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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 12 December 2012 ISSUE #107e
=======================================================================
Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
Shocking and sad news took our fandom by storm the evening of Friday,
November 30th regarding Cirque du Soleil's IRIS in Hollywood, CA -
despite phenomenal reviews and enthusiastic audience response, demand
for tickets had not meat projections; therefore, due to low ticket
sales it was announced IRIS would have its final performance on
January 19, 2013. While Cirque du Soleil will work with affected
artists and craftsmen, this news comes on the heels of a longer string
of closures by the Cirque, leaving us wondering who might be next and
under what circumstances?
Historically this is the seventh "failure" in the last five years.
Delirium (2006), closed in 2010 after running into trouble finding
sites to host its unique stage set-up (though it was successful.)
Wintuk (2007), while moderately successful, did not get renewed past
its original four-year contract. ZED (2008) closed at the end of 2011
following the Fukushima nuclear disaster brought on by an earthquake
and tsunami. ZAIA (2008) closed in early 2012 following a down-turn in
the global economy (and lack-luster ticket sales during its run).
BANANA SPHEEL (2010) was so badly received by audiences that three re-
tooling efforts weren't enough to save the "new twist" on Vaudeville.
Viva Elvis (2009), which held a lot of promise at launch time, was
unable to find an audience and was closed at the end of summer 2012.
And now IRIS, which was supposed to debut in 2010 but was delayed a
full year for various reasons, joins this list. (And though we'd like
to include BELIEVE in this list, the fact remains it sells its seats
and is a success from a business perspective.)
That's about a 60% failure rate since Cirque du Soleil exploded out of
the big top with ever-increasing lines of content following Corteo's
success in the spring of 2005.
Of course there are various reasons as to why these "failures" have
occurred - from a global economy turned sour to natural disasters no
one could have foreseen - but that doesn't make them any less easy to
take or completely accept. All we can do is hope that those artists
who have been displaced can find new homes within Cirque and/or Cirque
as a creative company takes stock in their business plan and pauses
creating new projects so that it can reevaluate the new global
machinations and polish up a brand that has become a little tarnished
(and... a little stale?)
Amidst this shocking revelation we continue to celebrate Mystère,
which celebrated its 9,000th performance on November 27th and this
month - on Christmas Eve - its 19th anniversary! In honor of these
milestones we've decided to take a look back at Mystère - from its
genesis through how the show is presented today in a two-part exposé.
In Part 1 (last issue) we began with the show's creation, discussed
the trials and tribulations of getting the theater built, and in
creating the show's esoteric narrative. In Part 2 (this issue), we
continue that story by first picking up with an overview of the
uniquely bizarre characters that populate the show, and walk through
each of its three iterations: Version 1.0 (1993-1996), Version 2.0
(1997-2011) and Version 3.0 (2012+).
Also within are my quick impressions of the two newest media offerings
from Cirque du Soleil Musique: The "Le Best Of 2" and "Amaluna" CDs -
and Keith takes us through the newest Cirque item in print: the 2013
Musicians Calendar!
As always we've got the latest news items posted to Fascination! Web
and, of course, updates to Cirque's tour schedule.
So, let's get started.
We're off and running again!
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
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Club Cirque -- This Month at CirqueClub
* Networking -- Posts on Facebook, G+, & YouTube
o) Compartments -- A Peek Behind the Curtain
* Didyaknow? -- Facts About Cirque
* Historia -- Cirque Company History
* Odyssea -- Cirque Tour History
o) Fascination! Features
* "Mystère du temps, Part 2: Celebrating 19 Years"
By: Ricky Russo - Atlanta, Georgia (USA)
* "New CD's to Fill Your Stockings!"
By: Ricky Russo - Atlanta, Georgia (USA)
* "2013 Calendar Review - Putting Music on Paper"
By: Keith Johnson - Seattle, Washington (USA)
o) Subscription Information
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Jason Berrent talks to the Tampa Bay Times [EXPANDED]
{Nov.05.2012}
-----------------------------------------------------
Nine years ago, Jason Berrent started out as a tumbler in Cirque
du Soleil's Alegria, part of a number called Fast Track, in
which men and women in gold lame performed spectacular flips on
an X-shaped trampoline built into the stage. Today, Berrent is
in another Cirque show, Kooza, which opens Thursday in St.
Petersburg. But instead of doing only acrobatics, he is playing
one of the show's central characters, the Trickster.
# # #
"I still do acrobatics in this show, but I use it to enhance my
persona," Berrent said from Dallas, the show's previous stop.
"In Alegria I did a seven-minute number where it was trick,
trick, trick. Here I'm onstage for two hours. The Trickster
appears to a character called the Innocent and takes him on a
journey through this crazy kingdom. The Trickster is a very
powerful character, almost like a genie. He creates everything,
and with the snap of his finger, he can make it all go away."
Berrent's transformation from acrobat to a theatrical role is
not uncommon for Cirque. "That potential opportunity is there
for everybody for the taking," said Michael G. Smith, artistic
director of Kooza. "The majority of people that we contract come
from the world of sport, and part of their training as athletes
is to suppress their emotions. Jason was a world class tumbler,
and with improvisation classes, acting classes, singing classes
and so on, he has learned how to exchange an emotion with an
audience."
Berrent, 29, was the original Trickster in Kooza, which
premiered in 2007, but after a year or so in the show, he left
to perform in "too many commercials" for Adidas, Xbox, Infiniti
Motors and other products, as well as act in plays, such as a
Los Angeles production of Nicky Silver's dark comedy Fit to Be
Tied. He returned to Kooza last year.
"It was such a great experience for me to leave Cirque and get a
different artistic experience and then come back," he said. "I
think it has matured my performance. The Trickster is a big part
of who I am, so if I grow and mature, the role will grow with
me."
Kooza brings about a return of Cirque's Grand Chapiteau to the
Tampa Bay area. Starting in 2002, three shows were performed in
St. Petersburg under the big top, Quidam, Alegria and Varekai.
But the next two shows, Saltimbanco and a second engagement of
Alegria, played the Tampa Bay Times Forum.
"The arena shows just aren't the same, they really aren't,"
Berrent said. "There's nothing like a big top show. The intimacy
and the environment it creates is really special."
One thing that will be different is the big top itself. The
Grand Chapiteau for Kooza is white, not the familiar blue and
yellow. "The white tent was created for Europe, because the
European taste is different than North American," Smith said.
"They didn't think blue and yellow scrolls would be to European
taste, so they went with the white. More simple, more chic.."
After its St. Petersburg engagement, Kooza heads to Europe for
shows in London, Madrid and Paris.
Directed by renowned clown David Shiner, Kooza is billed as "a
return to the origins of Cirque du Soleil," which includes quite
a lot of clowning. The clown characters have extensive
interaction with the audience.
"Kooza has more audience participation than any of the Cirque
shows I've worked on," said Smith, an Englishman who has also
been artistic director for Dralion, Alegria and Varekai.
"Sometimes people in the audience are just great. They do
exactly what you want them to do. Other times they interpret
what they think you want them to do. And it goes very wrong. We
also have a pickpocket who has audience participation. For him,
sometimes he just gives up and goes back and gets somebody else.
Audience participation is risky, but that's the essence of the
show."
Cirque classics like Quidam and Alegria, both created by Franco
Dragone, have a thematic, poetic quality that can be extremely
moving. Kooza takes a different approach.
"It's unpretentious, in your face fun," Smith said. "Kooza is
not about the size of the production, like a lot of the Cirque
shows. The mandate was to create fear and wonder, which is what
traditional circus is all about. The show's success is
absolutely based on the performance that the artists give."
As for Berrent, Kooza is probably the culmination of his career
with Cirque. In an interview I had with him in 2004, when he was
a high-flying acrobat in Alegria, he said, "For what I do, this
is the best place. The most elite. I think anything else, using
my talent, would be a step down."
Now his artistic horizons have been broadened by playing the
Trickster.
"I feel this role represents everything I can do as an artist in
one performance," Berrent said. "But I think there are different
aspects of myself that still need to be tapped into. Just to be
completely honest, I wouldn't say Cirque is the final place for
me anymore. I'm really curious where Cirque is taking itself, or
if there will be another opportunity like this for me. But now
there's nowhere else for me to go in Cirque after this role."
{SOURCE: Tampa Bay Times}
Online Boutique Updated / Get Amaluna CD Now!
{Nov.06.2012}
----------------------------------------------
Check out the revamp of Cirque du Soleil's Online Boutique, and
in doing so, order your copy of Amaluna'a CD today!
The Amaluna album was created in the spirit of a musical voyage
from start to finish, the same approach as the great progressive
rock albums. The Amaluna soundtrack has allowed us to unleash
the energy and the rock sound of womankind.
Tracks:
1. ALL COME TOGETHER (5:54)
2. ELMA OM MI LIZE (3:35)
3. TEMPEST (4:23)
4. ENCHANTED REUNION (5:41)
5. FLY AROUND (3:45)
6. HOPE (3:28)
7. O MA LEY (4:29)
8. BURN ME UP (3:44)
9. WHISPER (4:41)
10. RUNNING ON THE EDGE (4:00)
11. ENA FEE ALYNE (3:38)
12. CREATURE OF LIGHT (4:51)
13. MUTATION (3:43)
14. RUN (4:23)
Total playing time: 60:15
Music and Lyrics Written by BOB & BILL
ORDER A COPY OF THE CD TODAY!
{SOURCE: Cirque du Soleil}
Quidam Heading to European Arenas in 2013
{Nov.07.2012}
----------------------------------------------
Although there are a number of US cities left on Quidam's North
American Tour, today Cirque du Soleil alluded to an upcoming
European Tour, which looks to commence in September 2013.
o) Graz, AT - Sep 5, 2013 to Sep 8, 2013
o) Vienna, AT - Sep 11, 2013 to Sep 15, 2013
o) Leipzig, DE - Sep 18, 2013 to Sep 22, 2013
o) Stuttgart, DE - Sep 25, 2013 to Sep 29, 2013
o) Innsbruck, AT - Oct 2, 2013 to Oct 6, 2013
o) Salzburg, AT - Oct 9, 2013 to Oct 13, 2013
o) Munich, DE - Oct 16, 2013 to Oct 20, 2013
o) Cologne, DE - Oct 23, 2013 to Oct 27, 2013
o) Frankfurt, DE - Oct 30, 2013 to Nov 3, 2013
o) Dortmund, DE - Nov 6, 2013 to Nov 10, 2013
o) Mannheim, DE - Nov 13, 2013 to Nov 17, 2013
{SOURCE: Cirque du Soleil}
Cirque talks MJ Las Vegas [EXPANDED]
{Nov.12.2012}
----------------------------------------------
Cirque du Soleil held its gala premiere of Zarkana at Aria and
although reveling in its light, Daniel Lamarre, also let a few
things slip to Robin Leach regarding the Michael Jackson show
set to debut at Mandalay Bay in May 2013.
# # #
Reveling in the success of the Michael Jackson touring show
Immortal, Cirque du Soleil President Daniel Lamarre has
revealed details of the full-time-residency King of Pop
production set to open at Mandalay Bay in May.
Mr. Lamarre said: We are talking May 23 for the first-night of
previews, with the grand gala opening June 21. The Montreal
studio right now is moving and shaking with Michael Jackson
rehearsals. It will be totally different from the touring show.
The tour was a rock arena concert, but this will be highly
theatrical. Thats the big difference, but there will still not
be a Michael Jackson character in it.
Cirque has still not decided on the shows title, and the
creative team is working on the visuals. Daniel explained: For
the moment, we want to keep all the lights focused on our new
Zarkana at CityCenter. Once its well established, which will
take a couple of months, well come back to you and start really
talking about the new Michael Jackson show. However, I dont
want to confuse the two Michael shows. They are totally
different. We have already learned from the touring show that
people want to listen and see his complete hits. They dont want
a medley of songs; they want the full song. So it wont be 23
songs in the theatrical version. We will probably have fewer,
but we will play it full blast. None of the acts in the touring
show will be used in the theatrical show. They will all be brand
new -- nothing will have been seen before. There will be a lot
of acrobatic acts, but they will be characters with the
storytelling. It will be very different than anything else we
have done.
Costumes and makeup are being finalized in the next two weeks:
We are a collaboratory! We are right in the middle of it. We
keep trying new things and new challenges. Everything is very
much on target with the construction at the theater in Mandalay
Bay. You will be surprised with the changes there.
It is part
of our signature. We love to change theaters in order to present
our content the best way.
We will move the cast and crew to
Las Vegas in March.
I asked if it would be a re-creation of Neverland the audience
would walk through. We like the Neverland signature. You will
see something of Neverland, but I dont want to take you in the
wrong direction, he explained. There is some Neverland, but it
is not about Neverland. We have our own story line compared to
other Cirque shows. It is an amazing combination of director
Jamie King, who worked on the touring show, and a young man,
WelbyAltidor, who is the creative director. He has been with
Cirque a long time -- he has grown with Cirque. He is really
bringing something different to the signature of the show."
Once the production is together and installed in Las Vegas,
Cirque founder Guy Laliberte will then be here to finish the
production and give the green-light go.
Meantime, Immortal continues to break records and win awards.
We won the most creative arena show in North America award from
Billboard on Thursday, the night before Zarkana opened. We are
sold out everywhere in Europe right now. We set new all-time-
record attendance records in Denmark. Its the same wherever the
show goes in. Last week, we were in Sweden and phenomenal
records. Its so big we are extending the tour by at least
another year. It means for now, we will run it until the end of
2014 for sure. Its headed for South America and Asia. Then
well return it to America and Europe to a lot of repeat cities
where we were very successful and could have had longer
engagements.
This is a very exciting night. It also is very interesting for
us because it is the first time in Las Vegas that we opened an
existing show, but all the excitement of a brand new show is
here. The sound is a huge change from New York. It is much
bolder here. The one thing that we had underestimated is how
well the music, the set, fits in the Aria theater. This is pure
luck because it was not planned that way. When I walked in the
theater with Guy 10 days ago, he was overwhelmed. That is rare
because Guy is very, very severe about the content of our shows,
but when he felt, heard and saw the ultra-sound and everything
else, he was really, really pleased.
{SOURCE: Las Vegas Sun}
Robin Leach Chats With Zarkana Music
Director Nick Littlemore [EXPANDED]
{Nov.14.2012}
----------------------------------------------
Sir Elton John was in the midst of tackling five projects when
Cirque du Soleil approached him to create the music for its new
Strip spectacular "Zarkana" at Aria. The British-born superstar
thought the only man capable of the task was Australian musician
Nick Littlemore.
"It took 3 years, 100 and something songs and a hell of a lot of
gray hairs," Nick told me opening night last Friday. "He said I
could do it, which I thought was the biggest compliment. He knew
how much work it would be, but I had no idea. Fortunately, music
keeps you young. It might change the way you look, but it keeps
you young.
"Elton has heard all my music, but he hasn't been able to come
to the show because he is always in the wrong bloody town. He
will be coming back to Las Vegas in February, and now we are a
resident here; he will see it and hear it for the first time.
"Elton has been such a huge supporter of mine, and he has really
changed my life. We made an album together. We continue to work
together, and he hears everything that I do. I felt like I never
could do anything like this, but to have the belief of someone
like him, it empowers you beyond your wildest dreams.
"He told me 'Congratulations' and gave me a big hug. He said
just keep going, you've got a long life, and you are going to do
a lot of amazing things."
I asked Nick how loud he'd made the loudest of all the Cirque
shows.
"It's a rock show. It definitely packs a bigger punch," he said.
"I don't know in terms of decibel how much louder it is, but it
is still palatable to the ears and the seated audience. It is
definitely more aggressive. We were channeling some pretty cool
stuff from hip-hop to bebop to early [David} Bowie and Elvis
[Presley] and everything in between. We are really going into
rock's history.
"Some Cirque people call it popera. To me, it is more like an
acid opera. I see it as a very psychedelic experience. To be
totally honest, I think this is a show about women, the inner
complexities of women. We meet all these various ladies along
this journey that the ringleader, Zark, takes. We see the
extremes, and that allows us to create these characters
musically. We have our snake lady, we have the woman of the
Earth who is kind of a white witch and everything in between.
Since I first saw Zarkana back in August at New Yorks Radio
City Music Hall, I have written about the fact that the story is
told without English. The actors created their own Cirquelish
(also called Cirquish and Cirquespeak) language so that the
audience can focus on the amazing acrobatics and create their
own story to go along with the extraordinary performances. I
wanted to know how the eight musicians and four singers who work
under Nick understood it so they were always on cue.
He told me: It is actually easier than you think because I
wrote the whole show in English to begin with, so it all meant a
lot to me. It was all coming from a real place. I was reading an
interview with David Byrne the other day, and he was talking
about how lyrics arent that important, but it is the sounds
that we make with our mouths that we connect with as listeners.
I retained the sound after Id written these songs and rewritten
them and crafted them and crafted them until the point that they
were in the show. Then rewriting the libretto in Cirquelish,
their own language, it still retained a meaning for me and for
the players, and our lead singers Paul Bisson as Zark, and
Cassiopeia. You can see it in their performances.
We picked our musicians because they are dreamers and great
musicians able to play multiple instruments. What I like to do
when I work with anyone is I like to create a good environment
in terms of the sound in the studio. A studio is a very magical
place, and so is a band; they create an aura around them. We
were lucky enough to find very different people from all walks
of life, and they play like a family.
They understand the language that is being spoken because it is
in their fingers, it is on their tongues, and it is in their
feet the way that they shuffle; it is the way that they dance.
They have a second skin now that theyre part of Cirque. I am
part of it, too. I look at my hand now, and it has music scales
on it.
Ill let you in on a little secret: My four singers sing
operatic at times in the show, and then at other times, you have
the Cirquelish language. But there are little bits of English
here and there you might discover.
Nick so far in his three years with Zarkana has seen every
Cirque show but one: Criss Angels Believe at the Luxor. He
plans to see it soon. I asked him as a musician what sets
Zarkana apart.
This is a young show. I am 20 years younger than any other
composer who has ever done this, and thank you, Elton, for
giving me this opportunity, and thank you, Cirque, for believing
in me long enough that I was able to pull it over the line.
There is something interesting about music. As musicians get
older, they no longer, for whatever reason, they dont write
songs that 14-year-olds listen to. There is something inherent
about the length of note, the chord you choose, or the words you
say, or just the phrase that you make, but it has culture to it.
There is something about youth, I dont know how to explain why
12 notes can be continually put out and reinterpreted and for a
new generation we all have our heroes. In the same way that we
had Kurt Cobain in the 90s, he owned that generation. Every
generation has their star, like Elton was in 1973 and still is
today, incredibly. He is a whole other thing.
The secret of the music is to celebrate the emotions of what is
there. That is all I have ever tried to do in music, to make
something that is greater than the sum of its parts. The thing
that fascinates me about music is that inexplicable element,
that fifth element that is out there, but you cant explain it.
Nick told me his favorite act in the show is the last one, the
Banquine with the Russian troupe. I love it for the music and I
love it for the fact that they arent using props. There is
nothing mechanical; it is just humans doing something onstage
totally nonhuman. Every time I see it, I am in disbelief.
Banquine blows my mind every time. I dont know why it does it
every time because I am a skeptic with so many things, but
Cirque has a way, continually, even in training, it just blows
my mind. When you see it all come together with the costume and
the lighting and the set, it is too much.
Im happiest because the cast of kids loves my music. It is
cool. It is pretty special. They are always walking around the
halls singing them, and its all in Cirquelish. Explain that --
its all in the music!
{SOURCE: Las Vegas Sun}
Cirque says: "Let there be LIGHT"
{Nov.15.2012}
----------------------------------------------
On the heels of Zarkana's grand opening at Aria, Cirque du
Soleil is making news again this week, for a project that's part
laboratory, part performance, part dance party and all
experience. In a word, it's Light.
The 38,000-square-foot Light is scheduled to open at Mandalay
Bay in March 2013, and promises an interactive performance
concept that changes nightly and draws guests into the show,
along with A-list DJs, elaborate costumes and tech-forward
integration of sound, video-mapping and, of course, lighting.
"The nightclub will serve as a laboratory, very much like our
special events and projects have done in the past, for different
and new artistic possibilities," Cirque du Soleil founder Guy
Laliberté said via press release.
Daniel Lamarre, President and CEO of Cirque du Soleil, said
"This new creative challenge is exciting for us. We have the
opportunity to re-think the nightclub experience and apply our
creative and artistic signature to different audiences and live
experiences."
Designed as an experience to play with the senses, LIGHT -
turned on by Cirque du Soleil - will offer far more than the
traditional nightclub. Upon arriving at LIGHT, guests enter the
realm of the unknown, as everyone in the club is part of the
show. Headlining DJs and performers will lead the charge,
coupled with exclusively built performance elements and visuals
provided by revolutionary video mapping, lighting, sound and
special effects experts Moment Factory, as well as avant-garde
costumes and unique choreography. At LIGHT no two nights out
will be the same. The spectacle and feeling forever engrained in
the mind of guests beg the ultimate question: Have You Seen the
Light?
Spearheading LIGHT at Mandalay Bay is The Light Group founder
Andrew Sasson who has been intimately involved with each detail
of the venture. Often credited with establishing and cultivating
nightlife on the Las Vegas Strip, Sasson is no stranger to
worldwide entertainment, having also launched venues throughout
Europe, New York and Miami. Longtime music-industry executive
Amy Thomson, manager of global artists including Swedish House
Mafia, also worked on the development, music and marketing of
LIGHT.
Andrew Sasson said, "This partnership and the projects we are
working on will be unlike anything the world has ever seen
before - the ultimate theatrical nightlife venue. Cirque du
Soleil has built a brand with worldwide recognition and their
creativity, attention to detail and passion for their work
perfectly complements The Light Group and everything we stand
for."
Amy Thomson said, "I rarely get to work on production outside of
a festival space or arenas and the chance to work with Cirque du
Soleil, putting their creativity alongside the music I love, was
not something I could pass up. The DJs and performers who have
come to work with us all have such high artistic aspirations,
and to be able to try this in a space as iconic as Mandalay Bay
I hope will be the beginning of many adventures with Cirque du
Soleil and The Light Group. It will be a melting pot of ideas
and the focus is equally spread across music, the experience and
the crowd. Each one relying on the other, like an emotional
ecosystem set up to cultivate and grow a magical night out."
Find the Light on the Web here:
o) Website: http://haveyouseenthelight.com/
o) Facebook: https://www.facebook.com/theLightVegas
o) Twitter: http://twitter.com/theLightVegas
o) Youtube: http://www.youtube.com/theLightVegas
o) Instagram: http://instagram.com/theLightVegas
{SOURCE: Las Vegas Informer, Las Vegas Weekly}
Zarkana techincal director hopes the
show will "last forever" [EXPANDED]
{Nov.16.2012}
----------------------------------------------
Cirque du Soleil production personnel have engineered the
technical aspects of the new show "Zarkana" so that it can
remain at MGM's Aria Theater in CityCenter for at least 10 years
- with an additional 5-year buffer. But David Churchill, the
production technical director who orchestrated the move from New
York's Radio City Music Hall to the Strip, hopes it will be a
lot longer.
"We always kind of embark on a 10-year goal when we design the
systems for the show. We specify everything that it is to last
for 15 years because we always do a 10-year and then a 5-year
buffer. But then you have 'Mystere,' which is on year 19 now and
'O' not too far behind that. Forever would be just fine."
I asked David if the move from Manhattan to Las Vegas was
fraught with problems. "There are always hiccups, but I expected
a lot more than there were, so this was a very smooth move for
us. We have had the benefit of this being a touring show. We
moved it into New York twice; we were in Moscow, we were in
Madrid. We also 'teched' it fully in an arena in Orlando, so we
have had a lot of opportunities to set it up and take it down
and work out the kinks.
"We had a couple of breakdowns. You are always missing hardware.
There was a box of bolts that was shipped and put somewhere
safe, and then it's not there when you need it. It was like case
No. 1,000,006, or something like that! We did find it. It is
always the most crucial, the one you can't find ... the thing that
you need most. It was lost for hours before we tracked it
down."
How much of a test of skills and endurance was the move West?
Dave explained: Here it was a challenge logistically because
the theater is built in such a way that all the stage lifts are
your only source of freight access. The loading door is in the
basement, and you bring all the trucks in through there. It was
a lot easier than Midtown Manhattan until we reached the point
where you have to finish putting down the stage. Our stage
covers the stage lifts, so we have to lock them off, and you
cant use them anymore.
The stage is immensely wider, but the proscenium is a little
smaller here than it was at Radio City, so what we did was trim
away the building to turn an 80-foot opening into an 87-foot
opening. We took that all the way up floor to ceiling 105 feet.
That was the main remodel to allow our scenery to be better
seen.
Everything actually went like clockwork. The crew here did a
fantastic job of getting Viva Elvis to leave the building
while we were in New York loading out Zarkana. By the time we
got here, the building was in really good shape. We had a week
of pre-rigging and getting our stuff ready to go, and then the
first real loads of stuff starting arriving Sept 24. The
technical grid went up, and by Oct. 1, we were on to the floor
and stage machinery. We did the acrobatic tuning Oct. 8, and we
had artists onstage on Oct. 15. It went very, very smoothly.
Once Zarkana was installed at Aria, it was no longer deemed a
temporary show, and Clark County officials insisted on tougher
codes. Add to the fact that here we are in a hotel, so the
criteria was different, but New York and Las Vegas are tough. We
are now also considered a permanent show; everywhere else we
have been, as a touring show, we have been temporary.
We could prove that all of materials and the construction of
the scenery are nonflammable and all fire retardant treated.
Come into Clark County, and anything that is stationary for more
than 90 days is considered a permanent installation. So that
turned into sprinklers under the show deck, then sprinklers in
our grid, so the demands were more complicated here.
This is the first Cirque show put in Las Vegas that was built
for somewhere else.
We built a show to fill Radio City Music
Hall and transported it here. There were some surprises, just in
terms of codes we werent expecting. It was fine, and we had a
really fantastic team on our side.
In Las Vegas, it hasnt been the jurisdictional departments in
Clark County; it has been more as responsible people at Cirque
du Soleil who want to make sure that the artists live to do
another performance, that we put safety measures in place.
Whether it is a harness, air bag, crash mat or safety bag, there
is typically something.
It doesnt diminish what the artists
are doing because it is very rare that they make use of a crash
mat or an air bag.
Every once in a while, one of the trapeze guys will miss a
trick, and you go back and repeat it; that is all normal for any
of them. Its always the computers in automation that cause us
the occasional problem, not the performers.
There are added pressures because of the first night. Up to now
through previews, we were forgiven for anything that went wrong.
That forgiveness is now at an end, so we are expected to be
perfect. The pressure here for opening night in Las Vegas is
much bigger than anything weve done before. Everybody wants it
to last forever here, and we knew, because of Elvis coming and
going, everybody felt that.
There is always that excitement in the air at an opening and
probably a little more than even normal with this for Zarkana.
We all want it to last here forever.
{SOURCE: Las Vegas Sun}
MJ Immortal World Tour -
a Record Breaking Sensation?
{Nov.17.2012}
----------------------------------------------
After having broken a company record for highest attendance at a
single performance with 17,397 tickets purchased for the October
27th performance at Parken Statium in Copenhagen, Denmark,
Michael Jackson The Immortal World Tour received the Creative
Content Award at the 9th annual Billboard Touring Awards on
November 8th, 2012 in New York City. The tour also ranked #1 on
last week`s Hot Tours list with a total attendance of 78, 777
for its multi-show run of eight nights in London.
The Creative Content Award is conceived to honor new touring
content that is both ambitious in its conception and is
commercially successful, fulfilling the need for venues to
present compelling content for entertainment fans. The award is
not presented every year, reflecting the challenges of the
sector. Delirium, a Cirque du Soleil production received the
honor in 2006 . The Billboard Touring Awards are held annually
to honor the concert industry's top artists, venues and
professionals.
Named by Billboard the #1 Touring Show for the first six months
of 2012, Michael Jackson The Immortal World Tour set the all
time three night box office record at America Airlines Arena in
Miami, performed 5 nights at the Staple Center as well as 16
nights in Mexico City.
Since its premiere in October, 2012 in Montreal Canada, Michael
Jackson The Immortal World Tour performed for more than 1.7
million people in 75 cities grossing over 165 million US$.
Created by Cirque du Soleil and directed by Jamie King, the
leading concert director in pop music today, THE IMMORTAL World
Tour is an electrifying production that is a departure from the
company's previous touring shows. It is presented in a rock
concert format that combines the excitement and innovation of
Michael Jackson's music and choreography with Cirque du Soleil's
unparalleled creativity.
The underpinnings of THE IMMORTAL World Tour are Michael
Jackson's powerful, inspirational music and lyrics-the driving
force behind the show-brought to life with extraordinary power
and breathless intensity. Through unforgettable performances,
the show underscores Michael's global messages of love, peace
and unity.
Read the original post here:
< http://goo.gl/gsaqp >
{SOURCE: Cirque du Soleil}
World's Away Makes North American
Debut in Montreal, Dec 7th
{Nov.19.2012}
----------------------------------------------
The North American premiere of James Cameron's new 3D film
Cirque du Soleil: Worlds Away will take place in Montreal on
Dec. 7, 2012. The announcement was made Friday night by
Paramount Pictures.
The film's international debut took place at the Tokyo
International Film Festival on Nov. 9, 2012. It has already
received positive reviews in Variety and The Hollywood Reporter.
Cirque du Soleil: Worlds Away, was written and directed by
Andrew Adamson. Cameron was the executive producer. It was
produced by Adamson, Martin Bolduc of the Cirque du Soleil, Aron
Warner, Ed Jones, and Cary Granat. Vince Pace was in charge of
the 3D side of the film.
The narrative thread of the movie is romantic. Two lovers torn
asunder must travel through a labyrinth of Cirque du Soleil
fantasy in order to get back together again.
Cirque du Soleil executive producer Jacques Méthé said of the
announcement: "We are delighted that Montreal is the first North
America city where the movie will be seen."
The movie will open in theatres across North America on Dec. 21,
2012, with screenings at 1 p.m. and 7 p.m.
Read the original post here:
< http://goo.gl/1r4n5 >
{SOURCE: Montreal Gazette}
Four New 'Worlds Away' Posters!
{Nov.23.2012}
----------------------------------------------
Check out these new posters for Cirque du Soleil's "Worlds Away
3D" film coming December 21st!
LINK /// < http://www.cirquefascination.com/?p=3620 >
Bruce Rickard Still Playing Strong
After 9,000 Performances [EXPANDED]
{Nov.25.2012}
----------------------------------------------
Bruce Rickerd hasn't missed a day of work in 19 years.
That's impressive, no doubt. But is it newsworthy when a man
does what he's paid to do?
Rickerd, 60, doesn't think so. But he is a modest, unassuming
fellow who plays guitar for a living. In his mind, that is
hardly work. It's his good fortune.
On Tuesday, he will play guitar in his 9,000th performance of
Cirque du Soleil's "Mystere."
His co-workers are in awe of his record.
He's like baseball Hall of Famer Lou Gehrig, who earned the
nickname "The Iron Horse" for his durability and 14 years of
never missing a game, says "Mystere's" general stage manager
Armand Thomas.
"Bruce is our own Lou Gehrig," Thomas jokes.
Although there are other artists and musicians who hold perfect
attendance records, Rickerd's feat is unmatched among Las Vegas
Cirque performers. And that old stereotype of flaky musician?
Rickerd turns that on its ear. He credits his record to a
mixture of luck and determination.
"Over the years, I could have taken a day off but decided not
to. I guess it's just a carryover from an old work ethic and
sense of responsibility when I was a contractor," Rickerd says.
"Back in the day, being an independent musician, if you didn't
show up you didn't get paid. And when you don't show up, it
affects everybody else."
When Rickerd took the "Mystere" job in 1993, he didn't set out
to be Mr. Perfect. He was taking what he thought was a five-year
gig. Benoit Jutras, a former keyboard player in Rickerd's
Canadian band, had gone on to bigger things as a Cirque du
Soleil composer. He called Rickerd when Cirque was putting
together a band to play live music in its new show called
"Mystere."
At the time, Cirque was just gaining a foothold in Las Vegas. No
one imagined it would grow to dominate the city's entertainment,
Rickerd says. He was a little hesitant to take the gig, at
first. He owned a house, had established himself in the Canadian
music scene and was loathe to uproot his wife and their two
children from their comfortable lives. Still, they decided to
give it a try for a few years. That turned into 10 years, and
then 15. In 2013, Rickerd will mark his 20th year with the show.
"Being with Cirque, it's almost like a steady gig. It's been a
really great opportunity and experience," he says.
The oldest of four, Rickerd was born in Ottawa and grew up in
Quebec. As a kid, Rickerd was an introvert. His father, a
graphic artist, told him: "You've got to do something. Choose a
hobby. Maybe play guitar."
Rickerd was only 13, but his father's innocent words laid the
foundation for the rest of Rickerd's life.
It was just before Christmas 1965, and Rickerd had a little
cash. He went to a pawnshop and bought a $13 acoustic guitar. It
may have been a Gemstone, he doesn't remember. But Rickerd
played it for six months before deciding an electric guitar was
cooler.
At the time, he was listening to Miles Davis, Charlie Parker,
the Beatles, the Rolling Stones, Kenny Burrell, all musical
artists with strong guitar influences. He thought he could do a
lot more with an electric guitar.
Playing guitar brought him out of his shell. He developed a
stage presence, something that was hard to do for a kid who
didn't want to look people in the eye.
"At that time, a light turned on in my head," Rickerd recalls.
By the time he was in high school, he was a working, self-taught
musician. At age 23, he decided to take guitar lessons. He had
already recorded albums and toured with major acts but thought
he needed to get better at reading music and playing it, too.
He found a teacher in Montreal who squeezed a two-year Berklee
School of Music curriculum into six months.
That education has served him well. The score for "Mystere" is
complex and requires Rickerd to maintain sharp skills to play
nearly 500 shows a year.
To keep his chops up, as they say in the music biz, Rickerd also
plays for kicks after work. On Mondays, you can usually find him
at Boomers Bar, playing the blues. On Saturdays, he jams with
buddies at Joey's on Craig Road.
"I do a lot of playing outside of the show to keep my creativity
going," Rickerd says. "I bring that back to the show. There
might be some spark of creativity that might come into me
through collaboration. It just furthers my craft."
The 10-piece band is an integral part of "Mystere," helping to
keep the pace for acts and individual tricks. The score doesn't
change but the musicians never play the same thing twice. During
a recent performance, acrobats were having trouble with their
landings but the band played it through, extending the scene
until the performers rescued the trick.
Rickerd switches off among three guitars in every show, playing
everything from growling guitar solos to soft acoustic melodies.
Sometimes, people ask him if he gets bored playing the same
thing night after night, year after year. The answer is,
unequivocally, no.
"A lot of guys say, 'You've done it for so long, you should be
bored,' " Rickerd says. "Well, cops don't get bored, lawyers and
doctors don't get bored. Why would a musician get bored?"
{SOURCE: Las Vegas Review-Journal}
Zumanity's Wassa Coulibaly Brings Personal
Journey to "Red Dress" [EXPANDED]
{Nov.27.2012}
----------------------------------------------
The cast of Cirque du Soleil's "Zumanity" is waving to the
audience at the end of its show at New York-New York, and even
as the applause continues, performer Wassa Coulibaly is rushing
to leave the building.
She removes the fiery plumage and beaded bodysuit of her costume
- accents to the leaps and gyrations of her scintillating
African tribal dance - and changes into a loose dress. Within
minutes, she's driving two miles south on Las Vegas Boulevard
for a stage performance of a decidedly different kind.
Coulibaly, 35, is heading to the Baobab Stage, the theater at
Town Square that she not only performs at but which she has
taken over as landlord.
It is here, on a modest wooden stage built for a now-defunct
murder mystery show, that the Senegal native is staging a play
that at first glance stands in sharp relief against the
burlesque-tinged celebration of sensuality that is "Zumanity's"
sultry hallmark.
Coulibaly's play, "The Red Dress," is an original work about the
redemption of women forced into prostitution. It's a story that
probably wouldn't sell to tourists on the Strip because it puts
serious content ahead of spectacle. But given the integral role
that sex and its industries play in the city, it's a nonetheless
astute fit for the Las Vegas community.
Indeed, while Coulibaly earns her living dancing in the polished
"Zumanity," it's in this low-frills, 356-seat theater between a
cineplex and frozen yogurt shop that she further hones her
creative passions.
Twenty years ago, those passions earned her abuse rather than
applause.
As Coulibaly grew up in the conservative, patriarchal Islam-
based culture of Dakar, Senegal, her creative streak and flair
for dance established her as an outcast and target of
disparagement.
I always felt like a misfit with my parents. Oh youre gonna
be a whore. Youre gonna be this or that. Look at your hair,
Coulibaly says, gesturing to her bright red braids and a
shimmering gold dress that she designed.
To her family of white-collar professionals, dancing and art
were particularly taboo, entertainment to be performed for, but
certainly not by, families of their elevated class status.
Theyve never seen success come from art. ... My style and way
of expressing myself, I always had that warning, she says. So
that was just a big, huge fear.
Coulibaly faced that fear when she left for Hawaii in her late
teens, eloping with an American whose drum playing caught her
ear in the streets of Dakar. The relationship fell apart after
he manipulated her into working as a stripper to earn him money,
threatening her with deportation if she didnt do what he
demanded.
She escaped that relationship and found her way to Los Angeles,
where she studied dance and theater at Santa Monica College. A
professor recognized her unique performance style and advised
her to audition for Cirque du Soleil; she was quickly hired as
part of Zumanitys original cast in 2003.
In Hollywood, they told me I was too African, she says. I
hadnt heard of Cirque du Soleil, but the day I auditioned
turned out to be the happiest of my life. They seek more than to
see that you have a perfect pirouette; they seek how joyous you
can be, how sad you can be and just being yourself. They put on
some music and just let me dance (how I wanted) and hired me
right away.
If dancing in Zumanity has given Coulibaly the freedom to be
herself, the semi-autobiographical Red Dress is catharsis from
her past.
I sat down one day and thought: What is the worst a person can
be in society? she says. From there, can we still see beauty
out of this character? And thats what I made: bliss and this
strong message told from the eye of a tramp who is this low,
looked-down-to person.
In so many ways, there is this subtleness of prostitution going
on in our world, and we dont really see it. I never was a
prostitute, but yes, I ended up in a strip club and things
similar because some of that is naivete and innocence, and you
dont know what youre getting into. My purpose (with The Red
Dress) is to show that we are born innocent and we are still
innocent and there is nothing that can take that away.
* * *
The Red Dress has not only opened a door into Coulibalys
personal story. It also has plunged her into the middle of Las
Vegas fledgling community theater movement.
For years, Strip performers such as Coulibaly sought creative
outlets in casual showcases and open-mic nights at small clubs
and theaters around town. But with limited space, sporadic time
slots and multimillion-dollar productions to compete with, there
have been few opportunities for performers original projects to
grow beyond their nascent stages.
The Red Dress began as part of those showcases, evolving from
a 10-minute poem her peers encouraged her to read onstage to a
brief but acclaimed run as an hourlong show (then called The
Art of Prostitution) at the 95-seat Onyx theater in 2009.
Inspired by the shows success, Coulibaly spent the next year
and a half rewriting and expanding it into a multi-act play with
15 actors that would fully realize the story she was so hungry
to share. However, upon its completion, she found herself
without a venue suited for its scale.
She considered the Smith Center but found the costs to be
prohibitive, and she says Strip investors quickly dismissed the
project.
With (smaller scale) projects like this, you have to do it
yourself, especially if you want the creative freedom,
Coulibaly says.
She was tipped off about the empty theater at Town Square and
discovered an opportunity not only for The Red Dress but also
for projects by other Las Vegas entertainers eager to expand the
local theater scene.
When I came and saw it, I jumped with joy. I loved it the red
walls, the stage, the atmosphere, everything, she says of the
Baobab Stage, which she named for a tree in Dakar beneath which
people gather for music and storytelling. I wasnt really ready
to open a theater, but because it didnt have anything, no
lights, no sound, they wanted someone to take over and run it.
So I said, Why not? I know a bunch of people in theater who
will want to help make this happen.
Coulibaly quickly amassed a 20-person volunteer cast and crew
from Strip shows, including Ka, O, Love and Criss Angel
Believe. Some, such as prop and design veteran Thom Rubino,
were tapped specifically for their marquee-caliber talents;
others, such as fellow headlining dancers and acrobats, were
recruited for the opportunity to step out from behind the
larger-than-life spectacle of their Strip personas.
These are people who have something to give (beyond their
shows), and thats why I cast them. Now the challenge is, how do
we articulate that? Coulibaly says.
Though she and her peers make their living performing feats
inconceivable to most audiences, learning to speak intimately
before one, beneath a spotlight, has been a test of self-
confidence.
Its easy to perform when youre wearing a $150,000 dress under
$20,000 lighting and you dance, and you know how to dance. Of
course it will be beautiful, says the plays director and
composer, J.P. Loppo Martinez. (But) its not really you. Its
a performer moving, dancing. When they are here and they say
their lines, they put themselves onstage ... the light, the
emotion, everything has to come from your heart. Its totally
different.
Reclining his lanky frame on a couch in the theaters foyer,
Martinez discusses the project with a zeal that at times pushes
the boundaries of his Parisian-accented English; when seated
before the stage and addressing the performers, however, he is
judicious and precise: Stop dancing with the words. Talk. Talk
like you talk to me. Louder.
Martinezs guidance and expertise are among the reasons
Coulibaly partnered with him for The Red Dress and as the
theaters general artistic director.
Martinez honed his eye for quality working with productions
including Cirque du Soleil, Le Reve at Wynn and Celine Dions
show at Caesars Palace, but he is eager to return to the small
stage.
I want to help show the other side of Vegas, that productions
dont have to have spectacle to have value, Martinez says. In
big-budget projects, you lose vision and details because
everyone is worried about money, which is understandable. But I
think audiences are also ready for stories that speak to them,
that work with the heart. And that is the big strength of
Wassas play and what we can do here.
Since signing a long-term lease for the theater in March,
Coulibaly has spent more than 70 hours a week outside of
Zumanity and $60,000 to remodel the space and run rehearsals.
The theater already has drawn interest from a number of local
artists, including jazz societies, magicians, fellow Cirque
performers and writers, eager to showcase their own work;
Coulibaly and Martinez already have planned a comedy production
to follow The Red Dress, which closes Dec. 23.
Shes also in the process of establishing the space as a
nonprofit to host cultural events and provide theater and arts
education classes for the community.
We want to have a lot of variety because its mostly locals
that come here. Its set to be accessible, hopefully more than
the Smith Center is, for people to see and create something
new, she says.
Thats why I really want quality and theater at its best, she
says. I want to save it for people who really have something to
say. The community wants this; theyre hungry for it.
Thats not to say money to pay for it is easily found. The
production costs in addition to lease payments on the theater
have come out of Coulibalys savings.
The biggest challenge has been the spending. But we always seem
to find a way, Coulibaly says of the ever-growing list of
expenses, which include copyrighting music, renovations, fire-
code accommodations and obtaining a liquor license for the
theater bar. Maybe down the road we can make some of it back.
But for now, this is my passion and something that I believe in,
and Im lucky that I can afford it thus far.
IRIS to Close January 19, 2013
{Nov.30.2012}
----------------------------------------------
Shocking and sad news tonight regarding Cirque du Soleil's IRIS
in Hollywood, CA - due to low ticket sales IRIS will have its
final performance January 19, 2013. From IRIS's Facebook page:
After close to 500 well received shows at the world renowned
Dolby Theatre, the last performance of IRIS by Cirque du Soleil
will be January 19, 2013. Despite phenomenal reviews and
enthusiastic audience response, demand has not met projections.
We have been honored to work with both the City of Los Angeles
and the CIM Group to launch IRIS at this iconic location. It has
been a joy to stage IRIS in the beautiful state-of-the-art Dolby
Theatre and we appreciate the wonderful relationships we have
built in Los Angeles. For the time being, we will redeploy as
many as our artists and employees to other Cirque du Soleil
projects.
Performances of IRIS from 20 January through 26 January have
been canceled. Any customer who has purchased tickets for these
performances, please return to your point of sale for a refund
or exchange into another performance.
{SOURCE: Cirque du Soleil}
=======================================================================
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, 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:
Vancouver, BC -- Nov 23, 2012 to Jan 20, 2013
Seattle, WA -- Jan 31, 2013 to Mar 17, 2013
Calgary, AB -- Apr 11, 2013 to Apr 28, 2013
Edmonton, AB -- May 29, 2013 to Jun 16, 2013
Corteo:
Berlin, DE -- Nov 29, 2012 to Dec 23, 2012
Hamburg, DE -- Jan 9, 2013 to Feb 08, 2013
Sao Paulo, BR -- Mar 30, 2013 to Jul 14, 2013
Koozå:
Tampa, FL -- Nov 8, 2012 to Dec 16, 2012
London, UK -- Jan 5, 2013 to Feb 10, 2013
Madrid, ES -- Mar 1, 2013 to Mar 31, 2013
Bilbao, ES -- May 16, 2013 to Jun 2, 2013
Knokke, BE -- Jul 18, 2013 to Aug 4, 2013
Paris, FR -- Nov 22, 2013 to Feb 2, 2014
Ovo:
Adelaide, AU -- Dec 06, 2012 to Jan 6, 2013
Melbourne, AU -- Jan 17, 2013 to Mar 24, 2013
Perth, AU -- Apr 14, 2012 to May 5, 2013
Totem:
Atlanta, GA -- Oct 26, 2012 to Dec 30, 2012
Miami, FL -- Jan 10, 2013 to Feb 3, 2013
New York, NY -- Mar 14, 2013 to Apr 21, 2013
Philadelphia, PA -- May 30, 2013 to Jun 23, 2013
Ottawa, ON -- Jul 10, 2013 to Aug 04, 2013
Varekai:
Santiago, CL -- Nov 14, 2012 to Dec 2, 2012
Lima, PE -- Jan 17, 2013 to Feb 27, 2013
Bogota, CO -- Mar 21, 2013 to Apr 7, 2013
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Saltimbanco:
Cedar Park, TX -- Dec 12, 2012 to Dec 16, 2012
Montreal, QC -- Dec 19, 2012 to Dec 30, 2012
{Final Curtain Call,December 30, 2012}
Alegría:
Paris, FR -- Nov 28, 2012 to Dec 2, 2012
Rotterdam, NL -- Dec 6, 2012 to Dec 9, 2012
Turin, IT -- Dec 13, 2012 to Dec 16, 2012
Geneva, SZ -- Dec 19, 2012 to Dec 23, 2012
Barcelona, ES -- Dec 26, 2012 to Jan 6, 2013
Santa Cruz de Tenerife, ES - Jan 13, 2013 to Jan 20, 2013
Herning, DK -- Feb 7, 2013 to Feb 10, 2013
Copenhagen, DN -- Feb 13, 2013 to Feb 24, 2013
Oslo, NO -- Feb 28, 2013 to Mar 2, 2013
Stockholm, SE -- Mar 6, 2013 to Mar 10, 2013
Helsinki, FI -- Mar 13, 2013 to Mar 17, 2013
Turku, FI -- Mar 22, 2013 to Mar 24, 2013
Tallinn, EE -- Apr 3, 2013 to Apr 6, 2013
Riga, LV -- Apr 11, 2013 to Apr 13, 2013
Vilnius, LT -- Apr 18, 2013 to Apr 20, 2013
St. Petersburg, RU -- May 9, 2013 to May 18, 2013
Moscow, RU -- Jun 5, 2013 to Jun 16, 2013
London, UK -- Jul 18, 2013 to Jul 28, 2013
Bratislava, SK -- Sep 11, 2013 to Sep 15, 2013
Leeds, UK -- Oct 23, 2013 to Oct 27, 2013
Liverpool, UK -- Oct 30, 2013 to Nov 3, 2013
Nottingham, UK -- Nov 6, 2013 to Nov 10, 2013
Quidam:
Columbus, OH -- Dec 6, 2012 to Dec 9, 2012
Grand Forks, ND -- Dec 14, 2012 to Dec 16, 2012
Sioux City, IA -- Dec 18, 2012 to Dec 20, 2012
Des Moines, IA -- Dec 22, 2012 to Dec 23, 2012
Kansas City, MO -- Dec 26, 2012 to Dec 30, 2012
Wichita, KS -- Jan 2, 2013 to Jan 6, 2013
Colorado Springs, CO -- Jan 9, 2013 to Jan 13, 2013
Rio Ranco, NM -- Jan 16, 2013 to Jan 20, 2013
El Paso, TX -- Jan 23, 2013 to Jan 27, 2013
Laredo, TX -- Jan 29, 2013 to Jan 31, 2013
Corpus Christi, TX -- Feb 2, 2013 to Feb 3, 2013
Hidalgo, TX -- Feb 6, 2013 to Feb 10, 2013
North Little Rock, AR -- Feb 28, 2013 to Mar 3, 2013
Houston, TX -- Mar 6, 2013 to Mar 10, 2013
New Orleans, LA -- Mar 13, 2013 to Mar 17, 2013
Mobile, AL -- Mar 20, 2013 to Mar 24, 2013
North Charleston, SC -- Mar 27, 2013 to Mar 31, 2013
Charlottesville, VA -- Apr 3, 2013 to Apr 7, 2013
Norfolk, VA -- Apr 10, 2013 to Apr 14, 2013
Greensboro, NC -- Apr 17, 2013 to Apr 21, 2013
Graz, AT -- Sep 5, 2013 to Sep 8, 2013
Vienna, AT -- Sep 11, 2013 to Sep 15, 2013
Leipzig, DE -- Sep 18, 2013 to Sep 22, 2013
Stuttgart, DE -- Sep 25, 2013 to Sep 29, 2013
Innsbruck, AT -- Oct 2, 2013 to Oct 6, 2013
Salzburg, AT -- Oct 9, 2013 to Oct 13, 2013
Munich, DE -- Oct 16, 2013 to Oct 20, 2013
Cologne, DE -- Oct 23, 2013 to Oct 27, 2013
Frankfurt, DE -- Oct 30, 2013 to Nov 3, 2013
Dortmund, DE -- Nov 6, 2013 to Nov 10, 2013
Mannheim, DE -- Nov 13, 2013 to Nov 17, 2013
Dralion:
Phoenix, AZ -- Nov 28, 2012 to Dec 2, 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
Cape Town, ZA -- Mar 5, 2013 to Mar 10, 2013
Johannesburg, ZA -- Mar 21, 2013 to Mar 24, 2013
Caracas, VE -- Apr 25, 2013 to May 5, 2013
Michael Jackson THE IMMORTAL World Tour:
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 30, 2012
Kazan, RU -- Jan 17, 18 & 19, 2013
Moscow, RU -- Jan 22 to 27, 2013
Budapest, HU -- Feb 5 & Feb 6, 2013
Prague, CZ -- Feb 8 & 9, 2013
Zurich, CH -- Feb 13 & 14, 2013
Turin, IT -- Feb 19 & 20, 2013
Milan, IT -- Feb 23 & 24, 2013
Montepellier, FR -- Feb 26 & 27, 2013
Antwerp, BE -- Mar 1 & 2, 2013
Amsterdam, NL -- Mar 8 & 9, 2013
Birmingham, UK -- Mar 26, 2013
Manchester, UK -- Mar 29, 2013
Paris, FR -- Apr 4 to Apr 7, 2013
Lisbon, PT -- Apr 11 to Apr 14, 2013
Barcelona, ES -- Apr 17 to Apr 20, 2013
---------------------------------
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
2013 Added Dates:
o May 16
o December 27, 28 & 31
2013 Dark Dates:
o January 5 - 16
o February 3
o March 13
o May 4 - 8
o July 10
o September 7 - 11
o November 6
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:00pm
2013 Dark Dates:
o February 3
o March 21 & 22
o April 8 - 16
o June 9
o August 5 - 13
o October 6
o December 2 - 14
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
2013 Dark Dates:
o TBA
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Friday through Tuesday, Dark Wednesday/Thursday
Two Shows Nightly - 7:30pm and 10:00pm
2013 Dark Dates:
o TBA
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
2013 Dark Dates:
o TBA
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 February 3 - 4
o April 4 - 8
o June 6
o More TBA
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.
2013 Dark Dates:
o TBA
ZARKANA:
Location: Aria, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
Previews begin in Las Vegas November 1, 2012
Regular performance begin November 11, 2012
2013 Dark Dates:
o TBA
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
NOTE: IRIS will close on January 19, 2013.
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) Club Cirque -- This Month at CirqueClub
o) Networking -- Posts on Facebook, G+, & YouTube
---------------------------------------
CLUB CIRQUE: This Month at CirqueClub
---------------------------------------
Discover the Music of Amaluna!
{Nov.08.2012}
----------------------------------------------
The Soundtrack of Amaluna is finally here! As a thank you to
Cirque Club members, the song "Elma Om Mi Lize" is available
free for download for a limited time on the club website!
Amaluna marks the first time a Cirque du Soleil show works with
an all-female group of musicians. With strong present guitars,
the overall sound is resolutely contemporary. Bass, drums,
cello, vocals, keyboards, percussion support the guitars in
delivering a direct music - a unique, raw sound for Amaluna.
This is by far the edgiest work Cirque du Soleil has done to
date. Don't miss this opportunity to bring it home!
Composers BOB & BILL (Guy Dubuc and Marc Lessard from TOTEM)
have been brought back with a mission to create a unique, raw
sound for Amaluna, and to surprise by means of the unexpected.
They succeeded in evolving Cirque du Soleil music by
incorporating heavy rock infl uences and a vivacious all-girl
band. This is by far the edgiest work Cirque du Soleil has done
to date: a guitar-oriented electronic anthem.
Amaluna marks the first time a Cirque du Soleil show works with
an all-female group of musicians. With strong present guitars,
the overall sound is resolutely contemporary. Bass, drums,
cello, vocals, keyboards, percussion support the guitars in
delivering a direct music without embellishment. "We wanted to
unleash the power in the raw state that artists and musicians
bring to the stage," explain BOB & BILL. BOB & BILL are known
for their ability to blur the lines between genres and styles to
create an intricately woven visual style that supports the
show's narrative.
Discover the music of Amaluna and stream the album for free!
< http://goo.gl/NwB7n >
Saltimbanco-The Journey, Part 2: The Sights and Sounds
{Nov.10.2012}
-------------------------------------------------------
On December 30, 2012, after more than 20 years of touring around
the globe, Cirque du Soleil's Saltimbanco will have its final
curtain call. Charged with highly contagious energy, Saltimbanco
was a pioneering production and has served as a true ambassador
for Cirque du Soleil. Since 1992, Saltimbanco has visited 205
cities across 41 countries. The only show to have spanned five
continents, it was performed in more than 150 cities that hadn't
previously played host to a Cirque du Soleil show. Having now
toured for 20 years, Saltimbanco has been seen by 14 million
spectators. CirqueClub is celebrating Saltimbanco's legacy with
a series of insights - "The Saltimbanco Journey". Part One took
a peek into the performer's story and Part two (below) checks in
with the sights and sounds...
An illuminated world
During a visit to New York, the Director of Creation Gilles Ste-
Croix and the Set Designer Michel Crête came across a tree
emerging from the top of a skyscraper. Imagining that the tree
had grown through the building, they contemplated the influence
of nature on life and the importance of life in the city.
" We wanted to shed a new perspective on urban life and explore
a territory that was unfamiliar up until that point. "
- Michel Crête, Set Designer
The colours of the future
The dynamism, diversity and unbridled energy of the big city and
its exuberant fauna are expressed in the colours of the costumes
in Saltimbanco. As far from gloomy as possible, the dazzling
array of primary colours - magenta, cyan, yellow and green -
convey the effervescence and buzz of the metropolis.
" This production leaves the audience with the same lasting
impression as one would have looking at a wheatfield after
discovering Van Gogh's work ."
- Franco Dragone, Director
An invented, universal language
Saltimbanco is the first Cirque du Soleil production to feature
the human voice, although it is not spoken in a specific
language. Apart from an operatic song with an Italian base from
the thirteenth century, the lyrics in the "invented language"
are derived from Arab, Swedish and German influences with the
aim of amplifying the evocative power of the music.
" The music used in Saltimbanco is not a narrative composition.
Instead its musical influences aim to convey the melting pot of
people and cultures that can only be found in the city. "
- René Dupéré, Composer
The various faces of Saltimbanco
Saltimbanco offers an optimistic vision of urban life. The
vibrant and light-hearted nature of the characters, represented
in particular by their make-up, conveys the vision of the
production, creating the characters' identities and portraying
their infectious joy.
" I work with lighting and the face. Using these basic elements,
magic can be created. "
- Nathalie Gagné, Make-up Designer
Read the original post here:
< http://goo.gl/SXmHP >
Andrew Adamson Interview on World's Away
{Nov.18.2012}
-------------------------------------------------------
Unique in scope, Cirque du Soleil: Worlds Away melds acts from
seven live Cirque du Soleil shows in Las Vegas into a circus
love story produced, written and directed by Academy Award
nominee Andrew Adamson (Shrek, The Chronicles of Narnia: The
Lion, the Witch and the Wardrobe).
"What I wanted to do is take the audience to see these shows in
a way that they hadn't seen them before, to get the camera in
close and give a different perspective of what these artists do
and show that perspective in high speed, slow motion 3D." -
Andrew Adamson, Director
The Music Composer Benoit Jutras wrote the score and
transitional music between the Cirque shows used in the film.
The director felt it important to have Jutras, who had written
scores for some of the Cirque shows used, to adapt and refine
some of that music specifically for Cirque du Soleil Worlds
Away.
The Power of 3D For Cameron, Cirque du Soleil: Worlds Away "was
a dream comes true. I had been talking to them for some time
about doing something in 3D because it's never been done.
One of the challenges for the filmmakers of Cirque du Soleil:
Worlds Away was that 3D involves more complicated cameras and
technology and thus more time to set up the equipment. Prep also
meant meeting strict safety parameters with underwater cameras
(avoiding the lethal mix of electricity and water) and camera
cranes (out of harm's way of aerialists and flying objects.)
"[...] But when it was over and they [the artists] saw what they
do through our eyes they were awestruck. It rejuvenated them." -
Andrew Adamson, Director
Read the original post at CirqueClub:
< http://goo.gl/IUTt9 >
Saltimbanco-The Journey, Part 3: In Images
{Nov.21.2012}
-------------------------------------------------------
Cirque selected for you 5 images from our treasure trove that
mark the impressive journey of Saltimbanco.
1. Montreal posters 1992
The first Saltimbanco poster was displayed in the big top at the
Old Port of Montreal in 1992.
2. The seat
The seat that is seen at the start and end of the production
symbolizes the invitation to the spectator. As a symbol of hope
and the desire for a better world for future generations, the
Child King takes this place.
3. The Baron's cape and hat
The Baron is one the emblematic characters of Saltimbanco.
4. The masks of the masked worms
As symbols of conformity, the masked worms remain hidden behind
their masks. They are anonymous beings incapable of accepting or
affirming their individuality.
5. The Baroques' costumes
Independent and eccentric, the Baroques live and affirm their
individuality. They are a shining symbol of the fusion of
cultures in big cities.
See these images at CirqueClub - it's free!:
< http://goo.gl/8miD2 >
Our Matériauthèque: The costume team's treasure trove
{Nov.29.2012}
-------------------------------------------------------
Housed in our costume workshops in Montreal, the Matériauthèque
includes close to 10,000 samples. This materials library is
visited by the creators of our shows and is also used by our
craftspeople and buyers, who supply the workshops with the
materials they need to make the costumes for our new shows, as
well as for our shows in performance.
The materials library was designed to provide a central location
to find samples with an added value for creation - not just
fabric but also decorative supplies like ribbons, crystals,
zippers, belts and so on.
Here, each sample is placed on a hanger, then classified in a
particular row, meticulously labeled and entered in a database
so it can be searched for.
There is two copies of all the samples in the library: a
'master' copy that always stays on site, and a 'flying' one that
can be borrowed or pieces taken from it (in post-it format) for
testing.
Designers can therefore find fabrics and supplies that have gone
through rigorous quality testing, meet acrobatic performance
needs and offer a myriad of creative possibilities.
And the choice of materials is vast! There are three collections
in the Matériauthèque:
o) The "suppliers" collection that, as its name suggests,
includes samples from external suppliers, many of which are
uncommon: lingerie, nautical equipment, kitchen materials,
etc.
o) The "research and development" collection, which contains
materials that have been transformed and tested to meet the
needs of creation.
o) The "inventory" collection, which serves as a reference for
fabrics used in our shows and performances. These materials
have been tested, worn and washed.
The materials library therefore offers a stunning range of
samples and styles, in just about every colour imaginable - a
real treasure trove to inspire our creators and to make
developing and reproducing our magnificent costumes just a shade
easier!
Check out the original post here:
< http://goo.gl/0b6b5 >
---------------------------------------------------
NETWORKING: Cirque on Facebook, YouTube & Twitter
---------------------------------------------------
{Compiled by Keith Johnson}
---[ ALEGRIA ]---
{Nov.04}
Bologna, Italy (3 photos). Fantastic week @ Unipol Arena.
LINK /// < http://goo.gl/IxSTK >
{Nov.14}
Dancing with fire...
LINK /// < http://goo.gl/urV6V >
{Nov.22}
Closer look - at Zenith de Lille.
LINK /// < http://goo.gl/B2Rdw >
{Nov.22}
Happy Thanksgiving! (5 photos) Alegria is also celebrating...
Thanks to the Eat to Beat chefs!
LINK /// < http://goo.gl/ZsdiS >
{Nov.25}
Fantastic week here in Lille. Thank you for your warm welcome
and the standing ovations!
LINK /// < http://www.youtube.com/watch?v=7mhUnWcylPI >
{Nov.29}
Catching up with Joan Conti (Aerial High Bar Flyer) seconds
before he steps on stage to WOW his home town crowd here @
Palais Omnisports de Paris-Bercy.
LINK /// < http://goo.gl/RQv96 >
---[ AMALUNA ]---
{Nov.02}
The peacock image occupies not only most of the centre of the
stage in Amaluna, but it is also very present in the designs of
the costumes. The peacock images in the show are inspired by the
bird that accompanies Hera, the Greek goddess of women, marriage
and fertility. Legend has it that the "eyes" in the tail watch
over women in all the stages of their lives.
LINK /// < http://goo.gl/9Sut5 >
{Nov.20}
Get to know the characters of Amaluna: Meet the Moon Goddess,
the strong female presence on the island. She uses her powers to
sometimes help and sometimes hinder Miranda and Romeo's quest
for happiness.
LINK /// < http://goo.gl/eBZeV >
{Nov.27}
Tonight we have our premiere in Vancouver - you know what that
means? Free cupcakes for everyone!
LINK /// < http://goo.gl/T81lw >
---[ CIRQUE DU SOLEIL ]---
{Nov.01}
More than two million users have now experienced
Movi.Kanti.Revo; have you?
{Nov.08}
Are you on Instagram? Check out our new profile page at the link
and follow along as we photograph our world!
LINK /// < http://instagram.com/cirquedusoleil/ >
LINK /// < http://goo.gl/FiuMk >
{Nov.13}
The Bloomingdale's holiday windows inspired by Cirque du Soleil:
Worlds Away have been revealed, and in traditional Cirque
fashion, we put on a show to help them debut! See the windows
through the holidays at the store on 59th and Lexington in NYC!
LINK /// < http://goo.gl/HJ6sC >
{Nov.16}
We love these plushies inspired by the kirikis from IRIS by
Cirque du Soleil ! Which Cirque character do you think is the
most cuddly? Look for your favorites on our eBoutique!
LINK /// < http://cirk.me/RA885R >
LINK /// < http://goo.gl/WU45c >
{Nov.17}
Cirque du Soleil: Worlds Away at Bloomingdale's in NYC (6
photos) The Bloomingdale's holiday windows inspired by Cirque
du Soleil: Worlds Away have been revealed, and in traditional
Cirque fashion, we put on a show to help them debut! See the
windows through the holidays at the store on 59th and Lexington
in NYC!
LINK /// < http://goo.gl/CAKUK >
{Nov.20}
It's the Grand Prize that doesn't fit in a box! Become a Cirque
Club member today and enter for your chance to select your own
exciting Cirque du Soleil getaway destination! Enter now:
LINK /// < http://cirk.me/TanxsH >
{Nov.22}
The works of artist Laurent Craste are currently being exhibited
at our International Headquarters as part of the Integrate Art
into Employees Lives program. This programs aims to give our
employees a creative and stimulating workplace! Discover the
entire exhibit here:
LINK /// < http://cirk.me/QC00om >
{Nov.29}
China Glaze Nail Lacquer has created an exclusive nail polish
collection inspired by Cirque du Soleil: Worlds Away! The
collection features 12 limited edition shades and will be
available at fine beauty stores December 1st!
LINK /// < http://goo.gl/swLRi >
{Nov.30}
Countdown to Cirque Week 2012: 2011 Behind-the-Scenes Recap.
Cirque Week 2012 starts Saturday in Las Vegas! Check out the
highlights below from last year's behind-the-scenes panel!
LINK /// < http://goo.gl/d5KCm >
---[ CORTEO ]---
{Nov.09}
Corteo in the Spartacus Traveler website
LINK /// < http://goo.gl/uDEta >
{Nov.09}
We took this picture of the Tournik act last night...what do you
think...we love Tournik, don't you?
LINK /// < http://goo.gl/rnQcM >
{Nov.15}
This' our last week in Dusseldorf. Thanks for being such a great
audience! We love you...
LINK /// < http://goo.gl/2gW5t >
{Nov.17}
We just found this sketch from 2005 when Corteo was
created...cool!!!
LINK /// < http://goo.gl/xAJAN >
{Nov.23}
Press Conference in Sao Paulo - November 22, 2012 (20 photos)
LINK /// < http://goo.gl/r73ku >
{Nov.26}
Press Conference continued, with Evgeniya Astashkina.
LINK /// < http://goo.gl/lsqjw >
{Nov.27}
Our jugglers!!!
LINK /// < http://goo.gl/ketPq >
{Nov.30}
Thanks Berlin for such a great premiere last night! We love
you...meet here our musicians and singers.
LINK /// < http://goo.gl/9YTzq >
{Nov.30}
Pretty cool Corteo picture gallery in Berliner Zeitung!
LINK /// < http://goo.gl/4GIPZ >
---[ CRISS ANGEL BELIEVE ]---
{Nov.01}
Criss sat down with Sean McAllister from FOX5 Local. Las Vegas
to discuss Believe's 4th anniversary, and more! Watch here:
LINK /// < http://cirk.me/Strfhq >
---[ DRALION ]---
{Nov.01}
Trivia question: In what year was the Trampo-wall act added to
Dralion? (Answer: 2004)
{Nov.01}
Dralion would like to thank our friends at IRIS by Cirque du
Soleil for their hospitality and opportunity of seeing the show.
It is a truly amazing show. Congrats to all of you!
LINK /// < http://goo.gl/JUkKd >
{Nov.03}
Dralion visits Las Vegas, NV (3 photos)
LINK /// < http://goo.gl/82EEs >
{Nov.09}
Our Band Leader, Stephen Poulin celebrates its 4500th
consecutive show with Dralion. Stephen has been with Dralion
since its premiere in 1999. Congratulations and we wish him many
many many more shows with Dralion!
LINK /// < http://goo.gl/zr0QG >
{Nov.12}
Dralion is returning to San Diego after 10 years where it
performed under the Big Top in 2002! Watch a sneak peak of
Dralion coming to the Valley View Casino Center opening on Nov.
15! Did you get your tickets yet?
LINK /// < http://goo.gl/QqUVC >
{Nov.15}
Behind the scenes at the Valley View Casino (Sports Arena).
Tune in San Diego 6, Fox 5 and KUSI!
LINK /// < http://goo.gl/lDobN >
{Nov.22}
Here is a cool review from last night' show in Tucson! If you
have seen Dralion, what was your favorite part?
LINK /// < http://goo.gl/m7PPi >
{Nov.29}
Check out this cool video of our new act in rotation -
Contorsion! Our contortionist, Xue Muyuan, was incredible last
night!
LINK /// < http://goo.gl/WV5Rs >
{Nov.30}
Did you know our Props Technician spends an average of 4-hours a
day preparing and repairing the props we use for the show!
LINK /// < http://goo.gl/C2Mr1 >
---[ IRIS ]---
{Nov.03}
IRIS by Cirque du Soleil joined horse race enthusiasts & the
festivities for this weekends Breeders' Cup World Championships
in Los Angeles and Santa Anita Race track! IRIS' company manager
(along with artists from the show) helped present one of the
winning trophies to "Flotilla" bred in France, ridden by
Christophe Lemaire in the Juvenile Fillies Turf competition.
Good luck racers!
LINK /// < http://goo.gl/uLNUE >
{Nov.03}
IRIS performs at the Breeders Cup World Championships! (26
photos) IRIS by Cirque du Soleil stopped by the Breeders' Cup
World Championships kick-off party at Club Nokia in downtown Los
Angeles and Race Day 1 at the Santa Anita Race Track
LINK /// < http://goo.gl/Vm2Wp >
{Nov.25}
IRIS by Cirque du Soleil performed in the 81st Annual Hollywood
Christmas Parade tonight in Los Angeles! An American tradition,
the parade winds over 3 miles through Tinseltown and welcomed
Tony Award winner Joe Mantegna as Grand Marshal. The parade
airs on the Hallmark Channel Dec. 10 from 6-8 PM ET, the
Hallmark Movie Channel Dec. 21 from 6-8 PM ET and in syndication
across the country and internationally via the American Forces
Network. Happy Holidays!
LINK /// < http://goo.gl/HYmbY >
{Nov.26}
Did you catch us on The Ellen DeGeneres Show today? Check out
our performance at the link below!
LINK /// < http://goo.gl/FyQ67 >
---[ KOOZA ]---
{Nov.05}
Liz is a huge KOOZA by Cirque du Soleil fan so she celebrated
Halloween with this pumpkin, which she carved herself. We think
it's awesome! Like this post if you think Liz did a great job,
too!
LINK /// < http://goo.gl/IWDWg >
{Nov.07}
KOOZA teeterboard artists getting ready for premiere! Our
teeterboard artists practising their moves for tomorrow's
premiere in St. Petersburg, Florida. We're almost ready! - at
Tropicana Field.
LINK /// < http://goo.gl/IAH82 >
{Nov.10}
OMG! 10 pounds of chocolate for KOOZA! Ingredients are passion,
drive, flair, fun and crazy! We love that!
LINK /// < http://goo.gl/jmmwO >
{Nov.22}
KOOZA students are baking ginger cookies for Thanksgiving!
LINK /// < http://goo.gl/dniAb >
{Nov.24}
Sealing styrofoam heads for hats! How many are there?! 72!
LINK /// < http://goo.gl/jxaMi >
{Nov.25}
Take a look at our sneak peek behind-the-scenes of KOOZA by FOX!
LINK /// < http://cirk.me/XFhAtv >
---[ LA NOUBA ]---
{Nov.02}
Anthony Gatto is rehearsing for his half-time juggling
performance tonight at the Orlando Magic 2012-13 season opener!
- at Amway Center.
LINK /// < http://goo.gl/OzA13 >
---[ MJ IMMORTAL ]---
{Nov.01}
Meet the IMMORTAL Band... To showcase Michael's voice and
support the huge cast, Musical Director Greg Phillinganes has
rounded up a stellar group of musicians! The 11 Piece band
features five musicians who had previously toured with Michael
including Jonathan "Sugarfoot" Moffett, who played drums for him
for 30 years.
LINK /// < http://goo.gl/vROLS >
{Nov.03}
Did you know? These giant shoes directly reference Michael
Jackson's famous penny loafers. They are eight feet long and
created from orthopedic foam with a vinyl skin.
LINK /// < http://goo.gl/FJeGQ >
{Nov.06}
IMMORTAL Choreographer Travis Payne took time to answer some
questions for one of Helsinki's top websites. Check it out!
LINK /// < http://goo.gl/Gg6jz >
{Nov.09}
Congratulations to Michael Jackson THE IMMORTAL World Tour by
Cirque du Soleil for winning the Creative Content Award at the
2012 Billboard Touring Awards! The Award was presented last
night - Nov 8 - in New York City.
LINK /// < http://goo.gl/maFg5 >
{Nov.09}
Travis Payne, Chantal Tremblay and Zaldy Goco with the Creative
Content Award from last night's Billboard Touring Awards!
LINK /// < http://goo.gl/mOLys >
{Nov.17}
We had a great week in St Petersburg, Russia! Check out this
awesome behind the scenes TV feature from the media day!
LINK /// < http://www.1tv.ru/news/culture/219557 >
{Nov.20}
One of the IMMORTAL techs caught this awesome photo opportunity
when we performed at the historic Festhalle Frankfurt in
Germany! [Photo Credit: Nate Mondell]
LINK /// < http://goo.gl/Py6BZ >
{Nov.26}
IMMORTAL Trivia! Do you know how many guitars (all types) are
used throughout the show? [Hint - there are 2 guitarists and 1
bassist in the IMMORTAL band] (Answer: 12)
---[ MYSTERE ]---
{Nov.08}
If you use Instagram, don't miss the new Cirque du Soleil
profile! Here's a Mystère-themed sneak peak of the photos!
LINK /// < hhttp://instagram.com/cirquedusoleil/ >
LINK /// < http://goo.gl/GyDVI >
{Nov.19}
We'll be celebrating 9,000 shows on November 27th! Each guest in
attendance will receive this limited addition signed poster by
the cast and crew. How many times have you seen Mystère?
LINK /// < http://goo.gl/CJo5q >
---[ OVO ]---
{Nov.08}
OVO FUN FACT. Did you know that OVO has a school on site where
the performer's children can attend? At the moment, the OVO
school has 8 kids, from grade 1 to grade 12.
{Nov.09}
Did you miss the stunning performance of the White Spider on
MORNINGS on Channel 9? If you did, you can watch it by clicking
on the link below.
LINK /// < http://goo.gl/iCNXU >
{Nov.27}
Beautiful first flight this morning for the OVO Hot Air Balloon
in Adelaide. Only 8 days before the Grand Opening at Tambawodli
(next to Ellis park).
LINK /// < http://goo.gl/czNPo >
---[ QUIDAM ]---
{Nov.02}
Skipping @ Delicate Arch QUIDAM Skipper and Publicist at the
Delicate Arch - guess which one is NOT a professional skipper :)
- at Arches National Park.
LINK /// < http://goo.gl/fE8s0 >
{Nov.10}
What a suprise for QUIDAM last night to see what the folks at
art2eatcakes.com prepare for us... check out this cake! Which
part would you eat first?
LINK /// < http://on.fb.me/S95p1h >
LINK /// < http://goo.gl/0b20A >
{Nov.17}
It's tax season on Quidam... Here our accountant helps the band,
sound team and Target fill in the requested paperwork. Guess
how many states and countries Quidam is scheduled to visit in
2013? (Answer: We will be visiting 18 different States and 5
European countries - that's a lot of paperwork!)
---[ SALTIMBANCO ]---
{Nov.01}
Did you know that Chinese Poles shoes used during Saltimbanco
are repainted every day before every single performance! Can you
name all four colors? (Answer: Yellow, Pink, Light blue and
Bright green)
{Nov.07}
Behind the scenes photos taken during this afternoon rehearsals
at the Pensacola Bay Center!
LINK /// < http://goo.gl/H5DgI >
{Nov.12}
Saltimbanco has arrived in Puerto Rico....we have found some
artists in the jungle!!!
LINK /// < http://goo.gl/4VFQc >
{Nov.15}
Opening tonight in San Juan, Puerto Rico! Learn more about the
show with artist Martin Pons.
LINK /// < http://goo.gl/DIahv >
{Nov.19}
En Santo Domingo, República Dominicana pronto!
LINK /// < http://goo.gl/vYMAq >
{Nov.25}
Gracias Santo Domingo... más de 28.000 espectadores! A la
siguiente...
LINK /// < http://goo.gl/bpdmt >
---[ THE BEATLES LOVE ]---
{Nov.08}
If you're on Tumblr (or even if you're not!), check out the cool
LOVE Revolution / Back in the U.S.S.R. animated gif headlining
our account today.
LINK /// < http://goo.gl/wMZe8 >
{Nov.29}
LOVE is in the air at Denver and Newark airport! Have you seen
our shoe-bins in either of these airports?
LINK /// < http://goo.gl/naF8a >
{Nov.30}
Tune in tonight at 8 p.m. to see The Beatles LOVE perform the
opening at the 2012 NASCAR Awards on SPEED!
LINK /// < http://goo.gl/TtnkP >
---[ TOTEM ]---
{Nov.05}
Did you know that TOTEM has a running club? Early morning on
October 27, seven brave TOTEMites ran the the Silver Comet Half-
Marathon in Atlanta! Congratulations to all! Back: Jeff Lund
(Company Manager), Adam Hoffman (Assistant Head Rigger), Anouk
Allard (Performance Medicine Supervisor) and Chris Bowler (Head
Coach) Front: Patricia Elliott (School Teacher), Daniel Fulloon
(Swing Technician) and Luke Kritzeck (Assistant Head of
Lighting) Photo credit: Pippo Crotti
LINK /// < http://goo.gl/pvnHf >
{Nov.23}
Look who climbed up one of the masts of our Big Top today to
kick-off the Holiday Season! TOTEM is performing until December
30, 2012 at Atlantic Station in Atlanta!!
LINK /// < http://goo.gl/YdYl4 >
{Nov.23}
TOTEM Toys for Tots Event (14 photos) On Friday, November 23,
2012, TOTEM partenered with the Atlanta Toys for Tots Program
and invited people to stop by the Big Top to donate a toy and
watch a preview performance of the show! Santa Claus made a
special appearance and took time to take pictures with the kids!
Star 94 Atlanta provided entertainment on location before Santa
appeared on the Big Top and invited guests inside! - at Atlantic
Station.
LINK /// < http://goo.gl/g0cb9 >
---[ VAREKAI ]---
{Nov.15}
Press Conference in Bogota, Colombia (8 photos) Conferencia de
Prensa en Bogota, Colombia.
LINK /// < http://goo.gl/aZrRK >
{Nov.29}
Varekai Trivia: How many woodwind and other instruments does
Chris Rua (musician) play in the show?!? (ANSWER: She plays 29
instruments per show!)
---[ ZARKANA ]---
{Nov.01}
We're celebrating our soft opening at ARIA Resort & Casino
today, gearing up for our premiere on November 9th!
LINK /// < http://instagram.com/p/RgHwsCxI3y/ >
LINK /// < http://goo.gl/jgV5c >
{Nov.09}
We're ready for our premiere tonight at ARIA Resort & Casino!
Check out the @Cirque Twitter for live coverage from the red
carpet!
LINK /// < http://instagram.com/p/R0xv92xI4Y/ >
LINK /// < http://goo.gl/KLzwp >
{Nov.09}
Comparisons of the @AriaLV and @RadioCity stages. What the
@Cirque performers see. http://lockerz.com/s/260162137
LINK /// < http://lockerz.com/s/260162166 >
{Nov.09}
The #Zarkana premiere party @AriaLV has begun!
LINK /// < http://goo.gl/NPMZw >
{Nov.10}
Zarkana Premiere at ARIA Resort & Casino (9 photos) Stars
turned out for the red carpet premiere of Zarkana by Cirque du
Soleil on November 9, 2012!
LINK /// < http://goo.gl/KfRmE >
{Nov.11}
Zarkana Premieres in Las Vegas. Cirque du Soleil proudly
celebrated its newest resident show Zarkana by Cirque du Soleil.
- at ARIA Resort & Casino.
LINK /// < http://goo.gl/6rXbW >
{Nov.14}
Zarkana on The Insider. We love this look at Zarkana from The
Insider! Check it out below!
LINK /// < http://goo.gl/m0ZqK >
{Nov.29}
Check out this write up of Zarkana by Cirque du Soleil by
AskMen.com! Cirque du Soleil: Why These Men in Tights are
Manlier than Bond.
LINK /// < http://goo.gl/Jeny1 >
{Nov.30}
The Road to Zarkana: Find out more about Zarkana's cross country
journey from Radio City Music Hall in New York to ARIA Resort &
Casino!
LINK /// < http://goo.gl/aY5bJ >
---[ ZUMANITY ]---
{Nov.08}
Here's a great look at our aerialist, Julia! Do you remember her
"Hoops" act from when you saw the show?
LINK /// < http://goo.gl/n5AcW >
{Nov.19}
Last week we celebrated our 9th anniversary with a bash at Hyde
Bellagio during their industry night! See if you can spot your
favorite Zumanity artist in this shot!
LINK /// < http://goo.gl/Uw8Y5 >
{Nov.24}
Did you catch Brandon performing "Chains" when you saw Zumanity?
LINK /// < http://goo.gl/Psx2w >
=======================================================================
COMPARTMENTS -- A PEEK BEHIND THE CURTAIN
=======================================================================
o) DIDYAKNOW - Facts at a Glance about Cirque
o) HISTORIA - Cirque Company History
o) ODYSSEA - Cirque Tour History
---------------------------------
DIDYAKNOW? - Facts About Cirque
---------------------------------
Here's a few facts about Mystère, which celebrated its 9,000th
Performance, November 27th!
COSTUMES
o) The Mystère wardrobe department uses some unusual items to make the
costumes at Mystère so unforgettable. Items such as piano wire,
fishing line, metallic gift-wrapping paper, and medical supply IV
tubing, to name a few make their way into the costumes.
o) The Mystère Wardrobe department applies more than 2,500 sequins to
the Bungee Girl costumes by hand. It takes about 20 hours to re-
sequin just one costume.
o) Between 400 and 500 costume pieces from Mystère are laundered daily
(35 loads!), excluding weekly dry-cleaning and daily hand-washing.
o) All the headpieces worn during the Taiko drums number in Mystère
use 30-inch-long dyed human hair and dyed medical supply IV tubing.
o) There are over 1,500 customized shoes in the Mystère Wardrobe
department. If you tied all of the shoelaces together they would
stretch the length of three football fields.
o) The lifespan of a costume shoe is approximately three months.
o) The male lizard in Mystère goes through one pair of shoes a week.
o) The smallest shoe size among Mystère cast members is two, and the
largest is thirteen and a half.
LIGHTING
o) Mystère's intricate lighting system, controlled by a Strand 550 I
lighting console, consists of over 1100 lighting instruments.
Included in the lighting inventory are: 144 color scrollers, 40
super scans and more than 200 conventional ETC lighting fixtures.
Located within the lighting booth are four special effects
projectors with image scrollers and gray-scale dimming shutters
used to create the dream-like world of Mystère.
o) The lighting and electrical grid is 80 feet above the stage.
o) The state-of-the-art lighting system for Mystère includes 924
circuits with individual 2.4 kW dimmers.
o) If all the cable used on Mystère were laid end to end, it would
stretch from Treasure Island on Las Vegas Blvd. to the California
border.
o) There are 800 light cues in each performance of Mystère. The lights
used in the show draw about 30,000 watts of power. That's enough
electricity to power 600 homes. If you think your electric bill is
a lot, you should see the one the Mayor of Las Vegas gets every
month!
o) Mystere's lighting system has 924 circuits with individual 2.4 Kw
dimmers, controlled by a Colotran Compact Elite console. Equipment
includes 122 color scrollers, 40 super scans and Gobo rotators
controlled from a Compulite console. The lighting equipment comes
from ETC TMB Associates and Peterson Design.
------------------------------------
HISTORIA: Cirque Company History
------------------------------------
* Dec.01.2009 -- Koozå celebrated 1000th performance [8:00pm/Santa Monica]
* Dec.02.2008 -- Cirque announces Russian expansion
* Dec.03.2002 -- Cirque abandoned "Complexes Cirque" project
* Dec.04.2001 -- NY-NY announced as next new Cirque show site.
* Dec.04.2004 -- Varekai celebrated 1000th performance [Saturday/Dallas]
* Dec.10.2006 -- Curtain fell on Saltimbanco - Rio de Janiero, Brazil.
* Dec.15.2008 -- MGM/Mirage announces sale of TI, home of Mystère
* Dec.15.2009 -- Cirque unveiled VIVA ELVIS
* Dec.16.1999 -- Alegría: Le Film premiered in Singapore
* Dec.16.2001 -- Dralion celebrated its 1000th performance [1:00pm/Dallas]
* Dec.16.2008 -- Guy Laliberté invests in Prestige Telecom, Inc
* Dec.17.2002 -- Varekai Split-Track CD Released (BMG/CDS Musique)
* Dec.18.2009 -- Preview Performances of VIVA ELVIS Began
* Dec.19.2005 -- "O" wins "Best of Show" at "The Trippies - 1st Annual
Readers Poll Awards" at Las Vegas travel guide site
VegasTripping.com
* Dec.20.2004 -- "Dreams of the Solo Trapeze" Book Published
* Dec.20.2005 -- "A Taste of Cirque du Soleil" entertainment showcase for
Celebrity Cruises announced
* Dec.23.1998 -- La Nouba premiered at WDW (Preview Performances)
* Dec.23.2008 -- La Nouba quietly celebrates 10th Anniversary
* Dec.24.1993 -- Mystère premiered at Treasure Island
* Dec.24.2008 -- Mystère quietly celebrates 15th Anniversary
* Dec.26.2001 -- Dralion celebrated 1000th performance [Wed, 1:00pm/Dallas]
* Dec.27.2000 -- Region 02 DVD Release: Quidam
* Dec.30.2012 -- Saltimbanco Final Curtain Call - Montreal, QC
------------------------------------
ODYSSEA: Cirque Tour History
------------------------------------
* Dec.01.2010 -- Saltimbanco Arena opened Basel, CH
* Dec.01.2010 -- Alegría Arena opened Portland, OR
* Dec.01.2011 -- Alegría Arena opened Málaga, ES
* Dec.01.2005 -- Varekai opened St. Pete
* Dec.02.2009 -- Alegría Arena opened Hampton, VA
* Dec.02.1999 -- Dralion opened Irvine, CA
* Dec.03.2008 -- Saltimbanco Arena opened Oklahoma City, OK
* Dec.04.2009 -- Quidam opened Curitba, BR
* Dec.04.2003 -- Varekai opened Pomona, CA
* Dec.05.2001 -- Alegría opened Perth, AU
* Dec.05.2012 -- Dralion Arena opened Topeka, KS
* Dec.06.2012 -- Quidam Arena opened Columbus, OH
* Dec.06.2011 -- Dralion Arena opened Lafayette, LA
* Dec.06.2012 -- Ovo opened Adelaide, AU
* Dec.07.2011 -- Alegría Arena opened Santiago, ES
* Dec.07.2012 -- Alegría Arena opened Rotterdam, NL
* Dec.07.2011 -- Quidam Arena opened Hampton, VA
* Dec.07.2006 -- Dralion opened Dusseldorf, DE
* Dec.08.2010 -- Saltimbanco Arena opened Budapest, HU
* Dec.09.2009 -- Alegría Arena opened Worcester, MA
* Dec.10.2008 -- Saltimbanco Arena opened Tulsa, OK
* Dec.10.2009 -- Saltimbanco Arena opened Rotterdam, NL
* Dec.10.2011 -- Dralion Arena opened Bossier City, LA
* Dec.11.2010 -- Quidam Arena opened Kingston, ON
* Dec.12.2012 -- Saltimbanco Arena opened Cedar Park, TX
* Dec.12.2012 -- Dralion Arena opened Tulsa, OK
* Dec.13.2012 -- Alegría Arena opened Turin, IT
* Dec.13.2012 -- Quidam Arena opened Grand Forks, ND
* Dec.13.2011 -- Dralion Arena opened Little Rock, AK
* Dec.14.2011 -- Alegría Arena opened Zaragoza, ES
* Dec.14.2000 -- Quidam opened London, UK
* Dec.14.2011 -- Quidam Arena opened Worcester, MA
* Dec.15.2010 -- Saltimbanco Arena opened Nurnberg, DE
* Dec.15.2011 -- Saltimbanco Arena opened Vilnius, LT
* Dec.15.2006 -- Corteo opened Atlanta, GA
* Dec.16.2010 -- Dralion Arena opened Worcester, MA
* Dec.17.2008 -- Saltimbanco Arena opened Hidalgo, TX
* Dec.18.2009 -- Saltimbanco Arena opened Geneva, CH
* Dec.18.2010 -- Quidam Arena opened Montréal, QC
* Dec.18.2012 -- Quidam Arena opened Sioux City, IA
* Dec.18.2011 -- Dralion Arena opened Montreal, QC
* Dec.19.2007 -- Saltimbanco Arena opened Montreal, QC
* Dec.19.2012 -- Saltimbanco Arena opened Montreal, QC
* Dec.19.2012 -- Alegría Arena opened Geneva, SZ
* Dec.19.2012 -- Dralion Arena opened Oklahoma City, OK
* Dec.20.2011 -- Quidam Arena opened Toronto, ON
* Dec.21.2011 -- Saltimbanco Arena opened Riga, LV
* Dec.21.2011 -- Alegría Arena opened Lisbon, PT
* Dec.30.2012 -- Saltimbanco Final Curtain Call
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "Mystère du temps, Part 2: Celebrating 19 Years"
By: Ricky Russo - Atlanta, Georgia (USA)
o) "New CD's To Fill Your Stockings!"
By: Ricky Russo - Atlanta, Georgia (USA)
o) "2013 Calendar Review - Putting Music on Paper"
By: Keith Johnson - Seattle, Washington (USA)
----------------------------------------------------------
"Mystère du temps, Part 2: Celebrating 19 Years"
By: Ricky Russo - Atlanta, Georgia (USA)
----------------------------------------------------------
On a relatively cool Las Vegas winters eve in 1993, patrons, fans and
the curious alike assembled on the Las Vegas Strip to take part in
something new and extraordinary: the birth of a new creation from
Cirque du Soleil.
While today an event such as this is considered less than phenomenal
(there are now multiple Cirque du Soleil shows in Las Vegas for
instance), on this one cool December evening however, these spectators
were witnessing something untried - the unveiling of a new concept.
Rather than travel and be presented under the Grand Chapiteau (as all
other previous Cirque du Soleil shows had done), this show would
instead bow within a specially constructed theater built for its
purpose alone inside one of the newest casino-hotels on the Las Vegas
Strip - Steve Wynn's Treasure Island.
It would turn out to be unlike anything that had ever been seen before
from this Montrèal-based circus troupe and it would usher in a brand
new era for Cirque du Soleil, Las Vegas, and production arts as a
whole.
Mystère.
Last month Mystère celebrated its 9,000th show. This month Mystère
will notch 19 years of non-stop performances on the Las Vegas strip.
In honor of these unbelievable milestones, we've decided to take a
look back at Mystère - from its genesis to how the show is presented
today in this two-part exposé. In Part 1, we began with the show's
creation, discussed the trials of getting the theater built, and in
crafting the show's esoteric narrative. Here in Part 2 we pick up with
an overview of the uniquely bizarre characters that populate the show,
and walk through each of its three iterations: Version 1.0 (1993-
1996), Version 2.0 (1997-2011) and Version 3.0 (2012+).
The Personages of Mystère
-------------------------
"We really felt as if we were building a new mythology, seen
through the eyes of people today. So, in the costumes and
characters, we tried to paint a picture of life in all its
textures and colors, all its lyricism. Life is terrifically
inter-connected... with rhythm and chaos revealing a mysterious
harmony." - Dominique Lemieux (Spectaculara)
Weaving themselves into the tapestry of the universe is an eclectic
array of otherworldly creatures, beings with more than just a part to
play. Some are airy, vivacious and joyful while others creepy,
chilling and menacing. And perhaps as we familiarize ourselves with
these playful yet solemn creatures of the wilderness, we may have a
better sense of what universal song they are endeavoring to sing:
o) Moha-Samedi (The Man in Pink) - Named after the first day of the
new millennium, he is the narrator no one listens to yet he and his
puppet contain all the accumulated knowledge of humanity since the
beginning of time.
o) Les Épouvantables (The Babies) - Two enormous babies on a quest for
nourishment embark on an odyssey of discovery. They are the
carriers of the world's hopes and aspirations; they quest for
nourishment and understanding. By journeying through Mystère, they
relive the history of the universe. They are icons of every human
ready to embark on a new adventure: the 21st century.
o) The Mountain - A geological oddity of trembling flesh that craves
to be human.
o) The Firebird (Red Bird) - A jewel sailing the skies on a stream of
song. The Red Bird leaps ever higher in his futile attempt to take
to the skies. Still convinced he can fly, he struggles against his
fate.
o) The Tribe - They are the primitive, tragic ghosts of humanity.
o) Deus Ex Machina - It is the machine which regulates the existence
of everything, living or inanimate. Inevitably it tyrannizes and
grinds down the independent.
o) Stas (La Puce) - A mischievous imp, a thousand years old. (Also
known as "Yellow Chicken" and "Yellow Bird")
o) La Belle - Through her fear of ugliness she seeks to avoid pain at
all costs.
o) Vache à Lait - Bearer of every illusion, he always stays just
beyond reach. He is a metaphoric, androgynous figure, to bear the
hopes and dreams of men. The Vache à Lait tantalizes and attracts
the babies with the purpose of fulfillment.
o) The Pets - Birds who have forgotten how to fly, they are la Belle's
constant companions.
o) The Black Virgin - The Virgin is a praying mantis that destroys the
illusions and dreams of her victims.
o) The Pets (Birds of Prey) - The Virgin's coven of lost souls,
seeking revenge for their fall from the sky. These birds of prey
have forgotten how to fly. The ever-present and unpredictable Birds
of Prey fly rapidly through the world of Mystère. They can be
graceful and serene, but when hungry they will attack, devouring
their prey with delight.
o) The Asticots (Double-Face) - Each one is a segment of the whole and
would die if alone. Their double-face hides the corruption of their
state.
o) Archangels (Les Laquais) - A tragic chorus; the terrestrial
guardians of the happiness and safety of others, even at the cost
of their own lives. The finest of the Archangels (Gabriel) is ready
to sacrifice everything, including the love of the one he
secretly adores.
o) Init X & Y (Spermatites & Spermatos) - Inti X: A comic chorus, a
tribe of virus, ready to contaminate everybody. Inti Y: The male
viruses, even less predictable than their mates. The Spermatos and
Spermatites are the seeds of life, moving about frantically to
fulfill their destinies. With their energy, these bouncing
characters are like viruses, contaminating the world of Mystère
with infectious folly. The comic chorus, always present, always
jolly, laughs in the face of the pain of humanity. Perhaps they
possess the true wisdom?
o) Mephisto - A thwarted, twisted creature from the deepest of
nightmares. Mephisto and his female counterpart Vénus are devilish
and dark characters. In Mystère's voyage from the dawn of time,
Mephisto and Vénus appear from the depths of the Earth. Together
they cast a long dark shadow and expose the sombre, more complex
side of the journey of life. Mephisto and Venus appear in times of
commotion and noise. Their presence wreaks havoc in any domain.
Together they want to create chaos and destroy the balance that
exists within the world of Mystère.
o) The Green Lizards - Mischievous and skittish, these chameleons can
completely disappear before your eyes.
o) The Giants (La Mouche and La Plumé) - A gentle frivolous race of
futile feathers and long legs.
o) Le Prince - Nobility who hides a terrible secret.
o) Monsieur Brian Le Petit - He is the grain of sand in the gears of
the well-oiled machine. (The character was also known as Messer
Benny Le Grand when Wayne Hronek originally created him).
o) Escargot - "Alice" was born from a spring rain, carrier of the
souls of the ancestors and herald of the future.
Mystere 1.0 (1993-1996)
-----------------------
"A BEAUTIFUL YOUNG MAN SAILS over the green earth, briefly
alighting, then aloft again. Next a man and a woman materialize,
Adam and Eve without the snake, in a stately, rapturous dance
that hints at what passion was like before guilt. Finally, six
animal-angels drop from the sky and soar back into it, gliding,
pirouetting, and seeming to meditate in midair before they swoop
back, swing down and holds hands, in a little aerodynamic
miracle of celestial accord." (TIME, 1994)
The first version of Mystère - opening with "Manipulation" (a
specially crafted act in which a trio manipulated various shapes and
balls), then leading into Chinese Poles, Hand-to-Hand (performed by
Yves Decoste and Mario Pontbriand), Bungees, Korean Plank / Trampoline
/ Fast-track and ending with Flying Trapeze - is quite a mystery (if
you'll excuse the pun) to most of us. Why? As Gilles Ste-Croix said
above, Mystère's first couple of years were fraught with big changes.
Mystère started slowly in January 1994, with attendance at only about
60 percent, while the touring show (which was then Saltimbanco) was
extremely successful, consistently selling out at 100 percent. The
show required a lot of media coverage to bring Mystère to public
attention. Indeed, not content to rest on its laurels, about 30
minutes of fresh material had been added to the show for the 1996
season, including new featured acts and a rousing new opening. Mystère
no longer eased out of the gate, it roared out courtesy of a lavish
new opening that pulled out all the stops and demonstrated the
incredible lighting and pristine sound capabilities of the theater.
In the 1995-1996 season the story of the human condition turned tragic
as a storm blew across the desert. When the sand cleared away and the
Ancient Bird could once again catch a glimpse, he found a change in
the narration - and with it, a change in the production. Gone were the
Flying Trapeze, Manipulation and original Hand-to-Hand act.
What caused this sudden change? Quidam.
In 1995, Cirque du Soleil began preparations for a follow-up touring
show to their very successful tour of "Alegría" in the United States.
"Quidam," taking its name from the Latin for "a nameless passer-by",
featured many acts and performers previously seen in Mystère. For
instance, Yves Décoste provided his talents for Quidam's Statue Act
(with Marie-Laure Mesnage), and was replaced by Christophe Suszek and
Bogdan Zajac, whose act - AROS - took top prize at the International
Festival of Circus in Verona, Italy. Steven Ragatz and Patrick McGuire
came on board with the Manipulation Act and were replaced by Mikhail
(Mischa) Matorin - a long-maned, bare-chested man who manipulated a
50-pound aluminum cube while dangling high above the stage (the
"Aerial Cube", or "Flying Cube", or just known as "the Cube Act") -
from Alegría. The Flying Trapeze was replaced with an exciting new
performance: The Aerial High-Bar, which was created by Pavel Brun and
Andrei Lev. A version of the High-Bar had been and continues to be
featured in Alegría.
Also new to the show were clowns James Keylon and Francine Côté
(Alfredo & Adrenaline), who mined laughs via Cote's mockery of
Keylon's mime skills set to a cool jazz backdrop. The dynamic duo was
no stranger to Cirque du Soleil's stage. Adrenaline (Canadian Côté)
performed with La Ratatouille in Cirque du Soleil's 1985 "Le Grand
Tour" and in the 1990 European tour of "Le Cirque Réinventé". Alfredo
(Keylon from the USA) performed with Adrenaline at Cirque's G7 Halifax
special performance and on tour in 1992 with Cirque and Circus Knie.
The saucy Cote used a chainsaw to destroy her partner's imaginary
walls, and the act was the show's first to use limited English
verbiage instead of untranslatable gibberish (a.k.a. "Cirquish"). They
replaced Wayne Hronek's "mad professor" ("Benny Le Grand" act;
according to the programme Mr. Le Grand had come into possession of
certain documents relating to the internal affairs of Le Cirque, which
was why Cirque thought it best to allow him to continue with the
company, but he also occasionally took time off to "go home and cave
ducks and grow plants in Vancouver." This time, though, he had hung up
his clown shoes in retirement.
The following year even more changes would come.
Mystère 2.0 (1997-2011)
-----------------------
"We think audiences will find the spirit of Cirque du Soleil in
every detail of Mystere," said Gilles Ste-Croix, Mystere's
Director of Creation. "But remember, when you see Mystere, you
are seeing a production in progress. Like life itself, Cirque du
Soleil's Mystere is in a constant state of evolution." (1996
Press Kit)
Christophe Suszek and Bogdan Zajac ("Aros") would take their leave in
1997 making room for Marco & Paulo Lorador (the "Alexis Bros") as
Hand-to-Hand artists (they joined Mystère after Saltimbanco ended its
first European tour in 1997). Alfredo & Adrenaline would also take
flight (their act seemed to ground the show somewhat, briefly dulling
the otherworldly feel. Their second segment was a slow-building
exercise in vintage slapstick that ended with a foamy fight that
spilled out into the audience), allowing Cirque du Soleil veteran
Brian Dewurst to bring his alter-ego "Brian Le Petit" to the stage. Le
Petit turned out to be more like Benny LeGrand than Cirque would have
liked (tongue firmly planted in cheek), running amok throughout the
show. And even Yuri Maiorov, who performed a Flying Man in Silk act in
Alegría (from 1995-1997) took to Mystère's skies for a brief time
while Paul Bowler was being prepped to take over Aerial Cube for
Mikhail Matorin. (Maiorovwould later fly in the skies of La Nouba
from the show's launch in 1998 through to his retirement in 2012. His
act is currently performed by David Poirier, whom Yuri mentored and
trained for the role.)
And with the help of my friend Paul Roberts, we'll take you through
the world of Mystère as most of us have experienced it...
Opening
Clowning around is prominent in every Cirque show, and Mystère is no
different. Brian Le Petit has come to run amok and amok he runs, but
he is not the only one: Moha-Samedi is also, but as his name suggests,
no one listens to him. "Hey!" says his companion. "They don't
understand you stupid." So, he sits up and clears his throat: "Ladies
and Gentlemen welcome to Cirque du Soleil!" he says. "During the
performance, smoke effects will be used. You, however, cannot smoke."
but then, a cry from the rafters is heard - "Hey! We can see your lips
moving!" It's Le Petit and he crushes the ego of the man and his
puppet. Fortunately, that doesn't stop the show. For moments later,
the puppet arises and speaks aloud, "He said your lips, not mine!" And
then announces the coming of "MYSTERE!"
As can be heard from many of those who have lived Mystère, the show
begins with a shot... or shall I say by the pound of a drum. The right
side stage door opens and a gang of fat bug-like creatures run out
banging flat drums while bouncing and screaming. The "Ouverture"
begins with a howling from a primeval conch shell: a human fog horn
surrounded by a mysterious mist. Vocalists, adorned in flowing white
robes, sing a melody line in an imaginary language that celebrates the
dawning of Mystère.
Just as the senses begin to overload, from up above four drums descend
from the theatres ceiling. The suspended drummers, scantily-clothed
and painted with fluorescent colors, pound away with body and hand
rhythms reminiscent of an ancient tribal ritual. The drums call to
those who inhabit these desert mountains... Green lizards, red birds,
and many other creatures of the desert come out to play.
The band soon joins in with "Ramsani" that features a short passage of
sustained electric guitar notes over a lush orchestration. Then
silence; and onto a chime-laced lullaby signifying man's birth. That
birth brings forth a baby, who now amuses himself onstage with a big
red ball! He giggles as he bounces it around the stage, but his
oversize nature is not a laughing matter. For when the ball comes
loose landing on an unsuspecting spectator - be warned - prepare to
take on more than the roundness of the red monster. Prepare to become
the parent of a very large baby!
Aerial Cube
The first act takes place as a chiseled Herculean of a man twirls a
huge aluminum cube in the palm of his hand. He rises out of the
machine with cube in hand; arms over his head. The lights flash and he
begins to dance with the cube. And what he can do with this cube is
amazing - Taking this enormous metal cube in his hands, the man
juggles it, flips it and otherwise amazes the audience with the feats
he's able to accomplish with only his two hands keeping the cube and
the audience separated. And when it glows in the after light of the
theater, you can't fight back the chills any longer. After his bouts
of strength with the cube, the artist takes to soaring through the
theater to amaze us once again.
Chinese Poles
Chinese arts meet Cirque du Soleil. "Égypte," sets up this act,
featuring one of the most mysterious entrances of characters ever
seen. With a snake charmer-like theme, the artists who are about to
perform the Chinese Poles act come slithering from all parts of the
theatre, which includes climbing down the walls. They appear to be
looking at the audience through ghostly masks that unexpectedly turn
out to be on the backs of their heads. Two accompanying songs switch
back and forth between René Dupéré's "Rondo" and Benoît Jutras'
"Double Face," following the performer's steady pace as one by one
they begin their climb up the four Chinese poles in the center of the
stage. Now the 20 men and women of this troupe jump, swing and fall
their way into your hearts as they perform death-defying acts of
gravity defiance and show why strength and balance is a must!
Hand-to-Hand
Two muscular men exhibit incredible feats of strength with the
chilling song "Ulyssee". Mimicking their moves, the slow-paced theme
features meditative harmony vocals, laced with violin and woodwinds.
These brothers match their fusion of skin and hand right before your
eyes while their bodies rotate helplessly on a dome below them, adding
a new wave of skill and concentration to their perfect union. And not
only can one lift the other, but what Paulo can do while laying on his
stomach is just raw power: with Marco hand-balanced on his feet, Paulo
strains to lift him back up again! A troupe of alien-looking life
forms guides the strong men through a sparkling mist during the subtle
and spacey sounds of "Dôme," the act's pinnacle.
Bungee
The theatre fills with insect chirps and bird calls to announce the
coming of nature's aerial beings. The acoustic guitarist plucks the
next song's chord pattern ("Kalimando") while towering rain sticks
bestow the sounds of a rain forest. Above, golden bird-like creatures
soar through the air attached to bungee cords. Their costumes -
designed by the talented Dominique Lemieux - feature metallic
streamers that reflect a spectrum of lights. A mystifying aerial
ballet ensues. Continuing with the bungee act, the drummer (and the
performers) pick up the pace triggering the energetic song, "Kunya
Sobé."
FastTrack / Korean Plank / Trampoline
A pseudo three-ring circus event takes place next. It starts out with
the Korean Plank - also known as the teeterboard - then evolves into a
near-miss trampoline (which is 'U' shaped) routine; followed by an
acrobatic fast track spectacle. The combined songs of "En
Ville/Frisco" accompany these highly energetic and dangerous
performances, which take the spotlight interchangeably throughout the
number - one moment a performer is being launched into the air via the
teeterboard while another is bouncing back and forth on the trampoline
- you're not sure where to look next!
High Bar
The energy level remains high as the band performs a short and rocking
song titled, "Gambade" that ends with sudden silence. The time has
arrived for the dark side of Mystère, as ominous clanging and
industrial noises beckon the Mephisto Stilt Demon to rise from the
depths. The act features gymnasts flying and catching each other with
extreme precision; the music matches the intricate moves with an
assortment of crescendos, diminuendos, and staccatos. Then it ends
with a thunderous crash, and one of Mystère's trademarks is about to
begin.
Taïko
Whenever I ask someone what they remember most about Mystère, the
answer is usually-"The drums." Mystères' one-time percussionist,
Pierre Dubé, traveled to Japan to learn the fine art of Taïko drumming
technique from Kodo, a Taïko performing group from Sado Island. The
result is a thunderous polyrhythmic delight that features a solo on a
drum the size of a VW mini-bus.
The climax of the solo is a hushed drum roll that requires complete
concentration while his wrists pulsate with incredible nimble action.
He then pounds like thunder and the troupe rejoins the ritual. The
Taïko drum was first used in Saltimbanco only to be elevated to fine
art here. Consequently, the vibrations from the drums resonate
throughout the Treasure Island Casino-Hotel and sometimes... set off
the alarms in the shops!
Epilogue
With Nouvelle Experience we are treated to a rebirth of our sales-man
clown. In "O", a balloon touches down and the wind blows its way
across the stage, forever closing off the world of the aquatic to us.
For La Nouba, a marriage ceremony is performed... but for Mystère the
four-beat, triumphant finish summons the entrance of a giant human-
faced Escargot, and the band joins the Taïko troupe with the ending
song fittingly titled, "Finale." With an upbeat, hand-clapping,
celebratory number, the entire cast circles the stage. You can see
pride in their faces as they reveal their true identities. I, however,
find it difficult to celebrate, as "Finale" in any language signals:
The End.
Mystère 3.0 (2012+)
-------------------
"I'm astonished at the change," says Gilles Ste-Croix. "I can
have an idea, and when it's evaluated, I can't believe how
expensive it is. Every idea we had for Mystère seemed to cost
more than $100,000. And I'd say, 'We built a show for that much
in '84!' But we spend the money because we want to keep the show
of the highest quality. It is the point of the arrow of what we
do."
Although the show had remained virtually static for fifteen years,
there had been various rumors about changing Mystère up (prior to
2012):
Back in mid-2002, a stir was created amongst fans when the future of
Mystère in Las Vegas was put into question, largely caused by a quote
attributed to Guy Laliberté - Cirque du Soleil's founder - appearing
in the French-Canadian press (La Presse). He was credited with
suggesting that Mystère would fold at the end of 2003 and be
transplanted to one of several world cities under consideration. Both
Tokyo and London had been mentioned (as had Hong Kong), but the
decision had not been made at the time of Le Presse's article. The
basis for Mystère ending lay within its original contract with the
Treasure Island Hotel/Casino. In 1993, Cirque du Soleil and Mirage
Resorts (now MGM International) signed a 10-year agreement to stage
Mystère and by 2002 the contract was coming due.
Without an extension the show would indeed fold at the end of the
year; however, there was never anything to worry about even after MGM
International sold Treasure Island to real estate investor Phil Ruffin
in 2009. The new owner loved the show and Mystère received a six-year
extension (which has since been extended further), keeping the show in
Las Vegas for the foreseeable future.
At the time other possible reasons for closing Mystère in Las Vegas
and moving it to Tokyo were the announced opening of Zumanity at New
York- New York Hotel/Casino in 2003, and KÀ at the MGM Grand in 2004.
The rumor proved interesting though, as eventually Cirque du Soleil
did set up a resident show in Tokyo - ZED. Furthermore, at the time of
the renewal it was suggested that artistic changes were one of the
conditions of extension. Rumors abounded that the energetic High Bar
act, first seen in Alegría, would be replaced with a Flying Trapeze
act and that the Aerial Cube, performed by Paul Bowler, would be
replaced by the Flying Man, performed by Alexandyr Dobrynin from
Alegría.
Although nothing more than idle gossip at the time, changes did
eventually come to Mystère following the closure of Cirque du Soleil's
ZED in Tokyo. At the beginning of 2012 Mystère welcomed the following
changes:
o) High Bar was replaced with Flying Trapeze - Human dreams take
flight, borne by the hopes of a new millennium. The pendulum
movement of the trapeze flyers emphasize that time continues
but never stops passing. The benefits outweigh the risks, for
the adventure is the reward. The performers in the Trapeze
act have been performing together as a group, and an extended
family, for the past several years. Comprised of members of
circus families from across Latin America, with one
obligatory American, Mystère boasts one of the most fast-
paced Trapeze acts ever devised. Completing more than a dozen
tricks in little more than six minutes, the Catchers have a
particularly difficult job as they spend the majority of the
performance upside down with little break in between.
o) The choreography of the Chinese Poles act was re-done.
o) And the show added (not replaced) a flying silks act -
Descending gracefully from the heavens, her effortless beauty
is part mortal, part Goddess; connecting the earth and sky.
This solo Tissu act was created by aerial artist Ginger Ana
Griep-Ruiz. In addition to her breathtaking flips, spins and
displays of flexibility high above the stage, Ginger also
devised a system to give the appearance that the fabric never
ends, allowing her to do continuous tricks without having to
stop to reposition herself on the material.
Today Mystère (3.0) is better than ever!
* * *
"Nobody can say what it's about," says Gilles Ste-Croix. "It's about
the passage of a human being through his life, through the stages of
consciousness, with a rebirth at the end. We try to keep it loose, so
you can't interpret it too closely or literally - it's a mystery, like
the title. We are not philosophers, we're entertainers. And we don't
think the audience is dumb - they can interpret for themselves. [...]
When the show is over people don't move. Then they say, 'what was
that?' That's the best comment I can think of for Cirque du Soleil."
It's also the best compliment we can think of.
You may call it art. You may call it theatre.
We call it Mystère.
Congratulations on 9,000 performances and 19 fantastic years!
----------------------------------------------------------
"New CD's To Fill Your Stockings!"
By: Ricky Russo - Atlanta, Georgia (USA)
----------------------------------------------------------
Happy Holidays!
Believe it or not it's that time of year again Cirque fans - the
season for gifting and giving is upon us... and you know what that
means: new merchandise to enjoy! Although there are many new items to
explore as part of the "Desigual Inspired by Cirque du Soleil" line,
regrettably those offerings aren't my specialty. What I'm personally
interested in is new media and this year Cirque du Soleil has two
great choices for fans to enjoy - both music CDs! The "Le Best of 2"
and "Amaluna" soundtracks.
LE BEST OF 2
------------
Released: November 6, 2012
Catalog #: CDSMCD-10045-2
UPC: 8-43277-05288-3
First up, Cirque du Soleil presents its latest highlights album "LE
BEST OF 2", compiled by Cirque Music Director Alain Vinet. The album
comprises music recorded and released between 2005 and 2012, including
the "Facebook fan favorite" Pageant from KÀ. ("Le Best Of", released
in 2004, included music spanning the Cirque catalog up to that point.)
As a compilation album there's not much left to be said, especially
since many of us are more than familiar with the contents therein. The
package is a standard DIGIPAK (the final "D" in CDSMCD denotes this),
but there are a couple of interesting things to note regarding the
album's contents:
1) There are no duplicates between "Le Best of" and "Le Best of
2" and that's a plus.
2) There are only two duplicates between "Le Best of 2" and
Cirque du Soleil's more recent compilation album "Cirque 25":
"Beyond the Cloud" (Wintuk) and "Piece of Heaven" (Zumanity).
3) Three out of the thirteen tracks are pieces from shows no
longer performing. These are: "Blue Silk" from ZED, "NOI"
from Zaia, and "Beyond the Clouds" from Wintuk. (And with the
recent announcement of IRIS' closing, the count will jump to
four, adding "Flying Scarlett".)
4) Two of the tracks are from TOTEM: "Qué Viyéra" and "Omé yo
Kanoubé". Why does TOTEM get that distinct honor I wonder?
5) The track from Amaluna - "Magic Ceremony I" - is only the
first half of the opening of the show (the full version
appears in English on the Amaluna album, which we'll discuss
in a moment.)
Tracks:
01. "Magic Ceremony I"........... (3:28) [Amaluna]
02. "Pearl"...................... (4:06) [Kooza]
03. "Blue Silk".................. (4:37) [ZED]
04. "Anneaux".................... (5:43) [Corteo]
05. "Flying Scarlett"............ (4:43) [Iris]
06. "Qué Viyéra"................. (4:42) [TOTEM]
07. "Flying with the Birds"...... (4:12) [Believe]
08. "NOI"........................ (4:15) [Zaia]
09. "Secret Samba Luv"........... (3:12) [OVO]
10. "Pageant".................... (2:46) [KÀ]
11. "Beyond the Clouds".......... (3:32) [Wintuk]
12. "Piece of Heaven"............ (4:55) [Zumanity]
13. "Omé yo Kanoubé"............. (4:41) [TOTEM]
Total playing time: 55:00
As a Cirque fan for many years I am intimately familiar with all the
music on this CD, and so you might be asking yourselves the very same
question I did when I saw the announcement: why do I need this?
Perhaps "need" isn't quite the word; perhaps "want" is better. So why
would you want this compilation? Because it's actually quite good!
From Amaluna's "Magic Ceremony" through to Totem's "Omé Yo Kanoubé,
Cirque du Soleil entices you into its world by crafting a story with
its track selection. It's no coincidence that the album begins with
one show's opening theme and ends with another's closing theme! So if
you're looking for a new Cirque du Soleil mix to add to your
collection - this is it!
AMALUNA
-------
Released: November 20, 2012
Catalog #: CDSMCD-10046-2
UPC: 8-43277-05722-9
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 of this newest Cirque du Soleil
product unfolds. Their queen, Prospera, directs her daughter's coming-
of-age ceremony in a rite that honors 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 land 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 as the couple must
face numerous demanding trials and overcome daunting setbacks before
they can achieve mutual trust, faith and harmony.
I watched Cirque du Soleil give birth to AMALUNA on the quays of old
Montreal, as I have with Totem (2010), OVO (2009), Koozå (2007),
Corteo (2005) and Varekai (2002), but with AMALUNA I had an experience
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 AMALAUNA
thinking, "I LOVE THIS SHOW!" - shocking my friends who had gathered
with me because I didn't really like the show the first night I saw
it.
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 was uncanny, and welcome. I felt enlightened, invigorated and
hungry for more. I couldn't wait to get my hands on the show's
soundtrack and now that I have what do I think? I love it, of course!
As Alain Vinet, Cirque's Musical Director and Amaluna's album producer
says in his note, this album "was created in the spirit of a musical
voyage from start to finish, the same approach as the great
progressive rock albums. The Amaluna soundtrack has allowed us to
unleash the energy and the rock sound of womankind" and he's not
mistaken. From beginning to end this album rocks Amaluna hard, and
much of this can be attributed to using the actual Amaluna band!
o) Jenifer Aubry -- Vocals, Acoustic Guitar, Harmonica
o) Marie-Michelle Faber -- Vocals
o) Mireille Marchalv-- Percussion
o) Julie McInnes -- Vocals, Cello, Saxophone
o) Teresa Morini -- Bass
o) Didi Negron -- Drums
o) Angie Swan -- Guitars, Madolin
o) Racheal Wood -- Guitars, Backing Vocals
The use (or more accurately, non-use) of the actual creation band has
been a pet peeve of mine (as well as many other Cirque du Soleil fans)
over the years. Thankfully Cirque du Soleil has heard our criticisms
and used these very talented women in the production of this album. (I
mean, how could they not?) But the album is not without a few nit-
picks, which I'll get to in a moment.
Like "Le Best of 2", the Amaluna album package is a DIGIPAK unit, tri-
fold, and unfolds at the center to encapsulate the CD (on the right
side) and the liner notes (on the left), with a mural of the band's
beautiful players spread across it. (An interesting note here is that
the credits list the band as 8 players, yet there are only seven on
the tri-fold...) The CD sports the Amaluna logo super-imposed over one
of the show's trademark feathers, but that's it. The booklet
containing the liner notes contains the official poster image, as does
the album's paper cover. The back is relatively bland by comparison,
containing copyright notices, production credits and, of course, a
track listing.
Tracks:
01: "All Come Together".......... (5:54) - Magic Pageant
02: "Elma om mi Lize"............ (3:35) - Meteors & Icarian
03: "Tempest".................... (4:23) - The Storm
04: "Enchanted Reunion".......... (5:41) - Suspended Poles
05: "Fly Around"................. (3:45) - Uneven Bars
06: "Hope"....................... (3:28) - Aerial Hoop
07: "O ma Ley"................... (4:29) - Waterbowl
08: "Burn Me Up"................. (3:44) - Teeterboard
09: "Whisper".................... (4:41) - Manipulation
10: "Running on the Edge"........ (4:00) - Tightwire
11: "Ena Fee Alyne".............. (3:38) - Unicycles
12: "Creature of Light".......... (4:51) - Thousand Arms / Pole
13: "Mutation"................... (3:43) - Juggling
14: "Run"........................ (4:23) - Aerial Straps
Total playing time: 60:15
Naturally, since this is a studio album, additional musicians were
needed, and I'm more than happy to highlight them - many of them
performers in the show!
o) Sebastien Laurendeau: Band Leader, Keyboards (9)
o) Lara Jacobs (Manipulation performer): Whispers (9)
o) Viktor Kee (Juggler): Additional Vocals (13)
o) Karina Brooks, Lindsey Bruck Ayotte, Amara Defilppo, Summer
Hubbard, Renée Koehler, Tain Mokendijk, Melanie Sinclair,
Brittany Urbain (Uneven Bars): Additional Vocals (5)
o) Elsieanne Caplette: Additional Vocals (1, 9, 12)
o) Lulu Hugues: Additional Vocals (2)
o) Stéphane Lessard: Flute (12)
o) Geneviève Plante: Trumpet (10, 14)
o) Oliver Thouin, Christian Prévost: Violin (3,7)
o) Ligia Paquin: Viola (3, 7)
o) Carla Antoun: Cello (3, 7)
Okay, so, if I'm all about this album... what on Earth could I have to
say against it?
My first nit-pick is the use of English!
"All Come Together", the album (and the show's) opening piece, is sung
not in Cirquish, as it is during the live production, but in English!
This may be how the song is now performed since the show has reached
primarily English-speaking ears (although I highly doubt it); however,
this was not expected and caused some distress for me. When an edited
version of the song sung in Cirqueish appeared on the "Le Best Of 2"
CD (the first 50-seconds and ending minute of the song are clipped
off; however, the music mix is relatively the same), I wondered: would
this be the way the song was presented on the album? Thankfully the
full piece is available, but the lyrics were changed! The gathering
song was not sung in English for Montreal's premiere and I admit I
miss the Cirqueish. Would it have hurt to leave the lyrics as they
were? It's a question I'll have to grapple with as I realize that we
fans have been asking this type of question ever since Cirque put
English lyrics to "Let Me Fall" and "Quidam" from Quidam's album
release.
The second nit-pick is the songs are out of order!
Most of us know, or are at least aware, that Cirque du Soleil looks at
its soundtracks as a different entity from the live shows upon which
they're based. In more simplistic terms: they're two separate products
- the live show and its accompanying soundtrack album. So the powers
that be are free to take whatever dramatic and creative license they
wish in order to produce the show's music for sale. Sometimes this
means the album follows the show order almost exactly (in the case of
Kooza, Ovo, Totem, Zed and Zaia) and in other times it could mean a
vastly different (and arguably over produced) offering as in the case
of Varekai's "lounge" release. And for many of us who want to relive
our experience with the show through its music, having an out-of-order
album is somewhat disappointing. Normally this wouldn't be much to get
in a twist over, however, Amaluna is "an emotional love story" and it
becomes increasingly difficult to buy into the musical accompaniment
of said journey when celebrations come just before trials. The show's
running order is Magic Pageant, Unicycles, Meteors & Icarian Games,
The Storm (Straps), Suspended Poles & Paon Dance, Aerial Hoop,
Waterbowl, Uneven Bars, Teeterboard, Manipulation, Thousand Arms,
Chinese Pole, Tightwire, Juggling, and Aerial Straps. So, to listen to
the album in the show's running order mix them in the following order:
1, 11, 2, 3, 4, 6, 7, 5, 8, 9, 12, 10, 13 and 14.
Regardless of these two contrary nit-picks, I find this album a very
solid release - I've listened to this album every day so far!
* * *
Okay, so, you're on a budget with the opportunity to add only one to
your collection, which of the two should you add? Although I do
recommend both for any fan of Cirque du Soleil, if you're in a bind
and not sure which you'd rather make part of your collection I'd have
to recommend the AMALUNA soundtrack: it's the only one of the two with
NEW music! Even if you've not yet seen the show, buy it. You won't
regret it! You can get both albums from Cirque's online boutique,
Amazon (both as a digital download and physical album), BestBuy.com
(physical album only), and even iTunes, so there's a plethora of ways
to enjoy these two new Cirque du Soleil CDs!
So there you have it and may your stockings fill themselves with
Cirque media goodies this year!
----------------------------------------------------------
"2013 Calendar Review - Putting Music on Paper"
By: Keith Johnson - Seattle, Washington (USA)
----------------------------------------------------------
In the past Cirque du Soleil has been criticized by fans for not
paying proper respect to the musicians involved in the creation of
their shows, primarily by not utilizing them on the show soundtracks.
This has been addressed of late, with the show bands being the bedrock
of the last few soundtracks released (and especially emphasized on the
latest release, Amaluna). And now they've taken another step to
recognize those hard-working artists
Another year has gone, and another Cirque calendar has arrived! And
this one is a twist, focusing on the musicians of the shows! The
calendar is available right now in the Cirque e-Boutique for $15.00,
but nowhere else online that I could find. (Unfortunately, the
calendar itself has no product number or UPC code printed on it; it
must have been on the shrink wrap I discarded.)
Unlike last years' calendar - a too-tall monstrosity that focused on
circus acts with just a small space dedicated to the actual month (the
calendar dates and write-in area were very small) - this calendar
returns to the 11" X 17" format of years past. The 16-month lineup
includes:
Sep - Corteo - Accordian, guitar, sax
Oct - Mystere - Percussion
Nov - Dralion - guitar, bass, keyboard
Dec - Alegria - entire band - a nice group shot
Jan - Le Best of 2 CD - double bass, singer, guitar - what
shows are these people from?
Feb - Kooza - entire band
Mar - Totem - most of the band
Apr - Amaluna - percussion, guitar, voila, drums
May - IRIS - entire band
Jun - KA - guitar
Jul - Varekai - an interesting backstage photo of the band
members preparing.
Aug - La Nouba - entire band
Sep - OVO - most of the band
Oct - Zumanity - entire band
Nov - O - singer, voila, accordion
Dec - Quidam - sax
2014 year - collage of musician images
The calendar is, of course, in English and French. Each page includes
calendars of the month before and after the current month, with plenty
of space clearly devoted to the current month's individual days. The
short descriptions on each page focus on the music of the particular
show, a nice touch. The write-ups also make a point to distinguish
the "inspired by" soundtracks in the canon, specifically singling out
Varekai and Zumanity - a bit of "truth in advertising" we appreciate.
Some shows are missing - anything involving a partnership with an
outside entity (Michael Jackson, The Beatles and Criss Angel). As is
Saltimbanco, but that will be closing at the end of the year.
Each page has "Cirque-ey" design elements adding visual excitement.
Many of the photos are collages or assemblages of separate musician
pictures placed in a nice balance on the page. Occasionally they
focus on one performer from the show. While it's good to have smaller
group shots mixing up the calendar along with full band shots, it
would have been nice to have a shot of, for example, 19-year veteran
guitarist Bruce Rickerd from Mystere.
By going back to a more standard design and focusing on musicians
Cirque has some up with a winning calendar this year - one that gives
those fabulous musicians their due. Every Cirque music fan should
have one.
=======================================================================
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COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 12, Number 11 (Issue #107) - December 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
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination!
Newsletter." By sending us correspondence, you give us permission
(unless otherwise noted) to use the submission as we see fit, without
remuneration. All submissions become the property of the "Fascination!
Newsletter." "Fascination! Newsletter" is not affiliated in any way
with Cirque du Soleil. Cirque du Soleil and all its creations are
Copyright (c) and are registered trademarks (TM) of Cirque du Soleil,
Inc., and Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
{ Dec.07.2012 }
=======================================================================
