortalize Michael in a showcase. It blows my
mind and keeps blowing my mind every day. In about 6 months, the show
will open: Oct. 2. My heart just skipped a beat when I said 6 months,
although weve been working on it for 9 months putting it together
creatively with an amazing all-star team.
We have acrobats , performers, dancers and musicians from everywhere
around the world -- many of the musicians actually worked with Michael
on previous tours. Its an all-star A-Team of people who have worked
with Michael, been around Michael, experienced Michael. We have found
the people that Michael would love.
Over the next 6 months, well be putting the show together in
Montreal. I will move there from Los Angeles to Montreal and begin the
production phase so the show really comes to life. Thats all the
props, costumes and full music design. For me, its like a kid in a
candy store. I may be the director and writer of the show, but Im not
doing it alone. Michael is my co-director the whole way, as if hes
kind of watching and leading me and guiding me in what story to tell.
I was taken on a trip to Neverland with Cirque, and it really blew my
mind. In that moment being at Neverland and really seeing this kind of
place that Michael called home and really didnt share with the rest
of the world, we decided to make our environment for the Michael
Jackson: Immortal Tour and show set in Neverland. How cool is that
right? Now when you go to the show, youll actually be able to
experience Neverland. It will come to life before your eyes in the
arena. Thats the setting, thats the environment, and thats what
were making happen as rehearsals begin in three weeks.
Even though Michael is not there physically, his spirit will be there
completely in the show, with his essence and his music. His lyrical
content of those songs become our narrator for the show. In the entire
show, you are hearing Michael lead us on this journey through
Neverland understanding the mystery, the magic, the innocence of
Neverland, but also of him, too. We get to uncover, discover and
sometimes rediscover everything we knew about Michael and wanted to
know about Michael.
Theres lots of surprises -- I didnt know Michael was a poet. I knew
he was a great songwriter. But in researching and learning everything
I could about Michael in this short time, I did learn that he was a
great poet, also a great artist. He made great drawings throughout his
life. So the show will reflect that he was a great artist, a great
performer, a great showman, a great human being. When he was my boss,
he treated us dancers like gold and wanted us to be the best. Now I
get to show Michaels talents and humanity in Cirques Immortal Tour.
Jamie continued during the lengthy, one-on-one chat: We had castings
in New York, Los Angeles, Canada and video auditions from around the
world. We have the full cast and crew in place. The stages are already
being built. Hes directed tours for Madonna, Ricky Martin and
Britney Spears and in fact sends Britneys new Femme Fatale Tour off
on the road next month.
I dont know how many trucks will go out for Immortal, but it will be
more than the 24 that went out for Madonna and Britney. Theyve taken
the most so far. I havent had to concentrate on the traveling
logistics. I was just told to build the best show that could be built,
and theyll figure out a way to make it work for the road and the
arenas.
After some persuading, Jamie revealed where the show begins and ends
in Michaels life. To sum it up, this is the Michael Jackson show.
Its everything Michael in the way of Thriller and Off the Wall.
Michael the icon. There are nods back to the Jackson Five, his
beginnings, when he was with his brothers and his family. Those nods
will be there, but this is really based on Michaels catalog and less
about the Jackson Five catalog. Michaels children and his family have
all been really supportive to this point.
It will be a 90-minute spectacular with 30 songs. The only way I can
do that is by mashing up certain songs, remixing certain songs with
others so you feel like youre getting the Michael song.
Im
planning to use some video footage from This Is It that we didnt get
to see all the way in the theatrical concert film. I have access to
that, and Ive kind of re-jigged it. Also, theres some choreography
that wasnt really seen realized in This Is It, and Im going to use
that in the show, as well. But lets be clear: There are no This Is It
tour dancers and no musicians. We have members of The Bad Tour and The
Victory Tour, the older Michael Jackson shows.
It will come off looking and feeling as if its Michael on tour.
Well have that element for sure -- thats what my cache is -- I put
on rock spectacles, pop spectacles, and Michael was the best at that,
so that element is 100 percent there. Whats cool is now we add in the
theatricality that Cirque du Soleil provides. So its really going to
be a hybrid that no ones really seen before. Its like rock meets
Cirque.
The only thing I can tell you until you see it for yourself is that
we find our way transported into Neverland as part of the opening. The
arena becomes Neverland, so the audience gets transported into this
world of Neverland. In my heart, I know what needs to be told is that
purity, that humanity of Michael Jackson, that vulnerable side that a
lot of people really didnt get to see, that childlike heart that was
so beautiful and so pure. Thats what I really want the audience to
feel and leave with.
We all know what the showmanship of him, what that looks like, the
artistry, the great performer
and well get all that for sure. But
his heart and his purity and his humanity are definitely something Im
allowed to touch on. We want it to look like a great collaboration of
the Cirque world and the Michael Jackson rock and roll world.
This is a really big show because there are so many entities. Its
bigger than big, if you know what I mean. Itll be the biggest show in
the world.
PART 4: CIRQUE CEO DANIEL LAMARRE TALKS VEGAS, MGM AND MJ
---------------------------------------------------------
The Michael Jackson: Immortal World Tour by Cirque du Soleil four-part
interview series began Monday with John Branca, co-executor of The
Estate of Michael Jackson, followed by Jackie Jackson, older brother
of Michael, and Mandalay Bay President Chuck Bowling on Tuesday and
writer, director and choreographer Jamie King yesterday.
The interviews wrap up today with Cirque CEO Daniel Lamarres overview
of Immortal, which arrives at Mandalay Bay on Dec. 3 for a now-33-
performance engagement.
Here is Daniels overview in his own words.
Michael Jackson has been very, very generous to Cirque du Soleil. He
saw all of our shows, and he would always say good things about Cirque
du Soleil. Having the credibility of an amazing artist like that
certainly has contributed to our success. But I will never forget the
one day that Michael came to our studios in Montreal. Our 5,000
employees were thrilled to host him, and today I have the feeling that
all of Cirque du Soleil wants to pay tribute to Michael as Mandalay
Bay becomes the home of Michael Jackson in many, many ways.
First our new arena tour starts in December. It will be on tour in
North America for two years, and as it goes off on the global leg, we
will open the permanent show at Mandalay Bay in early 2013. We are
going to put a lot of effort to bring to life a tribute to Michael
Jackson with a lot of new technologies that will be involved in the
new theater. But that alone is not good enough.
We thought that people would want to see more of Michael, and we are
developing an event that is going to be called The Michael Jackson All
Access. We are right now exploring all of that with Ubisoft. Their
creation of the Michael Jackson interactive dance game has had an
amazing success, selling millions and millions. Theyre going to be
our interactive partner in this new experience.
Were also going to have in December at Mandalay Bay a Michael Jackson
Fan Festival in conjunction with the Immortal Tour. It will allow the
fan to really have the opportunity to go behind the scenes of the show
itself. Were also going to have a Michael Jackson Lounge. So all
those elements of content will ensure that his presence is very well
recognized. He is the No. 1 personality, so we dont want to
disappoint all those fans who are going to come from all over the
world to see the Michael Jackson experience.
We have been blessed during all these years to have this amazing Las
Vegas partnership with MGM, and now again Cirque De Soleil has the
opportunity to realize a new dream. To have the privilege to work with
the Michael Jackson Estate is also amazing. This project would have
not been possible without the great collaboration of MGM, particularly
Chuck Bowling and his Mandalay Bay team -- a very dynamic
organization. The co-executors of the Michael Jackson Estate have
allowed us to develop in a very short period of time a lot of
partnerships on all fronts in order not only to pay tribute to this
great, great artist but also to meet the expectations of all Michaels
fans.
The touring show will be the closest you can get to a rock concert.
The permanent show will be much more intimate, with a lot of new
technologies and effects to immerse people in his world. We will also
have the interactive zone, where we would like to re-create the spirit
of Neverland there. A fan in the interactive experience could actually
dance to Thriller with Michael in the same video.
Were experimenting with everything possible interactive and 3D.
Ubisoft has sold millions of videos of Michael, and we know that
people want to dance to his music. Thats what we will deliver in the
dream Michael Jackson environment. Our ultimate goal is to give you
the full sense and feel of what Neverland was.
We dont know quite yet know where the M.J. Zone will be located in
Mandalay Bay, but the show itself will definitely go into The Lion
King theater with an early 2013 premiere. Were going to refurbish the
theater quite a bit. MGM and ourselves are going to invest in that,
which will take some time. We are designing right now.
The Lion King will end Dec. 30, and then we just walk in the theater
the next day and start. Our experience is that it always takes 18 to
24 months to make it happen, and later when the designs are completed,
we can set the premiere date. But it will still have 1,800 seats and
two shows nightly.
We wont be able to bring the touring show back to Mandalay Bay, as we
have requests from promoters all over the world, and we want to give
fans around the world the opportunity to see that show. In North
America, I think two years will be the ultimate run because when the
permanent show opens, I want the permanent show to become the
exclusive show in North America.
The arena show will go off to Europe, Asia, Australia, South America
and beyond and will probably run five years! The logistics of it are
crazy. We have to hire engineers to make sure the roof of all the
arenas can sustain the weight of the equipment were shipping in 25
amazing trucks. The cast will fly from city to city while the trucks
move by road and ship.
It is by far the largest traveling show Cirque has ever undertaken.
Its almost like if you have three casts. Normally we have the
acrobats. Now we have the acrobats, the dancers, the musicians and all
the video team behind the amazing production. There will be a huge
component of video in that show, and that comes with a lot of
equipment, a lot of technicians, and thats why its going to be so
big. Its the most exciting project ever for Cirque.
Guy (Laliberte, Cirques founder) and I were shaking our heads the
other night when you realize that the three most iconic music stars in
the history of music, The Beatles, Elvis and Michael Jackson, have all
selected Cirque du Soleil to do a show. This is the ultimate thrill
for us. When Michael came to visit our studios in Montreal, as I said
at the beginning, he wanted to do a show with us. Now that will
finally come true, but much bigger than we ever envisioned when we
first talked with him.
-------------------------------------------------------
Behind the Scenes of 'KÀ' [EXPANDED]
By: Angela Mitchell, About Entertainment
-------------------------------------------------------
The technology used to create the moving stages at KÀ cannot be found
anywhere else in the world, and that also sets KÀ apart through our
ability to change the audiences perspective of the stage. In most
shows, the audience is on the same plane as the performers; the
performers move forward and backward from the audiences view. KÀ adds
a vertical dimension and a Z axis. It basically rotates the stage so
that the audiences perspective is that of looking down on the action.
Below is my interview with the creative team behind Cirque du Soleil's
Darkest show... KA.
# # #
Q. What unique challenges did it pose from a production standpoint?
Jeff Lund, Company Manager: KÀ is a show of superlatives. There are a
lot of first, only and one of a kind elements. The Gantry Crane,
Tatami Deck, and Projection systems were all essentially prototypes
that had to be assembled, reconfigured, troubleshot and made to work
in the theater while creating a world-class show in the same space.
Cirque du Soleils shows are synonymous with Vegas, and KÀ, which
takes place at the MGM Grand, may be the most dramatic and intriguing
show of the bunch. Cirque du Soleil's KÀ brings to life a story that
transcends place and time with an intensely dark and theatrical
landscape. The show combines a staggering amount of production and
creative risk, and features an innovative blend of acrobatic feats,
Capoeira dance, puppetry, projections and martial arts all taking
place within a void and in the air, without a traditional proscenium
stage in sight! I had the chance to talk with several of the creative
talents behind KÀ about meeting the shows unique challenges and
bringing its dark and beautiful world to life.
Q. What sets KÀ apart from other Cirque du Soleil shows?
Jeff Lund, Company Manager: KÀ is set apart from other Cirque du
Soleil productions by telling a linear story through the use of
martial arts, death-defying, high-level acrobatics, state-of-the-art
technology, and pyrotechnics. The production of KÀ took about three
times as long as a typical Cirque du Soleil show due to the fine
tuning and reconfiguring of the technical equipment such as the Gantry
and other elements that had never been used before. Even though KÀ has
been in operations for six years, it is still extremely challenging
from a technical perspective. Our sixth anniversary was actually
February 3, 2011.
Q. Happy Anniversary! Thats great to hear especially as Las Vegas
and Cirque du Soleil are almost synonymous nowadays -- a Cirque du
Soleil show is one of the 'must-hit' events for Vegas attendees.
Why is Cirque du Soleil such a good fit within Vegas entertainment?
Jeff Lund, Company Manager: Tourists come to Las Vegas with high
expectations of beautiful hotels, world-class restaurants, amazing
shows, and an escape from reality. The city is known to be over-the-
top, and Cirque shows provide that same level of experience the city
does. Tourists want to see something they have never seen or
experienced before. Cirque du Soleil now produces seven completely
different shows on the Strip that offer audiences ninety minutes of
awe-inspiring performance and escape from reality.
Q. What sets Vegas apart as a show (and production) location?
Jeff Lund, Company Manager: Cirque du Soleil shows in Las Vegas are
set apart by the scale and scope of the productions. Everything in Las
Vegas is larger than life. Cirque du Soleil shows fit right into this
model, and are part of the 'wow' factor that people have come to
enjoy. Everything in Vegas is done to the extreme, so a show that is
more grandiose than anything else is an obvious fit. For that reason
alone, Vegas is the perfect location.
Q. What advantages (and disadvantages) does Vegas offer to productions
like KÀ?
Jeff Lund, Company Manager: Vegas is the entertainment capital of the
world, with over 30 million tourists a year. KÀ is a large theater
that produces two shows nightly, five nights a week. Vegas ability to
draw that many tourists a year is a huge advantage to sustaining long
term success with regards to occupancy.
Q. What was the inspiration in the direction for KÀ as a show?
Marie-Hélène Gagnon, Artistic Director: Robert Lepage directed KÀ. It
was his first Cirque du Soleil show, and he also recently created and
directed our newest touring show, TOTEM. He is most well-known as a
film and theatre director, particularly opera, and is the director of
the Metropolitan Operas current production of Wagners Ring Cycle,
the first installment of which premiered in 2010, with the next
installments premiering over the course of their 2011/2012 seasons. He
has always been very interested in Asian culture, and has a profound
knowledge of Shakespeares work, as the structure of the storyline
proves. He also has a strong interest in architecture, which is the
basis of the scenic treatment.
Q. Who designed the lighting for the show, and how much lighting
equipment is used for each show? (How many lights, spots, gels,
etc.?)
Nils Becker, Lighting Director: The lighting for KÀ was created by Luc
Lafortune, who has designed the lighting for more than a dozen Cirque
du Soleil touring and resident shows. There are more than 3,300 light
fixtures in the show, and I would guesstimate that we use over 900
gels per year, so about 5,400 over the past 6 years.
Q. Who designed the sets and gorgeous set pieces for KÀ? And how many
props are used in KÀ overall?
JanNelle Rivers, Head of Props & Puppets: The theatre and sets were
designed by British architect Mark Fisher, who is most well-known for
his large-scale rock concert tour stage designs for Pink Floyd, the
Rolling Stones, and U2, including their current 360° Tour, and the
opening and closing ceremonies for the 2006 Olympics in Torino and the
2008 Olympics in Beijing. KÀ was Fisher's first collaboration with
Cirque du Soleil, his second being our newest Las Vegas resident show,
. There are approximately 113 different props in the show (not
including puppets), but if you count individual units for props such
as arrows of which 84 per show are fired by artists and 57 per show
are fired by air cannons the number goes up to just over 600.
Q. The costumes for KÀ are amazing -- tell me about them. And how many
costumes are there overall in the KÀ costume area?
Eric Wood, Head of Wardrobe: The costumes were designed by Marie-
Chantale Vaillancourt, who has collaborated with director Robert
Lepage on several of his productions since 1989. KÀ was her first
Cirque du Soleil show, and she also designed the costumes for one of
our most recent touring shows. For KÀ, there are 10,385 total active
costume pieces, including 1,600 costume pieces and 16 wigs actively
used in each performance. (There are a total of 63 active wigs to
cover duplicates and understudies.) One of the shows main characters,
the Twin Sister, uses four different versions of her costume in each
performance. There are 59 costume designs, for which 467 different
fabrics are used. Each costume is made specifically for the performer
who wears it, so for the Spearman/Spearwoman and Archer costumes,
which are meant to look like bare skin covered with tribal tattoos,
there are 22 skin tone colors to choose from to match the performers
skin color. To give you one example of the intricate detail involved
in creating the costumes for the show, there are 8,500 rhinestones on
the costume for the Firefly Boy character. There are three artists for
that character (one primary and two understudies), and each has two
active costumes and two back-ups, so thats 102,000 rhinestones for
one character look.
Q. That's amazing. All those little details, that can add up to
something huge when it comes to staging the performance! Meanwhile,
who manages the production each night?
Marie-Hélène Gagnon, Artistic Director: The Artistic Director is
present every night. The calling of the show comes from a team of six
Stage Managers, led by a General Stage manager. The full Artistic
team, which includes Coaches, Performance Medicine and Stage
Management, is made up of twelve people. From the technical side,
there are an Operations Production Manager, Technical Director, and
also the Heads of all departments involved: Costume, Props, Lighting,
Sound, Automation, Rigging and Special Effects. All together, it takes
about 100 technicians to run the show, plus about 95 technicians on
Day Crew who perform all of the theatres daily maintenance.
Q. That's one of the things I love about the performance process --
that it often takes more people backstage than there are performers
actually upon the stage to make it all work. Meanwhile, who came up
with the beautiful and imaginative storyline for KÀ? It's got a
little more darkness than we often see in Cirque shows.
Marie-Hélène Gagnon, Artistic Director: The Director, Robert Lepage,
created the original story of KÀ.
Q. So many Cirque du Soleil shows have this almost mythic look and
feel. Their storylines seem to arise from these universal ancient
themes and legends -- is this a common goal in the creation of
Cirque shows (not just KÀ)?
Marie-Hélène Gagnon, Artistic Director: There are differences,
specific to the creator of each show. But Cirque always works in the
direction of inner emotions, human impulses, dreams and images that
talk to the deeper part of human beings.
Q. How many performers appear in KÀ? And from how many countries?
Marie-Hélène Gagnon, Artistic Director: There are 76 artists in the
cast from 16 countries. The countries currently represented at KÀ are
Argentina, Australia, Brazil, Bulgaria, Canada, China, France,
Germany, Japan, Mexico, Mongolia, Russian Federation, Taiwan, Ukraine,
United Kingdom, and United States.
Q. What sets Cirque du Soleil apart in how they approach and produce a
show from a technical standpoint?
Marie-Hélène Gagnon, Artistic Director: Each show produced conveys its
own images and universe, and what it wants to say. In the case, for
example, of our newest Las Vegas show, VIVA Elvis, which draws from
the life and music of someone we knew and loved, it has its own
treatment of those images and story, and uses them as the inspiration
for Cirque du Soleil to create an experience using unique imagery and
strong physical expression.
Q. Cirque du Soleil is truly a worldwide brand of its own. How did the
show market and promote KÀ? Did the producers do anything new or
different in KÀ's promotion, or to bring in audiences?
Jordan Fiksenbaum, Vice-President of Marketing & Public Relations,
Resident Shows Division North America: Each of our Las Vegas
productions has a dedicated marketing team that collaborates to
determine marketing, public relations and promotional initiatives, to
help distinguish the individual production. As KÀ is an elaborate
technical production, the team has utilized that theme to help
generate opportunities to help promote the production, including
marketing efforts to reach a tech-savvy audience. In past years, we
have worked with the online gaming community to promote the
production, created behind-the-scenes broadcast media opportunities on
the G4 Network and for shows such as Modern Marvels and Worlds
Toughest Fixes that showcase the extensive operational effort that
the KÀ backstage crew undertakes to manage the day-to-day activities.
We have also utilized (and continue to utilize) the presence of the
Consumer Electronics Show in Las Vegas to educate tech-focused
audiences and media guests about the production.
# # #
This was fascinating. Thanks to the entire KÀ team for giving me so
much great insight into the thought behind staging the show.
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 11, Number 6 (Issue #89) - June 2011
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2011 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
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infringement intended.
{ Jun.08.2011 }
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