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Fascination Issue 100 expanded
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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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E X P A N D E D I S S U E
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VOLUME 12, NUMBER 5 May 2012 ISSUE #100e
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Reaching one hundred of anything is a milestone to be celebrated. For
us here at Fascination, reaching our 100th issue is nothing short of a
miracle. Who would have thought that, back in the summer of 2001, the
publication we were scraping to put together would still be around
more than 10 years later? Although I believed in the vision, the
mission and the power of Fascination, I could never have imagined we
would ever reach this particular achievement.
Over the course of the last few months I have been contemplating the
cessation of Fascination's publication as my interest in Cirque du
Soleil has evolved greatly from those early days.
Because, make no mistake, publishing is a labor. Meeting deadlines,
scrambling for content and finding interest in not-so-interesting
developments takes its toll. Even with that being true, crafting
Fascination has been a labor of love, so contemplating its final
moments has been sad. Why then, after so many years of servicing the
Cirque du Soleil fan community, would I contemplate giving up
something that I love? Things evolve. Life moves forward. Desires
change. Disappointments come more frequently.
Over the last couple of years I have not hidden the fact that I've
been more disappointed in Cirque du Soleil than delighted, and have
written much about that here in the pages of Fascination on more than
one occasion. Perhaps most of that can be attributed to the fact that
I have been witness to Cirque du Soleil at its very best and cannot -
will not - settle for anything less than perfection. And when those
expectations aren't lived up to (Banana Shpeel, Viva Elvis, Zarkana
and Michael Jackson THE IMMORTAL I'm looking at you), you become
fatigued, apathetic, and cynical. In other words I became jaded.
But just when I thought there was little left to say, that Fascination
had run its course and I could feel comfortable ending a legacy that
has endured a number of years (and two other previous attempts at
closing the doors), my world got turned upside down.
Suddenly I found myself... enthused about Cirque du Soleil again.
Recent changes in Mystère, my all-time favorite Cirque du Soleil show,
have given me hope that excitement and wonder can still be found in
even those things that are most familiar. Though Wintuk, Banana
Shpeel, Zed, Zaia and Viva Elvis have had (or will have) their final
curtain calls, their closure has helped (or will help) bring attention
to Cirque's remaining shows and on its future, something fans have
been rallying around for quite some time. And yes, even the
announcement that Zarkana will now replace Viva Elvis at Aria is
exciting news to me - there's untapped potential there, I can feel it.
So perhaps there is a little magic left to explore after all!
Thus I have been reminded of a conceptual quote from Alegría these
past few weeks as I've mulled over this decision. It says, in just
thirteen words, exactly what I've been feeling: « Once everything has
been said and done, who says you can't start over? »
So why not? Who says we can't start over?
It's perfect!
Although I cannot guarantee that Fascination will be around forever,
let alone reach issue #200, or even remain a monthly publication, I
can at least say that we're not done just yet. In the meantime I look
forward to the next goal: Issue #125. And should we continue
publishing monthly, that goal will coincide nicely with another
auspicious milestone: Cirque du Soleil's 30th Anniversary. So keep a
weather eye out for June 2014.
In the meantime, enjoy our coverage of AMALUNA's premiere, the third
installment of "Cirque's Dreams of the Past: A What If?", all the
posts from Cirque's FB sites (thanks Keith!) and more.
We'll see you next month!
Join us on the web at:
< www.cirquefascination.com >
Realy Simple Syndication (RSS) Feed (News Only):
< http://www.cirquefascination.com/?feed=rss2 >
- Ricky "Richasi" Russo
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CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
o) Itinéraire -- Tour/Show Information
* 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
* "O Brave New World... AMALUNA!"
By: Ricky Russo - Atlanta, Georgia (USA)
* "Cirque's Dreams of the Past: A What If?
Part 3: Complexes Cirque"
By: Ricky Russo - Atlanta, Georgia (USA)
* "AMALUNA Premiere Reviews Coming in!" [EXPANDED]
A Special Collection of Reviews in the Press
o) Subscription Information
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Venetian Macao Re-Launches Theater
{Apr.04.2012}
----------------------------------------------
After being unused for more than a month since the last Cirque
du Soleil Show, Venetian's theatre will be re-launched on
Sunday, April 8. Gus Liem, vice president of entertainment at
Venetian explained that not many changes have been made
concerning the equipment of the theatre since the end of Cirque
du Soleils' Zaia show. But in order to make sure the coming
performances will be successful, they "rigidly look on the
market."
Mr. Liem is very optimistic about this matter as he explains
Sands China's other entertainment location "CotaiArena" is "full
every week." He sees no difficulty in attracting Chinese
gambling tourists to the events as he says "80% of the arena
public is from outside". He thinks it is rather the other way
round: "People are attracted by our entertainment offers and
then also enjoy the possibility to gamble."
As a further promising factor he mentions, "the middle class in
China are exploding and we have to take advantage of that," Gus
Liem says, "Together with the new entertainment options at Sands
Cotai Central debuting this April, the Venetian Theatre will
play a key role in bringing the world's best entertainment to
Macau." The vice president of entertainment at Venetian further
stresses that the new theatre "will be one of the most luxurious
entertainment venues in China and we will host the best of
Chinese and international entertainment."
The concert of violinist Jue Yao, together with singer Elisa
Chan will be the inaugural show of the theatre on April 8. Of
the available 1800 tickets for the concert entitled "All about
love - A tribute to the Silver Screen, half will be reserved for
the invited VIP guests; the other half are publicly available.
Mr. Gus Liem explains, "For the time being there will be no long
permanent performances at the theatre, but a range of different
selected international and Asian shows." Part of the
entertainment at Venetian's theater will be "ushers in black-
tie, champagne service, gourmet concession items and other
unique, premium amenities". Sands China says it has a long-term
strategy of establishing Macau as Asia's entertainment hub by
bringing in world-class entertainment, art and cultural events.
According to Sands China, the company issued over 600,000 event
tickets for over 90 events in 2010 and 2011.
{SOURCE: Macau Times}
More Changes Coming to La Nouba?
{Apr.04.2012}
----------------------------------------------
WESH 2 News had the chance to talk one-on-one with Tom Staggs,
the chairman of Walt Disney Parks and Resorts, on board the
company's newest cruise ship, the Disney Fantasy. The Fantasy
set sail on its maiden seven-night voyage from Port Canaveral on
Saturday. Staggs talked to WESH 2 News about the brand new ship
and all things Disney Parks, including initial reactions to New
Fantasyland, possible changes at La Nouba, and if Cars Land
might have a future outside of Anaheim.
# # #
Q: Disney imagineers recently got together with Cirque du Soleil
to talk creative new ideas. What came out of that project that
guests might find interesting?
"We've got several things that are coming out of that
collaboration. They will have to do with what you see in live
entertainment at Disney, sometimes what you see with Cirque. We
really just came together and decided that they do something in
a particularly great way, Disney got some real strengths, and we
thought we'd see if we could come up with some new things. Some
of it will be magic that we will probably never explain, in
terms of how the entertainment works, but it just allows us to
do a little bit more to immerse our guests in that
entertainment. We're quite thrilled with the collaboration. You
may see an act or two coming up going into La Nouba at Walt
Disney World that will have capitalized on what we did there."
{SOURCE: WESH, Channel 2 Orlando }
Amaluna Press Conference Today! [EXPANDED]
{Apr.04.2012}
----------------------------------------------
The human peacocks are dazzling, the mythical references
delicious, the music edgy. But the most amazing thing about
Cirque du Soleil's new tent show, Amaluna, is that 75 per cent
of the performers are women - of all ages, shapes and sizes.
This differs not only from the Cirque du Soleil norm, but that
of circus in general.
Only so much can be discerned from brief excerpts performed at a
media call. But as Cirque sneak peeks go, the Amaluna one that
took place Wednesday packed an extra dramatic punch.
The concept of this new $25 million show - which opens April 19
in the Old Port - grew out of a question posed by Cirque owner
Guy Laliberté: "What would our world be today if women had been
in charge?"
It was then up to the shows director of creation, Fernand
Rainville, to find a female director. The idea was to have a
show about the power of women, putting the womens performances
up front, explained Rainville, who was available for interview
on Wednesday, along with other members of the Amaluna team.
Rainville first became aware of the work of Tony Award-winning
director Diane Paulus when he saw her revival of the musical
Hair in New York, he said. (Paulus now has another hit revival
on Broadway, Porgy and Bess.) Best known as a theatre director
himself, Rainville was very much in tune with Pauluss
distinctly theatrical vision.
There was such an openness to working from a theatrical point
of view on this show, Paulus said. And everyone was very
committed to the idea of finding a core story that inspires the
production. Of course, this is an acrobatic circus show. We
dont have text and language. So were dealing in very elemental
storytelling techniques of gesture and physicality and image.
But I think the idea was, Lets do something different.
So Paulus took Lalibertés words seriously, peopling the stage
with a multitude of energetic women and helping them develop
completely new acts. (Again, not the norm. Cirque usually books
fully developed acts and works them into the show.)
How did the Cirque feel about her 75 per cent female casting?
They were cool with that, Paulus replied. In fact, she could
have gone higher. But I said, We have to have some men in the
show. You cant just have all women. Because you need that
energy. And if were going to tell ... of a journey in a story
of love, we can have the yin to the yang we can have a young
couple thats a man and woman. But the goddesses who rule the
island are women. And Prospera, the central figure, the queen,
the mother, is a woman.
And she sings. Prospera is a female version of the exiled
magician Prospero in Shakespeares The Tempest. In Amaluna
shell be surrounded by the preening peacocks and scarlet-clad
female archers, along with her daughter, Miranda.
Weve paid some homage to certain characters, Paulus said.
Like Prospera and Miranda. And we have our unicyclists who are
called the Ariels. So we have our little secret, hidden homages
to Shakespearean characters.
So the creepy guy with the dragon tail was sort of Caliban?
Thats right, she replied.
{SOURCE: The Montreal Gazette}
MJ Immortal Still #1
{Apr.13.2012}
----------------------------------------------
Every so often we check in with Pollstar who ranks artists by
average box office gross per city and includes the average
ticket price for shows in North America. The list below is based
on data provided to Pollstar by concert promoters and venue
managers and still shows Cirque du Soleil's Michael Jackson THE
IMMORTAL World Tour sitting atop the list as the #1 earner for
the week:
1. (1) "Michael Jackson: The Immortal"; $2,076,862; $112.63.
2. (3) Jason Aldean; $614,023; $44.35.
3. (2) The Black Keys; $598,271; $47.50.
4. (4) Brad Paisley; $586,414; $52.70.
5. (5) Lady Antebellum; $526,780; $49.01.
6. (6) Blake Shelton; $363,113; $48.03.
7. (8) Miranda Lambert; $332,934; $45.05.
8. (7) Jeff Dunham; $314,579; $45.93.
9. (9) Eric Church; $246,876; $35.08.
10. (11) Kelly Clarkson; $190,025; $54.88.
NOTE: The previous week's ranking is in parentheses.
{SOURCE: Pollstar}
"We had a difficult year" - Daniel Lamarre [EXPANDED]
{Apr.16.2012}
-----------------------------------------------------
To its CEO Daniel Lamarre, the Cirque du Soleil is still just a
modest Quebec enterprise that somehow manages to survive in
spite of all odds and tsunamis.
The truth is that we had a difficult year last year because of
the tsunami in Japan, he said in a recent interview. That was
a huge blow for us. Because we had two shows in Japan, Zed (at
Tokyo Disney), that we had to shut down because of the economy,
and Kooza, that had to rest for a month. That was probably the
toughest and the most unexpected blow that we had to face. Right
now, we are looking to this new show (Amaluna) and to our
organization to consolidate the position we are in.
Thus far, ticket sales for Amaluna, which begins previews
Thursday at the Old Port, are exceeding the forecasted norm.
It will be as good as Totem (directed by Robert Lepage) was,
and maybe better. So thats exciting, he said. Because Totem
had an unprecedented record here.
Good news has arrived on two other fronts, he added. The first
is the success of Michael Jackson The Immortal World Tour show.
Since opening in Montreal last October, it has toured the
continent. This month, it played to sold-out houses at Madison
Square Gardens in New York and garnered a positive review in the
New York Times.
Its the No. 1 show on Pollstar for the last four months,
Lamarre said. So that is giving us some fresh air.
Another positive development is on the geographical deployment
front. Just this year, in 2012, well probably open 40 new
markets with our arena shows, he said.
And thats the way to bring stability to the organization. If,
for some reason, there is a natural disaster somewhere, then we
will have other markets. So its always about keeping a balance
between the permanent shows, the arena shows and the big top
shows.
Then theres Zarkana, an oversized but movable show that opened
at Radio City Music Hall in New York last summer, toured Spain
and Russia, and will now be heading for Las Vegas after
completing its scheduled return engagement at Radio City this
summer.
Why Las Vegas? Cirque du Soleils financial partner there, MGM
Resorts International, saw the huge success that Zarkana had in
New York, Lamarre said. So, not long after delivering the
surprise news that they wanted to shut down Viva Elvis at the
Aria Resort in Las Vegas, MGM told the Cirque that they wanted
Zarkana for that soon-to-be-empty venue.
Contractually, Zarkana had no firm commitment in New York after
this summer. So the deal was struck.
Although theyd had a wonderful experience at Radio City,
Lamarre said, the prospect of installing Zarkana in a permanent,
modern venue like the Aria was just too good to refuse.
What did the Radio City Music Hall (Madison Square Garden Inc.)
people think of that?
Obviously, they were disappointed, Lamarre said.
He has since met with met them to discuss other options.
We just have to see if there are other opportunities there.
Like all Cirque tent shows, Amaluna, directed by prominent New
York theatre director Diane Paulus, should have a shelf life of
about 15 years during which time it will visit about 250 cities
around the world.
We always start by doing Montreal, Quebec City and Toronto. And
after that, because of the weather, well go to the West Coast.
We normally do San Francisco, then the Los Angeles area, and
then come back to Canada at Vancouver and down the West Coast.
We always do our touring plan two years in advance.
What about Iris, the almost-permanent show that opened last fall
in Los Angeles? (An unprecedented three Cirque shows opened last
year.)
Its a challenge, Lamarre said. Because its the first time
theres a permanent show in L.A. The buzz is extremely good. But
we have to do more marketing in that city for sure.
One problem with Iris is that the show has to be taken down
every year at Academy Award time as it shares the same building
(formerly known as the Kodak Theatre).
This year it was an advantage because we had a huge visibility
at the Academy Awards, he said. That was one of our biggest
coups ever.
Now that Iris is starting up again, hes expecting to see a
positive impact on ticket sales.
The Oscar moment and the Madonna Super Bowl 2012 halftime show
both did wonders for the Cirque brand.
Not too bad for a small Quebec company to do those two events
in one year, Lamarre observed, with a smile.
When asked if there are plans afoot for a permanent Cirque venue
in Montreal, Lamarre replied in the negative, but confirmed that
there is a real-estate deal hanging in the air.
Were looking into buying, with a local investor, the Maison
Alcan.
But he called it a long shot.
Because, by the time we do this deal, which is not done, if
ever we do it, then it will take three years before Alcan moves
from that building and we can take it over. So thats three
years that well have to analyze what we want to do.
They do like the idea of owning a landmark like Maison Alcan, he
said. But how the building would be used has yet to be determined.
All of the options are open right now, he said. I would be
lying if I said that we have a specific plan. Because its
something that happened to us like kind of a last-minute
opportunity. First and foremost we have to see if we will
acquire this place. Because its not finalized.
All in all, it has been a very intense year for the Cirque du
Soleil.
Were still very nervous and we still feel the pressure. And
were very humble about what we do. Because you never know. It
doesnt matter what I think of the show (Amaluna) if the people
here in Montreal dont like it. Its not because were the
Cirque du Soleil that were invincible. We have to fight. And we
have to fight hard.
At the sunshine circus, complacency is not allowed.
{SOURCE: Montreal Gazette}
MJ Hologram Could Tour?
{Apr.18.2012}
----------------------------------------------
If you were a little queasy at the thought of dead rapper Tupac
Shakur's hologram going on tour with Snoop and Dre, hold on to
your hat: According to E! Online, Michael Jackson could be next.
Jackson's brother, Jackie, told E! that having M.J.'s hologram
join him and fellow Jacksons Tito, Jermaine and Marlon on tour
next year is "absolutely" an option: "Wouldn't that be
wonderful? As a matter of fact, we had that idea two years ago
for Michael's Cirque du Soleil show," he said.
# # #
We recall that in the early stages of Michael Jackson THE
IMMORTAL's development that a possibility that Michael could
make an appearance at the show (beyond regular video
projections) was via a hologram such as the one used to bring
Tupac "back from the dead".
Could something like this be incorporated into the resident show
slated to take up residence at the Mandalay Bay Las Vegas in
mid-2013? And would you want to see it?
{SOURCE: National Post Canada}
Cirque Presents: AMALUNA!
{Apr.25.2012}
----------------------------------------------
Cirque du Soleil presents Amaluna
A new touring show directed by Diane Paulus
IN MONTREAL'S OLD PORT UNTIL JULY 15
Under the Blue and Yellow Big Top
Amaluna, the all-new creation by Cirque du Soleil presented by
Desjardins Group, has now begun its run in the Old Port of
Montreal where it will perform until July 15. Directed by Diane
Paulus, a renowned director from New York, Amaluna will then be
presented at the Port de Québec starting July 31.
THE SHOW
Amaluna invites the audience to a mysterious island governed by
Goddesses and guided by the cycles of the moon. Prospera directs
her daughter's coming-of-age ceremony in a rite that honours
femininity, renewal, rebirth and balance which marks the passing
of these insights and values from one generation to the next.
In the wake of a storm caused by Prospera, a group of young men
lands on the island, triggering an epic, emotional story of love
between Prospera's daughter and a brave young suitor. But theirs
is a love that will be put to the test. The couple must face
numerous demanding trials and overcome daunting setbacks before
they can achieve mutual trust, faith and harmony.
THE NAME
Amaluna is a fusion of the words ama, which refers to "mother"
in many languages, and luna, which means "moon," a symbol of
femininity that evokes both the mother-daughter relationship and
the idea of goddess and protector of the planet. Amaluna is also
the name of the mysterious island where the story unfolds.
A TRIBUNE TO THE WORK AND VOICE OF WOMEN
For the first time at Cirque du Soleil, the cast of a show is
70% female and the band, 100%. "Amaluna is a tribute to the work
and voice of women," explains Director of Creation Fernand
Rainville. "The show is a reflection on balance from a woman's
perspective," he adds. Show Director Diane Paulus says: "Amaluna
is less about feminism and more about reconnecting to our world
in a different way."
Amaluna has a cast of 50 artists hailing from 15 different
countries.
MEET THE DIRECTOR
Diane Paulus is the Artistic Director of the A.R.T. (American
Repertory Theatre). Her recent work with A.R.T. includes The
Gershwins' Porgy and Bess, a new production adapted by Pulitzer
prize-winning playwright Suzan-Lori Parks, and OBIE-winning
composer Diedre Murray, playing on Broadway; Prometheus Bound;
Death and The Powers: The Robots' Opera, a new opera by Tod
Machover in collaboration with MIT Media Lab, which world
premiered at l'Opéra de Monte-Carlo; The Donkey Show, a disco
adaptation of A Midsummer Night's Dream, which ran for six years
Off-Broadway and toured internationally; Best of Both Worlds,
and Johnny Baseball.
Diane's other recent theatre credits include the Public
Theatre's HAIR (Tony Award for Best Revival) on Broadway and
London's West End and, as an opera director, The Magic Flute
(Canadian Opera Company), Il mondo della luna at the Hayden
Planetarium in New York, Don Giovanni, Le nozze di Figaro, Turn
Of The Screw, Cosi fan tutte, and the Monteverdi trilogy Il
ritorno d'Ulisse in patria, L'incoronazione di Poppea, and Orfeo
at the Chicago Opera Theatre.
Diane is a Professor of the Practice of Theatre in Harvard
University's English Department and was recently named one of
the 50 Most Powerful Women in Boston by Boston Magazine. She is
a recipient of an Honorary Doctorate from Boston Conservatory.
This is Diane Paulus' first collaboration with Cirque du Soleil.
THE CREATIVE TEAM
Amaluna's creative team comprises 16 creators under the artistic
guidance of Guy Laliberté and Gilles Ste-Croix:
Guy Laliberté - Artistic Guide
Gilles Ste-Croix - Artistic Guide
Fernand Rainville - Director of Creation
Diane Paulus - Director
Scott Pask - Set and Props Designer
Mérédith Caron - Costume Designer
Bob & Bill - Composers
Jacques Boucher - Sound Designer
Matthieu Larivée - Lighting Designer
Karole Armitage - Choreographer
Debra Brown - Acrobatic Choreographer
Caitlan Maggs - Acrobatic Choreographer
Rob Bollinger - Acrobatic Performance Designer
Fred Gérard - Rigging and Acrobatic Equipment Designer
Patricia Ruel - Props Designer
Eleni Uranis - Makeup Designer
Randy Weiner - Dramaturge
Press materials
PHOTOS:
< http://www.cirquedusoleil.com/en/press/photos-
videos/photos/amaluna/page-1.aspx >
B-ROLL:
< http://media.cirquedusoleil.com/public-
materials/amaluna/amaluna-broll-h264.zip >
PROMO-ROLL:
< http://media.cirquedusoleil.com/public-
materials/amaluna/amanula-90-sec.zip >
Ticket Information
Amaluna will be presented under the blue and yellow Big Top at
the Old Port of Montreal until July 15, and at the Port de
Québec starting July 25. Tickets for all these performances can
be purchased online at www.cirquedusoleil.com. The tour will
then stop in Toronto and Vancouver before heading for the United
States.
Sponsors and Partners
Amaluna is presented by Desjardins Group, the presenting sponsor
of the 2012 Canadian tour of the show. Infiniti, CGI, Xerox and
Rogers are the official sponsors.
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, 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,
Believe & VIVA Elvis, Zarkana & Iris}
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.
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
------------------------------------
Amaluna:
Montreal, QC -- Apr 19, 2012 to Jul 15, 2012
Quebec, QC -- Jul 26, 2012 to Aug 19, 2012
Toronto, ON -- Sep 6, 2012 to Sep 30, 2012
Vancouver, BC -- Nov 22, 2012 to Dec 9, 2012
Corteo:
Amsterdam, NL -- Mar 22, 2012 to Jun 3, 2012
Antwerp, BE -- Jun 13, 2012 to Jul 1, 2012
Gijón, ES -- Jul 25, 2012 to Aug 26, 2012
Zurich, CH -- Sep 1, 2012 to Sep 16, 2012
Dusseldorf, DE -- Oct 18, 2012 to Nov 04, 2012
Berlin, DE -- Nov 29, 2012 to Dec 16, 2012
Hamburg, DE -- Jan 9, 2013 to Jan 27, 2013
Koozå:
Phoenix, AZ -- Jun 8, 2012 to Jul 15, 2012
Houston, TX -- Jul 26, 2012 to Aug 19, 2012
Dallas, TX -- Sep 19, 2012 to Oct 7, 2012
Tampa, FL -- Nov 8, 2012 to Dec 16, 2012
London, UK -- Jan 2013 to TBA
Ovo:
Portland, OR -- Apr 5, 2012 to May 20, 2012
Brisbane, AU -- Jul 14, 2012 to Aug 19, 2012
Sydney, AU -- Sep 13, 2012 to Oct 7, 2012
Adelaide, AU -- Dec 06, 2012 to Jan 6, 2013
Melbourne, AU -- Jan 17, 2013 to Feb 3, 2013
Perth, AU -- Apr 14, 2012 to Apr 28, 2013
Totem:
San Diego, CA -- Apr 25, 2012 to May 27, 2012
Boston, MA -- Jun 10, 2012 to Jul 1, 2012
Washington, DC -- Aug 15, 2012 to Sep 16, 2012
Atlanta, GA -- Oct 25, 2012 to Dec 2, 2012
New York, NY -- TBA
Varekai:
Salvador, BR -- May 3, 2012 to May 13, 2012
Curitiba, BR -- Jun 15, 2012 to Jun 24, 2012
Porto Alegre, BR -- Jul 26, 2012 to Aug 5, 2012
Buenos Aires, AR -- Aug 17, 2012 to Sep 16, 2012
Santiago, CL -- Sep 28, 2012 to Oct 28, 2012
Lima, PE -- Nov 16, 2012 to Dec 23, 2012
Bogota, CO -- Jan 10, 2013 to Feb 24, 2013
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Saltimbanco:
Beirut, LB -- May 10, 2012 to May 20, 2012
Catania, IT -- Jun 5, 2012 to Jun 17, 2012
Hong Kong, CN -- Jul 12, 2012 to Jul 22, 2012
Singapore, SG -- Jul 26, 2012 to Aug 5, 2012
Manila, PH -- Aug 9, 2012 to Aug 19, 2012
Alegría:
Budapest, HU -- May 17, 2012 to May 20, 2012
Prague, CZ -- May 23, 2012 to May 27, 2012
Hambgurg, DE -- May 30, 2012 to Jun 3, 2012
Hanover, DE -- Jun 6, 2012 to Jun 10, 2012
Nuremberg, DE -- Jun 13, 2012 to Jun 17, 2012
Vienna, AT -- Jun 20, 2012 to Jun 24, 2012
Belgrade, RS -- Jun 29, 2012 to Jul 1, 2012
Nice, FR -- Jul 18, 2012 to Jul 27, 2012
Tel Aviv, IL -- Aug 8, 2012 to Aug 18, 2012
Athens, GR -- Sep 3, 2012 to Sep 9, 2013
Lille, FR -- Nov 21, 2012 to Nov 25, 2012
Paris, FR -- Nov 28, 2012 to Dec 2, 2012
Barcelona, ES -- Dec 26, 2012 to Jan 6, 2013
Santa Cruz de Tenerife, ES - Jan 13, 2013 to Jan 20, 2013
Quidam:
Green Bay, WI -- May 1, 2012 to May 2, 2012
Duluth, MN -- May 4, 2012 to May 6, 2012
Sault Ste Marie, ON -- May 10, 2012 to May 13, 2012
Saginaw, MI -- May 16, 2012 to May 20, 2012
East Lansing, MI -- May 23, 2012 to May 27, 2012
Grand Rapids, MI -- May 30, 2012 to Jun 3, 2012
Toledo, OH -- Jun 6, 2012 to Jun 10, 2012
Rockford, IL -- Jun 13, 2012 to Jun 17, 2012
St. Louis, MO -- Jun 20, 2012 to Jun 24, 2012
Indianapolis, IN -- Jun 27, 2012 to Jul 01, 2012
Winnipeg, MB -- Jul 19, 2012 to Jul 22, 2012
Regina, SK -- Jul 25, 2012 to Jul 29, 2012
Lethbridge, AB -- Aug 1, 2012 to Aug 5, 2012
Edmonton, AB -- Aug 8, 2012 to Aug 12, 2012
Kamloops, BC -- Aug 15, 2012 to Aug 19, 2012
Kelowna, BC -- Aug 22, 2012 to Aug 26, 2012
Abbotsford, BC -- Aug 29, 2012 to Sep 2, 2012
Victoria, BC -- Sep 5, 2012 to Sep 9, 2012
Honolulu, HI -- Oct 4, 2012 to Oct 14, 2012
Dralion:
Halifax, NS -- May 2, 2012 to May 6, 2012
Saint John, NB -- May 9, 2012 to May 13, 2012
London, ON -- May 16, 2012 to May 20, 2012
Rochester, NY -- May 23, 2012 to May 27, 2012
Manchester, NH -- May 30, 2012 to Jun 3, 2012
Syracuse, NY -- Jun 6, 2012 to Jun 10, 2012
Bridgeport, CT -- Jun 13, 2012 to Jun 17, 2012
Rosemont, IL -- Jun 20, 2012 to Jun 24, 2012
Chicago, IL -- Jun 27, 2012 to Jul 1, 2012
Sunrise, FL -- Jul 19, 2012 to Jul 29, 2012
Estero, FL -- Aug 1, 2012 to Aug 5, 2012
Richmond, VA -- Aug 8, 2012 to Aug 12, 2012
Raleigh, NC -- Aug 15, 2012 to Aug 19, 2012
Baltimore, MD -- Aug 22, 2012 to Aug 26, 2012
Atlantic City, NJ -- Aug 29, 2012 to Sep 2, 2012
Pittsburgh, PA -- Sep 5, 2012 to Sep 9, 2012
CHarleston, WV -- Sep 12, 2012 to Sep 16, 2012
Minneapolis, MN -- Sep 19, 2012 to Sep 23, 2012
Ontario, CA -- Oct 24, 2012 to Oct 28, 2012
Long Beach, CA -- Oct 31, 2012 to Nov 4, 2012
San Deigo, CA -- Nov 14, 2012 to Nov 18, 2012
Phoenix, AZ -- Nov 21, 2012 to Nov 25, 2012
Topeka, KS -- Dec 5, 2012 to Dec 9, 2012
Tulsa, OK -- Dec 12, 2012 to Dec 16, 2012
Okalahoma City, OK -- Dec 19, 2012 to Dec 23, 2012
Michael Jackson THE IMMORTAL World Tour:
Hartford, CT -- May 2 & 3, 2012
Baltimore, MD -- May 5 & 6, 2012
Hampton, VA -- May 8 & 9, 2012
Greenville, SC -- May 11 & 12, 2012
Worcester, MA -- May 16 & 17, 2012
Quebec, QC -- May 19 & 20, 2012
Albany, NY -- May 22 & 23, 2012
Cincinnati, OH -- May 25, 2012
Dayton, OH -- Jun 6 & 7, 2012
Columbus, OH -- Jun 9 & Jun 10, 2012
Nashville, TN -- Jun 12 & 13, 2012
Austin, TX -- Jun 15, 2012
Memphis, TN -- Jun 20, 2012
San Antonio, TX -- Jun 23, 2012
Dallas, TX -- Jun 26 & 27, 2012
Atlanta, GA -- Jun 29, 30 & Jul 1, 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 & 21, 2012
Ottawa, ON -- Jul 24 & 25, 2012
Toronto, ON -- Jul 27 & 28, 2012
Boston, MA -- Aug 3 & 4, 2012
Vancouver, BC -- Aug 10 & 11, 2012
Los Angeles, CA -- Aug 14 & 15, 2012
Salt Lake City -- Aug 21, 2012
Europe 2012:
------------
London, UK -- Oct 12 to 17, 2012
Herding, DK -- Oct 24 & 25, 2012
Copenhagen, DK -- Oct 27 & 28, 2012
Stockholm, SE -- Nov 2 & 3, 2012
Helsinki, FI -- Nov 5 & 6, 2012
Frankfurt, DE -- Nov 16 & 17, 2012
Oberhausen, DE -- Nov 20, 2012
Munich, DE -- Nov 24 & 25, 2012
Hannover, DE -- Nov 28, 2012
Vienna, AT -- Dec 1 & 2, 2012
Manheim, DE -- Dec 5, 2012
Leipzig, DE -- Dec 8 & 9, 2012
Hamburg, DE -- Dec 11, 2012
Cologne, DE -- Dec 15 & 16, 2012
Berlin, DE -- Dec 19 & 20, 2012
Madrid, ES -- Dec 26 to Dec 29, 2012
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
2012 Dark Dates:
o May 12 - 16
o September 8 - 12
o November 14
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:00pm
2012 Dark Dates:
o June 10
o August 6 - 12
o October 14 & 17
o December 3 - 18
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
2012 Dark Dates:
o May 15-26
o July 24
o September 18-22
o November 27
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Friday through Tuesday, Dark Wednesday/Thursday
Two Shows Nightly - 7:30pm and 10:00pm
2012 Dark Dates:
o June 19
o August 24, 25, 26, 27, 28 and 31
o September 1, 2, 3, and 4
o October 23
o December 14, 15, 16, 17 and 18
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
2012 Dark Dates:
o May 29 - June 2
o July 31
o August 1
o September 28 - 29
o November 20
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
2012 Dark Dates:
o June 4
o August 2 - 6
o October 1
o December 6 - 19
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.
2012 Dark Dates:
o May 29-31
o June 1-2
o July 17-21
o September 4-11
o December 18-25
VIVA ELVIS:
Location: Aria, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
2012 Dark Dates:
o May 8
o July 10-21
NOTE: VIVA ELVIS to have final show on August 18, 2012
ZARKANA:
New York, NY -- Jun 6, 2012 to Sep 2, 2012
Las Vegas, NV -- Oct 25, 2012 to OPEN
IRIS:
Location: Kodak Theatre, Hollywood, CA (USA)
Performs: Tuesday through Friday @ 8:00pm
Saturday @ 3:00pm and 8:00pm
Sunday @ 2:00pm and 7:00pm
DARK: Monday
Select Weekday Matinee Performances
Wednesday and Friday at 3:00pm
2012 Dark Dates:
o May 29 and 30
o July 3 and 4
o August 7
o September 4 -11
o October 23
o November 22
o December 4 and 25
=======================================================================
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
---------------------------------------
Corteo Angels in the Streets of Amsterdam
{Apr.12.2012}
----------------------------------------------
To spread the word about the upcoming visit of Corteo to
Amsterdam, angels took to the streets and canals!
Nine street performers and ten angels spent two days in the city
of Amsterdam. Angels floated along canals in giant bubbles,
jugglers and contortionist entertained crowds and a giant mobile
decorated the city skyline.
More than 2 000 clown noses, 5 000 lollypops along with and
10,000 flyers were distributed to passerby.
P.S.: Corteo is playing under the Big Top in Amsterdam until
June 3, 2012.
Check out pictures of Corteo's Angels in the Streets at
CirqueClub: < http://www.cirquedusoleil.com/en/cirque-
club/news/2012/2012-04-12-amsterdam-angels.aspx >
In the Shadows of IRIS, They Play with Light [EXPANDED]
{Apr.26.2012}
-------------------------------------------------------
The team comprises of six full-time staff, four on-call staff
and two artists. Each evening, they film live footage, process
the images at light speed and project shadows. Tom, Head of
Projections, explains what's special about IRIS. "Other Cirque
shows, such as LOVE, Mystère or KÀ, mainly project pre-recorded
images. Michael Jackson THE IMMORTAL World Tour and CRISS ANGEL
Believe also use live clips. On IRIS, in addition to a few pre-
recorded passages and real-time taping, we use infrared
technology and projection mapping, which allow us to present the
audience a full immersive experience!" The result - for the
deconstructed images that enhance the hand-to-hand act, or the
kaleidoscopic effect that highlights the contortionists'
performance - is stunning. In addition to accompanying some
acts, projections are also used to provide the set with volume
and relief.
In the first minutes of the show, the patterns on one of the
stage curtains start moving during a big "charivari" act. The
characters seem to come to life. The same is true for the
"castelets" on each side of the stage - a wink here, a slight
head movement there . . . Just enough to make you think your
eyes are deceiving you.
The projections are much more than a decorative element - they
are an actual character in the show. In the Filmstrip act, the
artists record-in front of the audience - a short video clip,
which is then projected repeatedly in the frames of a giant
filmstrip, allowing them to interact . . . with themselves! "The
projection reacts to the onstage action," adds Tom, "and not the
reverse, like many spectators think."
In a show about cinema, it is not surprising to sometimes see
cameras and technicians onstage. Its part of the shows very
essence, adds Tom. We provide a behind-the-scenes look at how
movies are made by playing with light. It is therefore perfectly
natural to incorporate the technical aspects into the story.
Projections team members come from a variety of backgrounds.
Susan Diamond, who also does TV work, is thrilled to have
participated in the creation process. In television, deadlines
are very tight. You do a few rehearsals, and then when youre
live, you look for the best shot. Shows are broadcast very
quickly. Once a show has aired, its over. It doesnt change
anymore. Dallas Nichols adds: With IRIS, weve created
magnificent concepts and explored various options. And every
evening, we have a chance to do better. The projections are
continuously evolving, at the same rate as the show. Its a big
plus with interactive projections. Kevin Anema, who also works
for a well-known TV quiz show, says: For a technician, working
on IRIS is a great learning opportunity. The technology were
using is awesome particularly the projection mapping. Its
spectacular! Were doing things here that Ive never seen
anywhere else.
Incredible, spectacular, never-before-seen all terms that
apply to both the show and the work of this dedicated team.
---------------------------------------------------
NETWORKING: Cirque on Facebook, YouTube & Twitter
---------------------------------------------------
---[ ALEGRIA ]---
{Apr.07}
Great review in Manchester!
LINK /// < http://mancunianmatters.co.uk/content/06042968-
review-cirque-du-soleils-alegr%C3%ADa-debuted-manchester-
charming-affair-entertainment-p >
{Apr.13}
Crane.TV spent the day with us in Manchester last week and this
is the result. A beautiful and creative look into the world of
Alegria.
LINK /// < http://crane.tv/#channel/lifestyle >
{Apr.22}
Yesterday was Alegria's 18th birthday! Cast and crew gathered
after the show to celebrate this amazing milestone and raise a
glass to all those who have played a part in this beautiful
story. Eighteen years, 6154 shows, and here's to many more.
LINK /// < http://www.facebook.com/media/set/?
set=a.10150826520490746.477577.38543815745&type=1 >
---[ AMALUNA ]---
{Apr.04}
A first glimpse of the show today at the press conference!!
LINK /// < http://www.facebook.com/AmalunaCirque#!/photo.php?
fbid=339681622759810&set=a.316111341783505.76338.
282374401823866&type=1&theater >
{Apr.05}
Amaluna - Cirque du Soleil shared a link.
LINK /// < http://www.cyberpresse.ca/arts/spectacles-et-
theatre/cirque/201204/05/01-4512687-amaluna-virilite-
feminine.php?utm_categorieinterne=trafficdrivers&utm_
contenuinterne=cyberpresse_hotTopics_sujets-a-la-
une_1664122_accueil_POS2 >
{Apr.05}
Premiers extraits de la nouvelle production Amaluna! Présenté
sous le Grand Chapiteau à partir du 19 avril au Vieux-Port de
Montréal!
LINK /// < http://www.youtube.com/watch?
v=3I8JsRE9yiA&feature=share >
---[ CIRQUE DU SOLEIL ]---
{Apr.12}
Did you know that last year, 2,911,000 liters of rainwater were
collected at Cirque du Soleil International Headquarters and
used for sanitary equipment, landscaping maintenance and
watering the vegetable gardens? Visit our 2011 citizenship
review to learn more:
LINK /// < http://cirk.me/I4w4cq >
{Apr.18}
Did you know that in ten years, $5.5 million was given, in
various forms, to more than 600 artists and artistic companies
in communities where Cirque du Soleil has permanent facilities?
Visit our 2011 citizenship review to learn more:
LINK /// < http://cirk.me/IBfHa1 >
{Apr.24}
Enjoy 25% off select Cirque du Soleil show tickets and discover
great gift ideas for Mother's Day. Plus, enter our contest for
your chance to win tickets to Amaluna!
LINK /// < http://cirk.me/I6ziMO >
---[ CORTEO ]---
{Apr.15}
Corteo in cultuurbewust.nl
LINK /// < http://www.cultuurbewust.nl/site/theater-41760-
magische-acrobatiek-tijdens-vrolijke-begrafenisstoet-in-
cirque-du-soleils-corteo/ >
{Apr.17}
Corteo on Check it out!
LINK /// < http://www.checkitoutnet.nl/artikel201.html >
{Apr.20}
AJAX players last night at Corteo in Amsterdam!
LINK /// < http://www.facebook.com/pages/Corteo-by-Cirque-du-
Soleil/34657386178#!/photo.php?fbid=10150656788541179&
set=a.438715896178.237170.34657386178&type=1&theater >
---[ CRISS ANGEL BELIEVE ]---
{Apr.09}
Check out the recent Criss Angel meet and greet we had!
LINK /// < http://www.youtube.com/watch?v=dPY15en1WiY >
{Apr.11}
Pick a card, any card.
LINK /// < http://www.facebook.com/CrissAngelBelieve#
!/photo.php?fbid=10150732682398599&set=a.103473593598.
94236.18869703598&type=1&theater >
---[ DRALION ]---
{Apr.01}
Dralion opens Wednesday, April 4th at the Cleveland State
Wolstein Center for 7 shows only! Who's got tickets?
LINK /// < http://www.cleveland.com/entertainment/index.ssf
/2012/03/cirque_du_soleil_brings_high-f.html >
{Apr.06}
Happy 10 years anniversary with Cirque du Soleil to our aerial
hoop performer - Hibana! Yay!
LINK /// < http://www.facebook.com/dralioncirque#!/photo.php?
fbid=10151487546860195&set=a.225774950194.
283184.39340140194&type=1&theater >
{Apr.08}
On April 8, 2012 at the Wolstein Arena in Cleveland, Dralion had
its second Easter Egg hunt!!! 864 eggs were hidden in the
seating area of the Wolstein Arenahad a great time and got lots
of candy!
LINK /// < http://www.facebook.com/dralioncirque#!/photo.php?
fbid=10151495737320195&set=a.10151495724915195.
850410.39340140194&type=1&theater >
{Apr.27}
Great review this morning in the spec.com! 6 shows to go and
tickets are still available in Hamilton!
LINK /// < http://www.thespec.com/whatson/article/713490--
cirque-comes-full-circle-with-vintage-dralion-show >
---[ IRIS ]---
{Apr.12}
Visit the IRIS by Cirque du Soleil Boutique at Hollywood &
Highland for our Spring Sale! For a limited time only, get 50%
off of select merchandise!
{Apr.14}
IRIS Family Day (80 photos)
LINK /// < http://www.facebook.com/IrisCirque#!/photo.php?
fbid=372483986123281&set=a.372482792790067.
83884.161171830587832&type=1&theater >
{Apr.19}
You can now follow Cirque du Soleil on Instagram!
LINK /// < http://instagr.am/p/Jnu5YtRI7G/ >
{Apr.23}
Congratulations on a successful 2012 International Pow Wow
Opening Night Party! IRIS by Cirque du Soleil performed two
shows to a packed house. Photo Credit: Line 8 Photography
LINK /// < http://www.facebook.com/IrisCirque#!/photo.php?
fbid=377428828962130&set=a.173536262684722.
34125.161171830587832&type=1&theater >
{Apr.24}
Pow Wow Opening Night (4 photos)
LINK /// < http://www.facebook.com/IrisCirque#!/photo.php?
fbid=378125562225790&set=a.378125408892472.
84889.161171830587832&type=1&theater >
---[ KÀ ]---
{Apr.27}
A KÀ fan named Megan Bryson made a mini-Counselor and sent it to
our full-sized Counselor! Here's a picture of the two together:
LINK /// < http://www.facebook.com/KA#!/photo.php?
fbid=10150875045296929&set=a.176667951928.
146847.31527171928&type=1&theater >
---[ LA NOUBA ]---
{Apr.18}
Today La Nouba juggler Anthony Gatto will have special juggling
performance at the Acrobatic Gymnastics World Championships.
Catch the Acrobatic Gymnastics World Championships finals today
(4/18) on ESPN3 at 4PM EDT.
{Apr.25}
The Cycles act in La Nouba displays technical twists, gymnastic
turns, spins on one wheel, G-turns, boomerangs and megaspins,
all accompanied by lots of footwork!
LINK /// < http://www.facebook.com/LaNouba#!/photo.php?
fbid=10150731042319902&set=a.190647189901.
126413.16315569901&type=1&theater >
---[ MJ IMMORTAL ]---
{Apr.05}
Third Sold Out Performance at Madison Square Garden tonight!!
Check out the red Carpet coverage (video and photo) from the New
York Premiere !!
LINK /// < http://www.epklink.com/MJImmortalNYC/ >
{Apr.07}
Currently playing in Uniondale, NY! Philadelphia on Tuesday and
Wednesday.
LINK /// < http://articles.philly.com/2012-04-
06/news/31300557_1_cirque-show-immortal-world-
tour-michael-jackson >
{Apr.11}
Coming to Pittsburgh this weekend, three shows at the Petersen
Events Center! Cool story on the local CBS station!
LINK /// < http://pittsburgh.cbslocal.com/video/?
autoStart=true&topVideoCatNo=default&clipId=
6922618#.T4YLyR7EsMo.email >
{Apr.12}
In Pittsburgh !!
LINK /// < http://www.post-gazette.com/stories/ae/music/
cirque-du-michael-the-immortal-world-tour-honors-the-
king-of-pop-631082/ >
{Apr.13}
You want to learn more about the show....
LINK /// < http://www.fuse.tv/videos/2012/04/cirque-du-soleil-
is-doing-a-show-based-on-michael-jackson-s-songs >
{Apr.25}
Arrived in Columbia, South Carolina and gearing up for two great
shows on Friday and Saturday! Tickets are still available!
LINK /// < http://www.aikenstandard.com/story/0422-
MichaelJackson--3947600 >
{Apr.26}
GREAT interview with Immortal dancer Ruthy and Kevin from WVOC-
FM Radio in Columbia, South Carolina! Shows Friday and Saturday
night 8pm at Colonial Life Arena in Columbia.
LINK /// < http://www.facebook.com/mjimmortaltour#!/photo.php?
fbid=409571815734353&set=a.277498785608324.
71073.163439450347592&type=1&theater >
{Apr.27}
Get ready Hartford, we're coming your way next week! But before
that, go behind-the-scenes...
LINK /// < http://www.ctnow.com/entertainment/hc-michael-
jackson-cirque-0426-20120425,0,7245695.story >
---[ "O" ]---
{Apr.18}
You can now follow Cirque du Soleil on Instagram!
LINK /// < http://instagr.am/p/HIPWHXxIxd/ >
{Apr.24}
Here's a glimpse of our doors backstage at "O" Theatre!
LINK /// < http://www.facebook.com/Ocirque#!/photo.php?
fbid=10150774857959417&set=a.98604589416.
79108.26000574416&type=1&theater >
---[ OVO ]---
{Apr.13}
Did you miss OVO on KGW yesterday? You can watch reporter Drew
Carney try to land a front flip with OVO's Head Coach Eric
Heppell by clicking on the link below.
LINK /// < http://www.kgw.com/community/blogs/drew-
carney/Cirque-du-Soleils-OVO--146937365.html >
---[ QUIDAM ]---
{Apr.25}
Don't miss @emily14news trying out aerial hoop LIVE at 6:45am
with #quidam #thefordcenter on @14news (local 7 Evansville)
LINK /// < http://www.facebook.com/QuidamCirque#!/photo.php?
fbid=10150682994182046&set=a.172887642045.
134560.35752277045&type=1&theater >
---[ THE BEATLES LOVE ]---
{Apr.25}
This is backstage at our theatre! Which act do you think is
practiced here?
LINK /// < http://www.facebook.com/TheBeatlesLOVE#!/photo.php?
fbid=10150771298363666&set=a.101066423665.
92500.14653468665&type=1&theater >
{Apr.27}
It's a bright, sunny day here in Vegas, but we're always ready
with our rain boots backstage at LOVE!
LINK /// < http://www.facebook.com/TheBeatlesLOVE#!/photo.php?
fbid=10150776711578666&set=a.101066423665.
92500.14653468665&type=1&theater >
---[ TOTEM ]---
{Apr.11}
Spartan Daily from San Jose State came backstage a few weeks ago
to meet with one of our Rings Trio performers Olli Torkkel and
learn more about the TOTEM family. Watch their report here:
LINK /// < http://spartandaily.com/71480/behind-the-scenes-
cirque-du-soleil >
{Apr.22}
TOTEM celebrates today its second anniversary as we are putting
the final touches for the Wednesday's Opening Night in San
Diego!!! Watch this report from NBC San Diego to learn more
about the show!
LINK /// < >
---[ VAREKAI ]---
{Apr.28}
Varekai is celebrating our 10 year anniversary!!!! 4 continents,
millions of people and lots of love! Thanks for all the support!
---[ VIVA ELVIS ]---
{Apr.18}
Kristin Allen of Viva ELVIS will be providing commentary during
today's finals of the Acrobatic Gymnastics World Championships
at 4PM EDT on ESPN3. Kristin and her partner Michael Rodrigues,
were the first American mixed pair to win a gold medal from the
World Games, and second pair to win the Acrobatic Gymnastics
World Championships.
LINK /// < http://www.facebook.com/vivaelvis#!/photo.php?
fbid=10150665263579109&set=a.167799494108.
119733.167136344108&type=1&theater >
{Apr.27}
What time is it where you are?
LINK /// < http://www.facebook.com/vivaelvis#!/photo.php?
fbid=10150693159249109&set=a.167799494108.
119733.167136344108&type=1&theater >
---[ ZARKANA ]---
{Apr.03}
Book Early and SAVE over 20%! Zarkana by Cirque du Soleil is
returning to Radio City Music Hall for Summer of 2012!
Code: F1ZARK
{Apr.17}
Zarkana is back on the Radio City Music Hall marquee!
LINK /// < http://instagr.am/p/Jh_QsYxI9Y/ >
{Apr.20}
Zarkana Production Photos - 2012 (11 photos)
LINK /// < http://www.facebook.com/media/set/?
set=a.366214220097140.93947.139797212738843&type=1 >
=======================================================================
COMPARTMENTS -- A PEEK BEHIND THE CURTAIN
=======================================================================
o) DIDYAKNOW - Facts at a Glance about Cirque
o) HISTORIA - Cirque du Soleil History
---------------------------------
DIDYAKNOW? - Facts About Cirque
---------------------------------
In celebration of AMALUNA's premiere all the facts in DidYaKnow
pertain to... AMALUNA!
o) There are 174 branches in 534 sections - 90 in the canopy and 84
upstage - making a total of 1.7 km or 1.05 miles. There are three
models of branches in the canopy and 35 in the upstage.
o) The 25-ft diameter Carousel weighs 6,000 lbs. The acrobatic winch
in the centre of the Carousel can lift up to 1,000 lbs at 10 feet
per second.
o) The Grid weighs 8,600 lbs and includes three acrobatic winches,
each able to lift loads up to 400 lbs at 10 feet per second.
o) The Waterbowl is 5'5" tall, 7'3" in diameter, and weighs 5,500 lbs
when filled with water.
o) The six Chandeliers throughout the big top are made of aluminum
tubes bent and positioned to create the effect of a mobile with a
span of 14.5 ft. They support seven polycarbonate bowls reminiscent
of the bowls used in the Icarian games number. Each of the bowls
can light up, transforming the structures that support them into
real Chandeliers.
o) There are over 130 costumes in Amaluna, made up of nearly 800
different items.
o) Queen Prospera wears a large golden mantle composed of four
rectangles on which are printed in sublimation the cover image of
GAIA, the book of photographs taken in space by Cirque du Soleil
founder Guy Laliberté. It shows a majestic cloud system captured at
a distance of 350 km above the earth's surface.
o) The white dress worn by the artist performing the Peacock Dance
comprises a bustier and a skirt. The bustier is made of stretch
nylon tulle covered with white beaded lace and Swarovski crystals.
The skirt is made of 65 yards of white non-stretch nylon tulle
covered with silver lace and Swarovski crystals. The dress has a
total of 6,500 Swarovski crystals and 325 silver lace additions.
The tail features 12 two-meter pleated polyester voile panels with
sunray pleats (bias-cut knife pleats, narrower at the top than at
the bottom, producing a flared effect), printed with white peacock
feather designs.
------------------------------------
HISTORIA: Cirque du Soleil History
------------------------------------
* May.01.1986 -- Cirque Performs at Expo 86 in Vancouver
* May.01.2003 -- Cirque nominated for Drama Desk Awards:
Outstanding Set Design in a Musical - Stephane Roy
Outstanding Costume Design - Eiko Ishioka
Outstanding Sound Design - Francois Bergeron
Unique Theater Experience - Varekai
* May.02.2000 -- Journey of Man (IMAX) premiered in USA
* May.02.2000 -- Journey of Man CD Released in US/Canada (RCA/Victor)
* May.02.2006 -- Cirque announced Macau permanent production
* May.02.2007 -- Cirque announces Dubai 2010 show
* May.04.2006 -- Dralion opened Valencia
* May.04.2006 -- Varekai opened Seattle
* May.04.2011 -- Alegria Arena opened Roanoke, VA
* May.04.2011 -- Quidam Arena opened Reno, NV
* May.04.2011 -- Dralion Arena opened Rockford, IL
* May.05.2006 -- Saltimbanco opened Buenos Aires
* May.05.2010 -- Alegría Arena opened St. Louis, MO
*May.06.2004 -- Quidam opened Vancouver
* May.06.2004 -- Alegría opened New York City
* May.06.2009 -- Saltimbanco Arena opens Gainesville, FL
* May.07.1987 -- Le Cirque Réinventé Premiered in La Salle
* May.08.1990 -- Nouvelle Expérience Premiered in Montréal
* May.08.2006 -- Cirque announced Elvis-themed productions
* May.08.2008 -- Koozå opened Philadelphia, PA
* May.08.2009 -- Cirque "Vaudeville" Announced/Presale
* May.09.2002 -- Quidam opened Pittsburgh
* May.09.2008 -- Koozå CD unofficially Available
* May.10.2007 -- Alegría opened Saint-Denis, France
* May.11.1986 -- Cirque leaves Expo 86
* May.11.2000 -- Saltimbanco Pacific-Northwest Tour Began (Portland)
* May.11.2007 -- Corteo opened Columbus, Ohio
* May.11.2007 -- Cirque Celebrates 20 Years in Los Angeles
* May.11.2011 -- Alegria Arena opened Columbia, SC
* May.11.2011 -- Quidam Arena opened Sacramento, CA
* May.11.2011 -- Dralion Arena opened Kansas City, MO
* May.12.2005 -- Quidam opened Adelaide
* May.12.2010 -- Alegría Arena opened Kansas City, MO
* May.12.2011 -- TOTEM opened Pittsburgh, PA
* May.12.2011 -- Saltimbanco Arena opened Adelaide, AU
* May.13.2006 -- La Nouba celebrated 3500th performance [Saturday, 6:00pm]
* May.13.2006 -- Dralion celebrated its 2500th performance [Valencia, Spain]
* May.13.2009 -- Saltimbanco Arena opens Tallahassee, FL
* May.13.2010 -- Varekai opened Cologne, DE
* May.14.1985 -- 1985 Tour Began in Montréal [Vieux-Port de Montréal]
* May.14.2008 -- Saltimbanco Arena opened Albuquerque, NM
* May.15.1997 -- Alegría opened Munich
* May.15.2003 -- Dralion opened Montreal
* May.15.2008 -- Alegría opened Porto Alegre, Brazil
* May.15.2009 -- Cirque opened Eurovision Song Contest Finale
* May.15.2011 -- Saltimbanco Arena opened Melbourne, AU
* May.17.2005 -- Solarium-Delirium CD Released (CDS Musique)
* May.18.1986 -- Le Magie Continue opened Sherbrooke
* May.18.1987 -- Le Cirque Réinventé opened Sherbrooke
* May.18.1989 -- Le Cirque Réinventé opened Chicago
* May.18.2000 -- Quidam opened Bilbao
* May.18.2003 -- Cirque loses Drama Desk Awards (nominated 5/1/03)
* May.18.2006 -- Quidam opened Ottawa
* May.18.2011 -- Alegria Arena opened Toledo, OH
* May.19.1995 -- Saltimbanco opened Munich
* May.19.2006 -- Varekai opened Baltimore
* May.19.2010 -- Alegría Arena opened Salt Lake City, UT
* May.19.2011 -- LOVE receives "Best Show" honor from USA Today
* May.20.1999 -- Alegría premiered permanently in Biloxi, Mississippi.
* May.20.2007 -- Quidam opened Seoul, South Korea (first time in Korea!)
* May.20.2009 -- Saltimbanco Arena opened Jacksonville, FL
* May.20.2010 -- Saltimbanco Arena opened Sheffield, UK
* May.21.2003 -- Quidam opened Nagoya
* May.21.2004 -- CirqueCon 2004: Vancouver Began (through 5/24)
* May.21.2008 -- Saltimbanco Arena opened Boise, ID
* May.21.2009 -- Corteo opened Nagoya, Japan
* May.21.2009 -- Criss Angel likeness unveiled in wax at Madame
Tussauds Las Vegas
* May.21.2010 -- Banana Shpeel official Gala Premiere
* May.22.1992 -- Fascination Premiered in Tokyo (Until Sep.)
* May.22.1998 -- Alegría opened Hamburg
* May.23.2007 -- Dralion opened Sendai, Japan
* May.23.2011 -- "O" Celebrated 6,000th Performance
* May.24.2002 -- Mystère celebrated 4000th performance [Friday, 7:30pm]
* May.24.2011 -- Cirque announced ZARKANA / Press Conference
* May.25.1988 -- Le Cirque Réinventé opened New York City
* May.26.2009 -- ZAIA, Alegría Remastered CDs Released
* May.26.2010 -- Saltimbanco Arena opened Liverpool, UK
* May.26.2010 -- Alegría Arena opened Fresno, CA
* May.26.2011 -- OVO opened Minneapolis, MN
* May.27.1999 -- Alegría: Le Film premiered in Netherlands
* May.27.2009 -- Alegría Arena Tour Beings [Halifax, NS]
* May.27.2009 -- Saltimbanco Arena opened Sunrise, FL
* May.28.1987 -- Le Cirque Réinventé opened Montréal
* May.28.1999 -- Saltimbanco opened Brisbane, Australia
* May.28.2003 -- BRAVO sneaks Varekai - Midnight to 2:00pm
* May.28.2010 -- Quidam opened Buenos Aires, BR
* May.29.1986 -- Le Magie Continue opened Montréal
* May.29.1997 -- Quidam opened Oakland
* May.29.2001 -- Alegría opened Sydney, Australia
* May.29.2008 -- Name of "Cirque Macao 2008" Announced - "ZAIA"
* May.29.2008 -- Saltimbanco Arena opened Victoria, BC
* May.30.2006 -- Varekai celebrated 1500th performance [Tues, 8:00pm/Seattle]
* May.31.1996 -- Saltimbanco opened Stuggart
* May.31.2001 -- Quidam opened Hamburg
* May.31.2011 -- Cirque Presents "Flower in the Desert"
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "O Brave New World... AMALUNA!"
By: Ricky Russo - Atlanta, Georgia (USA)
o) "Cirque's Dreams of the Past: A What If?
Part 3: Complexes Cirque"
By: Ricky Russo - Atlanta, Georgia (USA)
o) "AMALUNA Premiere Reviews Coming in!" [EXPANDED]
A Special Collection of Reviews in the Press
----------------------------------------------------------
"O Brave New World - AMALUNA!"
By: Ricky Russo - Atlanta, Georgia (USA)
----------------------------------------------------------
"How beauteous mankind is! O brave new world
that has such people in't." (Miranda, "The Tempest")
There's nothing like a hometown crowd.
I've said it before and I'm sure I'll say it again. It's a clichéd old
adage, but for a fan of Cirque du Soleil there's simply no substitute
for being in the Grand Chapiteau with a couple of thousand Québécois,
clapping and stomping to the show's beat - whether it be lounge-
fusion, organ-fusion, Indian-fusion, insect-fusion, Native American-
fusion or full-on rock-and-roll - and reveling in every single moment
of it all. As an attendee of Cirque du Soleil touring show premieres
for ten years, allowing one's self to be swept up in the awesomeness
of premiere excitement is nothing short of magical; it's a euphoria
you'll find nowhere else but in Cirque's hometown. I relish this
feeling... especially with friends.
My first experience with this brand of euphoria came when witnessing
Varekai's birth in 2002. I knew from the moment I stepped foot on the
cobblestoned streets of the venerable old port of Montréal this was
how you celebrated a premiere and I wanted to be a part of it from
then on.
Traveling to Montreal for premiere weekend has provided many indelible
memories. I'll never forget bouncing along outside the Grand
Chapiteau on the third night of Varekai's performances having just
procured a stand-by ticket while the harmonies of the show's opening
overture played on; or watching "Mad Max" rip off his headdress and
fly through the air between one Russian Swing to the other all the
while twisting, turning and twirling about - the first time I ever
seriously feared for an artist's safety; or forget about touring the
Cirque du Soleil Headquarters with 100 or so Passionates as part of
CirqueCon 2005; or forget sitting on the edge of my seat along with
everyone else during Koozå's many thrilling acts; or meeting and
speaking with David Shiner, Koozå's Director, during intermission)
occasionally there's a miss-step.
Varekai and Koozå were well received by the hometown crowd (how about
standing ovations DURING the performance?); OVO not so much. For me
personally Corteo was not a particularly good premiere, especially
after coming off that spectacular Russian Swings ending to Varekai
three years before, but the crowd enjoyed it. OVO fared much, much
worse by both me and the crowd I saw it with; in fact, the response
was so tepid I was sure Cirque had its first bona-fide flop on its
hands! (That honor would fall to BANANA SHPEEL.) TOTEM was much better
but even it had a "WOW + WTF" combination that made it a little uneven
at the start, to me at least.
Subsequent viewings of both Corteo and OVO a little more than a year
after premiere turned my view point around (I'll see TOTEM for the
first time since premiere this coming October as it winds its way
through Atlanta) so it seems the third time is the charm. However, it
is best to go in with the understanding that when you come to a
premiere you're seeing a show that's not yet ready, that may have had
only two or three full-run performances in front of the public... and
that's it!
So with all that in mind how does AMALUNA fare?
I AM IN LOVE WITH THIS SHOW!
MEETING FRIENDS ///
"Welcome to Montreal, sir!"
"Thank you!"
"Oh, there's a message here for you..."
Who could that be from? I said to myself, as the clerk went back
behind the counter to check on the note.
I had just walked into the Spring Hill Suites du Vieux Port after
spending more than an hour in customs/immigration and another in rush-
hour traffic; I was late. I had expected to arrive at my hotel before
5:00pm, which would have allowed plenty of time to collect myself
before heading off again, but clearly that was not to be. It was
5:45pm and someone was in search of me.
Although I've not missed a premiere since 2002's VAREKAI, following my
experience with 2005's CORTEO I thought perhaps seeing shows later in
the run would be better. I contemplated Toronto for 2007's Koozå but
fortuitous events intervened (Cirque pushed Montréal previews up one
week) and it seemed destiny called - I had to go! It was a good thing
I went or else I would have missed out on meeting David Shiner during
intermission right there in the Grand Chapiteau. I learned my lesson
and came to Montreal for 2009's OVO, but I was sorely disappointed
with the show. I would not have come up for 2010's TOTEM had I not
heard some amazing things about the show prior to its premiere (and
its close proximity to New York City, where I was catching a
performance of BANANA SHPEEL as part of CIRQUECON 2010). The decent
experience I had with TOTEM lead to an understanding that perhaps
coming to Montreal was not such a bad thing after all, even if I had
"been there, done that" five times now.
So when AMALUNA was announced I did not hesitate to plan a trip up,
but as April drew closer it seemed anything and everything was trying
to keep me from going. A recent move to Atlanta from Orlando squeezed
my wallet, plans to repeat a trip to New York City with a drive to
Montreal and back fell apart, and high airfare to Montreal from
Atlanta didn't help matters. Eventually throwing caution to the wind I
bought tickets to the show, scoped out airfare from nearby airports
(selecting a much cheaper round-trip from Charlotte, NC - a four-hour
drive from Atlanta), renewed my passport and reserved a hotel in the
old port of Montreal. I was going come hell or high water!
Could the message be Steve Long, from Connecticut? He'd messaged me
earlier in the month that he'd decided to come up on a whim,
suggesting he might be dropping by my hotel prior to the show. Could
it be Mark Wyrick, from California? He and I met in Montreal somewhat
by chance in 2002. Mark overheard my friends and me discussing Varekai
at L'Aventure, a restaurant on Jacques Cartier Square, and joined us.
We've been friends ever since. Could it be Lorraine Peck, also from
California? She was the first Passionate I knew of who'd be making the
trek up. She was staying at her favorite hotel - Auburge du Vieux Port
- just down the block from mine, and we'd discussed meeting up and
hanging out during the weekend since she'd be here alone.
So just who could it be?!
The clerk behind the counter returned a few moments later: it was Anne
& Tim Brydon, from California! We'd also been in contact throughout
the weeks leading up to AMALUNA's premiere, expressing hope that we
could meet up before attending our first performance. Her note was
quick and simple: "Tim and I will be going to this restaurant
(attached card: the L'usine de Spaghetti, 273 rue St-Paul E) at 5:30pm
- it's just down the street, turn left, and not far! Hope to see you
soon!"
With an invitation like that who could refuse? This is what I came to
Montreal for - to be with friends and fellow Cirque du Soleil
Passionates. So what if I had just arrived? Drop everything and go.
And I did! Within moments I was in my room, hopping online to search
for the exact location of the restaurant (it wasn't far), messaging
friends and loved ones that I had finally made it (and would see some
of them at the Big Top that night), changing into some appropriate
Cirque du Soleil attire (although no one would see it - brrrr, it was
cold in Montreal!) and flying out the door. I met Anne and Tim down at
the restaurant a few moments later, et viola - instant magic!
I later ran into Steve Long and Lorraine Peck down at the Grand
Chapiteau, Bill and Terri Preece during intermission and Mark Wyrick
the following day - in the rain! (It rained all day!) - before our
4:00pm performance. I had such a fantastic weekend with these friends
it pained me to part from them, even if it did snow the last day.
But what about the show?
AMALUNA ///
Theme
-----
For the first time in Cirque du Soleil's history, over 70% of the cast
is female (and with an all-female band), as a result Amaluna features
strong women characters plucked from history and literature alike,
from the Amazons of Greek Mythology to the wily pages of Shakespeare
(both "Romeo and Juliet" and "The Tempest" were inspirations).
"Amaluna is a tribute to the work and voice of women," explained
Director of Creation Fernand Rainville at the press conference. "The
show is a reflection on balance from a woman's perspective," he added.
Show Director Diane Paulus says: "Amaluna is less about feminism and
more about reconnecting to our world in a different way."
In AMALUNA, we're invited to a mysterious island governed by Goddesses
and guided by the cycles of the moon. Their queen, Prospera (played by
Cellist-Saxophonist Julie McInnes; she also sings!), directs her
daughter's coming-of-age ceremony in a rite that honors femininity,
renewal, rebirth and balance that marks the passing of these insights
and values from one generation to the next. The show's name draws its
inspiration from the fusion of the words "ama", which refers to
"mother" in many languages, and "luna", which refers to the "moon". It
is at once both a symbol of femininity that evokes the mother-daughter
relationship between Prospera and Miranda and the idea of a goddess
and protector of the planet.
"In the wake of a storm caused by Prospera," Cirque du Soleil
explains, "a group of young men land on the island, triggering an
epic, emotional story of love between Prospera's daughter Miranda
(played by Water-bowl/Hand-balancing artist Iulia Mykhailova), who is
on the brink of womanhood, and a brave young suitor, Romeo (played by
Chinese Pole artist Édouard Doye). But theirs is a love that will be
put to the test as jealous Cali (a pet, played by juggler Viktor Kee)
attempts to thwart their union. The couple must face numerous
demanding trials and overcome daunting setbacks before they can
achieve mutual trust, faith and harmony.
The Site
--------
The AMALUNA Grand Chapiteau is set up on the Jacques Cartier Pier in
the Vieux Port of Montreal, where Cirque du Soleil has staked its
shows since the dawn of its recorded time (expect for 1999's Dralion,
which was set up on the lawn of their headquarters building in the
city). Surrounded on three sides by water and history, the striped big
top (doesn't Cirque do swirled tents anymore? Yes, but fleetingly now)
called out. Although there were a number of banners about, advertising
the show, Tapis Rouge (of course), Cirque's sponsors and the upcoming
Montréal Complètement Cirque (an international Circus Arts Festival
running from July 7-24 in which Cirque du Soleil is a participant), we
wondered: where is the box office? Actually inside the merchandise
tent!
It's almost hard to remember that Cirque du Soleil used to have two
merchandise/concession tents for patrons based on their ticketed seat,
so coming upon a Cirque Grand Chapiteau with a linked merchandise /
concession tent construct isn't new; however, one with the box office
INSIDE the merchandise tent is. I wondered if this is going to become
a trend (I rather like it) or if it was tried because of the
unpredictable weather Montreal is known to have in April. Either way,
standing inside and speaking to someone face-to-face for tickets is
much better and more welcoming than standing outside, shaking and
shimmying to keep warm while speaking through a small speaker to
someone behind a plexi-glass window.
Otherwise the concessions offered at AMALUNA were the usual: sodas,
bottled water, popcorn, hotdogs and regular confections. Of course we
hit the merchandise stands and found the normal costume balls (from
Totem), Cirque du Soleil t-shirts (with a couple of AMALUNA logo
shirts for men and women alike), magnets, key-chains and the pre-
requisite masks, CDs and DVD area. An Amaluna Pre-program was
available as was the GAIA book - Guy Laliberté's pictures from Space,
but most interesting was that Cirque du Soleil was selling the
DELIRIUM show CD in a special combination with the AMALUNA pre-program
(and a bag). With a recent (but very much unfounded) rumor that Cirque
du Soleil was in talks to revive DELIRUM for installment in New York
City we found this rather interesting.
The Set & Stage
---------------
Entering a Grand Chapiteau is always a treat; when you step foot
inside the big top the first time, for a brand new show, expectations
run rampant, which only serves to heighten the excitement even more.
When the flimsy doors of Amaluna's big top parted, my eyes were
immediately drawn to Scott Pask's set, a "mysterious, verdant,
enchanted island" set amongst a tangle of bamboo-like branches. Taking
his cues from the natural world, especially from forests and plant
life, Pask has created an environment that is both immersive and open,
with plenty of space for dramatic rituals and ceremonies as well as
acrobatic performances.
The "trees" thrust upward from the circumference of the stage and the
Big Top's tent poles to form an airy canopy. Upstage, the vegetation
grows closer to the ground, forming a tunnel-like grotto. (There are
174 branches in 534 sections - 90 in the canopy and 84 upstage -
making a total of 1.7 km or 1.05 miles.) Although meant to invoke the
outline of a peacock feather, the set also evokes the various curves,
lines, swoops and folds of the female sex - an anatomically correct
outline I might add - which, coupled with the two side wings of the
set, (that bare a close resemblance to fallopian tubes) helps bring
the audience into this female-dominated world.
The peacock feather decoration that occupies much of the middle of the
Amaluna stage is a significant emblematic motif that is echoed in some
of Mérédith Caron's iridescent costumes. The peacock images in the
show are inspired by the magnificent bird that accompanies Hera, the
Greek goddess of women, marriage and fertility. Legend tells us that
the protective "eyes" in its tail watch over women in all the stages
of their lives.
And amongst these trappings sits the water-bowl, a soothing pale-blue.
The stage is set. All we can do now is sit and wait with anticipation...
What follows is a review of AMALUNA in its current, pre-"fixated"
form, as presented under the Grand Chapiteau on Friday, April 20th and
Saturday, April 21st 2012.
Music
-----
Composers by Bob & Bill (Guy Dubuc (Gee Doo-BOOK) and Marc Lessard
(Mark Less-ARD)) are known for their ability to blur the lines between
genres and styles to create an intricately woven visual style (think
Koozå). Their mission here was to create a "unique, raw sound; to
surprise by means of the unexpected" and they've done just that.
Guitars are very present and the overall sound is resolutely
contemporary. Bass, drums, cello, vocals, keyboards, and percussion
support the guitars in delivering the music directly without
embellishment. "We wanted to unleash the power in the raw state that
artists and musicians bring to the stage," explain Bob & Bill. The
musicians share the stage with acrobats at times, which combines
perfectly with the energy of the score. Amaluna is the first Cirque du
Soleil show with an all-female group of musicians. "We wanted to
reflect the guts and intense attitude of these musicians through the
music itself," they add. Although their choice in accompaniments might
be polarizing (the all-female band gives the music that Joan Jet "rock
on!" feeling, which is just fine with me), the comparison at times to
"game music" might be a turn-off to some.
The Show
--------
ANIMATION:
Animation, or pre-show, can take the form of characters milling
through the crowd crying over their dead friend (a la Corteo), a
delivery man in search of his charge (as in Koozå), mysterious
characters guarding their mystifying void (as in KÀ), bugs from the
microcosm swarming the big top (OVO), or clowns pointing unwitting
attendees to their seats (as in Mystère, La Nouba, and a variety of
other shows). For AMALUNA, while the percussionist and guitarist strum
and pound a tribal beat, a number of plumed peacocks, leathered-hide
lizards and various warriors of the island make their appearance and
slink, strut and sashay about: There is Deeda, a clown dressed in
yellow (she's Miranda's Nurse, played by Pepa Plana from Spain), who
runs about wondering why people aren't taking their seats. Another,
lizard-bound Cali, meanders his way through the crowd, flicking his
tail here and there before climbing a mast and proceeding to dump
popcorn on select guests beneath him. Other androgynous Peacock
characters strut about tickling unsuspecting guests with their
feathers in hand.
Suddenly Deeda walks on stage; all eyes are drawn to her as she
welcomes us to the show - "Ladies à ladies, mesdames et mesdames,
senoritas y senoras" - then takes us through the rules of the house:
should there be a "petit problème"? "NO PANIC!" Should there be a
bigger problem... well, whatever! Also "no foto, no texto, no
facebook, no youtube, no, no, no, no, no!" (You know the drill). When
a cell phone rings out in the audience, Deeda frowns and taps her
foot, then goes to fetch it. After Deeda answers the call and speaks
to the caller, she places the confiscated phone in a plastic bag then
stuffs the entire kit-and-caboodle in a pouch along her waist. We've
been warned!
The lights dim...
MAGIC PAGEANT (OPENING):
As the first few chords of electric guitar ring out, the lights gently
rise and wash over a "shimmering, ethereal cloud of diaphanous red
gossamer" as it dances in the air at Prospera's command. Prospera, the
island's matriarch, comes toward the diaphanous filament as it glides
and twirls before us like an expectant flame filled with desire,
allowing its fingers to caress her, spill over her, and envelop her
with its warmth. Prospera accepts its gifts readily, wrapping the
ethereal flame about her as those in her charge - Amazonians,
Peacocks, Fairies, and Valkyries - encircle her and move about in a
slow ritualistic tribal dance; then come alive as Miranda, Prospera's
daughter, joins them. This pageant is Prospera's gift to Miranda, to
mark her passage into womanhood. The peacocks strut their stuff,
fanning their magnificent feathers for all the world to see; the
Amazonians flex their muscles, holding up their spears in defiance
ready to attack; the Water Fairies flit about, ready to play; the
Valkryes fly in, prepared to defend the island from outsiders, and the
Moon Goddess (played by Marie-Michelle Faber) descends from her
crescent throne from above, ready to bless the ceremony to come.
The peacock costumes are made up of 14 layers of heat-pleated
materials trimmed in leather and stretch metallic fabric, according to
materials provided by Cirque. The tails open out to a "fan" of eight
feet with hydraulic pistons that compensate for their weight. Made in
the same proportion to the performers' bodies as the bird's fans have
to theirs, the tails are attached to the artists with belts that hide
the mechanisms under embroidered feathers. The skeleton and leaves of
the fans are made of the same Fiberglass material used in the
manufacture of fishing rods, and screen-printed metallic paper is
glued to the leaves to recreate the iridescent look of peacock
plumage, which shimmers in the spotlights. Prospera's flame is created
with nothing more than strategically placed fans - one built into the
center of the stage floor and others placed around it - to create a
swirling vortex of wind that keeps the scarf floating without effort
(most of the time). It is one of the quietest, but most poignant
openings I've seen in a long time and I love it.
UNICYCLES:
Fast and furiously two young Arielles from Japan (Satomi and Yuka
Sakaino) peddle their way across the stage in quick form, weaving in
and out of each other's paths like the wind as they joyfully
pirouette, dance and thrill the pageant participants. Their infectious
smiles and quick-on-their-seat movements continue the energy of the
show's opening, not to mention a number of fast-paced spins, walks and
rubberized twists that make watching this duo spin about the stage a
pleasure. The costumes of the two unicyclists are fitted with cages
that hide their legs, in a reference to the aesthetics of the Spanish
Golden Age. The cages (with a diameter of five feet and a height of
two-and-a-half feet) are made of perforated material (which includes
Kevlar - a thermoplastic polymer - and gold leaf) to allow the artists
to see the unicycle seats. However, for better visual reference, the
cages are like the hoop skirt of Alegría's White Singer. During their
act the cages break into two pieces, announcing the start of the storm
after which the budding love between Miranda and her suitor will be
tested.
WATER METEOR & ICARIAN GAMES:
Combine the cuteness of Varekai's Water Meteor trio with the acrobatic
dedication of the same show's Icarian Games troupe and you get this
amazing number. Here the female body becomes catapult and catcher in
an elaborate, explosive and highly choreographed presentation of
strength, balance and agility, all while keeping their water meteors
(not filled with water, sadly) whirling through the air with
impressive agility. Towers? No problem. Leaping from porter to porter?
No problem. Taking off from platforms of upturned feet? No problem.
How about leaping through someone else's legs? Sure! It all comes to a
surreal close as the lights dim and the water meteors glow!
THE STORM / AERIAL STRAPS:
While Miranda plays catch with Cali (who later steals her ball and
transforms it into a red balloon that floats away), Prospera begins
directing the heavens around her. She's about to summon the storm that
will bring men to her island from lands far away; ascending the
heavens via the Moon Goddesses crescent throne to do so. As the storm
rages around us, the God and Goddess of the Wind perform an intense
midair ballet on straps, "coming together and parting, intertwining
their bodies and gliding through space in vigorous, frenetic
movements." Shades of blue and green mix with shades of sky and sea to
compose a soothing palette of sophistication belling the harshness to
come, as their muscular bodies crash together in an erotic clash of
raw power and sexuality. As the storm subsides, Prospera and Deeda
(Miranda's nurse), look over the gaggle of men who - captured by a net
- wash ashore. At first the two chuckle as the men bumble and fumble
over one another in a futile attempt to extricate themselves from
their imprisonment; however, when one particularly striking young man
(Romeo) catches the eye of Miranda, time seems to stand still;
Prospera's enigmatic expression betrays little and Miranda is whisked
away...
SUSPENDED POLES / PAON DANCE:
Undaunted by the turn of events, Romeo leaves his clan in search of
Miranda. His path becomes treacherous as he enters an enchanted forest
of strangely shaped trees (poles), some of which seem to descend from
the heavens without form. As creatures of various dimension twist and
twirl on these Chinese-pole inspired apparatuses, Romeo attempts to
push through. Just when he thinks all hope is lost he comes upon the
white Peacock Goddess (Amy McClendon), dancing gracefully in her
dazzling white dress. For a moment Romeo stands mesmerized and though
he is tempted by her seductive dance, he turns and leaves... his heart
yearning for another.
JEEVES AND DEEDA:
Jeeves, the Captain of the rag-tag crew of men (although according to
Cirque he's Romeo's "manservant"), pushes through a clearing in search
of Romeo but finds little clue of him. In the process he runs into a
small band of creatures that scare him, but are equally curious of the
newcomer; they follow him wherever he goes. Frightened, he attempts to
escape by climbing a nearby tree but can barely muster the strength to
pull up his girth. The forest creatures help him, but this only
elicits a yelp of surprise - which attracts the attention of Deeda,
who just so happened to be walking nearby. She spots the Sea-Captain
and attempts to help. When he cries out at her and she tells him "NO
PANIC" the two regard one another honestly for the first time. Deeda
is enamored as Jeeves introduces himself and the two become lost in a
tickle-fest (fantasy sex scene), which ends rather hilariously when
Jeeves falls asleep.
HOOPS / WATERBOWL:
As shooting stars rain down from above, the Waterbowl is pushed to
center-stage and the Moon Goddess - clinging to a simple steel hoop -
descends from above. The Waterbowl resembles a giant, clear gemstone
set in a ring of stylized organic shapes that evokes a vortex captured
in time. As it interacts with the lighting, this "jewel" changes its
appearance and aura, much like a precious stone. As the Moon Goddess
sings to Miranda, who is watching from the cover of darkness
(bestowing her blessing with her haunting song), she soars around the
water bowl in this fantastic Aerial Hoop number. Later, as she tires,
the Goddess calls for Miranda to join her and the two rise into the
heavens as one, before Miranda drops into the water bowl in a gleeful
splash of happiness. She cavorts about the waters cheerfully, rising
to the surface to balance herself on the bowl's edge (and on specially
designed canes) in a fantastic display of strength, flexibility,
equilibrium and sensuality. Her energetic and joy-filled display of
sinuous sexuality catches Romeo's eye. And later when he joins her in
the water, she kisses him and the two seemingly become one.
UNEVEN BARS:
Cali, who is jealous of this new suitor, has seen their tentative kiss
and slinks away to plot Romeo's downfall. Meanwhile, the men are now
found to be the captives of the island's native Amazons, who pounce
around and shout battle cries to ward off any who might interfere (or
attempt to attack). Although the men think they're in heaven - and
will show up the girls with their skills - these fighters are
preparing the ultimate display of agility, skill and flair through the
use of Uneven Bars. As they fly about their encumbered home, the men
get their come-uppance and find they aren't the strongest creatures on
this island. Inspired by Asia Minor, the corseted costumes of the
Amazon warriors (High Bars) are augmented with ponytails and high-
heeled black leather boots in a look that is more fantasy than
historical reality, although they don't perform with their tails on.
INTERMISSION.
TEETERBOARD:
The boys, in their Renaissance-style denim doublets, find themselves
fenced in and launch themselves high into the air, twisting and
turning in a playful high-speed attempt to escape. Starting out like a
traditional Korean Plank number, these boys fly, flip, twist and turn
head-over-heels before landing on the wooden plank beneath them.
However, as their desperation to be free grows, so do the risks they
take - such as landing in a handstand on another performer's upturned
palms, leaping onto a nearby platform set askew, and onto the
shoulders of their peers through this showcase of power and energy.
Truly an action packed and highly skilled act presented as never
before!
MANIPULATION:
In "Sanddorn Balance" (sand and thorn), a truly breathtaking
experience unfolds. Lara Jacobs Rigolo, Balance Goddess, uses thirteen
palm leaf ribs to build a fragile, giant mobile - a sculpture
consisting of a number of rods, from which weighted objects or further
rods hang. The objects hanging from these ribs demonstrate the Greek
mathematical Principle of the Lever, balancing each other so that the
rods remain more or less horizontal, but never falling (or so we
hope!) Presented in a slow, suspenseful build, we can only sit and
watch in awe as Lara grabs each rib with her toes and gently balances
her growing sculpture upon it, her head, and later a stand above her
head! (Her mobile serves as inspiration for the hanging lamps
throughout the big top). An ode to balance, her movements are slow,
deliberate and almost meditative as she concentrates all her attention
on this literally breathtaking structure. And when she removes the
smallest piece everything disintegrates and the young couple's trials
begin: will Romeo fight for Miranda?
THOUSAND ARMS / CHINESE POLE:
While Prospera retires following the intense balancing act, Miranda
stays with Romeo; however, the island works hard to keep the two apart
by forming a highly impenetrable wall of moving bodies. Inspired by an
Indonesian ritual dance, an ominous company of dancers dressed in
black and silver performs a choreography that creates an indelible
image of one woman with a thousand arms. Through much perseverance,
the two unite. But their moment is short-lived as The Peacock Goddess
reappears in an ominous guise and steals Miranda away, sending her
into the skies while a forest of sticks inspired by Vietnamese circus
tradition springs up to create a portal to the Underworld through
which Romeo must pass.
Undaunted, but tiring of the chase, Romeo climbs upward (using a
single Chinese Pole) in a continuing search for his love. Édouard
Doye's single pole act is half dance, half traditional Chinese Pole;
he cavorts around the pole seductively, using his strength and agility
to climb after his beloved. After a number of setbacks (precariously
falling to the stage before stopping himself mere centimeters from the
stage floor), he escapes.
JEEVES AND DEEDA DEUX:
When we were last graced with their presence, Jeeves was attempting to
woo Deeda with his relatively poor singing and instrument playing
abilities. Although she showed him up with a little Spanish flair,
Jeeves succeeded to court Deeda. Here she shows up happy and pregnant!
When her time to deliver comes - "Ay! ... Ay!Ay!" - they become giddy.
So happy in fact they celebrate with a belly bump that serves to break
Deeda's water (which they simulate rather humorously). With the baby
now on the way hilarity ensues: Jeeves rushes off simulating the cries
of an ambulance in transit and brings a gurney upon which to carry
Deeda. And after putting up rubbery legs (to help simulate stirrups
but not taking the reality of the process too far), out pops the child
- an American football with a little clown nose. The two, happy with
their new progeny, begin to play... tossing her into the air and back
and forth to each other... getting further and further away until the
baby falls to the stage; but she's okay. Then - "Ay! ... Ay!Ay!" -
Deeda goes back into labor and another baby pops out, this one with a
long stylized moustache like his father. Before the new parents can
enjoy their second child Deeda's labor continues on and on and on! Now
overwhelmed by a crying hoard of children, the clown pair take to the
audience in an attempt to elicit their assistance with keeping them
quiet (by singing "Rock-a-bye baby" to them)! It doesn't work...
TIGHTWIRE:
Returning to the action, we find four artists representing lost lovers
in Purgatory. These fil-de-fer specialists take action and walk across
their precarious ropes with comfort and ease. In what appears to be
homage to the roaring twenties, two men and two women take to the
ropes displaying an escalating array of balancing and maneuvering
skills: some flips, some leaps, bounces and even walking the ropes in
high heels and en-pointe in ballet shoes! By the end of the
performance both Romeo and Miranda find one another, but on opposite
sides of the mountain top. They attempt to reach each other by
crossing a rope but Cali, who is waiting in the wings, grabs Romeo and
sends him back down to Earth!
JUGGLING:
Miranda's pool once again takes center stage, becoming both Romeo's
watery prison and Cali's stage upon which he will celebrate his
victory over his rival by displaying his manipulation prowess. Cali
also shows us to what lengths he will go to keep Miranda for himself:
he transforms into a human by ripping off his tail and shedding his
reptilian-like hide! Here Viktor Kee juggles his charges with amazing
speed and skill, showcasing a variety of imaginative ways in which to
juggle any number of balls. Although Kee re-uses a number of moves
from his act as it appeared in 1999's Dralion, there are a number of
new manipulations and twists upon older maneuvers that will simply
mesmerize you. (How about juggling a fireball? YES!)
By the end of this awesome display Cali is sure he has succeeded in
thwarting his rival, as Romeo has found his way out of the waterbowl,
lying lifeless before it. But Miranda does not accept this fate. She
uses the power of the gemstone the Moon Goddess had given her and
revives her suitor, while taking the will and power away from Cali at
the same time.
AERIAL STRAPS:
With Cali now under Romeo's restraint, a quartet of Valkyries fly in
and take Cali away, leaping and flying through the air with glee.
Keeping in tight formation, these women show us not only how hard it
is to soar through the big top without a care in the world, but
equally how easy it is to do so... if we only tried. With all trials
and tribulations passed, Prospera welcomes the union of Romeo and
Miranda with open arms, blesses their wedding, and allows all the
personages of the island (and the audience) to celebrate right along
with them.
AMALUNA!
As soon as the celebration settles and the lights softly rise our
attention is once again drawn to Prospera, standing alone at the
center of the stage where we first found her and the dancing flame.
She steps into a swirling vortex of wind that at first gently raises
the scarf about her, then more forcefully until it becomes parted from
her. Prospera steps back, allowing the scarf to once again flit its
mesmerizing dance before her...
The lights dim... THE END.
IN CONCLUSION ///
I had an amazing experience with AMALUNA, more amazing than any
touring show premiere that had come before. Whereas with Varekai
(my prior high point) I came away thinking, "I really like this
show" (and still do), I came out of AMALUNA thinking, "I LOVE this
show!"
And I shocked my friends too, because I didn't really like the show
the first night. Sure, I enjoyed it and some of its acrobatic
elements, but overall Amaluna didn't "speak" to me, nor seem to hold a
candle to some of Cirque's more sophisticated offerings, such as
Quidam, Alegria, Mystere, "O" or ZED. Then something strange and
amazing happened: as we assembled for the performance the following
afternoon, I grew more and more excited about seeing it again. Then as
I sat, allowing the opening moments of the show to wash over me,
something clicked. I don't know why and I don't think I could ever
explain it succinctly beyond: I "got" it. I got the show, what it was
attempting to say, how the music was used, and all the visionary
elements the creators stirred into it. And then I fell in love with
the whole kit-and-caboodle, grinning like a slack-jawed idiot.
It's uncanny, and welcome. I feel enlightened, invigorated and hungry
for more.
I revel in the energy of the Uneven Bars and Teeterboard numbers, find
myself on the edge of my seat during Manipulation, loved watching
Miranda playfully splashing about in her pool, and awed at the raw
power clashing in the first aerial straps piece. There's very little
that I dislike about the show. However, that being said, I'm not very
fond of the Suspended Poles / Paeon dance piece, as I think it brings
the energy of the show down (the dance itself is beautiful, but
following a rather non-existent acrobatic number - the suspended poles
- leaves the audience wanting, in my opinion). Otherwise, the acts
featured in the show are top-notch and innovative - especially the
energy and skill of the Korean Plank/Teeterboard number and the
relatively new-to-Cirque discipline of Uneven Bars (although similar
to Tournik from Corteo and Carpace/Bars from TOTEM). The one thing
this show does lack (and thankfully so) is technology: there's very
little tech in the set or on the stage. Where you'll find it, though,
is above your head in the "carousel", which brings in the "quirky"
poles in the suspended pole number and the strap artists. Otherwise
AMALUNA is classic set design in the strictest sense: less is more.
This review of AMALUNA is by no means comprehensive. I've focused
mainly upon the show's theme, some of its costuming, and a little on
its music (which I absolutely loved). With Cirque stumbling in the
last few years from its grand successes of the past - with mediocre
show concept and over-expansion, Iris, Totem and now Amaluna mark a
welcome trend. As such I urge you to see the show in Montréal or other
cities on its tour (currently including Quebec City, Toronto and
Vancouver) if you can - you won't regret it!
----------------------------------------------------------
"Cirque's Dreams of the Past: A What If:
Part 3: Complexes Cirque"
By: Ricky Russo - Atlanta, Georgia (USA)
----------------------------------------------------------
Over the years Cirque du Soleil has announced, was rumored to be
working on, or thought about a wide variety of interesting
advancements beyond their traditional core product: circus shows.
Some of these have been in the realm of music, such as when the
company investigated for maybe a half-a-minute the possibility of
recording each show live and selling the music after the show (kind of
like what they do at some concerts), or about how they could take some
one-off music tracks and put them on iTunes, Amazon or some other
music download service rather than having to issue new CDs.
Some of these have been in the realm of television, such as a 1999
press release announcing an association with Canadian-based TVA Group
(a privately owned French language television network in Quebec) to
develop and produce international audio-visual productions that would
combine Cirque du Soleil's creativity with TVA's broadcast and
production resources. A 13-episode variety series, a series of one-
hour documentaries on Cirque du Soleil, a number of "movie of the
week" projects, and an animated children's series were part of the
deal. SOLSTRUM, the 13-episode variety series and a small contingent
of documentaries were the only fruit bore from that tree. A similar
deal was struck in 2006 with Endemol in the UK for a series of 60-
minute programs to be filmed at the O2 Arena in London, previously
known as the Millennium Dome, and broadcast in 2007 and 2008.
Some of these have been in the realm of show opportunities, such as
when it was rumored that LOVE was originally destined for London or
New York City rather than Las Vegas. Or that there were going to be
touring shows produced by Cirque to incorporate the name, image,
likeness and music of Elvis Presley (beyond what became VIVA ELVIS -
and what happened to those "Elvis Experiences" anyway?)
And sometimes these have been in the realm of... say what? Such as
when, in February 2006, Cirque du Soleil announced a desire to build a
fashion and beauty brand to include a women's, men's and child's
ready-to-wear line - not to mention a Cirque du Soleil fragrance line.
Though it appears that a 64-piece collection for women did get
introduced in August for fall-winter 2006 in 300 specialty boutiques
worldwide, the other lines did not. Nor did the fragrance; though it
does appear a design for the fragrance, bottle and packaging that
encapsulated the essence of the brand was put through a test case.
Approaching our 100th issue of Fascination set me thinking about all
the quotes, blurbs and past announcements of new products, venues or
avenues the Cirque would be exploring that we've published. I began to
wonder which of these came to fruition since then and which have
quietly remained hidden behind the curtain at Cirque du Soleil HQ in
Montreal. In Part One, we explored a number of rumors and
announcements regarding "permanent" or "resident" shows made through
the years that didn't pan out. In Part Two, we examined the number of
announced and/or rumored media potentials from Cirque du Soleil - from
filmed shows and books to new music CDs - many of which never saw the
light of day. And in this installment, we explore what could have been
in regards to projects beyond Cirque du Soleil's traditional space -
entertainment and media - and dive into the realm of "Complexes
Cirque", and more.
PART THREE: COMPLEXES CIRQUE & MORE
-------------------------------------
Once you've defied the odds and proven you can take a bunch of street
artists and place them under a big top to put on a show, brought that
big top to every continent playing for sold out audiences worldwide,
conquered Las Vegas with not one but two highly successful resident
shows (with the announcement of at least two more on the way), and had
a successful turn with a special presentation of your skills on the
Academy Awards, one of the most watched programs on US television...
what's next?
How about tackling the real estate market?
Yes! And "Complexes Cirque" was born.
/// COMPLEXES CIRQUE?
Not long after the company's turn on the Academy Awards in 2002,
Cirque du Soleil announced it was pursuing plans to launch a global
series of hotel complexes dubbed "Complexes Cirque", which would
catapult Cirque into the hotel-management business, featuring
establishments with Cirque's avant-garde approach. The details of said
complexes were kept secret; however, the vision as shared included
hotels anchored by various Cirque du Soleil productions (old and new
alike) and would contain nightclubs and other entertainment venues,
all branded by Cirque du Soleil. But by December 3, 2002, Cirque du
Soleil announced that it was abandoning those plans. The announcement
closed a two-year feasibility study as well as the development of the
prototype complex in Montréal - "Laboratoire Montréal Project". The
September 11th attacks in the United States and a downturn in global
tourism was to blame for the project's closure. The decision affected
approximately 5 people in the New Ventures Business Unit and the
University of Quebec at Montreal (UQAM), from whom Cirque leased the
property to build the complex.
"Considering the uncertainty of the present global situation," Cirque
said via press release, "[the Company] considers that the risks of
investing in a new field of activity are too great at this time."
Rather than pursue the "Complexes Cirque" project, Cirque re-affirmed
placing its efforts on its core product, its productions, to expand
its Cirque du Soleil Images imprint, and pursue development of other
projects that were already well established in Montréal, notably the
"Cité des arts du cirque", which became TOHU in 2004, a non-profit
organization founded by En Piste (the National Association of Circus
Arts), the National Circus School and Cirque du Soleil.
Alas, though "Complexes Cirque" would be filed away, the project would
not mark the last time Cirque du Soleil would flirt with expanding
beyond the big top.
Six months after Cirque du Soleil announced it was backing away from
the "Complexes Cirque" project; word out of Las Vegas during the press
conference unveiling Zumanity on April 22, 2003 raised a few eyebrows.
In his introductory remarks, Terry Lanni, Chairman of MGM Mirage (now
MGM International), noted the partnership that already included
"Mystère" and "O" would not end with "Zumanity" (as a forth then
unnamed show in the early stages of production for the MGM Grand Hotel
was also in the works - this, of course, became KÀ).
"We have plans -- and we have not finalized these plans -- for the 55
acres between the Monte Carlo and Bellagio," Lanni said later. "We
have had preliminary conversations with (Cirque head) Guy (Laliberté)
and his people about jointly developing a hotel casino complex ... But
we want Guy and his people to focus first on Zumanity' and then on
the MGM Grand show, and when those are opened we want to go back and
in some time be interested in the development of that property, which
is we think the last great piece of property in Las Vegas and
something that would be on the cutting edge."
Though these were lofty goals by MGM Mirage, those plans never came to
fruition. Rather than chase the ambition of running a branded hotel-
casino, Cirque du Soleil turned instead into developing shows to fill
MGM Mirage showrooms. After KÀ opened in 2004, Cirque du Soleil
announced "The Beatles LOVE" at the Mirage (to open in 2006),
"BELIEVE" at The Luxor (to open in 2008) and "Viva Elvis" to open at
Aria, a casino-hotel that was part of the CityCenter project that MGM
Mirage pursued on that 55-acre lot between the Bellagio and Monte
Carlo on the Las Vegas strip.
And if you thought Cirque du Soleil was done pursuing residency beyond
the big top and specially designed theaters by others, think again.
/// LE CASINO CIRQUE?
On June 22, 2005, Cirque du Soleil and Loto-Quebec unveiled a proposal
for the establishment of a world-class entertainment complex to be
located in Montréal. The announcement confirmed the years-old rumors
of Cirque involving itself in entertainment venues that would offer a
wide range of entertainment options branded with Cirque du Soleil's
flair. Loto-Québec would be serving as project manager, while the
Cirque du Soleil would look after design, creative and artistic
direction of the project.
"This project is what we are recommending to the Québec Government as
being the best solution for the future of the Casino de Montréal,"
explained Mr. Alain Cousineau, Chairman, President and Chief Executive
Officer of Loto-Québec. "The recommendation is based on the rigorous
studies we have conducted, as well as on the creative genius of the
Cirque du Soleil. In addition to being a modern reflection of Québec's
cultural dynamism and Montréal's exceptional vitality, the complex
will offer visitors an unparalleled entertainment experience while
showcasing the historical character of the site."
According to the President and founder of the Cirque du Soleil, "the
Cirque du Soleil is investing all of its creativity and global
expertise in this project in order to ensure that Montréal can fully
benefit from the international spin-offs to be generated. Indeed, we
are envisioning a concept whose outstanding components will make for a
truly world-class entertainment complex. We sincerely hope to be able
to invite the millions of people we meet in the four corners of the
planet to come and enjoy the new complex, which we are convinced will
more than meet their expectations."
The facts of the announcement were:
o) The location was proposed for the Peel Basin in the du Havre
sector of Montreal.
o) The project would create approximately 6500 new jobs.
o) The project was budgeted at approximately $1.2 Billion CDN;
$997 Million CDN coming from Loto-Quebec and $178 Million CDN
from private partners.
o) The complex would encompass a 300-room hotel, a 2500-seat
performance hall, a spa, an "Artists' Wharf", and a park
where Cirque could set up their Grand Chapiteau.
o) The Casino de Montreal would be relocated to the site.
o) Further development of the site could include an exhibition
center and the development of a monorail to interconnect the
complex with a future soccer stadium.
o) Cirque du Soleil and Loto-Quebec were looking to inaugurate
the new complex in 2010/2011.
With every large project comes controversy and such did not escape
this new project. To us it looked like a great match on the surface;
the Montréal Casino had suffered as "high roller" customers took their
business to other more exciting cities, Lotto-Quebec obviously felt
they had to modernize or risk falling further behind. But there were
other concerns than just gaming. Placing this new project in the Peel
Basin/Point St-Charles area (which, on our map is marked as an
industrial area) had activists concerned that any move would mean more
crime and traffic in what some considered a residential area. But
Lotto-Quebec officials insisted the area was selected because it was
out of the way of most residential areas of the city, yet close to the
big hotels and Old Montréal.
It would take years for this proposal to move its way through the
planning and approval process, but ultimately it was quietly dropped
and filed away. As of today, Cirque du Soleil has abandoned its
ambitions (at least publically) of opening or operating any type of
"Complexes Cirque" pursuing instead the expansion of its resident show
program.
/// LOUNGING AT THE EDGE OF WHAT?
On October 15, 2004, a new world created exclusively for Celebrity
Cruises by Cirque du Soleil was announced, and it was to materialize
on select Celebrity ships beginning in December of that year. The
spacious observation lounges on at least two of Celebrity's
Millennium-class ships was to be transformed into the surreal
atmosphere of "The Bar at the Edge of the Earth," which Celebrity and
Cirque described as "a place that invites guests, for two hours every
evening, to cross through the mirror to another universe."
When Cirque du Soleil first announced its collaboration with Celebrity
cruises, Cirque fans weren't surprised. CEO Guy Laliberte had often
talked about expanding the Cirque "ethos" and style to other forms of
entertainment. Cirque hotels and restaurants were early ideas, and the
corporate-oriented "Tapis Rouge VIP Experience" tent had become a
profitable mainstay of the touring shows. So it was really no stretch
when Cirque announced that it would install "themed experiences" in
two of Celebrity's Millennium-class cruise ships, Constellation and
Summit.
In "The Bar at the Edge of the Earth," surreal characters emerged for
two hours on two evenings of each cruise to greet guests as old
friends, not cruise patrons. "The Wave Correspondent" carried precious
bottles containing mystical messages from the sea, and delivered them
to chosen travelers visiting the lounge. "The Lantern Tuner," whose
inexplicable desire to light dark places or to harmonize with existing
lighting would constantly transform the atmosphere around him.
Meanwhile, the abundantly curious "Pez Erizo," a large, round being,
would wander joyfully, seeking to meet and delight all who cross his
path.
A Cirque du Soleil Masquerade Ball would also be presented once every
cruise. "The Bar at the Edge of the Earth" also offered exotic food
and beverages available exclusively within the venue. Representatives
of Cirque du Soleil were to participate in Celebrity's "Celebrity
Discoveries" enrichment lecture series on dates to be announced, and
the two organizations were designing new Cirque du Soleil boutique
spaces for select ships beginning in 2005. Unfortunately they didn't
last and both concepts were eventually converted into more traditional
cruise-ship bar spaces. But Cirque du Soleil would not give up on the
dream to use its brand to expand into other venues of entertainment.
The company, partnering with The Light Group, created THE BEATLES
REVOLUTION lounge at the Mirage (a 5,000 square foot space decorated
with 30,000 diachronic crystals to compliment its BEATLES LOVE show in
residence at the hotel) and GOLD LOUNGE at City Center (a 3,756
square-foot space reminiscent of Elvis' mansion to compliment its VIVA
ELVIS show at Aria). And it seems they're not quite done yet. This
time last year it was announced that Cirque du Soleil would once again
partner with The Light Group for a theatrical nightclub project at
Mandalay Bay. "The Cirque-themed nightclub will have a show that's
going to happen in the ceiling, in the walls and on the floor," a
Light Group PR executive said in a statement. The new Cirque-Light
venture would take over the sprawling space of the former - and now
shuttered - Rum Jungle. It's theme? Michael Jackson, of course!
# # #
As before, the projects here are just the ones we know about, those
that were leaked and thus only rumored to be happening, or had semi-
official announcements made regarding the company's intention toward
pursuing them. There very well may be dozens of other concepts and
projects that we don't even know about... and will probably never have
the privilege of knowing about.
Although I'm sure there's plenty more out there we could touch on,
such as what would Cirque du Soleil be today if ECLIPSE, the project
Guy and his co-founders were working on during the Le Cirque Réinventé
tour (1987-1990) to help branch the company out into more than one
touring show at a time, had come to fruition; or had MYSTERE been
installed at Caesar's Palace, the hotel-casino Cirque first pitched
the show to; or had either the Walt Disney Company or Columbia/Tri-
Star pictures had been successful in purchasing the company following
the success of Nouvelle Experience's (1990-1993) tour.
Alas we'll never know.
But who knows what the future holds?
----------------------------------------------------------
"AMALUNA Premiere Reviews Coming in!" [EXPANDED]
A Special Collection ofReviews in the Press
----------------------------------------------------------
Cirque du Soleil's AMALUNA held its world premiere on Thursday, April
19th and since then a number of reviews have come in. Most are
decidedly mixed, suggesting the show needs a little more time to come
together. While we here at Fascination agree that there's always room
for tweaking (and that you must understand the shows as presented in
Montreal are previews), AMALUNA is a fantastic show. We look forward
to following it as it follows the sun for many years to come.
Fascination will have its own detailed review of the show in next
month's issue, due to be published May 4, 2012. In the meantime, enjoy
these reviews from the Canadian press:
"In Amaluna: Women Take Center Stage"
FROM: The Montreal Gazette
--------------------------------------
The human peacocks are dazzling, the mythical references delicious,
the music edgy. But the most amazing thing about Cirque du Soleils
new tent show, Amaluna, is that 75 per cent of the performers are
women of all ages, shapes and sizes.
This differs not only from the Cirque du Soleil norm, but that of
circus in general.
Only so much can be discerned from brief excerpts performed at a media
call. But as Cirque sneak peeks go, the Amaluna one that took place
Wednesday packed an extra dramatic punch.
The concept of this new $25 million show which opens April 19 in the
Old Port grew out of a question posed by Cirque owner Guy Laliberté:
What would our world be today if women had been in charge?
It was then up to the shows director of creation, Fernand Rainville,
to find a female director. The idea was to have a show about the
power of women, putting the womens performances up front, explained
Rainville, who was available for interview on Wednesday, along with
other members of the Amaluna team.
Rainville first became aware of the work of Tony Award-winning
director Diane Paulus when he saw her revival of the musical Hair in
New York, he said. (Paulus now has another hit revival on Broadway,
Porgy and Bess.) Best known as a theatre director himself, Rainville
was very much in tune with Pauluss distinctly theatrical vision.
There was such an openness to working from a theatrical point of view
on this show, Paulus said. And everyone was very committed to the
idea of finding a core story that inspires the production. Of course,
this is an acrobatic circus show. We dont have text and language. So
were dealing in very elemental storytelling techniques of gesture and
physicality and image. But I think the idea was, Lets do something
different.
So Paulus took Lalibertés words seriously, peopling the stage with a
multitude of energetic women and helping them develop completely new
acts. (Again, not the norm. Cirque usually books fully developed acts
and works them into the show.)
How did the Cirque feel about her 75 per cent female casting? They
were cool with that, Paulus replied. In fact, she could have gone
higher. But I said, We have to have some men in the show. You cant
just have all women. Because you need that energy. And if were going
to tell ... of a journey in a story of love, we can have the yin to
the yang we can have a young couple thats a man and woman. But the
goddesses who rule the island are women. And Prospera, the central
figure, the queen, the mother, is a woman.
And she sings. Prospera is a female version of the exiled magician
Prospero in Shakespeares The Tempest. In Amaluna shell be surrounded
by the preening peacocks and scarlet-clad female archers, along with
her daughter, Miranda.
Weve paid some homage to certain characters, Paulus said. Like
Prospera and Miranda. And we have our unicyclists who are called the
Ariels. So we have our little secret, hidden homages to Shakespearean
characters.
So the creepy guy with the dragon tail was sort of Caliban? Thats
right, she replied.
* * *
"Cirque's Amaluna Needs a Little More Polish"
FROM: The CBC
----------------------------------------------
Cirque du Soleil premiered Amaluna, its newest touring show under the
big top in Montreal's Old Port, Wednesday night. The opening night
crowd of Quebec's famous and fabulous gave the production an
enthusiastic response, despite a number of surprisingly sloppy
moments.
Amaluna's director Diane Paulus brings a more theatrical style, with
more of a narrative than Cirque productions usually have. The story
here is a loose re-telling of Shakespeare's The Tempest. Prospero
becomes a singing and electric cello-playing Prospera. The enchanted
island is peopled with Amazons, flying bats, a singing moon goddess, a
charming Miranda and her sinuous, sensuous pet lizard, who also
happens to be an awesome juggler.
Storm washes up Romeo
The storm that strands a boat-load of men is dramatic and exciting,
enlivening an otherwise plodding first quarter of the show. One of the
men is Miranda's Romeo, who spends the rest of the production pursuing
her and displaying his remarkable physique and prowess.
Cirque du Soleil CEO Daniel Lamarre says that Montreal is the
company's toughest crowd. All the new touring productions debut here,
and it is becoming tougher to impress us. It's why the company hired
Diane Paulus, who made her mark with revivals of Hair and Porgy and
Bess on Broadway. They asked her to create a show imagining what our
world would be like if women were in charge. Paulus spent a year
casting the women, and eventually hired acrobats, dancers and
musicians from around the world. The women are one of the strengths of
Amaluna - they're amazing to watch, strong and -- as a man sitting
near me -- said, "hot."
Spellbinding balance goddess
As with all Cirque productions, the sets, the props, the costumes, the
makeup are spectacular, and contribute to a spellbinding atmosphere.
Some of the numbers are absolutely riveting, especially the quietest
segment of all, with balance goddess Lara Jacobs. Using hands and a
foot, she picks up a series of palm leaf fronds to create a mobile
resembling an animal skeleton. She got the only standing ovation of
the evening, until the show's finale.
I am one of those Montrealers that Cirque du Soleil has a tough time
impressing. Still, I went in with high hopes for Amaluna.
Unfortunately, they were dashed. While there is a lot to appreciate,
and there are some great moments, this production needs a lot more
work. Some numbers need to be trimmed, some of the artists need to
hone their skills a bit more, and some segments should be dropped
altogether, especially the clowns. After all these years, Cirque keeps
including clown routines that do not work, and merely drag the show
down.
Hopefully the next time Amaluna comes through Montreal, it will have
been honed into the great show it has the potential to be.
* * *
"Amaluna Pushes Boundaries; Tells a Real Story"
FROM: The Toronto Star
------------------------------------------------
When Cirque du Soleil opened Amaluna in Montreal this past April, I
cheered it wildly for uniting the usual Cirque materials around the
script of Shakespeares The Tempest, infusing the whole thing with a
joyous female energy. I promised that it would send your spirit
soaring and bring your heart to places its never been before.
The version that opened at the Grand Chapiteau at the Ports Lands last
week does all that. But, unfortunately, it doesnt do it any better
than it did in Montreal.
Theres no doubt Cirque is in things for the long haul, but one would
have hoped that, after over four months of performances, some of the
shows problems would have been addressed. What I saw was (possibly) a
bit shorter, but thats it.
Amalunas very brilliance was the trap that it set for itself. Under
the direction of Diane Paulus, much of the work moves with a seamless
brilliance that dazzles.
The female island wizard, now called Prospera, is a striking presence
in the hands of Julie Andrea McInnes, and her innocent daughter
Miranda (Iuliia Mykhailova) has the right mixture of coltishness and
sexuality.
Instead of Ferdinand, we have a young lover called Romeo, who, in
Edouard Doyes hands, has an awesomely sculpted chest, an expressive
face and incredible skills with giant Chinese poles, as Act II
reveals.
There is no Caliban, but a serpentine creature named Cali that Viktor
Kee portrays beautifully. And instead of Trinculo and Stephano, we
have the clowns of Nathalie Claude and Pepa Plana who are still
charming but if my mind didnt deceive me started to wear out
their welcome with additional material.
We can also delight in Lara Jacobs, who still stops the second act
cold with the way she takes 13 palm leaf ribs and slowly turns them
into a living sculpture of incredible beauty. Is she the goddess Circe
or Juno in this version? Who knows?
All of this is wonderful and, with a driving score, superb physical
design and striking choreography, most of the first act goes by
superbly.
But then you start to get the sensation that a few random circus acts
have been stuck into the mix because Guy Laliberté still had them
under contract and didnt make his billions by wasting money.
It escapes me what a lengthy section on the uneven bars or an even
drearier chunk of tight wire performing by a quartet costumed as if
they just stepped off Ed Sullivan are still doing in this show.
Nobody would complain if Amaluna were 20 minutes shorter. If the right
stuff were cut, it would be 20 times better.
Whats there now is damn good, but it would be better if director
Paulus came back to town, sharpened her razor, snapped her whip and
nudged this whole enterprise into the seamless delight its capable of
being.
Being good is not good enough, not for Cirque du Soleil after all
these years.
* * *
"How Beautiful Amaluna is!"
FROM: The Montreal Gazette
----------------------------
Step right up folks! Be among the first to discover Amaluna, the
matriarchal circus partially inspired by Shakespeares The Tempest
wherein 75 per cent of the 52 performers are women and a spectacular
Utopian vision of world harmony rules.
While describing her first Cirque du Soleil show at a recent media
event in Montreal, New York theatre director and Harvard professor
Diane Paulus said the most beautiful thing about working on it has
been collaborating with performers from around the world (15
countries). Ive done a lot of theatre, she said. but Ive never
done a show with this many people from this many countries.
She reflected that if members of her international cast can find a
common harmony as they relate across language barriers in building the
world of Amaluna, it will be a little tribute to the power of theatre
and art to promote that kind of communication.
On a more basic level, the shows creative director, Fernand
Rainville, remarked: Were just going to go in there and rock the
house and make it a happening.
Previews of Amaluna begin Thursday under the big top at the Old Port.
Successful happenings are something that Paulus handles well, having
directed the Tony Award-winning revival of the musical Hair on
Broadway in 2009. Her most recent triumph, a controversial, truncated
version of the Gershwin musical Porgy and Bess, has won many
accolades. Plus she is about to receive the Drama Leagues Founders
Award for Excellence in Directing, a huge honour in American theatre.
Paulus is also known for her Shakespearean adaptations, such as The
Donkey Show, a disco take on A Midsummer Nights Dream. So its not
surprising that Amaluna revolves around a female sorcerer named
Prospera.
But to give credit to men where such is due, it was Cirque owner Guy
Laliberté who came up with the idea of a circus that would pay homage
to women. And Rainville claims bragging rights for having recruited
Paulus (the artistic director of the American Repertory Theatre at
Harvard since 2009), after Laliberté sent him out to find a female
director for the project.
Cirque CEO Daniel Lamarre is confident that the shows $25 million to
$27 million budget is being well spent. Its an average budget for a
tent show, he said. But its not an average approach to creation
because I think were really going into a new world here. He
described Paulus as a very strong woman who is not afraid of
challenges.
Rainville, who was first introduced to the world of megaspectacle as
assistant director for Montreals bilingual Les Misérables in 1992,
has worked with Cirque since 2005 on various events like the
childrens show Wintuk at Madison Square Gardens in New York.
At Cirque, directors come up with the vision (Paulus worked with her
favourite dramaturge, and husband, Randy Weiner on the Amaluna
narrative). Creative directors like Rainville help to assemble the
creative team, put together the acrobatic skeleton of the show, find
the talent to make it work and collaborate closely with the director.
Asked how Amaluna differs from other shows, Rainville replied,
cautiously: Working with women principally gives you a situation
where there is more discipline. I found that throughout the process
here there is a level of concentration that is different. Women
retain more. I would call it a certain discipline that allows you to
move forward more rapidly.
Are the men feeling downtrodden? (The normal ratio for Cirque
performers is two men to one woman.) The men are doing fine, he
replied. There are a lot of men involved in the overall production
(including 14 male performers). There are men everywhere, in the
creation team and so on. No, we certainly dont feel overwhelmed.
In some areas, men still rule. Of the shows 21 technicians, only
three are women. The band is an all-girl ensemble, and all three
singers are women, but the music is composed by two men (Guy Dubuc and
Marc Lessard), who call themselves Bob and Bill.
For men who appreciate female attention, Theres a lot of that,
Rainville admitted. Its great. More important, In this project and
in Dianes vision, theres something that speaks to our common
humanity, something that we all share on an emotional level, whether
male or female. Whats being put forward is a vision of a community
with its own rules and its own mythology. Its sort of like being part
of a world thats being created. And that world has a lot to do with
the sense of community, the sense of common purpose.
On the practical side, yes, more washrooms were needed backstage.
Also, theres only one Amaluna act that requires a porteur (a
strong-limbed acrobat or catcher who lifts and tosses other acrobats).
But in that particular Icarian (foot-tossing) act, from China, the
porteur is a woman. We were surprised to find that out, he said.
Usually the porteurs are male.
Other acts are more egalitarian. A lot of strength and force moves
are done on straps, he explained. And straps is an equal
opportunity type of performance thing. Women can do it much as the men
do, and in a very powerful way. You should see their arms.
There are only two clowns in Amaluna, but both are women, one of them
in male drag. They play the servants of the two lovers, Miranda and
Romeo.
Why Romeo, not Ferdinand? Rainville defended this oddity with: Romeo
is an iconic young lovers name. Up until recently, the pair didnt
even have stage names, he added. And, of course, the show is supposed
to be mash-up of Shakespeare, Greek mythology and The Magic Flute.
Anything goes.
What about Miranda? Miranda just felt right because its about
awakening and thats pretty much what the name means.
Other Tempest characters will be recognizable, with or without the
program notes. There is a Caliban. Theres a bunch of lizards and
hes sort of Mirandas pet lizard. Hes a nemesis, a bad guy lizard.
The airy spirit, Ariel, will be represented by two Japanese
unicyclists. They are always buzzing about, Rainville said. Theyre
in Prosperas posse, in her world.
Another member of that posse is singer Jenifer Aubry. Shes but one
of three female vocalists in Amaluna, with Prospera herself (Julie
McInnes) being the most imposing. She (McInnes) has a lot of stage
presence, Rainville said. She also plays cello and saxophone. Shes
got a pretty big gig on her hands.
The third singer is Marie-Michèle Faber, as the Goddess Moon, who will
be delivering her songs from high in the air on a hoop.
Amaluna, after all, is a hybrid word whose combined meaning adds up to
Mother Moon.
* * *
"Montreal Tests New Cirque Show, Amaluna"
FROM: The CBC
------------------------------------------
Women are at the heart of Cirque du Soleils newest production,
Amaluna, premiering in Montreal before it travels to other Canadian
cities.
The world-famous Cirque has 12 shows touring the world and nine
permanent productions in cities like Las Vegas, Los Angeles and
Orlando.
Still, creators like to test new shows before a hometown audience,
because they feel Montrealers are veterans when it comes to high-
flying spectacle.
"People in Montreal are now experts in Cirque du Soleil....and because
the expectations are very, very high, we have no choice but to come
with new material, new content," Cirque CEO Daniel Lamarre told CBC
News.
The challenge is to always find a fresh approach to material and
that comes with risk. In recent years for instance, the Cirque's
Michael Jackson Immortal World Tour met with mixed reviews and its
Banana Shpeel folded in less than a year.
Amaluna Ama means mother and Luna (moon) is symbol of femininity
started with the question of what the world would be like if it were
run by women.
It features strong women of history and literature, from the Amazons
to Shakespeares Juliet and Miranda, as well as Queen Prospera, who
directs her daughters coming-of-age ceremony in a rite that honours
femininity, renewal, rebirth and balance.
Cirque hired Diane Paulus to direct. The New York-based theatre and
opera director has drawn attention for her productions, including her
Magic Flute for the Canadian Opera Company and Porgy and Bess on
Broadway.
"All her new shows she was producing were really on the edge. And the
challenge at Cirque du Soleil is always to maintain creativity and we
like to have someone from outside, like her, to come and challenge our
internal team to do something new...We have to get people surprised
every time it's becoming tougher and tougher for us," Lamarre said.
Paulus is working with a largely female cast and has loaded her script
with Greek and Roman goddesses as well as Shakespearean heroines.
Theyre still swinging high on wires, but one young contortionist also
swims in a giant fishbowl, conjuring life in the womb.
"The symbol for me of womanhood is regeneration, the idea of giving
birth, the imagery of the moon, of water, the idea that women can
bring new life to the planet," Paulus said.
* * *
"Amaluna: Poetry in Acrobatic Motion"
FROM: The Montreal Gazette
--------------------------------------
Yes, a circus can be more than just a circus.
Director Diane Paulus has created an isle of enchantment under the
Cirque du Soleil big top with her richly theatrical, hauntingly poetic
Amaluna. Were invited us to wonder, like Miranda does in William
Shakespeares The Tempest: How beauteous mankind is! O brave new
world that has such people int.
A winsome Miranda (Ikhertsetseg Bayarsaikhan) spends much of her time
gazing in awe at the acrobatic feats which are being performed before
her eyes, when shes not balancing on one hand or diving into a
gigantic bowl of water herself. Within the course of the show she
develops, as a character, maturing into a woman.
Cali (or Caliban) her pet lizard turns homicidal when he senses a
rival. (Hes played by master juggler Viktor Kee who can roll balls
along his arms, down his back and over his head, with panache.)
In addition to assembling many delightfully original, often fiercely
feminine acts for the first Cirque ever dedicated to women, Paulus has
given them meaning within a narrative loosely based on The Tempest.
When Miranda is spirited away upwards, her lover Romeo (Why not
Ferdinand?), played by Édouard Doye, climbs a pole, arms only, in hot
pursuit, proving his devotion as well as his muscle.
Prospera (Julie McInnes) hovers over her mini-kingdom, singing and
playing cello. Her fairy Ariel is represented by a pair of
unicyclists, glistening gold, one of whom had a slight mishap on
opening night. As did a male member of the tightrope foursome that
danced lightly upon the ropes. But graceful recoveries happened
quickly, and the show flowed on.
Aerial acts, whether on straps or a hoop (the Marilyn Monroe-sexy,
singing moon goddess), dominate in Amaluna. There are flying bats
(actually a god and goddess of the wind in the tumultuous storm scene)
and turquoise-clad amazons doing daredevil flyovers that make Spider-
Man: Turn Off the Dark antics pale in comparison.
A fast-paced icarian (foot-tossing) number creates a firefly (or
flying meteor) illusion when the objects being swung at the end of
belts are lit up in the dark. Peacocks with fan tails preen in the
background. (Mérédith Carons costumes are ravishing, a steady parade
of glamour, wit, gossamer and bold colours.)
There are only two clowns (the adorable Pepa Plana and her blustering
suitor, Nathalie Claude), a mock-romantic duo. They do a wacky
birthing number that turns into a lullaby hum-a-long, making
sentimental fools of us all.
In pre-show interviews, Paulus cited non-Shakespearean influences for
Amaluna, such as Ancient Greek myths and The Magic Flute. She failed
to mention Swan Lake.
During the first half, theres an exquisite balletic moment, smoothly
performed by a peacock goddess (Amy McClendon) in swan white. Its a
sensual, meditative turn, after much frenetic activity, plenty of
percussion and many assertive electrical guitar riffs.
But the most stunning act of Amaluna (the one which drew a sudden
standing ovation on opening night) is even quieter. Lara Jacob
Rigolos ritualistic bone-balancing number in the second act elicits a
hush in the tent, as she slowly builds a treelike structure, lifting
each piece into place with her foot.
Within the Cirque du Soleil canon, the closest comparable to Amaluna
is Robert Lepages Totem. Like Lepage, Paulus uses her theatrical
cards brilliantly while playing the circus game. Bravo!
* * *
"Les six travaux d'Amaluna"
FROM: La Presse {Translated from French}
-----------------------------------------
A few days before the world premiere of the new show under the Cirque
du Soleil marquee, La Presse spoke with the Amaluna designers to give
you an overview of the six issues that were created specifically for
this 32nd production.
This "tribute to women" show staged by the American Diane Paulus is
based in particular on La tempête de Shakespeare. The famous character
of Prospero, magician and shaman exiled by his brother, underwent a
small transformation of kind to become queen Prospera, who governs an
island populated with goddesses. It is in this island defended by
Amazons and where appear all kinds of bizarre creatures, including
giant peacocks, that the Circus takes us this time.
After Robert Lepage's Technological Totem , which dealt with the
evolution of the human species, this Amaluna (which contains the words
mother and moon) is much more refined and draws on the great symbols
of Greek mythology. We will follow the adventures of the young
Miranda, daughter of Prospera, who will live her first love with one
of these men who land on the island following a storm caused by her
mother. Amaluna also explores the mother-daughter relationship and
filial ties, according to Diane Paulus, known for her Broadway
musicals. The director has created several segments sung in this
acrobatic play conducted by 36 female interpreters (out of 52).
Cirque du Soleil hopes to run its newborn, produced at the cost of 27
million, for the next 15 years, according to its general manager,
Daniel Lamarre. You can see the following disciplines: jumper board,
icarians games, unicycles and other equilibrium numbers. But here is
a look at the six original issues of Amaluna.
The asymmetric bars
Without doubt the key number of Amaluna . The aircraft itself, which
has two triangles (one large and one small), was designed by acrobatic
equipment designer Fred Gérard, who was inspired by the equipment used
in international gymnastics competitions. The biggest challenge in its
construction: "Combining lightness and stability," he says. The seven
performers, all of them girls, are ex-gymnasts, mostly American. One
Canadian is on the team, Brittany Urbain, from Edmonton. "We wanted to
show the beauty and brute force of the girls," says Rob Bollinger,
acrobatic performance designer, who began his career as an artist in
Mystery twenty years ago. 'C' Is a unique number, which has never been
done before, "he said. The training of girls, who had no circus
experience, began in August, once the aircraft was built. "One of the
originalities of the apparatus: some bars are close enough, allowing
artists to make more artistic figures; Others are more spaced out,
allowing acrobatic performance to grow, "said Rob Bollinger, who also
worked on the acrobatic design of Zaïa (in Macau). Allowing artists to
make more artistic figures; Others are more spaced out, allowing
acrobatic performance to grow, "said Rob Bollinger, who also worked on
the acrobatic design of Zaïa (in Macau). Allowing artists to make more
artistic figures; Others are more spaced out, allowing acrobatic
performance to grow, "said Rob Bollinger, who also worked on the
acrobatic design of Zaïa (in Macau).
The wire
This is a number four (two pairs). The particularity of this issue
created by the French company, Les colporteurs (Agathe and Antoine),
is that it has four wires of two different heights (five and six feet)
in a triangular configuration. "We have incorporated this issue
created by Les colporteurs at the request of the Cirque to illustrate
the loss of landmarks of lovers of Amaluna , who are in a kind of
purgatory, suspended between sky and earth," explains Rob Bollinger.
Among the four performers, there is a Quebecker, Madeleine Prévost-
Lemire.
Balancing around a bowl of water
The bowl of water is one of the central elements of the Amaluna decor
. Cirque du Soleil had designed a similar object for the Zumanity show
(in Las Vegas), but it was necessary to design a bowl capable of
traveling easily for the tour. Fitted to the swivel stage. Filled, it
weighs 6000 pounds. It is the character of Miranda, young woman who
lives his first love with Romeo, that we will see a number of balance
on canes around and inside the bowl. It is Ukrainian Iuliia Mykhailova
who will play this role, alternating with a Mongolian contortionist
and contortionist who gave an overview of the media number last week.
Air straps
The particularity of this number three is that the straps are hung on
a carousel of 7 meters in diameter, activated by three motors which
makes it rise, descend and turn in both directions. A device never
used. One of the three performers who will fly over the audience is
Andréanne Nadeau, an aerial hoop specialist who graduated from the
National Circus School in 2010. The young woman had to take ownership
of this new discipline in a short time. The biggest challenge, she
said, was to create the aerial choreography, "to imagine the patterns
of flight, so that there is no collision and so that the threads do
not intersect." Sandbags were used to test these choreographic
movements.
Chinese masts
A first issue of six Chinese masts will be presented in an acrobatic
painting called The Enchanted Forest . The three masts hanging on the
carousel will go up and down, creating a real ... carousel movement.
Three female interpreters will participate in this air dialogue with
three men who will answer them on fixed masts. A fixed mast solo
number will also be presented in another segment. A number embodied by
the character of Romeo, the lover of Miranda, interpreted by the
French Édouard Doye.
Air hoop
This number run by Marie-Michelle Faber is scheduled just before the
equilibrium on canes. In the role of the goddess of the moon, the
interpreter will make her hoop number over the bowl of water while
singing. "It's a very demanding acrobatic number," says Rob Bollinger,
"especially because Marie-Michelle must also find the breath to sing."
Acrobat Andréanne Nadeau also trained for this role as a back up.
* * *
"Amaluna: a raw sound from Bob & Bill"
FROM: La Presse {Translated from French}
-----------------------------------------
In a creation centered on femininity where, for the first time, the
music will be delivered by an orchestra entirely by evening, Cirque du
Soleil entrusted the composition of the music to ... Bob & Bill.
"For Amaluna, the drive was to get out of the world cycle," says Bob.
Or is it Bill? As the name suggests - and unlike, for example, the
French Trio Twin Twin - Bob & Bill form a true duo whose members, in
the city, respond in the name of Guy Dubuc and Marc Lessard. We owe
them the music of the game Splinter Cell (Ubisoft) and that of Totem
by Robert Lepage. This duo of 15 years of age realized the CD
Bahiatronica of Monica Freire and the remix Pink Floyd Redux . At the
Cirque, they worked on the soundtrack of Kooza and directed the "
Orchestra at the famous Midnight Sun of the 25th Jazz Festival (2004),
which also celebrated the 20th anniversary of the Circus. Bob & Bill,
not to be confused with Bob & Pine, of another time ...
And Bill (it's maybe Bob) to continue: "Guy (Laliberté, the "guide ")
wanted a more raw sound, to surprise, not necessarily more rock but we
still find ourselves with two guitars ..."
And a heavy rhythm section with a drummer and a percussionist,
Mireille Marchal, one of the first Québécoises to practice
"percussion" hands without going through the drum. "As a former
gymnast, I appreciate the physical commitment," says Mireille Marchal
who has already played in an all-female band (in Les SouveReines, a
show by Hélène Pedneault). "I cannot say that I sensed a feminine
aspect in Amaluna's frame: it is very muscular and some spectators
will be surprised by the energy of this band of girls."
The musicians, we are told, will be "very visible" and some will be
able to move on the track. The regulars of the Circus will not be
disoriented. The singer Jenifer Aubry, even if she "opens up en
masse" as Bob & Bill say, fits perfectly into the vocal tradition
of the blue and white marquee. Like her predecessors, the Québécoise
sings in this "invented language" that does not know the difference
between Me and the Other. Cosmic, powerful voice ... and without
accent.
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 12, Number 5 (Issue #100) - May 2012
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2012 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
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infringement intended.
{ May.01.2012 }
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