Copy Link
Add to Bookmark
Report
Fascination Issue 092 expanded
=======================================================================
______ _ __ _ __
/ ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / /
/ /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ /
/ __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/
/_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_)
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
------------------------------------------------------------
=======================================================================
VOLUME 11, NUMBER 9 September 2011 ISSUE #92e
=======================================================================
Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
There's plenty to share with you this month so rather than go on and
on about what's inside the issue, I'm just going to be quiet and
let you get to it. As always we've got the latest news items posted
to Fascination! Web, updates to Cirque's tour schedule, a number of
posts from CirqueClub and the various Facebook pages within, as
well as a CirqueCon 2011 Update, musings about ZED and a review of
the new KA app for Android devices!
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
* "The KÀ App for Android - a Quick Review"
By: Ricky Russo - Atlanta, Georgia (USA)
* "CirqueCon Update #6 - We Have a Group Meal!"
By: Keith Johnson - Seattle, Washington (USA)
* "Remembering ZED: A Timeless Evocation"
Part 1 of 4 - "The Meeting of Two Worlds"
By: Ricky Russo - Atlanta, Georgia (USA)
* "Bhavsar Blogs in Gymnast Magazine" [EXPANDED]
A Special Collection from IG Online
* "TOTEM Hits Toronto" [EXPANDED]
A Special Collection of Reviews in the Press
o) Subscription Information
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Guy Laliberte's "Gaia" - Most Expenisve Book?
{Aug.03.2011}
-------------------------------------------------
While e-book prices may seem on course for a race to the bottom,
some publishers are counting on customers' deep pockets,
especially for high-end art books that support a worthy cause,
to maintain price points. Assouline just released a dual French-
and English-language collection of photographs of the earth,
Gaia, "curated" by Cirque du Soleil founder Guy Laliberté, to
raise money for the clean water charity he founded, One Drop.
The book is available at three price points, including one that
is likely to be the highest of 2011. Still at $7,000 it's less
than half the price of several Taschen limited editions from
pre-recession days, Sumo and Goat, which retail for $15,000.
Gaia, however, could have the distinction of being the most
expensive book ever to be produced, if the $35 million price tag
for Laliberté's training to go into outer space and the 11 days
he spent there are taken into account. The billionaire was the
first private space explorer from Canada. The book, which
contains photographs he took from 220 miles away at the
International Space Station, includes his Preface as well as
literary comments about earth by writers ranging from Galileo to
Carl Sagan and John Keats.
In addition to the $7,000, 178-page hardcover with foil accents,
size 17 X 24," for which purchasers earn a $4,500 tax deduction,
Assouline is offering two other bilingual editions: a 144-page
hardcover in a clamshell box, which retails for $875, and a $65
trade edition. The pre-launch tour was pegged to the cover-
price, starting with Laliberté's initial event at the Grand Prix
in Monaco at the end of May with Prince Albert. Other stops
included Paris, London, and Los Angeles, where Assouline has
boutiques, as well as Laliberté's home in Montreal. According to
Mimi Crume Sterling, v-p of global communications for Assouline,
the press is planning a rolling launch to promote the finished
book with an event in Las Vegas in November to celebrate the
second anniversary of Laliberté's trip.
{SOURCE: Publisher's Weekly}
$50 Tickets to La Nouba for FL Residents
{Aug.03.2011}
-------------------------------------------------
Treat yourself to an evening like no other with $50 seats to La
Nouba this fall. Mesmerizing performances, breathtaking
acrobatics, moving live music and extraordinary imagination dare
to make the impossible, possible!*
* Ticket price excludes tax. Offer valid for Tuesday-Saturday
performances 8/2/11-9/17/11 and 9/27/11-10/29/11. Seating
subject to availability. Offer is not valid for previously
purchased tickets, gift certificates or with any other
discounts. Offer is valid on category 2 seats only. Offer ends
on October 29, 2011.
Gaia, a Book by Guy Laliberté
{Aug.04.2011}
-------------------------------------------------
Interested in Guy Laliberte's book - GAIA?
Gaia is the tour de force of Cirque du Soleil founder Guy
Laliberté. Here Laliberté presents stunning photographs of the
Earth taken from 220 miles away during his eleven-day trip
orbiting the earth as a private space explorer, with unique
views of nearly forty countries. A documentation both rare and
captivating, his images are natural works of art, rich in color
and texture.
Here's some details:
Guy Laliberté documentation of his experience in space featuring
his photographs of Earth as seen from the International Space
Station. Captivated by the beauty of the surface of the Earth,
Laliberté's evocative photos show the colors and textures
visible only 220 miles away. A stable subject and a moving
photographer - the ISS is moving at 17,500 miles per hour (about
5 miles per second), doing 6 tours of the earth every 24 hours -
made for truly original conditions. Using the Nikon D3S and
Nikon D3X digital-SLR cameras, deserts resemble contemporary
abstract paintings, cities rise up like mini-mountain ranges,
and faces and figures are revealed in nature.
Laliberté dedicated his personal spaceflight to raising
awareness about water issues facing humankind, making his the
first, in his own words, "poetic social mission" in space.
Proceeds from book sales will go to Laliberté's One Drop
Foundation, a non-profit organization created to fight poverty
worldwide by ensuring that everyone across the planet has access
to water, now and in the future.
Available September.
In addition to the standard Hardcover edition, a hand-bound
limited edition with color plates presented in a linen clamshell
box (shipping with a complimentary Assouline canvas tote bag) is
also available. Pre-order today!
Standard Edition - $65.00
Hardcover / 9.5 x 12.75?
304 Pages, 149 Images
< http://www.assouline.com/9782759405343.html >
Special Edition - $875.00
Linen presentation box / 13.97 X 13.04?
168 Pages, 101 Images, 12 Gatefolds
< http://www.assouline.com/9782759405336.html >
New KÀ iPad App!
{Aug.05.2011}
-------------------------------------------------
Have one of Apple's iPads and are also a fan of Cirque du
Soleil? Then check out this latest free app offering from
CirqueClub!
Cirque du Soleil has partnered with Mobile Roadie, a leading
global app platform, to power their newest application on
Apple's iPad tablet that features exclusive content from KÀ at
MGM Grand in Las Vegas.
Experience KÀ on your iPhone and iPad! Download the free KÀ
iPhone and iPad app and immerse yourself in this unprecedented,
gravity-defying production by Cirque du Soleil that takes
adventure to an all new level. Discover the heroic journey of
love and conflict, learn more about the scenic elements and
costumes as well as the colossal stage Where KÀ performs at MGM
Grand in Las Vegas.
The KÀ iPad app includes photos of your favorite KÀ characters,
exclusive behind-the-scenes images and creative sketches of the
show, videos that feature a make-up application with KÀ artists,
clips from G4 TV, KÀ's performance at Comic-Con and more.
Check out the app on the web at:
< http://www.cirquedusoleil.com/kaipad >
OR, view it in iTunes here:
< http://itunes.apple.com/us/app/id449353317?mt=8# >
IRIS: Sensational. Stunning. Stupendous. [EXPANDED]
{Aug.07.2011}
---------------------------------------------------
Michael Figueiredo of the LA City Guide Examiner spent an
evening at a preview performance of Cirque du Soleil's IRIS -
here's what he had to say about the show!
# # #
Sensational. Stunning. Stupendous. Just about any superlative
would be fitting for IRIS: A Journey Through the World of
Cinema, the newest masterpiece from world-famous Cirque du
Soleil. It premiered only two weeks ago and yesterday I had the
chance to experience it with my entire family. Held at its
permanent home, the Kodak Theatre in Hollywood, the production
takes spectators on "a voyage through the history of cinema and
its genres." From silent films to talkies, black & white to
color and animation to the current 3D craze, this new show
definitely will appeal to audiences of all ages. IRIS blends
reality with film clips, live video, light and shadows, creating
a dream world like you've never imagined.
As you may have figured out, the name Iris refers to the
adjustable opening that controls the amount of light that passes
through a camera lens (as well as the human eye.) Like all of
Cirque du Soleils shows, IRIS showcases mind-blowing
acrobatics, sumptuous costumes and sets, and phantasmagorical
imagery. The plot centers around the romance of two young
Hollywood archetypesBuster (the humble hero) and Scarlett (the
ingénue turned movie star)as they find themselves lost in the
chaos of a film set.
The first acrobatic performance features identical twins soaring
directly over the audience, swinging from ropes in poetic,
mirror-image synchronicity. Another highlight of the show is a
lavish trampoline act with gangsters and cops bouncing off the
rooftops. There are unbelievable acts of contortion, tumbling
and trapeze as well. I also really enjoyed a frenetic dance
number featuring the entire ensemble dressed in costumes of
every genre from westerns and film noir to sci-fi, adventure and
slapstick. The shows finale is an explosion of glittering
confetti and streamers and of course, a standing ovation from
the awe-struck audience.
IRIS was written and directed by first-time Cirque collaborator,
Philippe Decouflé and Danny Elfman (best known for his film
scores for director Tim Burton) composed the vibrant original
score. Elfmans quirky style lent itself perfectly to the
artistry of Cirque du Soleil.
The show features a cast of more than 72 performing artists from
fifteen countries around the world, including Spain, China,
Kazakhstan and the United States. The estimated cost of IRIS is
$100 million$40 million to retrofit the theater and $60 million
for the production itself. Its expected that there will be 368
performances annually. And, in case you were wondering, The
Kodak Theatre will continue to host the Academy Awards every
January as well. IRIS is definitely something that visitors to
Los Angeles should plan on fitting into their itinerary.
{SOURCE: The LA City Guide Examiner}
Changes Coming to Viva Elvis?
{Aug.08.2011}
-------------------------------------------------
It's only a sentence in a statement on MGM Mirage's quarterly
earnings, but according to the Las Vegas Sun, changes are coming
soon to Cirque du Soleil's VIVA ELVIS production at Aria, MGM
City-Center:
# # #
The company's CityCenter resort complex also showed improvement
in the second quarter. CityCenter's operating loss narrowed to
$89.8 million from $128 million a year ago. Revenue from resort
operations rose 50 percent to $274.9 million and revenue at Aria
increased 48 percent to $233 million.
Since its December 2009 opening, the $8.5 billion complex has
been plagued with problems ranging from sluggish condo sales and
retail activity to the empty, construction-flawed Harmon hotel.
Some customers also reported initial problems with CityCenter's
in-room hotel technology and did not take to its modern design.
"I think people still want to know where Aria and CityCenter fit
into the Las Vegas landscape and will it justify its investment
over time," Murren said. "From our perspective, it's clearly on
that path. Brand awareness is improving and our (customer
service) scores have gotten much better."
# # #
MGM is working with Cirque du Soleil to modify Aria's money-
losing "Viva Elvis" show, which has drawn sparse crowds,
executives said.
{SOURCE: Las Vegas Sun}
DidYaKnow? - ZED Documentary Animation
{Aug.09.2011}
-------------------------------------------------
Have you seen the ZED DVD documentary? Enjoyed the cool anime-
style intro animation that went with it? Yeah, us too...
Check out the following for a glimpse of the animation from
those who created it!
< http://www.behance.net/gallery/Zed-Cirque-du-Soleil/237273 >
On Cirque du Soleil's TOTEM [EXPANDED]
{Aug.10.2011}
-------------------------------------------------
Canada's National Post offered up a fantastic insight into the
creative process of Cirque du Soleil's TOTEM, now performing in
Toronto:
# # #
It was early October 2009 and acclaimed Quebec director Robert
Lepage was preparing to present his vision for the latest Cirque
du Soleil show to CEO Guy Laliberté.
"When are we showing this to Guy?" He asked his team. They
opened their schedules. Laliberté was not on the planet.
So, Lepage replied, "When is he back from space?" The director,
53, laughs remembering this. "I actually heard myself say that."
Laliberté had travelled to the International Space Station as a
tourist aboard a Russian Soyuz rocket on Sept. 30, 2009. How do
you impress a man who's seen the entire planet in a single look?
"His barometer is the hair on his skin," Lepage says of
Laliberté. "If the hair is up, it means it's good. If not, well,
then it's not going to work and it's out."
Laliberté's instincts have managed to keep audiences rapt for
decades with Cirque du Soleil's body-bending, high-flying
formula. The show Lepage was presenting to Laliberté became
Totem, which celebrates humanity's evolution from creature to
cosmonaut. The Quebec circus company's 27th show in 27 years
since its inception, Totem debuted in Montreal last year and
opens in Toronto on Aug. 10, its eighth city.
Laliberté had been trying to lure Lepage back to the big top
since he directed Ka, Cirques theatrical offering at the MGM
Grand in Las Vegas, in 2004. Lepage refused; the
internationally-acclaimed playwright, actor and director was
busy appearing in theatrical works and directing operas.
Two years later, Laliberté asked: What do you want to do?
Lepages answer: an intimate tent show, inspired by the 200th
anniversary of Charles Darwins birth.
I wanted to do something that would be about evolution, he
says. Evolution is about the body, how you go from a nucleus to
an amphibian to a mammal to standing upright and eventually
flying. Theres enough space in that idea to go into the
origins, go into the past, talk about the present and project
ourselves into some sort of poetic ideal.
The creation of a Cirque show follows Darwinian principles.
Everyone involved is interdependent. Each artist brings unique
traits to develop the work. And only the fittest ideas (and
talent) survive.
Laliberté allowed Lepage to recruit his usual suspects, a team
that would start out as a handful of people sitting around a
table at Cirques Montreal headquarters in 2008 and would grow
to a cast and crew of 120 touring employees.
During early creative meetings, ideas were limited only by ones
imagination. In one meeting, Lepage took a model of the set
the carapace, an oval frame representing a turtle skeleton and
tilted it on its side. You could just see the rigging designer,
Pierre Masses, face, choreographer Jeffrey Hall recalls, his
mouth falling open in mock shock.
This idea stuck. In the show, the 1,200-kilogram carapace opens
like a clamshell as well as rises to the top of the tent.
Meanwhile, ideas begat other ideas.
Hollywood costume designer Kym Barrett, known for her work on
The Matrix trilogy, returned to Montreal from Los Angeles one
day and covered the walls with her vision. The room was full of
colours and textures, not just fabrics but characters and ideas
for scenes, Lepage says. Her work helped define Totem for
everyone, including the director. The lush aesthetics from the
whole show are beyond the costumes. They really come from her,
he says.
Barretts sketches would become almost 800 costume pieces
including neon green tree frogs with bulging red eyes on their
shoulders, sparkling jugglers adorned with 3,500 crystals and
ceremonial clothing worn by aboriginal people.
Next came those who would inhabit the space and wear those
skins. Among the international talent recruited for the show,
Lepage hired two First Nations performers: Nakotah LaRance, a
champion hoop dancer from Arizona; and Christian Laveau, a
singer, actor and drummer from Wendake, Que.
Lepage saw 37-year-old Laveau perform in 2009 and approached
him. He said, Im the director of the next show of Cirque du
Soleil and I see you there, Laveau says. I said, Come on.
Im a traditional singer. Im not a professional musician.
Robert and Guy Laliberté said, What we want is the spirit. We
will not change you.
Other artists, however, had to adapt to the stage. Former
athletes in the cast had to learn how to be performers. That was
partly the job of choreographer Jeffrey Hall. He travelled to
Bali to research the kecak monkey dance but then had trouble
getting the artists to dance organically. Finally I said, Okay
guys, I want you all to be drunk. You need to let go. Go as
crazy as you want. Then they all got foolish and stupid, he
recalls.
Some who could not adapt did not stay. One change, for example,
was to the unicycle act featuring five Chinese artists. The
artists ride seven-foot tall unicycles while tossing metal bowls
with their feet and catching them on their heads.
Robert wanted an image that he could not get and I knew I could
get it, says Sylvie Galarneau, senior artistic director for all
touring shows.
Lepage wanted the artists to cycle down a ramp. Some refused to
do it unassisted. Ultimately, we had to change the girls. The
new ones? They just
she sweeps her hand as if it is a diving
roller coaster.
The evolution continues, she says. More than a year after its
debut, Totem is still tweaking.
The tough thing at Cirque is for the show to survive all of the
specialists who come and tell you what to do, Lepage says. You
have a full month of rehearsals and you present not only to Guy
but to specialists and marketing people. They all have their
say. Its a tough, high-performance, no-compromise place to
work.
But Lepage says he rarely argues with Laliberté. I have this
great relationship with Guy when it comes to discussing artistic
intuition. Its rare in my life to be able to say this, but hes
always right.
{SOURCE: The National Post}
Changes ARE Coming to VIVA ELVIS - SOON!
{Aug.10.2011}
-------------------------------------------------
It's official: changes are coming to VIVA ElVIS starting January
2012. More interestingly, it seems quite a few acrobatic numbers
from ZED may find their way into the show. See the following
statement from Renee-Claude Menard, senior director of public
relations (as published by Norm, from the Las Vegas Review-
Journal):
# # #
"Cirque du Soleil and MGM Resorts International have always had
an active and open relationship about their projects.
As for all Cirque du Soleil productions, we constantly review
all aspects of our shows including the creative positioning and
the business results.
These discussions have been on-going for Viva Elvis and we have
decided to modify the show to make it less of a biographical
representation of Elvis and more of an acrobatic Cirque du
Soleil spectacular production.
As a result of the recent tragedies in Japan, Cirque du Soleil
has had to make a difficult decision to close its permanent show
ZED by the end of this year.
But in making that difficult decision an opportunity presented
itself to enhance Viva Elvis. ZED features some of the most
impressive acrobatic acts ever presented on stage and we truly
wish to continue bringing these performances to our audience.
In the last weeks, we have reviewed the possibilities and have
decided to fully integrate these beautiful acts in Viva Elvis
and to present them to the millions of people who visit Las
Vegas annually.
Cirque du Soleil is a creative-driven organization and want to
ensure that this integration is done well and fully respects its
artistic objectives. To do this, the partners have agreed that
Viva Elvis will take an extended dark dates beginning in January
2012.
This integration is expected to be completed by the end of the
first quarter. We will also take this time to review all
marketing strategies to reposition Viva Elvis.
I would like to specify that we expect to have the same total
amount of artists on stage and the financial investment both in
the creative integration and new marketing initiatives are still
under complete evaluation."
More on VIVA ELVIS Changes [EXPANDED]
{Aug.11.2011}
-------------------------------------------------
Mike Weatherford and Norm Clarke, both wonderful columnists for
the Las Vegas Review-Journal, have new articles in relation to
yesterday's news that Cirque du Soleil's mega Elvis-themed
production - VIVA ELVIS - would be undergoing some drastic
changes very, very soon. Although both strike the same tone -
massive changes are coming and it was quite a surprise to the
cast- they both have some interesting tidbits I'd like to
highlight:
# # #
Cirque du Soleil announced Wednesday that "Viva Elvis" will get
a makeover to "make it less of a biographical representation of
Elvis Presley and more of an acrobatic Cirque du Soleil
spectacular production," according to a statement from the
company's senior publicist, Renee-Claude Menard.
The Aria production will take an extended break in January. The
revised version will incorporate acrobats moving over from
"Zed," a Cirque production at Tokyo Disneyland that will close
at the end of December, mortally wounded by earthquake-related
damage to the Japanese economy.
# # #
o) The cast and crew were summoned to a meeting on Tuesday at
the show's theater to discuss the changes
o) The cast and crew was told that Cirque will be pouring more
than $10 million into the makeover, with MGM Resorts
International wanting results within two years.
o) Even the show's title might be changed, Cirque confirmed.
# # #
Explaining in more detail by phone, Menard said "we would have
made changes anyway," even without the misfortune of "Zed."
Cirque and MGM Resorts officials already had agreed "we knew we
wanted to make it more acrobatic. ... What Zed' brought to the
table was an opportunity."
Cirque and its landlord already had "common agreement" that "the
bio expression of Elvis is not necessarily appealing to our
demographic, the type of demographics we'd like to have, so
let's look at it a different way. Make it a Cirque du Soleil
spectacular featuring Elvis as a singer," Menard said.
As such, the character of Elvis' manager, Tom Parker, as
narrator likely will be eliminated, though "I think we have to
wait until the changes are all done," Menard said.
The size of the company will remain "at least the same, if not
bigger," Menard said. The show will remain as is until the end
of the year.
Failure is not an option for Cirque in Las Vegas, which has seven
shows on the Strip and hasnt closed one since "Mystere" debuted
in 1993. But "Viva Elvis" is the second consecutive production
to undergo dramatic revision after underwhelming public and
critical reception.
"Believe," the most recent show before "Viva Elvis" debuted in
February 2010, has been stripped of most of its Cirque-related
production elements to become more of a traditional magic
showcase for Criss Angel.
The company also plans to "review all marketing strategies to
reposition Viva Elvis, " according to the news release.
Changes to the "Elvis" show have been in the works since at least
January, when a reboot was promised for spring. "The really big
changes are taking time to come because theyre expensive and
needed approval," artistic director Gene Lubas said in January.
"I want to use more Cirque trickery and magic to bring the show
closer to the public."
# # #
The show is to remain "as is" until the end of the year, when it
will go through an extended dark period beginning in January to
integrate some elements from ZED, Cirque du Soleil's production
in Tokyo, Japan, which will shut down at the end of this year
due to the Tohoku Earthquake and Tsunami.
{SOURCE: Las Vegas Review-Journal}
Congrats, La Nouba - 6000th Performance Tonight!
{Aug.13.2011}
-------------------------------------------------
Cirque du Soleil La Nouba celebrates their 6000th performance at
6pm tonight! Congratulations to our amazing mix of talented
artists, technicians, management, retail staff and partners who
make this massive production happen night after night! To begin
this special day, we'd love to hear about your favorite part of
the show or memory that involves La Nouba!
{SOURCE: La Nouba Facebook}
Even MORE on those VIVA ELVIS Changes [EXPANDED]
{Aug.15.2011}
-------------------------------------------------
A couple of interesting tid-bits out of the Las Vegas Sun
regarding the upcoming changes to Viva Elvis:
# # #
De-emphasizing the story of Elvis Presley in the Cirque du
Soleil production "Viva Elvis" at Aria is fine with one of the
people who knew him best.
"I am excited that Cirque Du Soleil has decided to modify Viva
Elvis" is how Priscilla Presley put it last week. "It will make
a good show an even more exciting show."
Priscilla supplied her opinion through spokeswoman and Rogers &
Cowan PR executive Samantha Mast.
If anything can be taken from Presleys comment, its that the
changes to the show are in the hands of Cirque. As a
representative of Elvis Presley Enterprises, which has partnered
with Cirque to produce Viva Elvis, Presley has long been a
proponent of the largely biographical approach to the
production. In January, on the event of her being honored as
Woman of the Year by Nevada Ballet Theatre, Presley said changes
to the show were being discussed, but it was apparent those
talks were centered on bringing more of Elvis' life story to the
show, not less.
"Were trying to get more Elvis, even though its a Cirque
celebration of his life, some of the song choices and being
tighter, a couple of the acts will be a little bit different,"
she said at the time. "Its the same show, but oh my God, its
got so much life and energy, and Elvis is more in it, and
everyone agrees thats what it needed.
"Its about Elvis, we all know all of his songs, and we can hear
the songs, but we need to know why everyone was so enthralled by
him and captivated by him. And thats all happening, and thats
good." Presley said she specifically preferred more gospel songs
in the performance, as Elvis loved gospel music.
In its earliest stages, the show has told the story of Elvis
through variations of his classic songs and a narrative by a
Col. Tom Parker-styled character. To enact the changes, the show
will shut down for an extended period beginning in January, with
the revised version expected to roll out by the spring.
And then there's this one from Robin Leach:
# # #
In a shocking and surprise move, Cirque du Soleil officials
confirmed this afternoon that major changes will be made to Viva
Elvis at Aria, and if the gamble doesn't work, then the
spectacular will shut down within two years.
Expect to see the biographic nature of the Elvis Presley story
to be drastically cut and changed into a more traditional Cirque
acrobatic production, with its amazing artists from the Japanese
production Zed being brought in at years end and more rock n
roll being added as music components.
Heres the official Cirque statement:
Cirque du Soleil and MGM Resorts International have always had
an active and open relationship about their projects. As for all
Cirque du Soleil productions, we constantly review all aspects
of our shows, including the creative positioning and the
business results. These discussions have been ongoing for Viva
Elvis, and we have decided to modify the show to make it less of
a biographical representation of Elvis and more of an acrobatic
Cirque du Soleil spectacular production.
As a result of the recent tragedies in Japan, Cirque du Soleil
has had to make a difficult decision to close its permanent show
Zed by the end of this year. But in making that difficult
decision, an opportunity presented itself to enhance Viva Elvis.
Zed features some of the most impressive acrobatic acts ever
presented onstage, and we truly wish to continue bringing these
performances to our audience. In the last weeks, we have
reviewed the possibilities and have decided to fully integrate
these beautiful acts in Viva Elvis and to present them to the
millions of people who visit Las Vegas annually.
Cirque du Soleil is a creative-driven organization and wants to
ensure that this integration is done well and fully respects its
artistic objectives. To do this, the partners have agreed that
Viva Elvis will take extended dark dates beginning in January
2012. This integration is expected to be completed by the end of
the first quarter. We will also take this time to review all
marketing strategies to reposition Viva Elvis. We are sure that
like us, you will be excited to re-discover Viva Elvis.
I would like to specify that we expect to have the same total
amount of artists onstage, and the financial investment both in
the creative integration and new marketing initiatives are still
under complete evaluation."
{SOURCE: Las Vegas Sun}
Las Vegas Weekly Suggests Changes to Viva Elvis [EXPANDED]
{Aug.18.2011}
----------------------------------------------------------
It was the equivalent of a "mea culpa" from the Pope.
Last week, Cirque du Soleil, the Vatican of Vegas entertainment,
made the rare announcement it would be closing Viva Elvis, the
newest of its seven shows on the Strip, in January 2012 to make
changes-$10 million worth, to be specific. True, Cirque has
always tweaked its shows after opening, but this kind of bold,
public, expensive retooling is unprecedented.
Reception of the show has been decidedly mixed, with critics
like Time's Richard Corliss seeking out new superlatives
("Cirque is throwing its most joyous party ever ...") and others
noting room for significant improvement. The show does have its
supporters, even repeat visitors (I know, I've met them), but
apparently they don't represent, as Cirque's publicists put it,
"the type of demographics we'd like to have." Read: the paying
type.
Thus-and here's the irony-Viva Elvis will now be "more of an
acrobatic Cirque du Soleil spectacular production,"
incorporating talent from Zed (a Cirque show at Tokyo Disney
that is closing in December) and "featuring Elvis as a singer."
Still, after struggling for 22 months, those changes may not be
enough. So allow us to offer Cirque a few additional
suggestions, 100 percent free of charge:
Come Back, Baby, Come Back
A huge part of Elvis appeal was how grey and drab pop culture
was when he arrived, ignoring many boundaries and divisions in
taste, class, race and economics. That is a much more visceral
moment than the umpteenth re-interpretation of Jailhouse Rock.
Thats All Right
Keep the trampolining superheroes, lassoing cowgirls and gospel
choir, but weave them into a story line that gives them context.
Also, the rare film clips of Elvis and the killer live band
(well, the drummers, anyway).
A Little More Conversation
Talk to serious musicologists like Peter Guralnick, Greil Marcus
and Robert Gordonand, heaven forbid, Scotty Moore, the
guitarist who helped Elvis shape his soundabout Presleys
music, performance and persona beyond the enduring clichés.
Girls! Girls! Girls!
Expand the sequence between Elvis and his female film co-stars.
Its an obvious opportunity for a huge dance number with sex
appeal to spare.
Rip It Up
Lose the Col. Parker character. Presleys manager had little to
do with his artistry, genius or legacy, except, perhaps, in how
he limited it.
Trouble
Those cheesy plastic pompadours and Technicolor jumpsuits look
like a Burger King commercial by Devo. Elvis may have had a
flashy fashion sense, but he never looked like a clown.
And if none of that works?
Picture this: Criss Angel as Elvis. It just might work!
{SOURCE: Las Vegas Weekly}
New Sign at La Nouba
{Aug.19.2011}
-------------------------------------------------
WDWMagic is reporting that a new sign/banner has recently been
placed atop the Cirque du Soleil Theater at Downtown Disney
West-Side. It replaces a sign/banner with an older logo.
< http://www.cirquefascination.com/wp-
content/uploads/2011/08/Cirque-du-Soleil_Thumb_14135.jpg >
{EDIT: It is temporary, as other signs and banners at Downtown
Disney have recently disappeared for replacement or renovation.}
{SOURCE: WDWMagic}
ZED will "Surface Again"?
{Aug.23}
-------------------------------------------------
An interesting blurb in the Montreal Gazette today regarding
ZED's closure at the end of this year...
# # #
Girard, who just finished directing the Cirque du Soleil's
Zarkana in New York, is eager to return to Tokyo, where his
Cirque production of ZED is still running at Tokyo Disney. But
not for long. Disney and Cirque have announced that ZED will go
out with the old year on Dec. 31, 2011. Ticket sales had
slumped, Girard said. But a 25-per-cent energy-reduction quota
imposed on Japanese businesses post-tsunami was probably another
factor. "Disney had to cut something big," he said. "And they
decided not to cut the Mickey Mouse train."
# # #
ZED will surface again elsewhere, he promised.
{SOURCE: Montreal Gazette}
Canada Out for Expo 2012
{Aug.25}
-------------------------------------------------
According to a recent article in CBC News, Canada has officially
declined an invitation from the South Korean government to
participate in Expo 2012, saying it can't afford to attend the
World's Fair.
The reason? Canada isn't as popular as its peers:
# # #
A Harris-Decima report commissioned for Heritage Canada
following Canada's participation in Expo 2010 in Shanghai,
China, indicated that Canada is not a top draw at world
expositions.
Expo 2010 was attended by 246 countries and international
organizations, including a record 73 million visitors, but
Canada was not viewed as a priority stop for visitors, said the
report.
The pavilions for Japan, United States, France, Germany and
England were the major draws, said the report.
Interest in the Canadian pavilion did increase, however, when
world-renowned Canadian performers Cirque du Soleil arrived, the
report said.
"The shallow understanding of Canada, of Canadians and what is
unique about Canada hinders top-of-mind interest in visiting the
Canadian pavilion," said the report.
{SOURCE: CBC.ca}
Desigual inspired by Cirque du Soleil [EXPANDED]
{Aug.29}
-------------------------------------------------
The floor of the Las Vegas Convention Center looked like more of
a circus than usual on Tuesday at the MAGIC apparel trade show.
That was due in large part to the acrobatic shenanigans of
Cirque du Soleil performers, who bounded down the catwalk to
highlight a new collaboration between the circus troupe and the
Barcelona-based Spanish sportswear brand Desigual.
Called "Desigual inspired by Cirque du Soleil," the 60-piece
debut collection for men, women and children doesn't stray far
from the distinctive eye-catching Desigual (pronounced "dezzy-
GWAL") aesthetic, which falls somewhere between a comic book
confetti flurry and an explosion at a crayon factory. (After
all, the name translates to mean "unequal" as in "different" in
English.)
The collection of clothing and accessories includes T-shirts,
dresses, short-dresses, handbags, totes and jackets. Prices will
be mostly in the $59 to $98 range. A few statement pieces - such
as this season's heavily embroidered jacket with gold foil
detail at the shoulders, oversize enameled buttons and a cadre
of clown-folk milling about the hem - are priced closer to
$300.
The collection is divided into three themes: Troupe, Human
Expression and Costume. The Troupe line has a baroque feel
and a palette based in traditional circus colors of white, red
and black. Pieces bear hand-painted characters and scenes culled
from Cirque du Soleil shows, a different one each season. The
inaugural collection draws heavily on the zebra stripes and
chubby-cheeked kewpie clowns of O (which makes its home at the
nearby Bellagio Las Vegas).
The Human Expression lines pieces are designed to add a
smidgen of softness and sexiness by way of floral embroidery,
sequins and flashes of silver and red foil printing. A third
grouping, called Costume, is intended to emphasize
multiculturalism, but appears to mostly riff on the details and
patterns in the Cirque du Soleil costume archives.
But in a very literal way, the circus performers costumes are a
part of each garment in the collaboration. Sewn onto every one
is a postage-stamp-sized piece of clear plastic that contains a
tiny square of fabric taken from an actual Cirque du Soleil
costume.
The collaboration came about only a year ago on the very same
Las Vegas trade show floor, according to Manuel Jadraque,
Desiguals chief operations officer. The Cirque du Soleil
people were walking through the show and they met us, Jadraque
said. Our two companies have a lot in common the way we like
to evoke emotion, the use of color and patterns. Both companies
were even started in the same year in 1984. So we ended up
meeting several times over the year, and this is the result.
Jadraque said the five-year, worldwide partnership is not just
the pairing of two like-minded companies its a calculated
effort to raise brand awareness on each others home turf. For
Desigual that means the North American market (although founded
in 1984, the label has had a U.S. presence only since opening
its first stateside store in 2009). For the Montreal-based show
business venture, it means exposure in Europe and abroad, where
Desigual is already established.
The collection will be available through Desiguals website in
November. Then in December it will roll out to Desigual
boutiques worldwide (including in Beverly Center and Santa
Monica stores) and Cirque du Soleils show boutiques (including
the Kodak Theatre location in Hollywood, which is home to the
new Iris show).
While it might seem unlikely that the clown-car cacophony of
color- and character-covered clothes would hold much appeal
beyond fans of the two brands, in a way its almost beside the
point. Desigual is sold through 8,000 retail doors globally
including 200 of its own standalone or shop-in-shop locations
and Cirque du Soleil has 22 shows eight in Las Vegas alone
being staged around the world. If even a fraction of those
customers wants a fashion-forward tchotchke to take home, the
eye-catching collection will do just fine.
{SOURCE: Vancouver Sun}
ZAIA's New Artistic Elements
{Aug.30}
-------------------------------------------------
According to Asia Travel Tips.com, Cirque du Soleil is adding
new artistic elements to its popular ZAIA show at the Venetian
Macau.
# # #
From 1 September 2011, ZAIA will feature new diversified
performances and new characters.
One of the new performances includes a dazzling Hand to Hand act
which requires absolute mastery of balance and control.
Along with the new Hand to Hand performance, another high level
acrobatic element is the Roller Skates. Passing through at a
very high speed on a small table, the performers are sure to
excite and dazzle spectators.
Some new Asian elements have also been introduced, including a
Lion Dance performance.
An astonishing Juggling act is another new element. Wearing
illuminated costumes, the jugglers will astound audiences with
their skills.
# # #
Read the full article here:
< http://www.asiatraveltips.com/news11/308-ZAIA.shtml >
{SOURCE: AsiaTravelTips.com}
Cirque du Soleil... Gift Card?
{Aug.31}
-------------------------------------------------
The Cirque du Soleil Gift Card - A spectacular gift idea
coming soon!
Introducing the Cirque du Soleil Gift Card*! Ideal for
just about any occasion; a birthday gift, a mother's day gift
or a father's day gift, a wedding gift, a graduation gift, an
employee recognition, and more!
Applicable towards Cirque du Soleil show tickets, the Cirque
du Soleil Gift Card* is guaranteed to turn out to be your
most spectacular gift.
Be notified of the release of the Cirque du Soleil Gift Card
by joining Cirque Club (it's free)!
< http://www.cirqueclub.com/ >.
* Applicable only to U.S. show ticket purchases exclusively
at www.cirquedusoleilgift.com.
{SOURCE: Cirque du Soleil}
=======================================================================
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:
Sevilla, ES -- Sep 7, 2011 to Oct 16, 2011
Paris, FR -- Nov 4, 2011 to Jan 8, 2012
Barcelona, ES -- Jan 19, 2012 to Feb 12, 2012
Amsterdam, NL -- Mar 30, 2012 to Jun 3, 2012
Gijón, ES -- Jul 25, 2012 to Aug 26, 2012
Zurich, CH -- Sep 7, 2012 to Oct 14, 2012
Antwerp, BE -- Nov 2, 2012 to Dec 23, 2012
Koozå:
Osaka, JPN -- Aug 4, 2011 to Nov 6, 2011
Nagoya, JPN -- Nov 23, 2011 to Jan 22, 2012
Fukuoka, JPN -- Feb 9, 2012 to Apr 1, 2012
Ovo:
Calgary, AB -- Sep 7, 2011 to Oct 9, 2011
Mexico City, MX -- Oct 30, 2011 to Nov 20, 2011
Santa Monica, CA -- Jan 20, 2012 to Mar 25, 2012
Portland, OR -- TBA
Brisbane, AU -- TBA
Sydney, AU -- TBA
Melbourne, AU -- TBA
Totem:
Toronto, ON -- Aug 11, 2011 to Oct 9, 2011
San Francisco, CA -- Oct 28, 2011 to Nov 27, 2011
London, UK -- Jan 6, 2010 to Feb 5, 2012
San Jose, CA -- Mar 2, 2012 to Apr 1, 2012
Atlanta, GA -- May 8, 2012 to Jun 17, 2012
Varekai:
São Paulo, BR -- Sep 15, 2011 to Nov 27, 2011
Rio De Janeiro, BR -- Dec 8, 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 5, 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
------------
Auckland, NZ -- Aug 25, 2011 to Sep 4, 2011
Russia & Beyond
----------------
Shanghai, CN -- Sep 21, 2011 to Sep 25, 2011
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
Kiev, UA -- Nov 27, 2011 to Dec 4, 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
Malmoö, SE -- TBA
Alegría:
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 Jan 8, 2012
Granada, ES -- Jan 11, 2011 to Jan 15, 2012
Bilbao, ES -- Jan 18, 2012 to Jan 22, 2012
Toulouse, FR -- Jan 25, 2012 to Feb 29, 2012
Nantes, FR -- Feb 1, 2012 to Feb 5, 2012
Lyon, FR -- Feb 23, 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
Manchester, UK -- Apr 4, 2012 to Apr 7, 2012
Glasgow, UK -- Apr 11, 2012 to Apr 15, 2012
Birmingham, UK -- Apr 18, 2012 to Apr 22, 2012
Dublin, IE -- Apr 25, 2012 to Apr 29, 2012
Hambgurg, DE -- May 30, 2012 to TBA
Hanover, DE -- Jun 6, 2012 to TBA
Nuremberg, DE -- Jun 13, 2012 to TBA
Quidam:
Hartford, CT -- Aug 31, 2011 to Sep 4, 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
Philadelphia, PA -- Nov 10, 2011 to Nov 13, 2011
Washington, DC -- Nov 16, 2011 to Nov 20, 2011
Fayetteville, NC -- Nov 23, 2011 to Nov 27, 2011
Greenville, SC -- Nov 30, 2011 to Dec 4, 2011
Hampton, VA -- Dec 7, 2011 to Dec 11, 2011
Worcester, MA -- Dec 14, 2011 to TBA
Toronto, ON -- Dec 20, 2011 to TBA
Dralion:
Duluth, GA -- Aug 31, 2011 to Sep 4, 2011
Tupelo, MS -- Sep 6, 2011 to Sep 8, 2011
Huntsville, AL -- Sep 10, 2011 to Sep 11, 2011
New Orleans, LA -- Sep 14, 2011 to Sep 17, 2011
Orlando, FL -- Sep 21, 2011 to Sep 25, 2011
Tallahassee, FL -- Sep 28, 2011 to Oct 2, 2011
Birmingham, AL -- Oct 5, 2011 to Oct 9, 2011
Gainesville, FL -- Oct 11, 2011 to Oct 13, 2011
San Juan, PR -- Oct 19, 2011 to Oct 23, 2011
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
Lafayette, LA -- Dec 6, 2011 to Dec 8, 2011
Bossier City, LA -- Dec 10, 2011 to Dec 11, 2011
Little Rock, AK -- Dec 13, 2011 to Dec 14, 2011
Montreal, QC -- Dec 18, 2011 to Dec 30, 2011
Quebec, QC -- Jan 3, 2012 to Jan 8, 2012
Kingston, ON -- Jan 11, 2012 to Jan 15, 2012
Michael Jackson THE IMMORTAL World Tour:
2011
----
Montreal, QC -- Oct 2, 2011 & Oct 3, 2011
Ottawa, ON -- Oct 7 & Oct 8, 2011
Hamilton, ON -- Oct 12 & Oct 13, 2011
Detroit, MI -- Oct 15 & Oct 16, 2011
London, ON -- Oct 18 & Oct 19, 2011
Toronto, ON -- Oct 21, 2011 to Oct 23, 2011
Winnipeg, MB -- Oct 26 & Oct 27, 2011
Saskatoon, SK -- Oct 29 & Oct 30, 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 & Nov 16, 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
2012
----
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 & Mar 3, 2012
Jacksonville, FL -- Mar 7, 2012
Raleigh, NC -- Mar 10, 2012
Charlotte, NC -- Mar 13, 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
Baltimore, MD -- May 5, 2012
Worcester, MA -- May 16 & May 17, 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
Chicago, IL -- Jul 20, 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 September 3-7
o November 2
2011 Added Performances:
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 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 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 September 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 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: $93.50
2011 Dark Dates:
o October 3
o December 1-12
2011 Added Performances:
o December 28th
o December 31st
ZAIA:
Location: Venetian, Macao (China)
Performs: Every Day, Dark: Wednesday
One to Two Shows Daily - Times Vary
2011 Ticket Prices (adult) / (child 2-11):
o VIP Seating: MOP$ 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-Peak / Peak 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 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 September 13-14
o November 8-12
2011 Added Performances:
o November 27th
o December 26, 31
--------------------------------------
VENUE - Venue & Seasonal Productions
--------------------------------------
IRIS:
Location ///
Kodak Theatre, Hollywood, CA (USA)
< http://www.cirquedusoleil.com/en/shows/iris/
tickets/los-angeles.aspx >
Performances ///
Times: Performances are held from Tuesday through
Friday at 8pm, Saturdays at 2pm & 8pm (with the
exception of Saturday December 24 at 1pm), and
Sundays at 1pm (with the exception of July 24 & 31
at 6:30pm) and 6:30pm. There are no performances on
Monday.
2011 Dark Dates:
o Septemeber 6, 20, 25, 27
o October 10-19
o November 24
o December 5, 6, 7, 25
Tickets ///
Preview Performances (July 21 - September 24):
o Category Premium - $203.00 USD
o Category 1 - $100.50 USD
o Category 2 - $78.00 USD
o Category 3 - $59.25 USD
oCategory 4 - $33.00 USD
Weekday Matinees:
o Category Premium - $253.00 USD
o Category 1 - $123.00 USD
o Category 2 - $93.00 USD
o Category 3 - $68.00 USD
o Category 4 - $43.00 USD
Saturday Matinee & All Evening Performances:
o Category Premium - $253.00 USD
o Category 1 - $133.00 USD
o Category 2 - $103.00 USD
o Category 3 - $78.00 USD
o Category 4 - $43.00 USD
ZARKANA:
Location ///
New York, NY -- Jun 9, 2011 to Sep 4, 2011
Madrid, ES -- Nov 9, 2011 to Jan 1, 2012
Moscow, RU -- Feb 4, 2012 to Apr 8, 2012
Performances ///
Full Schedule:
< http://static01.cirquedusoleil.com/en/~/
media/shows/zarkana/pdf/new-york-schedule.pdf >
2011 Dark Dates:
o June 13-15, 20-22, 27-28
o July 4, 11, 18, 25
o August 1, 8, 15, 22, 29
o September 4-5, 12, 19, 26
o October 3
=======================================================================
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
---------------------------------------
WATERWORKS AT "O" IN LAS VEGAS
{Aug.01}
-------------------------------------------------
"O" creates a world of surealism and romance
AT EVERY GIVEN POINT, THERE ARE AS MANY AS 30 PEOPLE IN THE 1.5-
MILLION-GALLON POOL THAT IS THE CENTERPIECE OF THE "O" THEATER.
An underwater stage may pose some difficulties for pulling off a
perfect show everytime, but with impeccable organization, the crew
behind "O" brings it all together. Created with the elegance of water
in mind "O" at Bellagio celebrates the beauty of this every-changing
element. Each act in "O" seems to move fluidly from one reality to the
next, and the stage itself continually shifts from water to land to
air, bringing a range of talents and performances to one single
seamless show. From a floating ship acting as a plateform for graceful
aerial maneuvers to a high dive situated an astonishing 60 feet above
the stage, diving acrobatics, swimming and daredevilry are
inextricably combined.
Eight of the divers in the pool are the equivalent of stagehands in
full scuba gear. There are "handlers", whose task is to make shure the
performers have access to air at all times; and safety divers,
outfitted with full face masks. Those masks are equipped with with
voice transmission and reception capability and are the main point of
contact for the underwater world.
At any given point, there are as many as 30 people in the 1.5-million-
gallon pool that is the centerpiece of the "O Theatre. Seventeen
synchonized swimmers, executing perfectly orchestrated movements in
tune to both the music and each other. These swimmers add an
unexpected component of dance to this water world. Suprisinglly, the
costumes in "O" are just as detailed as those in other Cirque du
Soleil productions, despite their submergence in water. Transforming
performers into frolicking zebras, macabre aquatic creatures or regal,
masked men in formal atire, the assemblage of characters align with
the surrealistic atmosphere, as they seem to appear from a dream.
Illustrating the beauty of performance art in all its forms, "O" is a
breathtaking example of the infinite possibilities of theater and the
imagination.
GERALDINE CAMPBELL - Reporter Insider magazine
GET A CLOSER LOOK AT IRIS
{Aug.02}
-------------------------------------------------
The synopsis
A poetic phantasmagoria inspired by the world of cinema IRIS explores
this magical medium, as it evolves from black and white to colour in a
world of shadows and light. IRIS transposes into a language of dance
and acrobatics all of cinema's splendor, inventiveness and, above all,
its sense of wonder.
The two young heroes - Buster and Scarlett - find themselves plunged
into a universe that brings to life a succession of cinematic genres.
Their escapades transport the spectator into a kaleidoscope of
movement, moods and images supported by a strong orchestral score
composed by Danny Elfman.
IRIS conjures up a place between motion and picture, light and sound,
that shifts constantly between reality and make-believe. Iris extends
the limits of acrobatics by offering acts of the likes of performance
acrobatics, hand-to-hand, contortion, trampoline, hand-balancing,
trapeze bungee and so much more. By combining dance, acrobatics, live
video, film footage and intractive projections, the show illustrates
both the mechanics of cinema and its extraordinary power to deceive
the eye.
Take a look at our exclusive photo gallery and be the first ones to
catch a glimpse of IRIS:
< http://www.cirquedusoleil.com/en/cirque-club/news/
2011/2011-08-04-iris-premiere.aspx >
KÀ MARVELS DISPLAYED AT COMIC-CON
{Aug.05}
-------------------------------------------------
At eye level and above, KÀ at MGM Grand Hotel & Casino is a show
unlike any other on the Las Vegas Strip. "How did they do that?"
frequently echoes from the audience, as spectators bear witness to
scenes crafted with precise choreography, daring acrobatics and a
flurry of movement.
The Massive Theatre
The KÀ Theatre measures a massive Nine Stories and with approximately
300 cues in the show, a completely choreographed show with-in-a-show
is a way to describe what goes on backstage. The adventure starts 51
feet below the stage in the "the pit", where swarms of 195 carpenters,
riggers, lighting technicians and crew members work together with the
precision of a Swiss watch.
The Seven Stages
As much a star of the show as its performers, the seven stages that
make up the performance space inside the KÀ Theatre appear as if from
nowhere and are used to create such varying environments as a beach, a
cliff, and a hideout for evil-doers. The main stage alone, referred to
as the "Sand-Cliff Deck" is an engineering marvel. The 80,000-pound,
50 foot long stage moves from the bottom of the pit, rotates 360
degrees and tilts past 90 degrees, almost reaching the top of the
theatre. One of the most memorable stunts involves a performer falling
nearly 60 feet at over 40 miles per hour - an ingenious combination of
some of the world's largest acrobatic nets and air bags make sure the
teeth-clenching fall always ends in a soft landing.
KÀ Special Appearance at San Diego Comic-Con
These death-defying stunts were witnessed in a totally new setting on
Comic-Con's opening night, Thursday, July 21st, with a dramatic
showdown on the outside walls of PETCO Park in San Diego. Especially
created for the occasion, the outdoor performance took place directly
across the street from the San Diego Convention Center and included a
display of dazzling 3-D projections.
Have a look at these amazing acrobatics:
< http://www.cirquedusoleil.com/en/cirque-club/news/
2011/2011-07-28-above-ka.aspx >
FLOODING ON VIVA ELVIS
{Aug.09}
-------------------------------------------------
It finally rained in Las Vegas, and we have the water to prove it.
While the cast was enjoying two weeks of rest and relaxation at the
beginning of July, the rest of Viva ELVIS got a taste of what of our
"O" family must feel like every day. Indeed, a very unlikely rainstorm
hit Las Vegas.
The temperature outside may have been in the 90s, but the rain came
down in torrents and the city definitely felt the after-effects.
Streets were flooded, trees toppled into house roofs and the Viva
ELVIS loading dock turned into a mini pool. Luckily, we had all of our
technicians ready and willing to get a little wet, and the water never
made it passed the loading dock door.
Some pants were unfortunately ruined, but really, who needs pants when
the weather is only going to jump back to 100 degrees in less than a
day? All in all, everyone made the most of it and worked hard to avoid
any damages. Our loading dock got an impromptu cleaning and our
technicians got a little impromptu shower.
Take a look at our exclusive photo gallery and see the crew of Viva
ELVIS under-water!
< http://www.cirquedusoleil.com/en/cirque-club/news/
2011/2011-08-05-viva-elvis-flood.aspx >
EXCLUSIVE NEW VIDEOS FROM ZARKANA
{Aug.12}
-------------------------------------------------
Get ready for some exclusive behind-the-scenes footage of Zarkana!
With these three new Zarkana videos, see firsthand the ins and outs of
working on such an awe-inspiring creation.
Pushing Back Acrobatic Limits - Zarkana gravity-defying acrobatic
acts: Philippe Aubertin, Head Coach, reveals just how much the limits
of acrobatics have been pushed back for Zarkana.
< http://www.cirquedusoleil.com/en/cirque-club/news/
2011/2011-08-05-zarkana-videos/zarkana-acrobatic-limits.aspx >
Zarkana - A Taste of the Strange: Meet, Ann-Marie Corbeil, Artistic
director on Zarkana, explains the different inspirations of this odd
experience.
< http://www.cirquedusoleil.com/en/cirque-club/news/
2011/2011-08-05-zarkana-videos/zarkana-surreal.aspx >
Technical Scope of Zarkana: Dave Churchill, Production Technical
Director, talks about the sheer scope of the technical difficulties
and prowess involved in bringing Zarkana to life.
< http://www.cirquedusoleil.com/en/cirque-club/news/
2011/2011-08-05-zarkana-videos/zarkana-big-technical.aspx >
Read the original article here:
< http://www.cirquedusoleil.com/en/cirque-club/news/
2011/2011-08-05-zarkana-videos.aspx >
LA NOUBA WELCOMES TWO EXCITING ACTS
AND ITS 8 MILLIONTH VISITOR!
{Aug.15}
-------------------------------------------------
La Nouba performing at the Walt Disney World Resort in Florida has
recently added two acts to its unforgettable story. Inspired by the
playfullness of childhood, a juggling act aided by a green bird,
features a juggler throwing balls, hoops and clubs in the air in
unprecedented numbers at amazing speeds. This juggler is considered
the best in the world!
And also, to start off the show, a new opening scene with a thrilling
feat involving skipping rope sets the stage for what's to come. This
act gives way to vibrant dance, acrobatics and a steady stream of
solo, duo and group jumps and formations. Two skippers combine artful
moves, exceptional agility and impressive speed. The Skipping Ropes
act brings a new dimension and high energy to the opening of the show.
The speed of their movements is truly unbelievable.
Gabi de Mello Costa - Reporter Insider magazine
Read the original article here:
< http://www.cirquedusoleil.com/en/cirque-club/news/
2011/2011-08-10-lanouba-8million.aspx >
LOVE AT FIRST SIGHT: AN ACROBATS JOURNEY
FROM THE BIG TOPS TO THE BIG TIME
{Aug.19}
-------------------------------------------------
It's hard not to fall in love with The Beatles LOVE at The Mirage.
Cirque du Soleil has certainly engraved its brand on the Strip with
this crowd pleasing and critically acclaimed show based on the
discography of The Beatles. LOVE manages to pay homage to the music of
the famous four Brits through the show's soundtrack while creating a
dynamic, original story full of war, heartbreak and - of course -
love.
On Board From the Very Start
One key performer in LOVE is Katya, whom you can find defying gravity
in numbers such as Something and Here Comes the Sun. As one of LOVE's
original cast members, Katya has been part of the action since Cirque
du Soleil built this show from the ground up back in 2005. "I feel
very priviledged to be a part of LOVE," Katya says "It has been voted
best show in Las Vegas for many years in a row. People from all around
the world come to see it and be part of this unique show that brings
The Beatles' music - songs we all know and love - to life on stage."
Born for the Circus
The opening of LOVE was hardly Katya's first time on stage. The circus
veteran has been in the business since she was practically in diapers,
performing as Snowflake in the Great Moscow Circus at two and a half
years old. Despite being the youngest cast member, she relished her
time onstage. "I think that performing was simply in my blood," she
says "I am the third generation of a great family of Russian circus
performers. I grew up in the circus world, and it's what I knew best
so it seemed like I was destined to follow the family tradition."
For the Long Run
Katya joined Cirque du Soleil in 1990 and was part of the first North
American Tour for Nouvelle Expérience, which had stoped in Vegas
inside the big top in The Mirage Parking lot. Since then, the company
- and Katya - have come a long way, giving a new spin on the idea of
the traditional three-ring circus. "Cirque was one of the first in
North America to change the image of circus to an innovative
theatrical experience." Katya says. "I believe this is what led to
Cirque's huge sucess. They are never afraid to push back the
boundaries and bring performance to a new level, and LOVE is the
perfect example of this."
SHARON KEHOE - Reporter Insider magazine
Read the original article here:
< http://www.cirquedusoleil.com/en/cirque-club/news/
2011/2011-08-15-love-at-first-sight.aspx >
QUIDAM: ORIGINAL COSTUME SKETCHES
{Aug.22}
-------------------------------------------------
Quidam turned 15 this year! This original production inspired by
surrealist painters such as Delevaux and Magritte was the first to use
everyday clothes into its acrobatic acts. This poetic and meaningful
examination of our own world inspires people to dream and embrace
their individuality. To pay tribute to the original and street
inspired costumes created by Dominique Lemieux, we're opened the
archive coffers and offer a look on the original costume drawings and
the costumes that still perform today.
Read the original article here:
< http://www.cirquedusoleil.com/en/cirque-club/news/
2011/2011-08-10-quidam-costume-sketches.aspx >
ORIGINAL SALTIMBANCO COSTUME SKETCHES
{Aug.24}
-------------------------------------------------
Saltimbanco is almost 20 years young! This colourful and imaginative
show has been touring the world briging spectators to experience an
allegorical and acrobatic journey into the the heart of the city. The
costumes are as young and vibrant now as they were first created by
Dominique Lemieux. The craftmasnhip is intricate as nearly every
caracter has his own unique costume. The inspiration was drawn from
city life, urbanity and inter-woven relationships. The paradoxes of
urban life is revealed in these unique costumes.
Check out the Original Saltimbanco Costume Sketches at CirqueClub:
< http://www.cirquedusoleil.com/en/cirque-club/news/
2011/2011-08-25-saltimbanco-costumes.aspx >
MJ IMMPORTAL TOUR CHOREOGRAPHERS ANNOUNCED!
{Aug.26}
-------------------------------------------------
A team of 10 diverse choreographers, some of whom worked alongside
Michael Jackson, will contribute their distinctive talents and
understanding of Michael's unique creative choreography to the new
Cirque du Soleil show Michael Jackson The Immortal World Tour in
collaboration with the show's Writer and Director Jamie King. The
world premiere of this unique tribute to Michael Jackson's musical
legacy will take place in Montreal on Sunday, October 2, 2011 at Bell
Centre and the show will then travel throughout North America and the
rest of the world.
These high-profile choreographers all have an impressive list of
credits to their name and have, in addition to the work some did with
Michael, they have all worked with many other international stars in
the music industry.
The team of choreographers is comprised of (see bios below):
o) Travis Payne
o) Rich and Tone Talauega
o) Debra Brown
o) Napoleon and Tabitha Dumo
o) Jamal Sims
o) Cloud and Tamara Levinson
o) Mandy Moore
"The creative force of 10 cutting-edge choreographers brings
complexity and depth as we work together with the performers to bring
Michael Jackson's music to life," explains Chantal Tremblay, Director
of Creation of Michael Jackson The Immortal World Tour.
With the addition of the 10 choreographers, the creative team of
Michael Jackson The Immortal World Tour is the largest ever for a
Cirque du Soleil production.
The other creators include:
Guy Laliberté - Creative Guide
Gilles Ste-Croix - Creative Guide
Chantal Tremblay - Director of Creation
Jamie King - Writer and Director
Carla Kama - Associate Show Director
Kevin Antunes - Musical Designer
Greg Phillinganes - Music Director
Mark Fisher - Set Designer
Michael Curry - Props and Scenic Designer
Zaldy Goco - Costume Designer
Germain Guillemot - Acrobatic Performance Designer
Scott Osgood - Rigging and Acrobatic Equipment Designer
Olivier Goulet - Projection Designer
Martin Labrecque - Lighting Designer
François Desjardins - Sound Designer
Florence Cornet - Makeup Designer
About the show
A riveting fusion of visuals, dance, music and fantasy that immerses
audiences in Michael's creative world and literally turns his
signature moves upside down, Michael Jackson The Immortal World Tour
unfolds Michael Jackson's artistry before the eyes of the audience.
Aimed at lifelong fans as well as those experiencing Michael's
creative genius for the first time, the show captures the essence,
soul and inspiration of the King of Pop, celebrating a legacy that
continues to transcend generations.
The Immortal World Tour takes place in a fantastical realm where we
discover Michael's inspirational Giving Tree-a wellspring of
creativity that illuminates for the audience Michael's thoughtful
inner world, offering new paths to express his love for music, dance,
fairy tale and magic, and the fragile beauty of nature.
The underpinnings of The Immortal World Tour are Michael Jackson's
powerful, inspirational music and lyrics-the driving force behind the
show-brought to life with extraordinary power and breathless
intensity. Through unforgettable performances Michael Jackson The
Immortal World Tour underscores Michael's global messages of love,
peace and unity.
CHOREOGRAPHERS
MICHAEL JACKSON - THE IMMORTAL WORLD TOUR
Travis Payne
Twice Emmy-nominated choreographer, director, and producer Travis
Payne is an acknowledged innovator of screen, stage, and song. Born
and raised in Atlanta, Payne's work encompasses some of the most
influential visual and musical moments of contemporary pop culture,
created for and performed by global entertainment icons from Michael
Jackson, Beyonce, Shakira, and Usher to Lady Gaga, Jennifer Lopez, The
Pussycat Dolls' Nicole Scherzinger, and Madonna. Payne was a
collaborator on and off for more than 15 years with the late Michael
Jackson. He served as the co-choreographer with Michael as he prepared
for his series of sold-out shows in London in July 2009 and was the
associate producer on the award winning film, Michael Jackson's This
Is It, documenting those rehearsals. Payne began his career as a
dancer on Janet Jackson's Rhythm Nation 1814 World Tour and was soon
choreographing for Jackson and En Vogue as well as Madonna, Sting,
Lenny Kravitz, Paula Abdul, Faith Hill, and Ricky Martin. In addition
to his Emmy Awards, Payne is a two-time recipient of the Music Video
Producers Association Award for Outstanding Achievement in
Choreography, an Obie Award winner, and a four-time winner of the MTV
Video Music Award for Best Choreography. This is his first
collaboration with Cirque du Soleil.
Rich and Tone Talauega
Rich + Tone Talauega are two of the most sought after creative
directors, choreographers, producers, and directors in today's film,
music, TV and commercial industries. As teenagers, Rich + Tone were
discovered by Michael Jackson's choreographer while free-styling at a
club in Oakland, California. Within months of moving to Los Angeles,
Rich + Tone toured with both Diana Ross and Michael Jackson. They
continued to work with Michael over the years on various projects and
were the choreographers chosen to work on the short film for
"Hollywood Tonight" from the posthumous Michael Jackson album,
Michael. Rich + Tone have proven themselves as world class
choreographers, having multiple MTV Award nominations, as well as an
Emmy nomination for Best Choreography. The two are renowned for their
diversified abilities and unique style. Their elite echelon of clients
includes Madonna, Chris Brown, Jennifer Lopez, Gwen Stefani, and
Christina Aguilera to name a few. They have also choreographed for
multiple motion pictures, which include Step Up 3D, StreetDance
Together, Take the Lead. As Producers they brought light to the dance
form Krumping in the critically-acclaimed documentary Rize. Now with
an established production company they are actively taking on new
projects and broadening their horizons. Rich + Tone will be part of a
Cirque du Soleil production for the first time.
Debra Brown
Debra Brown is world renowned for her unique choreographies blending
acrobatics and dance. She joined Cirque du Soleil in 1987 as a
choreographer for We Reinvent the Circus and went on to choreograph
the shows Nouvelle Expérience, Saltimbanco, Alegría, Mystère, Quidam,
"O", La Nouba, Corteo, one act in Zumanity, ZED and Zarkana. She has
also worked with artists and groups from a wide variety of disciplines
including the 1990 Festival Mondial du Cirque de Demain (Paris), the
John Corigliano's opera The Ghosts of Versailles, presented at the
Metropolitan Opera in New York and Wagner's Ring Cycle, put on by the
Lyric Opera of Chicago. In 1994, Debra created and produced Apogée, a
50-minute trampoline-based ballet which premiered in Toronto and was
also presented in both Los Angeles and San Francisco at "Passport
'96," an AIDS benefit hosted by Elizabeth Taylor and Magic Johnson. In
1995, she worked with Luciano Pavarotti on the Metropolitan Opera's
production of La Fille du Régiment (The Daughter of the Regiment) in
New York. Debra also choreographed Aerosmith's Jaded video and
energetic performance for the American Music Awards in 2001, as well
as Madonna's Drowned world tour. Debra has worked with major musical
acts such as Shakira, Wyclef Jean, Céline Dion and Madonna. Her film
work includes Catwoman, Van Helsing and Barney's Great Adventure. She
received the Innovative Choreography Award in honour of her
exceptional contribution to choreography and dance at the 14th Bob
Fosse Awards in Los Angeles in 1997. In 2002, she received an Emmy
Award for her choreography of an act created by Cirque du Soleil for
the Academy Awards.
Napoleon and Tabitha Dumo
Napoleon and Tabitha Dumo have contributed their choreography and
directing talents to every genre of the entertainment industry. They
have been featured choreographers for multiple seasons on the hit TV
show So You Think You Can Dance, for which they received an Emmy
nomination. They were the Supervising Choreographers of America's Best
Dance Crew on MTV for multiple seasons and directed the live US tour.
Their work can also be seen on American Idol, the FOX show Mobbed, as
well as the feature film Cobu. Other credits include Christina
Aguilera's Back to Basics Tour, Céline Dion's Taking Chances Tour, as
well as the 2009 Emmy Awards and the season premiere of The Ellen
DeGeneres Show. They have also worked with such artists as Jennifer
Lopez, Ricky Martin and Carrie Underwood. The Dumos travel the globe
as master teacher for the dance conventions, Monsters of Hip Hop,
Shock and Coastal Dance Rage, teaching and inspiring the next
generation of dancers. They are contributing choreographers for Cirque
du Soleil's Viva Elvis and have been invited back for Michael Jackson
THE IMMORTAL World Tour.
Jamal Sims
Jamal Sims has an impressive list of credits as artistic director and
choreographer in many areas including film, television, music videos,
tours and live shows. He has worked with Britney Spears (Circus tour),
Madonna (Sticky and Sweet tour), the Spice Girls and Céline Dion,
among others. In film and television, Jamal has collaborated on
productions that include Step Up, Step Up 2 the Streets and Step Up
3D, Dancing with the Stars (Miley Cyrus), Dancing with the Stars -
Macy's Stars of Dance, Hannah Montana, Get Smart, Hairspray, Footloose
(2011 release) and the 82nd and 83rd Annual Academy Awards. He has
also directed and choreographed one episode of the Web series LXD and
has contributed his talent to music videos for Austin Brown, John
Travolta, Enrique Iglesias, Jennifer Lopez and many more. Jamal is
working on a Cirque du Soleil show for the first time.
Daniel "Cloud" Campos
Internationally renowned dancer, choreographer, actor, and director
Daniel "Cloud" Campos is one of the industry's top artists. A master
of the art of movement, Daniel's ability to transcend space and time
with his effortless prowess has made his work both captivating and
unique. A Florida native, Daniel began his early dance career as
member of the Al Fuentes High Voltage Extreme Acrobatic Dance Team.
Recognized for his work with Madonna (The Re-Invention Tour,
Confessions Tour, Live 8 and Live Earth), Daniel has worked with
several high profile artists such as Shakira, Mariah Carey, Paulina
Rubio, Jennifer Lopez, and Chris Brown. He has numerous film and
television credits including Step Up 3D directed by John Chu, Grace
starring Debbie Allen, Bolden! starring Jackie Earl Haley and Anthony
Mackie, and The Muppets starring Jason Segel and Amy Adams. Commercial
and print credits include works for several national campaigns. He is
also a member of the world famous dance crew Skills Methodz. As a
director, Daniel has made his mark as a rising talent. He has directed
and co-directed several short films including the award-winning short
Heaven Awaits (2005 Filmerica Challenge: Best Cinematography, Best
Editing, Best Audio, Best Editing, Best Horror Film, and the 2005
Grand Prize). Michael Jackson THE IMMORTAL World Tour will be Daniel's
first collaboration with Cirque du Soleil.
Tamara Levinson
Born in Buenos Aires, Argentina, Tamara Levinson is one of the
highest-ranked American rhythmic gymnasts in history. Although her
competitive career was relatively short, she influenced a generation
of up-and-coming U.S. performers. Levinson then transferred her dance
skills to the New York theatre scene, where she has performed in many
different shows including the popular off-Broadway productions
Fuerzabruta and De La Guarda. She has also danced for several famous
hip-hop musicians. Her credits include Madonna (Drowned, Confessions
and Re-Invention world tours), Gwen Stefani and Avril Lavigne. She was
recently inducted into the USA GYMNASTICS hall of fame. Michael
Jackson THE IMMORTAL World Tour will be her first collaboration with
Cirque du Soleil.
Mandy Moore
Two-time Emmy Award nominee Mandy Moore is a world-class director,
choreographer and dancer best known for her ground-breaking work on
the global television hit So You Think You Can Dance. Mandy's
contemporary and jazz choreography has been performed on television,
in film and on concert and theater stages around the world. Her long
list of credits include: Did You Hear About The Morgans with Hugh
Grant, Austin Powers with Mike Meyers, American Idol, The Drew Carey
Show, Malcolm in the Middle, That '70s Show, Dancing With The Stars,
So You Think You Can Dance (where she also appears as a Guest Judge),
Nickelodeon's Fresh Beat Band, Céline Dion's Taking Chances concert
tour and the Los Angeles Ballet's innovative New Wave LA program.
Mandy also directed and choreographed a crowd-pleasing theater
production of The Wedding Singer and she continues to teach in Los
Angeles at Edge Performing Arts Center and internationally for the
JUMP dance convention, private studios and independent performers.
Mandy Moore is choreographing for Cirque du Soleil for the first time.
ORIGINAL DRALION COSTUME SKETCHES
{Aug.29}
-------------------------------------------------
Dralion has completed over 4000 shows in its 11 year existence! Over 7
million spectators have enjoyed its unique blend of eastern and
western influences. A driving force behind the show rests upon Eastern
philosophy's quest to achieve the delicate balance between human and
nature. The primary inspiration sources for the costumes were drawn
from China, India and Africa. Each of the four elements and its
associated family are represented by their own unique color. Blue is
identified with air, green symbolizes water, red is for fire, and
ochre represents the earth. We invite you to take a look at the
original sketches Designer François Barbeau and the costumes that
still perform to this day.
Check out the original costume sketches at CirqueClub:
< http://www.cirquedusoleil.com/en/cirque-club/news/2011/
2011-08-25-saltimbanco-costumes.aspx >
---------------------------------------------------
NETWORKING: Cirque on Facebook, YouTube & Twitter
---------------------------------------------------
---[ ALEGRIA ]---
{Aug.17}
Thank you North America! 752 shows in 90 cities and many
beautiful memories which we will cary with us on the road
ahead.
PIC [1] /// < http://photos-h.ak.fbcdn.net/hphotos-ak-ash4/
296327_10150337596725746_38543815745_9539648_
2657028_s.jpg >
{Aug.05}
30 fantastic photos of our training and opening night in
Charlotte, NC!
LINK /// < http://www.charlotteobserver.com/2011/
08/03/2501642/alegria.html >
---[ CIRQUE DU SOLEIL ]---
{Aug.29}
SAFEWALLS, an art project curated by Cirque du Soleil.
FOTO [7] /// < http://www.facebook.com/media/set/?s
et=a.10150207785347501.376589.144074117500&type=1 >
---[ DRALION ]---
{Aug.22}
Those accustomed to the usual look and feel of a Cirque du
Soleil production might be surprised by the companys
Dralion. It returns next week to Atlanta, with an openly
gay lead vocalist in Cristian Zabala.
According to Zabala, Dralion differs greatly from other
Cirque productions, in more ways than simply not being under
a traditional tent. It is Cirques 12th traveling show and
perhaps its most divisive. The show focuses on a Chinese
circus/acrobatics element. Zabala promises lots of colors
which are used to represent the elements of the earth
and notes, this is what Cirque does best combine
styles.
Zabala has been with the company for nine years and has
performed in a variety of Cirques signature shows. His
first was Alegria. However, he much prefers singing than
the gymnastics and acrobatics he has done in the past, since
it is easier on his body and requires less rehearsal.
In Dralion, Zabala is the lead vocalist in the large cast
of singers and performers, all from around the world.
Born in Argentina, he has found a home as an openly gay man
in the company. He himself came out at an early age and
views himself fortunate in that aspect.
Everyone was accepting I was very gay when I was a kid.
It was very obvious, he laughs.
{Aug.30}
Good morning Atlanta! Stay tuned as Stacey Elgin from Good Day
Atlanta Road Warrior is visiting Dralion in Gwinnett Arena on
Wednesday, August 31st! Don't miss Stacey trying the Aerial
Hoop and Trampoline!
LINK /// < http://www.myfoxatlanta.com/subindex/
good_day_atl/road_warrior >
---[ LA NOUBA ]---
{Aug.01}
La Nouba is Voted as Best Entertainment Experience by Orlando
Magainze
LINK /// < http://www.facebook.com/media/set/?
set=a.10150250650324902.330566.16315569901&type=1 >
{Aug.16}
We Celebrate our 6,000 performance!!
PHOTO [25] /// < http://www.facebook.com/media/set/?
set=a.10150262590424902.334391.16315569901&type=1 >
---[ MJ THE IMMORTAL ]---
{Aug.03}
Ladies! Get your EXCLUSIVE Michael Jackson THE IMMPORTAL World
Tour limited-edition tee now (it won't be sold at the show!)
BONUS: Facebook fans get 10% off with this coupon code;
MJ10CDS.
LINK /// < http://on.fb.me/nxf5BU >
{Aug.08}
Hear what Zaldy Goco, designer, has to say about his experience
in making the costumes for Michael Jackson The Immortal World
Tour and catch a glimpse of what he is up to...
LINK /// < http://cirk.me/oeOOO6 >
{Aug.09}
Stay hydrated this summer with your EXCLUSIVE Michael Jackson
THE IMMORTAL World Tour limited-edition reusable bottle -
available exclusively online for a limited time (it won't be
sold at the show!) BONUS: Facebook fans get 10% off with this
coupon code: MJ10CDS.
LINK /// < http://on.fb.me/nxf5BU >
{Aug.10}
Production Journal Day 1
LINK /// < http://youtu.be/93Jg1UeP0CA >
{Aug.11}
Production Journal Day 2 - Greg Phillinganes runs into Kevin
Antunes, Musical Designer for the show. They talk about how
they're working together to blend Michael's voice with the live
band for fans to experience something they have never heard
before.
LINK /// < http://www.youtube.com/watch?v=hv9DAiZ5e64 >
{Aug.12}
Production Journal Day 3 - Greg Phillinganes introduces Jory
Steinberg, background singer on the show. Sporting a vintage
Michael Jackson t-shirt, Jory, shares a bit about herself and
her return "home" to Canada to join the show.
LINK /// < http://www.youtube.com/watch?v=YlteCZY1Cn8 >
{Aug.15}
Meet some of the cast from Michael Jackson THE IMMORTAL World
Tour by Cirque du Soleil as they explore the streets of
Montreal
LINK /// < http://www.vimeo.com/25303373 >
{Aug.16}
Production Journal Day 4 - In today's installment, Kevin
Antunes gives us a glimpse of the studio and sound gear
assembled especially for him to work creating the 360' surround
sound for the show, from his unprecedented access to Michael
Jackson's master recordings.
LINK /// < http://www.youtube.com/watch?v=x6XS0xLV0zM >
{Aug.17}
Production Journal Day 5 - Greg Phillinganes is excited to
share that, for the first time, hornes will be part of a
Michael Jackson band. Saxophonist Mike Phillips and trumpeter
Keyon Harrold give us a little sample of what they can throw
down.
LINK /// < http://www.youtube.com/watch?v=p7gxEZdNe14 >
{Aug.18}
Production Journal Day 6 - Next up in our series: Kevin Antunes
elaborates on how his work and the work of Musical Director
Greg Phillinganes, along with the live band, blend together to
make the show.
LINK /// < http://www.youtube.com/watch?v=MIZmb9GS2LU >
{Aug.19}
Production Journal Day 7 - An excited Greg Phillanganes coming
to you from "eighty four hundred" (Cirque du Soleil Int'l
Headquarters' address) introduces three new band members: Tina
Guo, Fred White and Taku Hirano. Each share what they're
brining to the band's musical range.
LINK /// < http://www.youtube.com/watch?v=Wql4wV_jLv4 >
{Aug.22}
Production Journal Day 8 - Greg Phillanganes introduces 32-year
veteran drummer Jonathan "Sugar foot" Moffat who kicked-off his
professional career with Michael Jackson and the Jacksons
LINK /// < http://www.youtube.com/watch?v=-BSBcEKMJ_4 >
{Aug.23}
Production Journal Day 10 - Further insights from Kevin
Antunes, Musical Designer, for MJ The Immportal World Tour, on
working with the band for the show.
LINK /// < http://www.youtube.com/watch?v=PKAzYoUD2bM >
---[ MYSTERE ]---
{Aug.04}
It's Mystery Character Time: Writer/Director Franco Dragone
describes this part of Mystère this way: "Human dreams taking
flight, borne by the hopes of a new millennium." Who are they?
The rest of the description goes: "The pendulum movement
emphasizes that time continues but never stops passing. The
benefits outweigh the risks, for the adventure is the reward."
So, who are they? AERIAL HIGHBAR.
{Aug.23}
Mystère animation at Magic.
FOTO [14] /// < http://www.facebook.com/media/set/?
set=a.10150339243194919.391104.18155469918&type=1 >
---[ OVO ]---
{Aug.03}
Ovo performed live this morning on ABC7 Chicago's Windy City
LIVE - you can view the performance and listen to the interview
by Artistic Director Marjon Van Grunsven!
LINK /// < http://windycitylive.com/episodes/
Cirque-Du-Soleils-OVO/8286350 >
{Aug.23}
Backstage at OVO, Part 1:
LINK /// < http://www.youtube.com/watch?v=HAV-LD0STJ8 >
{Aug.26}
Calgary offers you the chance to win tickets and a backstage
tour on September 16th!
LINK /// < http://www.visitcalgary.com/cirque-du-soleil-ovo?
ref=home%2Ffeature%2Fcirque >
{Aug.29}
Cirque du Soleil's Grand Chapiteau began taking shape yesterday
in Calgary's Stampede Park for the big opening on September 7.
CTV Calgary was there!
LINK /// < http://calgary.ctv.ca/servlet/an/local/CTVNews/
20110828/CGY_cirque_ovo_110828/20110828/
?hub=CalgaryHome >
{Aug.31}
Calgary says hello to Cirque du Soleil's OVO
LINK /// < http://www.calgarysun.com/2011/08/28/
calgary-says-hello-to-cirque-du-soleils-ovo >
---[ QUIDAM ]---
{Aug.18}
Take a sneak peek at Quidam in Chocolate City!
LINK /// < http://www.abc27.com/video >
{Aug.19}
Review of Quidam in Hershey, PA by MODE Magazine
LINK /// < http://www.facebook.com/notes/harrisburgpa/
cirque-du-soleil-quidam-at-hershey-giant-
center-aug-18-21-2011/10150263588915994 >
---[ SALTIMBANCO ]---
{Special}
Behind the Scenes of Saltimbanco Webisode Series:
{May.03} Episode #1: "Australian Premiere"
VIDEO /// < http://www.youtube.com/watch?v=SCSFKD-jJNg >
{May.17} Episode #2: "Costume & Makeup"
VIDEO /// < http://www.youtube.com/watch?v=litMKf9Ej8A >
{Jun.03} Episode #3: "How Cirque Comes Together
VIDEO /// < http://www.youtube.com/watch?v=_Qo1WSaCwzs >
{Jun.23} Episode #4: "Life in Cirque"
VIDEO /// < http://www.youtube.com/watch?v=sh2rPmvEWHA >
{Jul.05} Episode #5: "The Creative Side of Cirque"
VIDEO /// < http://www.youtube.com/watch?v=MBVQ5U_9gUg >
{Jul.26} Episode #6: "The Music of Cirque"
VIDEO /// < http://www.youtube.com/watch?v=BQ9CCtuiD7M >
{Aug.03} Episode #7: "The Show Goes On"
VIDEO /// < http://www.youtube.com/watch?v=NSY5ewm49n8 >
{Aug.16}
An inside look at our Costume Wonderland
LINK /// < http://www.stuff.co.nz/entertainment/arts/
5441079/Dressing-the-Cirque-du-Soleil >
{Aug.23}
Cirque du Soleil's oldest running show comes to NZ
LINK /// < http://www.3news.co.nz/Cirque-du-Soleils-longest-
running-show-comes-to-NZ/tabid/368/articleID/
223082/Default.aspx >
{Aug.25}
Excellent review by the NZ Herald on Saltimbanco Opening Night
in Auckland!!!
LINK /// < http://www.nzherald.co.nz/entertainment/news/
article.cfm?c_id=1501119&objectid=10747490 >
{Aug.26}
Saltimbanco coming to Vector Arena
LINK /// < http://tvnz.co.nz/entertainment-news/saltimbanco-
coming-vector-arena-1-45-video-4367289 >
---[ TOTEM ]---
{Aug.11}
Beautiful Opening of TOTEM last night in Toronto!
FOTO [31] /// < http://www.facebook.com/media/set/?
set=a.250887594931938.67594.111798252174207&type=1 >
{Aug.11}
Review: News Hour New Cirque Show / Global Toronto
LINK /// < http://www.globaltoronto.com/video/new+cirque+
show/video.html?v=2087320423&p=5&s=dd#video >
{Aug.24}
Crystal Ladies live performance on Canada AM this morning!
LINK /// < http://www.ctv.ca/canadaAMPlayer/
index.html?video=521686 >
---[ VIVA ELVIS ]---
{Aug.02}
Here's a video trivia question from Kevin Owens, our head of
audio here at Viva ELVIS!
LINK /// < http://www.facebook.com/video/video.php
?v=10100754043612439 >
{Aug.04}
Here's the answer to Kevin's video trivia question about
speakers!
LINK /// < http://www.facebook.com/video/video.php
?v=10100756448577869 >
{Aug.06}
Check out the cover story and great photos in this week's Las
Vegas Magazine!
LINK /// < http://lasvegasmagazine.com/gallery-viva-elvis/ >
{Aug.16}
Pictures from Elvis Week at VIVA ELVIS
LINK /// < http://www.facebook.com/media/set/?
set=a.10150252451824109.324236.167136344108&type=1 >
{Aug.19}
Check out this behind the scenes video from our friends at
VEGAS.com
LINK /// < http://www.youtube.com/vegas#p/u/2/JTTnKt1VVDo >
---[ ZAIA ] ---
{Aug.11}
Hello ZAIA Fans!! This fanspage will be our official ZAIA
fanspage from September 2011. There will have some surprises on
the page by then!
LINK /// < www.facebook.com/ZaiaCirque >
---[ ZARKANA ]---
{Aug.03}
Zarkana premiere photos!
FOTO [33] /// < http://www.facebook.com/media/set/?
set=a.214342041951026.62362.139797212738843&type=1 >
{Aug.24}
Zarkana themed food and beverages around NYC
LINK /// < http://www.facebook.com/notes/zarkana-by-cirque-
du-soleil/zarkana-themed-food-beverages-around-
nyc/224885374230026 >
{Aug.30}
Get a free download today only of the Ralphi Rosario remix of
"Whenever" from our show at MP3.com!
LINK /// < http://cirk.me/ZRemix >
---[ ZUMANITY ]---
{Aug.08}
We recently asked some audience members to describe Zumanity
for us! Here's what they had to say!
LINK /// < http://www.youtube.com/watch?v=coUNSZVtpTc >
{Aug.16}
Sexy fun at the ZU
FOTOS /// < http://www.facebook.com/media/set/?
set=a.10150284805583847.354583.13931088846&type=1 >
{Aug.25}
Ever wanted a behind-the-scenes look at our sexy Midnight Bath
act? Here our very talented artists Willie and Agnes take Vegas
Minute's Denise Pernula on a wild ride in the tub!
LINK /// < http://www.youtube.com/vegas >
=======================================================================
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"}
o) Did you know it takes 1,450 gallons of fuel each year for the fire
acts?
o) Did you know each carousel horse in "O" weighs more than 900 lbs?
o) Did you know the clown house weighs more than 7,000 lbs?
o) Did you know that 1,800 towels are needed every night to do 2
performances of the show?
o) Did you know all the props in the show are driven by performers or
technicians? No tracks in the water are used to bring pieces on
and off.
o) Did you know that each performer in "O" has an average of 5
different looks they wear on stage? there are 3 to 5 copies of
each of the costume items. With 85 performers in the show, this
adds to thousands of costume pieces, wigs, masks, headpieces, etc.
{Dralion}
o) Over 5,000 meters (16,000 feet) of fabric were used in creating
Dralion's costumes. The fabrics come from regions around the
globe, including China, the United States, Italy, France, England
and Quebec.
o) To create the texture on the chest plate on the singer's Costume
in Dralion, bugs were glued on and then molded into different
shapes.
o) Dralion has close to 1500 costume pieces including shoes, hats and
accessories.
o) Over 300 pairs of shoes are cleaned and painted by hand every week
at Dralion.
{IRIS}
o) Did you know: around 2,000 brushes have been distributed to the 72
artists in IRIS to complete their make-up kits? That's 28 per
person!
o) IRIS features 8,300 square feet of floor surface, but that's the
tip of the iceberg.
o) Did you know that close to 50 people are involved in costume
creations for IRIS? They develop all of the 200 costumes needed
for the show.
o) All together, the costume team for IRIS worked around 70,000 hours
and they sewed more than one kilometer of fabric to deliver all
the costumes.
o) In order to prepare the space for the performances, IRIS required
digging 40 feet underneath Kodak Theatre to install massive stage
lifts.
o) Jean-Francois Bouchard, Director of Creation for IRIS, joined
Cirque du Soleil in 1998 to create the interior design of the
boutique connected to Cirque du Soleil's La Nouba theater in
Orlando.
{KA}
o) The Counselor's Son character has the most complex make-up
application, involving 33 steps and 8 different brushes, 4
sponges, and 1 powder puff.
o) Did you know the Sand Cliff Deck and Gantry Crane have a combined
weight of approximately 280,000 pounds? That's 140 tons!
{La Nouba}
o) La Nouba celebrated its 8 millionth guest on Saturday,
July 16, 2011 at 6:00pm
o) Did you know there are 10 bikes in La Nouba? 1 upside down bike,
1 blue bike on the stage during the high wire act, 1 penny
farthing on the high wire, 3 bikes for Les Cons (the fourth one
rides a scooter), 2 stunt bikes (mountain and BMX), 1 Little
Walker's mini bike AND 1 unicycle on the back wall.
{Mystere}
o) The glue used on the Chinese Poles to give the artists a better
grip when performing is made from 15 pounds of rosin rock and 8
bottles of castor oil melted together in a large pot. We go
through 90 pounds of rosin rock and 768 ounces of castor oil per
year!
o) 22 miles of bungee cord are used in the show.
{Quidam}
o) There are approx 250 costumes, 500 costume accessories and 200 to
300 shoes in Quidam.
o) Each Quidam artist has between 2 and 7 costumes
o) The Quidam tour travels with washers and dryers to allow the
wardrobe staff to care for the costumes. All costumes are washed
daily.
o) Eighty percent of the fabric used in Quidam's costumes is custom
dyed. These fabrics are usually white and are hand-dyed and
printed in custom colors in the Montreal costume workshop.
{The Beatles LOVE}
o) The Trains of Light, which are operated manually by technicians,
drive within inches of a 20 foot drop. To ensure safety, the
Trains have been fitted with a custom breaking system at the rear
that will automatically engage if it senses the front of the train
dropping off the stage.
o) The smallest prop in the show is Sgt. Pepper's whistle!
{Saltimbanco}
o) Most artists in Saltimbanco have three to five costumes each which
can include up to 12 individual pieces.
o) There are more than 80 different kinds of buttons that are used to
maintain the costumes on the Saltimbanco Arena tour.
o) Over 2,500 costume items travel with Saltimbanco from city to city
in more than 50 road cases and one complete van to bring
everything they need to destination.
o) There are more than 250 pairs of custom-made shoes for
Saltimbanco. Shoes for the Chinese pole act are repainted before
each performance.
{Viva ELVIS}
o) The drummers in our live band go through 7,550 drum sticks and
2,500 drum heads a year, while the guitarists use 7,000 guitar
strings every year.
{ZED}
o) Our high wire artist Pedro Carrillo holds an amazing Guinness
world record for "The most consecutive turns skipping with a rope
on a high-wire"
{ZUMANITY}
o) Did you know 136 yards of silk is required to make one of the
large red capes? We rotate capes for the show and nine are always
kept active. That means more than 1,200 yards of silk is needed to
keep the show running at any given time.
o) 3,460 hand strung beads are used for ONE Dance Bead costume!
o) 23 different types of stones for a total of 3,316 stones are used
on the bra cubs for the La Muerte bra!
------------------------------------
HISTORIA: Cirque du Soleil History
------------------------------------
* Sep.01.2003 -- Tapis Rouge CD released (BMG/CDS Musique)
* Sep.01.2003 -- "Parade of Colors" Book Published
* Sep.01.2010 -- Saltimbanco Arena opened Berlin, DE
* Sep.01.2010 -- Alegría Arena opened Kamloops, BC
* Sep.02.2009 -- Alegría Arena opened Albany, NY
* Sep.03.1987 -- Le Cirque Réinventé opened Las Angeles
* Sep.03.1993 -- Saltimbanco opened Boston
* Sep.03.2009 -- Ovo opened Toronto, ON
* Sep.03.2010 -- Quidam opened Lima, PE
* Sep.04.2002 -- Saltimbanco opened Brussels
* Sep.04.2008 -- Koozå opened Boston
* Sep.05.2005 -- Cirque held 5th Run Away with Cirque du Soleil 5k
Run and 1 Mile Fun Walk at Paseo Verde Park
* Sep.06.2005 -- "O" CD released in US (CDS Musique)
* Sep.06.2005 -- La Nouba CD released in US (CDS Musique)
* Sep.06.2005 -- Mystère (Live) CD released in US (CDS Musique)
* Sep.08.1985 -- 1984 Tour opened Montréal
* Sep.08.1989 -- Cirque Réinventé opened Santa Monica
* Sep.08.1995 -- Alegría opened Boston
* Sep.08.2005 -- Dralion opened Zurich
* Sep.08.2006 -- Corteo opened Boston
* Sep.08.2010 -- Saltimbanco Arena opened Munich, DE
* Sep.08.2010 -- Alegría Arena opened Victoria, BC
* Sep.09.1988 -- Cirque Réinventé opened Washington DC
* Sep.09.1993 -- Saltimbanco opened in Boston
* Sep.09.1999 -- Saltimbanco opened in Perth
* Sep.09.2005 -- Quidam opened Singapore
* Sep.09.2009 -- Alegría Arena opened Syracuse, NY
* Sep.09.2009 -- Name of CirqueVaudeville Released [Banana Shpeel]
* Sep.09.2010 -- OVO opened Washington, DC
* Sep.11.1990 -- Nouvelle Expérience opened San Jose
* Sep.11.2008 -- Quidam opened Barcelona, Spain
* Sep.12.1986 -- Le Magie Continue opened Toronto
* Sep.12.1997 -- Alegría opened Vienna
* Sep.12.2003 -- Varekai opened Los Angeles
* Sep.12.2005 -- Zumanity celebrated its 1000th performance
* Sep.13.1991 -- Nouvelle Expérience opened Chicago
* Sep.13.1996 -- Saltimbanco opened Zurich
* Sep.14.2001 -- Quidam opened Zurich
* Sep.14.2007 -- Alegría opened Curitiba, Brazil
* Sep.14.2010 -- Banana Shpeel opened San Francisco, CA
* Sep.15.1995 -- Saltimbanco opened Düsseldorf
* Sep.15.2002 -- Fire Within premiered in Canada [7:00pm EST/Global TV]
* Sep.15.2005 -- Name of "Cirque MGM" released - KÀ
* Sep.15.2008 -- Mystère celebrated 7,000th performance [9:30pm]
* Sep.15.2010 -- Saltimbanco Arena opened Milan, IT
* Sep.15.2010 -- Alegría Arena opened Tacoma, WA
* Sep.16.2004 -- Varekai opened Washington DC
* Sep.16.2008 -- Corteo opened Ottawa
* Sep.16.2009 -- Alegría Arena opened Amherst, NY
* Sep.16.2010 -- Koozå opened Calgary, AB
* Sep.17.1998 -- Alegría opened Zurich
* Sep.17.1998 -- Quidam opened McLean
* Sep.17.2009 -- Saltimbanco Arena Tour Begins in Europe
* Sep.17.2009 -- Saltimbanco Arena opened Stockholm, SE
* Sep.17.2009 -- Dralion opened Monterrey, Mexico
* Sep.17.2010 -- Varekai opened Zurich, CH
* Sep.18.2009 -- Quidam opened Brasilia, Brazil
* Sep.19.2002 -- Varekai opened Philadelphia
* Sep.19.2003 -- Saltimbanco opened Zurich
* Sep.20.1989 -- Cirque Réinventé opened Santa Monica
* Sep.20.2001 -- Saltimbanco opened Yokohama
* Sep.20.2003 -- Zumanity Gala Premiere (Previews End)
* Sep.21.2001 -- Saltimbanco opened in Yokohama
* Sep.21.2001 -- Alegría celebrated 2,500th performance [Brisbane]
* Sep.21.2003 -- Cirque wins Outstanding Nonfiction Program award
* Sep.21.2004 -- "Le Best of..." CD Released (CDS Musique)
* Sep.22.2002 -- Cirque lost Emmys (nominated Jul.18.2002)
Outstanding Variety, Music or Comedy Special - Alegría
Outstanding Choreography for 74th Academy
Awards - Debra Brown
* Sep.22.2005 -- Varekai opened Hartford
* Sep.22.2010 -- Saltimbanco Arena opened Zargoza, ES
* Sep.22.2010 -- Alegría Arena opened Spokane, WA
* Sep.23.1999 -- Dralion opened in Santa Monica
* Sep.23.2009 -- Saltimbanco Arena opened Helsinki, FI
* Sep.23.2009 -- Alegría Arena opened Rochester, NY
* Sep.24.2008 -- Cirque2009 tickets go on sale!
* Sep.25.2005 -- Corteo opened Minneapolis
* Sep.25.1996 -- Quidam opened in Santa Monica
* Sep.25.2002 -- Cirquedusoleil.com won four awards for its website:
"Best of Show", "Experience", "Content & Information",
"Experimental"
* Sep.25.2008 -- Varekai opened Vienna, Austria
* Sep.26.2002 -- Quidam opened Cleveland
* Sep.27.1994 -- Alegría CD released in Canada (RCA/Victor)
* Sep.27.2001 -- Dralion opened in Philadelphia
* Sep.27.2003 -- Cirque du Soleil HQ Open House
* Sep.28.2003 -- Cirque du Soleil HQ Open House
* Sep.28.2006 -- Quidam opened St. Louis
* Sep.29.2010 -- Saltimbanco Arena opened Granada, ES
* Sep.30.1997 -- Quidam opened Denver
* Sep.30.2009 -- Saltimbanco Arena opened Turku, FI
* Sep.30.2009 -- Alegría Arena opened State College, PA
* Sep.30.2009 -- Guy Laliberté, Cosmonaut!
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "The KÀ App for Android - a Quick Review"
By: Ricky Russo - Atlanta, Georgia (USA)
o) "CirqueCon Update #6 - We Have a Group Meal!"
By: Keith Johnson - Seattle, Washington (USA)
o) "Remembering ZED: A Timeless Evocation"
Part 1 of 4 - "The Meeting of Two Worlds"
By: Ricky Russo - Atlanta, Georgia (USA)
o) "Bhavsar Blogs in Gymnast Magazine" [EXPANDED]
A Special Collection from IG Online
o) "TOTEM Hits Toronto" [EXPANDED]
A Special Collection of Reviews in the Press
---------------------------------------------------------
"The KÀ App for Android - a Quick Review"
By: Ricky Russo - Atlanta, Georgia (USA)
---------------------------------------------------------
On Tuesday, August 17th, a tweet from Cirque du Soleil regarding a new
app resource came across my mobile phone that piqued my general
interest. Usually I ignore those messages because although Google's
Android is one of the most popular mobile phone platforms world-wide
now, Cirque du Soleil and its mobile partners seem to develop only for
the iOS platform, the platform for Apple's iPhone and iPad series of
devices. What, we on Android are second-class citizens? Not so! So
when this tweet suggested there was indeed a Cirque app now available
for the Android platform...
"@Cirque: We've got 3 options for KA apps now! iPad
(http://t.co/VTM3vUo), Android (http://t.co/VTM3vUo) & iPhone
(http://t.co/kH9cY5q)"
As an owner of an HTC EVO, I took quite an interest and downloaded the
app.
Here's what I found:
Hitting the Menu key on your phone brings up four options: SHARE THIS
APP, GENERAL SETTINGS, SEARCH and ACCOUNTS.
SHARE THIS APP gives you the option to shave via SMS, Twitter or
Facebook. SEARCH brings up a general search bar. ACCOUNTS will allow
you to sign-in to either your Facebook or Twitter profiles (no doubt
for ease of sharing), and it's relatively simple to set-up. And
GENERAL SETTINGS contains your basic operations, such as turning
on/off: push notifications, direct messaging, email updates, and
location services.
And if you happen to be on another page, the "Share this App" button
becomes HOME.
On the Homescreen you have: CIRQUE NEWS, VIDEOS, PHOTOS, FAN WALL,
ABOUT KA, KA CHARACTERS, QR SCANNER, MY PROFILE and CIRQUECLUB on the
first home screen, and TOP USERS, FAVORITES and COPYRIGHT on the
second home screen as options to choose from.
CIRQUE NEWS - is not what I expected at first blush. I thought perhaps
this would be a RSS feed from CirqueClub or some other aggregation
with Cirque-based headlines available to read. What it is, however, is
a tweetdeck featuring all tweets where Cirque du Soleil (@Cirque) is
mentioned, or tweets @Cirque themselves sends out into the
twitterverse. Options to select ALL TWEETS, OFFICIAL and MENTIONS
exist for further organization. Although just incorporating twitter
feeds, this is a nice feature to have if you don't have a Twitter
account.
VIDEOS - at the time of review, the video's section of the app only
has four options to choose from: "Inside KA at G4", "Make-Up
Tutorial", "Extreme Engineering" and "Trailer". The "Inside KA at G4"
option opens up two videos: "Airbag Training" and "Battle Wall".
"Make-up Tutorial" opens up a native video called "KA: All Made Up".
"Extreme Engineering" opens up a video on the engineering behind KA.
And "Trailer" is, of course, the official Cirque du Soleil trailer for
the show.
PHOTOS - this section offers a number of photo categories for you to
choose from, opening up your selection natively in the app:
CHARACTERS, CREATIVE STORYBOARDS, BACKSTAGE, LIVE AT MGM GRAND, and
SCENES FROM KA.
FAN WALL - is exactly what it sounds. Similar to the Facebook Wall,
where friends and family post comments about their general life, you
can do the same about KA right here through the app. There are a few
comments out there today and like the old CirqueClub forum,open to
any topic. Don't expect more than you'd see on an average Facebook
wall here.
ABOUT KA - takes us to a page full of text from Cirque du Soleil's
press release on the show, giving us a brief overview of the concept,
acts, plot and the company at large.
KA CHARACTERS - is a visual listing of the myriad of characters that
exist in the world of KA. Although laid out like a photo album (each
character is on one screen, with its name below), running your finger
over the picture will take you to another screen where the character's
motivation (aka description) is foretold. And, unfortunately, there is
a tab where you can leave comments about the character (much like the
Fan Wall).
QR SCANNER - is obviously to be used in conjunction with Cirque du
Soleil and the show KA; however, it is just a generic scanner option.
MY PROFILE - takes you to the before-mentioned profile options,
allowing you to connect with either your Facebook or Twitter accounts
(or both!).
CIRQUE CLUB - This is an option that takes you to an in-app page for
you to sign up for CirqueClub announcements via email, regrettably,
not a link to a mobile version of the Cirque Club site or an
aggregation of its content in-app. Of all the options available in the
app that had the most promise, this one was it, and there's just
nothing to it.
TOP USERS - is a section that breaks down the app's top users in
Daily, Weekly, Monthly and All Time categories. This is interesting
because users actually earn points for just about everything they do
in the app (so the more you do the more you earn) and when you fulfill
certain activities (like commenting, sharing and the like), users earn
specific badges (like Gowalla, FourSquare and GetGlue) that can also
be shared and displayed.
FAVORITES - is a place where all the topics you "hearted" are saved.
As I didn't "heart" any, there weren't any for me to see. But should
you choose to do so (no doubt earning you points and badges in the
process), they'll be displayed here.
COPYRIGHT - Last, but not least, the generic copyright page. It's so
generic I'm surprised anyone bothered to make it an option from the
home screen menus, but there you have it.
The application, developed by Mobile Roadie, can be currently found in
the Android Marketplace - it's 2.44 MB in size and is currently
sporting version 0.1.3.1.
It's free so if you have an Android-based phone, love KA and enjoy
interacting with the show as much as possible, this app is for you.
Enjoy!
---------------------------------------------------------
"CirqueCon 2011 Update #6 - We Have a Group Meal!"
By: Keith Johnson - Seattle, Washington (USA)
---------------------------------------------------------
Greetings, Passionates!
We want to thank everyone who took the time to respond to our poll
about where to eat. In an interesting turn (though perhaps not,
considering Cirque Passionates? lack of hesitation to spend money)
though we presented options at several different price points it
turned out the most expensive option was the most popular. So, as on
America's Got Talent, we will go with America's decision! More on
that below.
HAVE YOU GOT YOUR ROOMS/TICKETS - Our exclusive deals for tickets and
hotel rooms are still available, through the links we've sent to
members previously (see more about our deals at our website,
www.cirquecon.com ). Don't wait too much longer before reserving,
when the hotel reaches a certain occupancy level the offer will
expire.
ANNOUNCING OUR GROUP MEAL! - One of the highlights of CirqueCon is
when Cirque fans gather at a local eating establishment, enjoying a
meal and getting acquainted (or re-acquainted) with each other. It's
something that brings us together as a community. In looking for a
restaurant to hold our Group Meal, we looked at all the restaurants in
the Hollywood & Highland complex (www.hollywoodandhighland.com) as
well as the block surrounding it, providing several options at several
price points to you, our members, for input.
YOUR CHOICE?
------------
THE GRILL ON HOLLYWOOD
< http://thegrill.com/locations/the-grill-on-hollywood >
6801 Hollywood Boulevard, #407
Hollywood, CA 90028
323-856-5530
They are located on the fourth floor of the Hollywood & Highland
complex. The entrance to the Kodak Theatre is on the second floor.
HOW MUCH?
---------
PRICE - $59.00 EACH, $61.00 EACH VIA PAYPAL. This includes food,
beverage, gratuity and tax. (Instructions on how to reserve a space
below.)
THE FOOD?
---------
The menu is:
Starter:
Caesar Salad - romaine, parmesan cheese, garlic croutons, ceasar
dressing
Main Course (choose one of these):
o) Chicken Piccata - chicken breast medallions, lemon butter
caper sauce, chef vegetable
o) Charbroiled Atlantic Salmon - salsa fresca, chef vegetable
o) Charbroiled Skirt Steak - marinated in citrus juices, soy
sauce and special seasonings, chef vegetable
o) A vegetarian option available upon request
Dessert:
Fresh Baked Cobbler - whipped cream
Drink:
House Brewed Ice Tea, Coffee, Hot Tea or Soft Drink (Coke, Diet
Coke or Sprite). Refills are free. Beer ($6-7), wine ($9) or mixed
drinks ($8-11) are on your own.
We will be sitting in a glassed-off section of the restaurant near the
back (check out the ?360-degree virtual tour? on the website.
HOW TO PAY:
-----------
We accept Check, Money Order, International Money Order (in USD) and
PayPal. Note that due to PayPal's fee structure the cost will be
higher through PayPal than by other means.
** CREDIT CARD via PAYPAL. We have our PAYPAL account for those that
wish to pay via credit card. Please send $61.00 USD per person to
PAYPAL account Hollywood@cirquecon.com . Be sure to also advise us of
your entrée selection.
** By CHECK, MONEY ORDER, OR INTERNATIONAL MONEY ORDER (in USD).
Please send $59.00 USD per person. Be sure to also advise us of your
entrée selection. Checks should be made out and sent to:
Keith Johnson
31241 4th Avenue South
Federal Way, WA 98003-5203
DEADLINE: WEDNESDAY, NOVEMBER 23, 2010 (the day before Thanksgiving).
So there ya go. All of the major pieces of CirqueCon are now in
place: our Hotel, Ticket Deal and now Group Meal. Now we start the
countdown to another wonderful weekend!
Thank you again for believing in us.
In the meantime,
Live Passionately!
Keith, Lucy and Ricky
Your CirqueCon '11: Hollywood! Team
www.cirquecon.com
Hollywood@cirquecon.com
---------------------------------------------------------
"Remembering ZED: A Timeless Evocation"
Part 1 of 4 - "The Meeting of Two Worlds"
By: Ricky Russo - Atlanta, Georgia (USA)
---------------------------------------------------------
Shocking news hit the Cirque du Soleil fandom around Noon on Sunday,
July 24th- ZED, Cirque du Soleil's resident show in Tokyo, Japan would
cease operations and close as of December 31, 2011 - and it was the
proverbial shot heard around the world for Cirque fans. It was no
surprise to learn that ticket sales and attendance had plummeted since
the 2011 Tokoku earthquake and tsunami, and Oriental Land Company
(OLC), Cirque du Soleil's partner in Japan, said the decision to close
the show amounted to just that - low attendance and a bleak overall
outlook on the show's future.
Thankfully this will not be the last time we hear from the world of
ZED, as pieces of the show will be salvaged and used to upgrade VIVA
ELVIS and MYSTERE on the Las Vegas Strip. While we absorb the full
impact and meaning of this closure, and contemplate the knowledge that
we may never again see ZED staged whole, I'd like to take a moment to
reflect upon my experience with ZED and highlight the fascinating
characters and acts we'll now miss once the final curtain is called.
* * *
"Hey, I saw you guys running around before the start of the show...
what happened?"
With only a few moments to spare before the curtain would again rise
on ZED, Cirque du Soleil's then newest resident production in Tokyo,
Japan, my friend (and fellow Cirque du Soleil fan) Rich Alford and I
entered the theater complex on the afternoon of November 8, 2008 in
triumph, though huffing and puffing from the rather long and extensive
walk we took from inside this beautiful gem in Disney's resort crown,
located at 1-1 Maihama, Urayasu-shi, Chiba-ken - DisneySEA.
Tokyo DisneySEA, which is a take on DisneyLAND, opened next to Tokyo
Disneyland Park on September 4, 2001 at a cost of ¥338 Billion, and is
divided into seven "ports of call", or themed lands, containing a
number of unique as well as time-honored Disney attractions:
Mediterranean Harbor (offering the old-world charm of a romantic
southern European seaport as its backdrop), Mysterious Island (a very
foreboding, rocky and devoid place set within a South Pacific volcanic
caldera of the 1860s - "20,000 Leagues Under the Sea" and "Journey to
the Center of the Earth" attractions are here), Mermaid Lagoon (a
whimsical "under the sea" world of fun and play with Ariel, the little
mermaid), Arabian Coast (harking back 10 centuries to the mysterious
enchantment of Arabian Nights - "Sinbad's Seven Voyages", "Caravan
Carousel" and "Aladdin" are here), Lost River Delta (the foreboding
jungles of Central America in the 1930s on the shores of El Rio
Perdido, the Lost River' - "Indiana Jones and the Temple of the
Crystal Skull" and "Mystic Rhythms" attractions are here), Port
Discovery (the marina of the future as inspired by the futuristic
writings of Jules Verne as sseen from the 1800s - "StormRider" and
"Aquatopia" can be found here), and American Waterfront (which
recreates two distinct American harbors at the dawn of the 20th
Century - New York and Cape Cod; "The Tower of Terror" can be found
here.)
Styles, themes, attitude, atmosphere and ambiance of each land are all
richly invoked and distinctly themed to the likes I've never before
seen in a Disney Park. You'll literally lose yourself within it - I
know I have - and enjoyed every moment doing so, as if I were a kid in
a candy store! I could wax poetic about this park, and have on
multiple occasions in the past, but there just isn't time for that
here.
Getting back on point, we found ourselves at Tokyo DisneySEA, that
morning as hosts to a CirqueCon lunch for a table of eight patrons at
Magellan's, a fantastic exploration-themed restaurant under the golden
globe of Fortress Explorations, the citadel anchoring Mediterranean
Harbor on the foothills of Mount Prometheus, the park's signature
volcanic icon.
The atmosphere of the restaurant recalls the glory days of oceanic
explorers, with a deeply detailed décor that screams refinement, but
the food is distinctly western. CirqueCon held three tables for lunch
for the maximum accompaniment (eight), at three different times:
11:00am, 12:00pm and 1:00pm. Rich and I hosted a table of 8 at
11:00am, Keith hosted at Noon and Lucy at 1:00pm. Heather & Jim and
the Duval party made up our eight; it was a great time to socialize.
Rich and I chose the early table so we would be free to attend ZED's
early show, and once the hour struck Noon, we were on our way to the
Cirque du Soleil Theater as soon as we could say our goodbyes (likely
we'd not see many of these people again on this trip) and make our way
over.
But I'm getting ahead of myself.
CirqueCon - the Unofficial Gatherings of Cirque du Soleil Passionates
- is a fan-organized assembly of like-minded individuals who share a
singular passion: that of the Québécois circus arts.
Our humble story began with fans proposing a small gathering in 2004
during the Vancouver run of Quidam, a show which had just delighted
audiences throughout the Japan the year prior. Add a little ingenuity
and hard work by the fans, and a touch of folly from Cirque du Soleil
and viola - CirqueCon came to be. While the tale of our genesis is
somewhat more complicated than just a "coming together", since our
inaugural event we've made similar journeys across the continent
seeking out our favorite avant-garde circus whenever possible. It's a
drive which has taken us to a number of cities across two continents:
Vancouver (2004), Montreal (2005), Las Vegas (2006), Orlando (2007),
Tokyo (2008), Monterrey (2009), New York City & Montreal (2010) and
Hollywood (2011).
When the announcement that Cirque du Soleil was creating a new
resident show specifically crafted for and performed exclusively to
audiences in Japan fell upon the council chambers at CirqueCon (of
which I am a founding member), we knew exactly where our group was
headed in 2008: Tokyo!
Thus ZED, the name of this new creation, became the impetus for yet
another return to the Land of the Rising Sun.
Although the lunch at Magellan's was not the last official CirqueCon
outing of the weekend - most of the important activities having
occurred the day before - it was also not the last. The day before we
held a Meet & Greet at our Headquarters Hotel (the Tokyo Disneyland
Hilton) from 10:00a - 11:30a, allowing Passionates to mingle with one
another; followed by a Training Session/Q&A at the Cirque Theater from
2:30p - 3:30p, Inside we watched a rehearsal with members from the
artistic staff to explain what was going on (which wasn't necessary -
we know a flying trapeze when we see it!), but we did appreciate the
time spent with us answering our questions and pandering to our
curiosity about all things Cirque; then a Group meal at the Ikispari
Rainforest Café from 4:00p - 6:00p, set by ourselves in the "Cave"
room; ZED from 7:00p - 9:45p, a show that completely exceeded my
expectations; and lastly, a Group Photo with some of the cast and crew
atop the stage just after the show bows.
Good stuff!
Despite our hurried nature, as both Rich and I looked very much
forward to our second performance of the show (we, of course, attended
the official CirqueCon performance the previous evening), we paused in
the sprawling lobby only to compose ourselves before entering through
the portal gates and into the theater proper.
After gaining control of our heaving chests, we entered the theater,
spotting a number of our friends from various corners of the North
American continent - Wayne Leung from Ottawa, Canada; Rodolfo Elizondo
from Monterrey, Mexico; Heather Smith & Jim Strain from New York City,
USA and many, more. But what we never expected was to spot someone
sitting comfortably in our seats. With a quick glance at our tickets,
our worst fears were realized...
"Oh man, these are not our tickets!"
The billets issued to Rich upon arrival were not only not from the
show we had requested - today's 2:00pm performance - rather, they were
for the later 6:00pm time-slot, a time we couldn't see the show! They
weren't even in Rich's name!
With only a few short minutes before the start of the show we were at
a loss of what to do. Figuring out that we received the wrong person's
tickets, we dashed down to guest services to try and straighten things
out. Had we been in America, the urgency wouldn't be quite as
pressing, but here in Japan, where everything is virtually lost in
translation, what should have been a simple check at the box office
turned into a very stressful fiasco for all parties involved.
Unfortunately the theater folks did not understand our sense of
urgency - the show would be starting any minute and someone was in our
seats! - nor did they seem to comprehend we paid for tickets to that
particular showing.
"It's all sold out," we were advised, over and over.
We knew that, of course. That's why we bought tickets in advance.
With about a minute before curtain call and with the box office on the
phone to Kyoko Hasegawa (our friendly contact at Cirque Tokyo), we
dashed back into the theater advising them we were going to take a set
of secondary seats they offered us while it all got straightened out.
We weren't about to miss the opening of the show!
And we didn't... they found us another set of alternative seats, which
we took quickly, settling down to gaze over the white canvas that
keeps the world of ZED tightly wrapped.
TO BE CONTINUED...
Next time: we'll take a peek behind "the vortex" and discover a little
bit about ZED's performance space.
---------------------------------------------------------
"Bhavsar Blogs in Gymnast Magazine" [EXPANDED]
A Special Collection from IG Online
---------------------------------------------------------
Set to star in Cirque du Soleil's new Hollywood-themed show, world and
Olympic medalist Raj Bhavsar writes an exclusive blog for IG Online
with periodic behind-the-scenes updates. "IRIS: A Journey Through the
World of Cinema" begins July 21 with preview performances at the Kodak
Theatre at the Hollywood & Highland Center in Los Angeles.
PART 1
------
It's been a while since I've checked in with my beloved gymnastics
community, so I thought I would drop a note and let everyone know
where I have been channeling my passion lately.
In November of 2010, I left my hometown of Houston, Texas, and
embarked on a journey with Cirque du Soleil. The decision to do so was
made after analyzing all aspects of my life, many career options, and
by diving deep down to ask one of life's most important questions:
what are my most genuine passions? .
For me, one answer came quickly: gymnastics. As a 30-year-old retired
gymnast, I still had juice in the tank and found myself clocking into
the gym to play gymnastics. I am a physical person and love to
participate in all sports, but to me, there isn't another like
gymnastics. However, it wasn't the competition that I was still in
love with, nor had the desire to do. Throughout my career, it was the
feeling of doing gymnastics that I've loved the most. While I will
always miss competitive gymnastics and am grateful for all the
valuable life lessons it has taught me, I knew the time was right to
move on without totally relinquishing my physical talent.
I mentally toyed with the idea of Cirque for almost five years,
starting with my post-2004 season. I thought about retiring after the
2004 Olympics, but that decision never sat well with me, as I had
unfinished goals in the sport. Four years and an Olympic medal later,
I knew the time was right. I loved performing and always had a strong
urge to expand on gymnastics in creative ways. I had seen many Cirque
shows before and always remember sitting in the audience thinking how
beautiful it is to see these acrobats combine gymnastics and theater
elements in magical ways. I remember one moment specifically as I was
watching "O" in Las Vegas. The boat act (or "Bateau") was one of the
most fascinating things I had ever seen and I was literally moving in
my seat, trying to feel what the acrobats were feeling as they were
pushing the envelope, throwing some amazing tricks. Maybe someday I
would feel it for real....
After compiling a video highlighting my gymnastics career and some fun
tricks in the gym, I began talking with Stacy Clark in the casting
department at Cirque to see if I would be a good fit for one of their
shows. Turned out that I got really exciting news when they told me
they wanted me for "Kodak," a new Los Angeles resident show, now
titled "IRIS." I've been wanting to live and work in Los Angeles for a
long time, so one dream was now coming true.
I arrived in Montreal on Nov. 21, 2010, and began training the next
day. I remember, vividly, the first time I walked through the doors at
headquarters. I was a mixed bag of emotions; excited, nervous,
anxious.... a bit like being at the Olympics. Meeting other members
from the cast was a joy as Team IRIS is fully represented by former
athletes and entertainers from all over the world. It was even nice to
talk gymnastics and recall people we know in the community. It made
the new world I was stepping into feel more comfortable and not so far
from home.
The creation experience in Montreal is something I will cherish for a
lifetime. It felt similar to being at the Olympic Training Center in
Colorado as we lived right across the street from the studio, and we
made several trips back and forth for training sessions, physio
appointments and cross training. What was interesting though was to
walk into the training rooms and see in one corner, someone balancing
a one-arm handstand on someone else's head, or a contortionist with
her leg pulled over her head and feet tucked under her chin, and maybe
even someone flying 40 feet in the air on a trapeze. It definitely
isn't the normal scene I'm used to, but that's what I love about
Cirque.
I spent the first three months training new acrobatic skills and
devoting a lot of mental energy to getting acclimated to my new life
as an artist. Cirque knows gymnasts can bring many acrobatic tricks to
the table, but what I love is that they spend a good deal of time
nurturing an ex-gymnast like myself to become a theatrical
entertainer. Outside of the acro, we were fortunate to learn about all
aspects of production. In the mornings, we had dance, acting, clown
and yoga classes. My favorite classes were the acting and clown
classes, or "bouffon." Sounds a lot like buffoon, and that's exactly
what you behave like. (I'm sure most of my friends know that it suits
me well!) On a deeper level though, what I really love is that these
classes pushed me to free myself of judgement from myself or the
outside world. As an artist, I am learning that the best performances
are given when an entertainer is truly committed and has absolute
conviction to the role he/she is playing.
In June, the entire team, production and cast, moved to our new home
city of Los Angeles. We were taken to see the Kodak Theatre the same
week, and when I first saw the stage, my jaw was on the ground. For
one, I could not believe that we will be sharing the same stage that
previous Oscar-winning actors and actresses have walked and talked on.
When I set foot on the stage for the first time, I could literally
feel the immense energy of the place. Believe me when I say, there is
something magical about this theater. There is a special quality about
it and I haven't yet found the words to describe it. All I can tell
you now is that it's a pleasure and I am humbled to be performing
there.
Upon arrival in LA, we had many things cluttering our minds. Before we
enjoyed the California sun, everyone was scurrying to find apartments,
buy bikes and scooters, and pretty much settle down in Hollywood. Of
course there is some pleasure in saying that I am an entertainer in
the industry's lead city, but what I get more satisfaction from is
knowing that I have a responsibility to entertain the very tourists
that I pass every day on my way to work. Many of us walk along the
Hollywood Walk of Fame on our way to the theater, most of the time
with our heads down staring at the names of successful entertainers
encased in gold stars. I want to believe that on some level, we aspire
to be like them.
Right now a typical day consists of training sessions from 9 a.m.
until noon. We break for lunch, which is readily available as the
Hollywood & Highland Center is packed with restaurants and great
places to grub. We come back in the afternoon for staging sessions
where we run certain numbers and put the Cirque quality polish on our
work. Evenings consist of some cross training, physio treatments and
dinner. I crash early nowadays as I'm drained after work, but
honestly, I don't mind being tired from something I love doing.
All in all, I have thoroughly enjoyed my experience thus far. Being a
member of this cast has not only given me the opportunity to enjoy
gymnastics in a different format, but has mainly placed me around
creative, imaginative and quality people. Our team has sacrificed some
of life's immediate gratifications for the last six months including
a winter in Canada, some physically taxing training sessions and a
complete relocation to another city in an effort to produce a
breathtaking show for the world to enjoy. If you get a chance, come
see "IRIS." You will love it!
PART 2
------
Set to star in Cirque du Soleil's new Hollywood-themed show, world and
Olympic medalist Raj Bhavsar continues his exclusive blog for IG
Online with behind-the-scenes updates. "IRIS: A Journey Through the
World of Cinema" premieres Sept. 25 at the Kodak Theatre at the
Hollywood & Highland Center in Los Angeles.
In my first blog, I told IG readers about my new adventure with Cirque
du Soleil and how much I have enjoyed the creation of IRIS to this
very day. It really is amazing how time flies in life, and when I take
a moment to reflect back on my life as a competitive gymnast and where
I am now, I get goose bumps.
It's been seven months since I joined this project, and I am proud to
announce that IRIS opened magnificently on Thursday, July 21, 2011.
While this is just a "soft" opening (meaning the general public is
invited to view the complete show as it stands now), it is still an
accomplishment, and I would like to publicly thank Cirque du Soleil
for providing me with the opportunity to perform in an amazing show.
Also, a hearty congratulations goes out to the cast, crew and
production team at IRIS, as we have all worked very hard and I believe
it shows. Lastly, thank you to everyone who has supported me in this
adventure. I have received so many exciting letters and online
postings mentioning how elated people are to see IRIS. That is the
fuel that keeps me going in this direction.
In a short and sweet sentence, I will say this: The July opening of
IRIS was a highly anticipated event for not only our new home city of
Los Angeles, but for all of us involved in the show. It went very
smoothly and before I knew it we were at the end of the show, on
stage, taking in a standing ovation.
In the weeks leading up the premiere, our workload was not the only
thing that increased. Within the cast there was a bubbling of
excitement, as we were ready to show this new baby to the world. I use
the word baby, because that is what this show is at this stage. We
still have two more months of previews, while minor changes are made.
As a result, this show is going to evolve: it will only get better and
develop more personality and character as time goes by. Sept. 25 marks
another big date as it is our premiere, or hard opening. It is the
next big moment for Team IRIS.
Without spoiling it for everyone, I will reference here the essence of
our show. Official text states:
"This new production from Cirque du Soleil is a lyrical, fanciful,
kinetic foray into the seventh art. Bringing together dance,
acrobatics, live video, filmed sequences and animation, the show takes
spectators on a fantastic voyage through the history of cinema and its
genres, taking them into the heart of the movie-making process. From
illustration to animation, black and white to colour, silent films to
talkies, fixed shots to swooping camera movements, spectators witness
the poetic construction/ deconstruction of this art as an object and
as a way of transcending reality."
You also catch on to a fantastical love story between Buster, a
melancholic composer and Scarlett, who longs to become a star. In this
great escapade, you will see Buster traveling through different circus
environments on his way to finding his one true love. Also scattered
throughout the show are several movie references, so it is fun to
watch and see where this show gets its food.
One of the most common questions I get from my family and friends is,
"Raj, what are you doing in the show?" Until now, I have spoken in
generalities to just a few of my closest people, but now that we have
opened, and I know you will come see the show soon, it makes sense to
also give you a sneak peek into my role on IRIS.
As a Cirque du Soleil artist, I have the opportunity to be in many
acts throughout the show. Our acrobatic cast of 20-plus artists is
fully loaded with talent and years of experience. I consider myself
fortunate to among such a group.
I would call "roof tops" my main act and it's heavy! This explosive
cops-and-robbers chase scene is full of trampoline tricks, parkour,
high bar and column work (colonne). Fifteen very talented acrobats
jumping and flying around on a multilevel structure resembling a roof
top scene from Warren Beatty's "Dick Tracy" is my kind of scene. Most
of my creation time in Montreal was dedicated to training this number
and there are so many elements involved that to me it is the gymnasts'
ultimate playground.
Putting into words my entire track would put us into the New Year so
I'll just tell you to look for a short policeman in a purple uniform
with a black eye. We run and jump off rooftops, swing around poles and
disappear into houses, all while stunt fighting, acting and dodging
machine gun fire. One of my favorite tricks is a fifteen foot long
jump from a tramp, flying over a second tramp, to land in a doorway
Jason Bourne style. It is not fun when I miss this one, but the thrill
is immense when I hit it.
Perched near the top of the structure is a half-length high bar 20
feet high on which I and another acrobat perform. I'm used to a high
bar eight feet high with mats under me; this one is more than double
the height and we dismount to our backs on the trampoline bed.
Currently there is a crash mat under us as the bounce afterward is
something only birds are used to. When I arrived in Montreal and saw
the high bar structure for the first time, I was silent. I never would
have believed that I would someday conquer it, but just like
gymnastics, Cirque emphasizes step-by-step training and safety. This
has led to many successful high bar dismounts from both me and my
fellow high bar artist, a former gymnast from France. Our final trick
as of now: giant, giant, layout flyaway ... drop 20 feet to our back,
then double kaboom. I am still working toward this; my kaboom was
never the best, so I might land on my back and bounce rotating
forward. Either way, we fly.
While high bar is something I am used to training as a gymnast, column
work, or "colonne," on the trampoline was something I never did before
in my life. In short, colonne is when acrobats stack on top of each
other by standing on each others' shoulders sometimes three to four
people high. As a gymnast, I believe we have the ability to pick up
sports and new skills very naturally, and colonne has become a new
talent I never knew I had. You may have seen acrobats in other shows
do flips from a teeterboard and land on a tower of people. This is the
same concept except that we are on a trampoline and the person on the
bottom (porter) is working extra hard due to the lack of a hard
surface for solid support. The colonne team in this act has spent many
hours learning tricks that are very appealing to the eye. We do back
flips and land on our porter's shoulders every night it's become
quite fun and challenging.
Though July 21 has come and gone, we still have work to do before our
premiere in September. We rarely get to see our own show live, but I
do get to see the reaction on people's faces which tells me enough.
Even my toughest critics, my parents, were all smiles after this one.
I've really enjoyed plugging my fans and readers into this adventure-
of-a-lifetime. Stay tuned in my final installment I will be sharing
with you what it means to be performing in a world-class show, on a
world-class stage, with world-class people.
PART 3
------
Now performing in Cirque du Soleil's new Hollywood-themed show, world
and Olympic medalist Raj Bhavsar concludes his exclusive blog for IG
Online with behind-the-scenes updates and impressions. "IRIS: A
Journey Through the World of Cinema" premiered Sept. 25 at the Kodak
Theatre at the Hollywood & Highland Center in Los Angeles.
Lights, camera, action! The stage has been set and the big moment
finally arrived! The new Cirque du Soleil show, "IRIS" premiered on
Sept. 25, exclusively at the Kodak Theater in Los Angeles. It's
amazing to think that this show started from a mere blank canvas or a
simple figment of one's imagination, and has evolved into a live,
three-dimensional, dynamic theater show.
Before I get into the meat of my bantering I want to give you a quick
fun fact. In 1987, Cirque was invited to participate in the Los
Angeles Arts Festival, where it was a huge success. The show and
company were warmly embraced by the public and the local entertainment
community alike, thus giving it the necessary fuel to become the
entertainment mogul it is today. The IRIS premiere, 24 years later,
is momentous not only because it's back in Los Angeles, but because it
pays homage to its humble beginnings. I'm sure the night of the
premiere was a "Kodak" moment for Guy Laliberte and the early founders
of the company.
Recently I had the pleasure of watching the show live for the first
time. It's hard to imagine that after eight months of being involved
in the project, I am just now witnessing it live for the first time.
Strange you may say, but until now, I have been involved in every
performance in some capacity and have only seen trainings, rehearsals
or run-throughs; really not the same experience as watching the show
top to bottom, in its entirety. I am not a certified critic named
Ebert or Roeper, but I want to say that this show is magnificent and
thoroughly entertaining! I found myself sitting in the seats getting
lost in its uniqueness just as any other spectator would. I was in
awe of our acrobats, wowed by our talented dancers, and I laughed at
all the jokes. Not to mention, the music by Danny Elfman soared
through the house, connecting flawlessly to my emotions. I even went
into the lobby during intermission so I could join in on conversations
with our lovely patrons, who were all impressed as well.
I wish to share with you a bit more about my role with IRIS. Outside
of "roof tops," which is my main number, there are several "cues"
which I perform.
During act one, my role is much more mental than physical, in that I
am focusing my attention on remotely controlling a baby machine on
stage. This baby machine is one of many elements that create the
cinematic world of IRIS. "Baby machine," you ask? I'll explain. There
are three motorized baby machines in the show, which are radio
controlled from "somewhere" in the house. These knee-high little
creatures symbolize the three distinct elements of the movie making
process (light, sound and film) and are masterfully decorated to
emphasize the antiquity of the past. I have several cues with the
Baby Pavilion (sound machine) and the Baby Camera. I trained and ran
choreography with them for many months, since they take on personality
traits, transform themselves into characters that give life to the
artists who operate them.
Act two is where things start to pick up for me. It all starts
immediately following intermission, with a number we call "movie set."
This chain reaction scene is jam packed with full-blown acrobatics
using a number of different apparatuses like teeter boards and Russian
bars. It's fueled by some energized dance choreography and musical
genius that has an almost comical feel. I can't even begin to touch on
all the elements in this scene without leaving something precious out
(like the props) so I'll let you witness it. Did I mention ALL the
artists are on stage for this one? This is one of my favorite numbers
as it's so skillfully choreographed and there is so much going on,
there isn't much time for a mid-number applause. Outside the little
pockets of acting and dancing, you can see me doing an iron cross on a
ladder toward the beginning, spinning on a camera dolly in the middle
of the number, and doing some funky gymnastics on an acro-table in the
end. Very fun.
Rather than give more details about the show and spoil some of the
greatest moments with words, I want to take this time to give an
analysis of my life as a gymnast and now as an artist.
In terms of this new "job" and my old one as a professional gymnast,
another stark difference is the schedule and training/peak cycles.
As gymnasts, we are used to six-week training cycles during which our
intensity, workload and mental focus increase as competition nears.
Once competition finishes, there is maybe one or two weeks of
decompression time where you still work out but the work load is
lightened to give necessary rest and recovery time to your body. For
20 years as a competitive gymnast, my body was wired for this
schedule.
In the circus realm and especially with this show, we have to find it
in us to give everything we have every night. We have 360-plus shows
a year and that means we will have people in the seats night after
night, ready to be entertained. While some skills in Cirque are just
tough as gymnastics, it's not the skills alone that entertain people.
An artist can learn to entertain people through their emotions and
conviction to a role or character. Artists entertain through giving
selflessly and projecting outwardly, and by bringing an immense amount
of life-energy every time they set foot on stage. One off day in the
gym, where you are tired, hurt and drained may just slightly affect
your overall long term goal. However, an off day as a performer
where you aren't fully alive on stage is easily noticeable and could
have an impact on the overall feel of your act in a negative way. For
an ex-gymnast like myself, a certain period of rewiring must take
place mentally and physically in order to acclimate to a show schedule
of this nature.
The main similarity between the two realms is the aspect of
performance. Both gymnastics and artistic performance are extremely
similar in this regard, hence the term "artistic gymnastics." Even
after retiring from the sport, I find myself reliving the glory days
quite often, but the images that come to mind first are those related
to the performance of routines and tricks. I haven't talked to a
single gymnast or artistic performer who got bored with the feeling of
sticking the final dismount in front of a huge crowd or taking in a
standing ovation at the end of a show. Performance is an incredible
stimulant for the body and mind. It usually justifies the sacrifices
made in life, and makes the work leading up to the performance
worthwhile.
I could go on about the similarities and differences between the two
realms but the truth in comparing the two so closely is like comparing
apples to oranges. One day I might want an apple, and the other an
orange. Both have a unique ability to wow, yet at the same time, are
derived from different roots; sport and art.
I have taken note of valuable lessons since becoming a performer on
stage that I would bring with me to my life as a gymnast if I were to
do it all over again. I will leave you with this important piece of
personal advice to all budding and established gymnasts out there:
start thinking of the sport as an art.
Competitive gymnastics, at its highest level, is like trying to paint
a "Monet" under extreme pressure. As a gymnast, it's easy to get
caught up in scores, rankings, accolades, start-values... Pay closer
attention to the artistry and performance aspect of what you are
doing. In gymnastics, people are also buying tickets; they are coming
to see you perform. Approach every competition as if it were a show
and every routine as if it were a piece of art. From the moment you
set foot in the arena, know that you are ultimately there to show off
your talent. From the moment you salute, know that you are painting a
beautiful picture for those watching, using only body and mind as your
instruments. Set your routine to music. Does it flow? Is it
appealing to the eye? In the end, it doesn't matter where you placed,
people will soon forget, but people will always connect with the
emotion you gave them through your performance, and chances are you
will unleash the true competitor in you.
In closing, I want to openly confess that even though I am now
retired, I will always have a long-lasting love affair with
gymnastics. Gymnastics has tremendous gifts to offer and honestly, it
brought me here, to this point: performing on stage every night.
Regardless of how your career fares, commend yourself for
participating in one of the world's toughest sports, and now in my
mind most incredible art forms.
---------------------------------------------------------
"TOTEM Hits Toronto" [EXPANDED]
A Special Collection of Reviews in the Press
---------------------------------------------------------
"Laveau Comes Full Cirque"
FROM: The Toronto Sun
-----------------------------------
TORONTO - Christian Laveau was born from a union of two worlds, so, in
retrospect, it is only fitting he finds himself inhabiting multiple
worlds today even while hes doing his level best to make all those
worlds one.
His mother and father, while both of the Huron (or Wendat) nation,
came from two very different worlds his mother from the world of the
trapper in English Ontario, his father from the world of the
reservation in French Quebec where Laveau was raised.
And even though the 37-year-old was raised in the French language, he
was steeped not just in the culture of his people, but in its
traditions as well.
Which is how he found himself centre stage, singing traditional songs
in the ceremonies commemorating the 400th anniversary of the founding
of Quebec a few years back.
After his performance, he was approached by no less a personage than
Robert Lepage, who explained he was in the process of creating a new
work for the visionaries at Cirque du Soleil a work that would trace
the very evolution of mankind from the beginning of time.
He said to me: I see you inside my show, Laveau recalls.
Honoured at the invitation, Laveau was more than a little reluctant to
tackle such a complex project.
I was afraid to be not ready, he says, striving for fluency in an
English language that still sits a little uncomfortably on his tongue.
But Lepage persevered.
He said: What we need is the spirit, Laveau recalls. Lepage must
have said it in a rather compelling fashion, for Laveau ended up
signing a contract to perform in his native Wendat tongue as the
main singer in the show Lepage was creating.
That show is called Totem and it is slated to open an already-extended
run under Cirques trademark Grand Chapiteau in the Portlands on
Cherry Street next week.
A year and a half into his contract, Laveau says it has proved to be a
good choice.
They have never tried to change me, he reports, as he recalls Lepage
telling him: It is you who is going to teach us.
For Laveau, who in addition to his music also devotes his considerable
energies to an acting and television career (hes host and co-producer
of APTNs cultural magazine, Chic Choc), the principal thrill has been
performing in the language of his ancestors a language he is working
hard to reclaim, not just for his personal use, but for his people as
well.
When the missionaries arrived, they obliged us to speak in French,
he explains. For 80 years, my language was sleeping.
And while he strives every day to awaken his own knowledge of that
language, he seems to harbour no rancour at how close his people came
to losing it.
I cannot change the history, he says. I have to see the present and
the future but I have the memory of my ancestors.
And that memory is what he strives to pass on, not just in his work
with Totem, but in his own music and in his television show.
Our children are our future, he says. I help the children now to
always be proud of the culture to be proud to be native Canadian.
And that pride and passion for his culture is not confined to
preserving its music and its language either. Hes also passionate
about the husbanding of a knowledge of native plants and has worked
for several years in the First Nations Garden at the Montreal
Botanical Garden, learning and passing on centuries of hard-won wisdom
in the only way he feels it should be passed on.
Its the elders who teach it to us, he explains And they dont want
us to write the book. It all comes from the plant and you have to take
what you need.
It is, finally, all part and parcel of a personal philosophy that
certainly has its seeds in the Wendat culture but has grown until it
seems to embrace all of humanity.
Wendat means human its very simple. he says. All these things
that I do, its just sharing.
And hell continue to travel and to share.
If (people) dont understand what Im saying, I know they feel it in
their hearts, he says.
Of course, I miss my home, but Im very happy here and the
experiences I have here I will take back to the young people.
"Cirque's big top pitched in the port lands"
FROM: Inside Toronto
----------------------------------------------
The cirque has once again come to town.
With a big push by an estimated 85 people, Cirque du Soleil's blue and
yellow 'grand chapiteau' was officially raised at noon Thursday, Aug. 4.
"It's a bit of a tradition. It means the show is here," said Tent
Master Raoul Van Nistelrode, who serves as operations production
manager for TOTEM, the Montreal-based circus company's newest show.
A mere hour after the big top was pitched, tech crews were installing
lighting and preparing to set up the show's four-piece moving bridge
feature designed in the shape of a scorpion tail, he said.
"From there we'll build the (rest of the) stage," Van Nistelrode said.
The process to bring TOTEM from Montreal's Old Port to a 45-acre site
in Toronto's port lands is a complex one that takes months to
coordinate.
Despite having staged two previous Cirque du Soleil productions at the
former industrial site near Commissioners and Cherry streets, crews
must still examine every detail such as the grading of the site to
ensure water flows away from the big top as well as the overall site
plan to ensure people can get around safely.
"Everything must be exactly level to ensure the safety of both the
performers and the guests," Van Nistelrode said.
A week before cirque's 65 tractor-trailers of gear, costumes and
various other equipment rolls in to the touring show's next
destination, workers are already on site going over the technical
details as well as placing markers where the production's 2,500-seat
big top will go, as well as its artistic, concession and VIP tents.
"Everything is pre-organized and pre-marked. It's a huge operation,
but we do this on a regular basis," said Van Nistelrode, a native of
Holland who has worked for Cirque du Soleil for the last 10 years.
"Every site is different; some larger, some smaller. Toronto has a
very nice site and it's close to the city."
To get the job done on time, Van Nistelrode relies on a crew of 30
permanent workers as well as 20 travelling technicians who fly all
over the world to set up cirque productions. An additional 30 to 40
temporary workers have also been retained for the duration of the
show.
"TOTEM is a Dazzling History of Humankind"
FROM: The Globe and Mail
--------------------------------------------
How do you gauge the success of Totem, the new Cirque du Soleils
touring show? Before the first act was even over, two of the acts had
already received standing ovations. The reception during the final
curtain call was rapturous.
Totem opened in Montreal in April, 2010, and toured in Europe before
coming to Toronto. What makes this show of particular interest is that
Quebecs iconic man of theatre, Robert Lepage, is the writer/director.
His director of creation is Neilson Vignola.
Their concept for Totem is grandiose. The show presents the evolution
of humankind, from our amphibian ancestors to our desire to fly. Each
of the acts supposedly says something about our historical progress.
The title is inspired by creation myths.
Now lets be frank: Does anyone attending Cirque du Soleil actually
care about the artistic vision behind the show? Granted, the concept
would clearly have an impact on the sets, costumes and music, but in
reality, were there for the thrills, chills and performers skills.
Break down a Cirque show and you will find circus acts (non-animal, of
course) interpolated with clown shtick. In other words, there is a
formula at play, and the basic structure is easily recognized.
Some of the acts are of the super-duper kind, the ones that leave you
gobsmacked by the performers physical prowess. Take Unicycles and
Bowls. Five winsome Chinese lasses are on very tall unicycles. While
they keep the cycles balanced with one foot on the pedal, the other
foot is used to throw small metal bowls onto their own heads, or onto
the heads of the other girls.
The two big male acts are Perches and Russian Bars, both performed by,
what else, Russians. One ended the first act, and the other ended the
second. Perches includes a series of pliable, metal poles linked
together. One man balances these poles on his shoulder, and later on
his head, while a couple of men scale up to the very top. The most
dazzling variation has one top man holding the second man who is
swinging on rings.
Russian Bars are flexible planks. There are three in the act, and
various men jump from them high in the air, do somersaults and then
land back on these planks. The big deal here is that the planks keep
changing levels and placement. The plank they jump from is not
necessarily the plank they land on.
The smaller acts of Totem are showy in their own way. For example,
Hoops Dancer is a solo performed by aboriginal artist Nakotah Larance.
As he dances, various hoops are arranged in shifting patterns about
his body.
In Fixed Trapeze Duo, Louis-David Simoneau and Rosalie Ducharme are
supposedly having an argument, which translates into a physical fight
in which he is holding her in very dangerous partnering as she rapidly
keeps changing her positions.
On a visual and aural level, Totem is one of Cirques most beautiful
creations. Carl Fillions set evokes a marsh with a large rock
surrounded by reeds. Stunning videos of nature, be it the pounding
surf or a quiet lily pond, are projected on the rock.
Kym Barrettscostumes are things of beauty, and they all keep to the
theme in some way. The score by composers Guy Dubuc and Marc Lessard
(known collectively as Bob & Bill) is filled with gorgeous riffs on
native rituals and world beat.
One can certainly try to match theme to act, but why bother? This is
Cirque du Soleil, after all. Just sit back and enjoy the spectacle.
"New Cirque Show Takes Acrobatics to Another Level"
FROM: Post City Toronto
-----------------------------------------------------
If I didn't know any better, I'd think there were some serious
shenanigans going on in the row behind mine during last night's
premiere of Cirque du Soleil's new show Totem in Toronto's Port Lands
district. "Oh my god, oh, oh, oh, no," was such a frequent refrain it
was almost comical, as was the slightly less provocative "Yes! wow, oh
god, yes!" Foreheads were slapped, jaws dropped.
But that actually sums up the experience as ovation after ovation
after ovation greeted Cirque performers: Totem proved to be an
enormously entertaining show that was a step beyond even their usual
brilliance.
The show involves some sort of take on evolution and water being the
spark of life and what not. But, really, you don't go to Cirque for
the storyline vague, and disconnected as it sometimes is. And there
was one hiccup involving scantily clad pseudo-Aboriginals canoeing to
a roller skating rink perched on top of a drum. Ahem. The hoop dancer
was a nice touch, but there were a few drops and miscues and the
performer never really drew the crowd into the performance.
Beyond those minor quibbles, the show was one incredible feat piled
onto the next reaching awe-inspiring crescendos at the end of both
acts. But being Cirque, even the tiny details and moments between the
big performances were something to behold. The stage featured a
massive mechanical centrepiece that moved and curled up and in many
instances acted as a prop-aid. The clowns were wonderful: one, a
stereotypical Italian beach-goer complete with Speedo-esque swimwear,
gaudy sunglasses and epic pelvic dance moves; the other the polar
opposite got the most laughs for simple prop devices such as
bouncing a ping-pong ball off metal shoulder pads followed by doe-eyed
glances at the audience.
Performance highlights included a unicycling troupe on tall bikes
tossing plates from their feet to their heads with synchronized grace,
a trio of ripped and athletic performers on rings, a pair of women
spinning cloth mats on their feet while posing in a number of
excruciatingly difficult to watch strength postures including a climax
(cue the back row!) that saw one performer lying on her back on a
chair feet up in the air balancing the other on her fully stretched
legs while both were spinning mats on all available limbs. Ridiculous!
Somehow, Cirque takes it to another level. It has to be seen to be
believed, but to make a long story short that new level involves one
dude balancing and walking along a slim pole elevated in the air. No,
wait. On this guy's head is a pole, maybe 20 feet long and at the
other end is another guy, who is doing a headstand into a little cup!
It seemed to defy physics and the bottom guy's neck was flared out to
a genuinely scary level.
The second act sexed things up a bit with a trapeze duo performing a
mating ritual. It was a bit cheeky and flirty for a standard Cirque
show, but the incredible athleticism and choreography on display when
coupled with a bit of cute acting and sex appeal proved a welcome and
very enjoyable change of pace. Then came the roller skates, and there
is no denying the athleticism on display. 'Nuff said. And this was
followed by some new, fun takes on traditional Cirque standards:
juggling and devil sticks. The highlight of the second act the
Russian bars was another thriller to cap off the evening as
performers executed complex acrobatic manoeuvres after being propelled
20 feet into the air by long slim boards held on the shoulders of
hefty strongmen. Another standing ovation to end the night.
After witnessing every show Cirque has brought to town over the last
seven or eight years, it is safe to say Totem is pushing the
boundaries in a number of areas, including technical difficulty and
sex appeal, without sacrificing the creative brilliance that makes
Cirque the greatest show on earth. There may still be tickets
available for purchase as a new block of tickets was recently added.
If not, troll Craigslist, follow Kijiji, enter contests
do what you
can to see this show.
"TOTEM is Cirque's Most Entertaining Show in Years"
FROM: The Toronto Star
-----------------------------------------------------
Directed by Robert Lepage. Until Oct 9 at the Grand Chapiteau in the
Port Lands, 51 Commissioners St. 1-800-450-1480.
Every time I review a Cirque du Soleil show, I find myself trying to
find new ways to says things like spectacular, artful and
breathtaking.
With Totem, now playing under the Grand Chapiteau in the Port Lands,
theres no such problem, because one word leaps to mind ahead of all
the others. Entertaining.
Yes, Totem is directed by Robert Lepage, one of the weightiest
theatrical names in the world today and its also if you look
closely a deliciously ironic look at the entire process of mans
evolution in the universe.
I was very impressed with the show when I first saw it in Montreal in
2010, praising it for its unity of structure and the refreshing
sensuality it contained. After a year on the road, it still possesses
those things, but it now moves with even more grace, more ease and a
greater sense of fun.
There are none of those often tiresome, totally extraneous clowns who
jabber at you in what sounds like Esperanto, run around while scenery
is being changed and give you time to construct next weeks grocery
list in your head.
Lepage has banished them. Theres a lot of humour in Totem, but it
comes from the performers, even the aerial ones.
Two men who work wonders with a series of acrobatic rings are first
established as buffed, strutting beach boys out to impress the ladies.
When one super-stunning lady flies in from above, the games really
begin.
Another sequence involves a couple on a fixed trapeze who achieve
postures that defy gravity. Its also a saucy, sexy give-and-take
between a very attractive couple who do their courting way up in the
air.
Want to have your mind totally blown? Watch the Scientist, who seems
to hover benignly in the background, until he takes centre stage
inside a giant beaker with a display of multi-coloured, gravity-
defying ping pong balls that will leave you gasping.
Things move seamlessly throughout the whole show. Even the mats needed
to protect the artists and the risers used for a certain sequence are
brought on and removed with visual ease and beauty.
One transition is effected by having a cell phone-addicted businessman
join a circling line of apes in various stages of evolution. He takes
the final position in the line, making the point that we may not have
progressed all that far. Then just as that perception has had time
to sink in he rips off his suit and moves into another spectacular
acrobatic sequence. Sheer brilliance.
On this second viewing of Totem, I spent much of the time marveling at
how glorious it is just to look at.
Carl Fillions set is dominated by the skeleton of a giant tortoise,
which is used in stunningly inventive ways. He also provides a tilted
disc, like a giant lily pad, on which the never-endingly fascinating
projections of Pedro Pires create everything from molten lava to a
rain-spattered lake.
Through it all, Étienne Boucher splashes everything with his bold
lighting, using all the hues of nature yellow,orange, green with
as sure a hand as the Almighty must have done when he painted the
world for the first time.
Kym Barretts costumes are witty, sexy or primal as the need arises,
including some wondrously realistic refugees from Rise of the Planet
of the Apes who run through the audience, stealing your popcorn and
generally dispensing merriment.
The packed audience I saw the show with, on an ordinary matinee day,
sat there entranced, cheered frequently and leapt to their feet at the
end, with me happily joining them every step of the way.
I have seen dozens of Cirque shows in the past 25 years. Not all of
them are great; some of them are just so-so.
But Totem is well worth your time. It sends out just the message you
need to hear at the end of summer: live large, think big and have as
much fun as you can.
=======================================================================
SUBSCRIPTION INFORMATION
=======================================================================
Fascination! is a monthly publication, available through subscription
via the World Wide Web in text format at the newsletter's website:
< http://www.CirqueFascination.com/ >. To subscribe, please visit
our website and enter your name and email address in the "About
Fascination" box and press Subscribe. You,ll receive an email to
confirm your selection. Once confirmed you,ll be added to our mailing
list. To Subscribe via Realy Simple Syndication (RSS) Feed (News)
use the following: < http://www.cirquefascination.com/?feed=rss2 >.
To view back issues, or other online Newsletter content, please visit
us at: < http://www.CirqueFascination.com/ >.
Join us on the web at:
< www.cirquefascination.com >
Realy Simple Syndication (RSS) Feed (News Only):
< http://www.cirquefascination.com/?feed=rss2 >
=======================================================================
COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 11, Number 9 (Issue #92) - September 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
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination!
Newsletter." By sending us correspondence, you give us permission
(unless otherwise noted) to use the submission as we see fit, without
remuneration. All submissions become the property of the "Fascination!
Newsletter." "Fascination! Newsletter" is not affiliated in any way
with Cirque du Soleil. Cirque du Soleil and all its creations are
Copyright (c) and are registered trademarks (TM) of Cirque du Soleil,
Inc., and Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
{ Sep.02.2011 }
=======================================================================
