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Fascination Issue 120
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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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http://www.CirqueFascination.com
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VOLUME 14, NUMBER 1 January 2014 ISSUE #120
=======================================================================
Bonne Année, Happy New Year, and welcome to the 120th edition of
Fascination, the Unofficial Cirque du Soleil Newsletter!
2013 was quite the bumpy year for Cirque du Soleil, wasn't it?
Accidents, layoffs, and show-shortening were just the tips of the
proverbial iceberg. Let's hope that 2014 is a more prosperous,
exciting, and safe year for Cirque du Soleil and all its acrobats.
(Not to forget support staff and crew!) And 2014 promises to be an
exciting year: On June 16, 2014, Cirque du Soleil will celebrate its
30th Anniversary - can you believe that? Although we're not sure
what celebratory projects Cirque has up its canvassed sleeve, we
sit in anticipation they'll mark their 30th anniversary with care -
and fun!
To help those celebrations along we have a touring show set to debut
in Montreal on April 24th, written and directed by Michel Laprise
(though what the concept and show name is has been kept tightly
wrapped up thus far). This month Zarkana is undergoing some changes,
to bring a little more whimsy into the show (but we can't tell you
what just yet!). Shows resume on January 31st so you'll have to wait
to see what all the new changes are then! Varekai begins its tour of
North American arenas in earnest, of course, with Michael Jackson THE
IMMORTAL World Tour also hitting up cities across the United States
again. And who knows what else!
Unfortunately, we had to say goodbye to a number of good performers
throughout 2013, including the closing of Alegría. To mark the
passing we're "looking back" at the show from its initial spark
through to its latest incarnation. You'll find "A Beautiful Roaring
Scream - Viva L'Alegría" within. You'll also find the second half
of Keith's conversation with Andrew Levey, Cirque's Social Media
Director. Want to know what's next in Cirque's Social Media
strategy? Of course you do! Check out the conclusion to Keith's
chat also within.
And if you're interested in hearing about Cirque while on the go,
we've got a new pod-cast for you. It's called "Solar Flare" and
they've already released their first 30-minute podcast - an interview
with Natasha Hallet! (You might remember her from Mystère or as the
Green Bird in La Nouba.) New pod-casts will be released each month
- another is due very soon now - so check it out!
Website: http://www.sfcirque.com/
Episode 1: http://www.sfcirque.com/#!listen/c1h6a
Transcript of Episode 1: http://goo.gl/p6Ns0X
Last, but not least, we received our copy of the Amaluna DVD
just before press time (yes, you can get it through Cirque's
online boutique!). Although I've had time to skip through it -
and 99% of the show is there on film - we'll leave our opinions
of the package until next time, okay?
So, let's get started.
Join us on the web at:
< www.cirquefascination.com >
Realy Simple Syndication (RSS) Feed (News Only):
< http://www.cirquefascination.com/?feed=rss2 >
- Ricky "Richasi" Russo
===========
CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
o) Itinéraire -- Tour/Show Information
* 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
* Networking -- Posts on Facebook, G+, & YouTube
o) Fascination! Features
* "GETTING SOCIAL: An Exclusive conversation with
Cirque's Social Media Director - Andrew Levey"
(Part 2 of 2)
By: Keith Johnson - Seattle, Washington (USA)
* "A Beautiful Roaring Scream - Viva L'Alegría!"
By: Ricky Russo - Atlanta, Georgia (USA)
o) Subscription Information
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Aggreko Announces Global Partnership with Cirque
{Dec.03.2013}
-------------------------------------------------
GLASGOW, Scotland, December 3, 2013 /PRNewswire/ - Aggreko, the
global leader in the provision of temporary power and
temperature control services has today announced a global
partnership with Cirque du Soleil that will see Aggreko supply
temporary power and temperature control systems to Cirque du
Soleils big top touring productions for the next four years.
With extensive touring of its five big top shows, Cirque du
Soleil requires a professional temporary power supply and
temperature control system delivered with a consistent quality
across all tour locations. Having vast experience in supporting
the global events industry, as well as a local presence in more
than 100 countries, Aggreko was an obvious choice for the
Montreal based global entertainment company.
Aggreko will provide an uninterruptable power supply to each
event across the USA, Canada, Latin America, Europe and Asia-
Pacific. This will ensure each location has a stable and
reliable power supply which is completely independent of the
local electricity grid.
To ensure the safety of the performers and to maximize audience
comfort, a constant temperature must be maintained within the
big top. With performances taking place in a variety of summer
and winter locations, having a solution that works just as
effectively in the Brazilian summer as it does in the Russian
winter is essential. Aggreko will employ a highly sophisticated,
integrated heating and cooling system to ensure targeted
temperatures are maintained.
"Cirque du Soleil is very pleased to be partnering with the
industry leader, Aggreko, as a global sponsor of our shows over
the next four years," said Louis Malafarina, Cirque du Soleil
Corporate Alliances Director. "This is a fantastic alliance for
us. Aggreko will provide a complete solution for uninterruptable
power along with an innovative and energy efficient temperature
control solution that meets the unique needs of our Big Top
Touring shows. Aggreko will provide an integral part of our
infrastructure, ensuring that our shows are performed to
audiences all over the world."
"We are delighted to be partnering with such an iconic global
entertainment brand as Cirque du Soleil," commented Rupert
Soames, Chief Executive of Aggreko. "Our extensive experience in
supporting major international events along with our global
footprint, make Aggreko an excellent match for Cirque du
Soleils power and temperature control requirements. I look
forward to a long and successful partnership between our two
organisations."
Aggreko plc is the world leader in the supply of temporary power
and temperature control solutions. Aggreko employs over 5,700
people operating from 194 locations. In 2012 we served customers
in about 100 countries, and had revenues of approximately GBP
1.6bn (USD 2.5bn or Euros 2.0bn). Aggreko plc is listed on the
London Stock Exchange (AGK.L), is a member of the FTSE-100
index, and is headquartered in Scotland.
{SOURCE: PRNewswire | http://goo.gl/Mfn4Dm}
MJ Immortal Returns to North America March 2014
{Dec.05.2013}
------------------------------------------------
The Estate of Michael Jackson and Cirque du Soleil announced
today that Michael Jackson THE IMMORTAL World Tour, one of the
top 10 grossing music tours of all time, will return to North
America in 2014.
Since its world premiere in Montreal in October 2011, this
electrifying production has thrilled audiences across North
America, Europe, Asia, Australia, and New Zealand, performing
over 400 shows in 26 countries. Over 3 million people have
experienced the show, setting records at a number of venues
where it has played. According to Billboard, THE IMMORTAL World
Tour currently ranks as the 9th grossing tour of all time. It
was also awarded Billboards prestigious Creative Content Award
and named a finalist for Billboards Top Tour Award.
The 2014 North American tour will kick off in February and,
along with some repeat markets, will include entirely new
markets as Cirque du Soleil and the Estate of Michael Jackson
join to make the show available to even more of Michaels fans
around the world.
Starting December 9, Cirque Club members and will have exclusive
access to purchase presale tickets at www.cirqueclub.com.
Starting December 13 at 10am, tickets will go on sale to the
public for the cities and dates listed below. Additional cities
and dates will be announced.
Created by Cirque du Soleil and directed by Jamie King, THE
IMMORTAL World Tour is a departure from the companys previous
touring shows. Featuring 49 international dancers, musicians,
and acrobats, it is presented in a rock concert format that
combines the excitement and innovation of Michael Jacksons
music and choreography with Cirque du Soleils unparalleled
creativity.
The underpinnings of THE IMMORTAL World Tour are Michael
Jacksons 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 Michaels global messages of love, peace
and unity, and the band includes some of the same artists who
previously worked side by side with Michael. Aimed at lifelong
fans as well as those experiencing Michaels creative genius for
the first time, the show captures the essence, soul and
inspiration of the King of Pop, celebrating a legacy that
continues to transcend generations.
{SOURCE: Cirque du Soleil}
Criss Angels MAGICjam Coming Soon!
{Dec.11.2013}
------------------------------------------------
Criss Angel, headliner of the best-selling magic show in Vegas -
CRISS ANGEL BeLIEve, live at Luxor will debut a new, limited-
engagement show, CRISS ANGEL MAGICjam, to occupy the CRISS ANGEL
BeLIEve theater for the months of February and March 2014.
Coming off intensive shoulder surgery in January, Angel will
invite the Worlds Greatest Magic!ans and specialty acts to be a
part of his newest production, MAGICjam, a compilation magic
variety production that will take place during his
rehabilitation period. MAGICjam, created and hosted by Angel,
will present an anthology of the greatest acts and will
spotlight select cast members from Angels current hit SPIKE TV
show, also titled "Criss Angel BeLIEve," including top female
magician Krystyn Lambert, comedian-illusionist Nathan Burton and
Banachek, the worlds premier mentalist. The lineup will also
include grand master manipulators Jason Byrne and Tony Clarke,
the hilarious Russ Merlin, and the worlds best close-up artist
Armando Vera. Angel will play host to his friends in addition to
closing the show with some of his revolutionary illusions.
Guests minds will be blown as they witness the impossible in
the most exciting variety showcase, featuring the best-of-the-
best for this once-in-a-lifetime limited engagement.
"MAGICjam is something I have wanted to do for years, and Im so
excited to bring the most talented artists in their respective
disciplines, all of whom Im so fortunate to call my friends, to
Luxor. Its gonna be a blast!" said Criss.
CRISS ANGEL MAGICjam will run through the months of February and
March in the 1,533-seat CRISS ANGEL BeLIEve theater at Luxor.
CRISS ANGEL BeLIEve will return to Luxor in April.
CRISS ANGEL MAGICjam & CRISS ANGEL BeLIEve are written and
directed by Criss Angel.
SHOW SCHEDULE:
CRISS ANGEL MAGICjam performs Tuesday through Saturday at 7:00
pm and 9:30 pm (Wednesday and Fridays have one performance at
7pm). There are no performances on Sundays or Mondays.
TO RESERVE TICKETS STARTING FRIDAY:
o) Call 800-557-7428
o) VISIT TICKETMASTER.COM
o) Visit the CRISS ANGEL Believe ticket office at Luxor
TICKET PRICES:
$59, $89, $109, $130 plus tax and service fees.
{SOURCE: Cirque du Soleil, Criss Angel}
BBC News: "How Cirque Became a Billion Dollar Business"
{Dec.12.2013}
--------------------------------------------------------
At Cirque du Soleils cavernous headquarters, located on the
outskirts of Montreal near a landfill, unassuming office
buildings do a good job of masking the, well, circus within.
But walk through the front door and the first piece of advice
visitors are given is: "Dont try this at home."
Its hard to isolate just what one shouldnt attempt to do -
jump from on the trampoline disguised as a bed, dive from a
trapeze into a pit of foam cubes, transform a ballet slipper
into a stiletto, or weave more than 150km (93 miles) of fabric
into costumes capable of surviving water and fire.
At almost every turn, more than 2,000 of the firms 5,000 global
employees are engaged in the choreography, costume design, and
acrobatics that have helped Cirque du Soleil become a global
circus phenomenon.
With 19 touring and resident performances around the globe, in
places like Las Vegas and Tokyo, the company takes in more than
$1bn (£600m) annually.
But make no mistake: while the clowns might be driving the car,
its canny businessmen who are running the show.
"If you have a very good artistic product its very well, but
you have to have a good business management," says Gilles Ste-
Croix, one of the companys co-founders and its current artistic
director.
Cherished kids of Canada
It all started in 1984, in the tiny Quebec City suburb of Baie-
Saint-Paul, when a group of stilt-walkers and street performers
formed a performance troupe called the Le Club des Talons Hauts
(the High Heels Club).
After some local success, the groups founder, Guy Laliberte
lobbied to have the group choreograph and perform at a
celebration, called "Cirque du Soleil" (circus of the sun)
marking the 450th anniversary of the founding of Quebec City.
To raise money, Mr Laliberte convinced his partner, Mr Ste-
Croix, to walk 56 miles in stilts.
"Every time I go up big hills I remember that night and I think,
How crazy were you?" says Mr Ste-Croix, who adds that perhaps
his craziest thought was not thinking that this small troupe
could end up this far.
After the success of that anniversary show, they decided to
rechristen themselves Cirque du Soleil. The troupe quickly found
fans eager to pay money to see its blend of acrobatics and art.
One crucial factor that helped it succeed was that Cirque du
Soleil did away with the animals normally associated with
circuses like Barnum and Baileys or the Ringling Brothers.
Instead, it focused on acrobatics in one big tent.
"Now the merging of acrobatics with the different form of arts
is very common, but when we started, we were almost alone out
there in our style," says Mr Ste-Croix.
Another crucial decision was to add permanent shows to the
companys roster of touring productions.
In 1993, Mr Laliberte partnered with Las Vegas casino magnate
Steve Wynn to create a permanent show called Mystere at Mr
Wynns Mirage Resort, and in 1998, the show La Nouba was
inaugurated at Disneyworld in Orlando, Florida.
Finally, Canadas lack of a circus culture gave the company room
to experiment and explore.
To help build the brand in Europe, the company first went on
tour with Switzerlands Circus Knie and staged shows throughout
the region. In 1995, it sought to further open the market with a
five city tour of its show Saltimbanco under a big white tent.
The company also found success early on in Japan in 1992, which
gave it a crucial entry into Asian markets.
Today, "we are the cherished kids of Canada," says Mr Ste-Croix,
while noting that a majority of the companys revenues are
generated outside the country.
Polishing the jewel
But with success has also come some hard lessons.
This year, the company suffered its first tragedy, when an
acrobat in one of its Las Vegas shows fell to her death. It was
later fined by US regulators for unsafe working conditions.
And, the companys two decade streak of never having a flop
ended when chief executive officer Daniel Lamarre announced a
plan to triple the companys output from one show a year to
three in 2008. This led to what many felt was a decline in
quality.
"The idea is to polish each show like a the jewel until it
becomes a diamond and lasts forever - we lost some of that in
that growth," admits Mr Ste-Croix.
For the first time ever, the company had to cancel shows and
earlier this year, Cirque du Soleil announced it would lay off
400 workers.
"We like to think there has to be a 75% satisfaction and below
that we dont think its worth it," says Mr Ste-Croix.
"Of course we can hold on and make the return and the money and
everything, but at the end of everything you know we only have
our brand."
Now, the company says it has renewed focus on its core offering
- its performances.
It has found a hit in its Michael Jackson Immortal World Tour,
which has helped soften some of the financial pressures.
And it has begun focusing on China, an increasingly important
market.
"Ive seen shows in different places in China and met the
artistic director, who has seen all of our shows in Vegas and
they are very proud to copy us. They say its an homage that we
pay to you," says Mr Ste-Croix.
"We have to penetrate that market in order to be the original
product."
But above all else, he insists the company is still only as good
as its last show, whether its in Montreal or Beijing.
"We must not be too pretentious - we have to be humble," he
says.
{ OURCE: BBC News | http://www.bbc.co.uk/news/business-25311503}
Cirque du Soleil now on Hulu+
{Dec.15.2013}
--------------------------------------------------------
Gravitas Ventures announced today that Cirque du Soleil will
launch long-form and episodic content on the free, ad-supported
Hulu and Hulu Plus subscription service. The content, which
Gravitas exclusively distributes through their VOD (video-on-
demand) partnership with Cirque du Soleil, will launch on Hulu
and Hulu Plus today, December 14th as part of "A Season of
Cirque du Soleil." KOOZA, HATCHING, DELIRIUM, DRALION, THE
MYSTERY OF MYSTÈRE and FLOW: A TRIBUTE TO THE ARTISTS OF "O" are
among the feature length programs that will be available on
Hulu, with more to follow as part of an ongoing rollout
campaign.
All Cirque du Soleil content can be found at The Following
dedicated landing page on Hulu.com: www.hulu.com/cirquedusoleil.
To kick off this initiative, a trailer highlighting the world of
Cirque du Soleil is premiering exclusively right now for the
next 72 Hours on this Hulu landing page.
"We are thrilled to bring Cirque du Soleil to Hulu and Hulu
Plus," said Melanie Miller, Gravitas Ventures VP of Acquisitions
& Marketing. "Its an exciting opportunity to extend the Cirque
du Soleil experience to families beyond a live performance and
in their living rooms through such an innovative online video
service."
"We are delighted to extend our VOD offering to a wider audience
and Hulu has provided us with an exciting platform to showcase
Cirque du Soleil content with a dedicated landing page and
shared marketing opportunities," said Tracey Errico, Cirque du
Soleil Director of Programming and Distribution. "We look
forward to a fruitful collaboration with Hulu that will see a
variety of Cirque du Soleil content brought to viewers."
In addition to the long-form programs of show specials and
documentaries two episodic series will be made available to Hulu
exclusively starting with FIRE WITHIN, an Emmy Award-winning
series around the touring show Varekai, which is now in arenas
throughout the country, and TOTEM Voices which will next open in
Santa Monica, CA in January following TOTEMs successful
premiere at the Port of Los Angeles in October, with additional
performances planned for early next year. These two series will
be the centerpiece of the Cirque du Soleil programs arriving on
Hulu and Hulu Plus. Along with the feature length and episodic
content, behind-the-scenes footage and featurettes will also be
available.
Starting on Saturday, December 14th, nine performances can be
found at these direct links:
o) FIRE WITHIN
http://www.hulu.com/cirque-du-soleil-fire-within
o) FLOW: A TRIBUTE TO THE ARTISTS OF "O"
www.hulu.com/cirque-du-soleil-flow-a-tribute-to-artists-of-o
o) THE MYSTERY OF MYSTÈRE
www.hulu.com/cirque-du-soleil-the-mystery-of-mystere
o) KOOZA
www.hulu.com/cirque-du-soleil-kooza
o) A Thrilling Ride Through KOOZA
www.hulu.com/cirque-du-soleil-a-thrilling-ride-through-kooza
o) DRALION
http://www.hulu.com/cirque-du-soleil-dralion
o) HATCHING
http://www.hulu.com/cirque-du-soleil-hatching
o) ZED in Tokyo
http://www.hulu.com/cirque-du-soleil-zed-in-tokyo
o) ZAIA: Crossroads in Macao
http://www.hulu.com/cirque-du-soleil-zaia-crossroads-in-macao
{SOURCE: Broadway World | http://goo.gl/u5bh6I}
Review: Varekai Returns to Montreal
{Dec.15.2013}
--------------------------------------------------------
The Cirque du Soleils Varekai, which has been touring the world
since 2002 under the companys trademark yellow and blue big
top, has returned to Montreal for its relaunch as an arena show.
Theres one new act (baton) and a fresh cast of 50 performers.
But the drummer (Paul Bannerman) remains the same and so do the
essentials of the show. As arena Cirques go, this one, with its
multiple aerial act and clever use of trap doors as exits, has
transitioned well.
Varekai, which takes its title from a Roma word which means
"wherever", is built around the Greek myth of Icarus who flew
too close to the sun. This melted the wax on his wings, causing
him to fall into the sea.
For Varekai, director Dominic Champagne (who also directed the
Cirques Beatles show, Love, in Las Vegas), let his imagination
run wild, creating a forest peopled with fantastic creatures to
welcome the fallen Icarus. This allowed composer Violane Corradi
to come up with a highly variegated worldbeat soundtrack. And it
gave Academy Award-winning costume designer Eiko Ishioka (who
passed away last year) free rein to conjure up elegant,
vibrantly colourful costumes adorned with petals and appendages.
They range from the floral to the avian and the reptilian.
The look of Varekai is ravishing and several of the acts are
simply sublime. That includes the ascent of Icarus (Mark
Halasi), after he has lost his wings, within a net which
supports him as he makes sinuous moves high above the stage.
Theres a sensuous aerial hoop act, as haunting as the moon,
performed by a woman (Katja Kortstrom) with limbs of shining
gold. A seductive hand-balancing act, performed by a woman in a
silver striped white body suit (Alona Zhuravel), leads into a
romantic connection with Icarus and the suggestion of a wedding.
Others moments are strikingly original. A man on crutches
(Raphael Botelho) hits a poignant note as he dances for the
wingless Icarus and men (Oleksii Kozakov and Oleksandr
Romashyn), scantily dressed in black, fly high on aerial straps,
like ravens.
But theres plenty of the ridiculous, too. The clowning begins
with faux ushers in red coats interacting with the crowds. A mad
inventor (Gordon White) with plants sprouting out of his
trousers uses a metal contraption to create birdsong. Another
odd fellow wears a lightbulb on his head (Rodrigue Proteau).
Then theres the smarmy magician (Steven Bishop) and his daffy
blonde assistant (Gabriella Argento). Bishops hilarious lip-
sync rendition of Jacques Brels Ne me quitte pas, delivered
while vainly chasing the spotlight, is a classic.
Other acts are full of bravado, demanding admiration for
exceptional prowess, like the hyperactive juggler (Roberto
Carbajal) who uses his mouth to keep four balls in the air. Or
the amazing baton twirler (Arisa Tanaka). Or the golden Icarian
tumblers who toss and twirl each other with their feet. Or the
Georgian dancers dressed in flaming red.
But the most daring and riveting of all is the Russian Swing act
which provides the show with an explosive finale. The swings
catapult bodies into the air, aimed to land in one of two giant
canvas panel suspended at the back of the stage, or on another
swing. Impossible not to cheer them on.
Varekai does take too long to get going. The momentum is uneven
and there are lulls (usually clown-related), during its 90
minute (plus intermission) duration. But dazzle it does.
{SOURCE: Montreal Gazette | http://goo.gl/F8hB9K}
Parade: The Collective - Coming Soon
{Dec.26.2013}
--------------------------------------------------------
The Global Citizenship Service at Cirque du Soleil will reveal
their 9th annual art exhibition, PARADE: The Collective, on
Friday, Jan. 3. Artists will be available during the
collections preview on Thursday, Jan. 2 from 6 to 8 p.m. The
exhibition will run Jan. 2 - 30 at the Trifecta Gallery inside
the Arts Factory in downtown Las Vegas and is free and open to
the public.
Cirque du Soleil and the Trifecta Gallery will also host Late
til 8, a new cultural community series featuring local artists
engaging in conversation about their work, art and community.
The series is a new addition to The Collective, and will run
every Thursday evening from 5 to 8 p.m. throughout the month of
January.
o) Thursday, Jan. 2 - Preview Party for Cirque du Soleil
Employee Exhibition
o) Thursday, Jan. 9 - Cirque du Soleil Community Outreach
Programs: social and cultural ways Cirque reaffirms its
commitment to the community
o) Thursday, Jan. 16 - Cirque du Soleil Artists with Jobs
Outside the Studio: balance, challenges, and keeping it all
together
o) Thursday, Jan. 23 - An Evening of Original Music Performed by
Musicians from Cirque du Soleil
o) Thursday, Jan. 30 - Artists Whose Occupations Inform Their
Studio Practice - Cirque du Soleil employees and public
conversation Q&A
Presented as part of PARADE, a Cirque du Soleil program created
to encourage and support the artistic projects of its employees,
The Collective brings together the many visual art practices of
employees. This exhibition features artwork created by Cirque du
Soleil employees (including performers, technicians and support
staff) in Las Vegas.
All formats of artwork were accepted. This freedom resulted in
an exhibition that displays a wide range of artistic approaches.
The cast and crew members whose artwork will be featured are:
PAINTING:
o) Sergio Kiss, Assistant Head of Rigging, Mystère
o) Brien McCrea, Performer, KÀ
o) Kim Johnson, Craft Technician, Zarkana
o) Christina Russo, Electrics, Mystère
o) Julia Amorim Parrot Bastos, Illusions, Believe
o) Gail Gilbert, Performer, KÀ
o) Jordyn Campbell, Wig Technician, LOVE
o) Brianna Schaller, Wig Technician, LOVE
MIXED -MEDIA:
o) ChrisTina Scott, Wardrobe Technician, KÀ
o) Chi Ho Chan, Craft Technician, LOVE
o) RuBen Permel, Head of Wardrobe, Zarkana
o) Brent Sommerhauser, Production Coordinator, MJ ONE
o) Elena Solodovnikova, Performer, "O"
o) Jim Moran, Head of Riggin, KÀ
o) Kent Caldwell, Performer, Mystère
o) Laura Briseno, Wardrobe Attendant, MJ ONE
PHOTOGRAPHY:
o) MeghAnn Mason, Wig Technician, KÀ
o) John Rohling , Props Technician, Mystère
o) Armand Thomas, General Stage Manager, Mystère
o) Jose J. Villar, Performer, Michael Jackson ONE
o) Rezvan Lazdi, Aquatics, "O"
o) Ryan Hartnett, Aquatics, "O"
SCULPTURE-POTTERY:
o) Linda LeBourveau, Wardrobe Attendant, Zumanity
PARADE, is the support program established to provide
encouragement and support for employees artistic pursuits and
participation in cultural life outside their work at Cirque du
Soleil. Employees who create art or are involved in the
activities of an artist or arts organization are eligible for
various services and resources offered by this program including
sharing of expertise in project development (technical and/or
artistic), support in the drafting and presentation of grant
applications to public or private organizations, direct
financial support (i.e. for projects requiring investment in
order to come to fruition) and through mentoring.
{SOURCE: Broadway World | http://goo.gl/DSLhbc}
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Corteo, Koozå, OVO, Totem & Tour 2014}
o) ARENA - In Stadium-like venues
{Quidam, Dralion, MJ Immortal & Varekai}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
Believe, Zarkana & Michael Jackson ONE}
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:
San Francisco, CA -- Nov 13, 2013 to Jan 12, 2014
San Jose, CA -- Jan 22, 2014 to Mar 2, 2014
New York, NY -- Mar 20, 2014 to May 18, 2014
Boston, MA -- Jun 4, 2014 to Jul 13, 2014
Washington, DC -- Jul 31, 2014 to Sep 21, 2014
Atlanta, GA -- Oct 3, 2014 to Nov 30, 2014
Cirque 2014:
Montreal, QC -- Apr 24, 2014 to Jun 6, 2014
Quebec City, QC -- Jul 24, 2014 to Aug 10, 2014
Toronto, ON -- Aug 28, 2014 to Sep 28, 2014
Corteo:
Rio de Janeiro, BR -- Dec 26, 2013 to Feb 23, 2014
Porto Alegre, BR -- Mar 6, 2014 to Apr 13, 2014
Cordoba, AR -- May 3, 2014 to May 25, 2014
Buenos Aires< BR - Jun 6, 2014 to Aug 3, 2014
Koozå:
Paris, FR -- Nov 23, 2013 to Jan 19, 2014
Munich, DE -- Jan 31, 2014 to Feb 28, 2014
Amsterdam, NL -- Mar 13, 2014 to Apr 13, 2014
Vienna, AT -- May 9, 2014 to Jun 1, 2014
Dusseldorf, DE -- Nov 6, 2014 to Nov 23, 2014
Ovo:
Taipei, TW -- Nov.19, 2013 to Jan 5, 2014
Tokyo, JP -- Feb 12, 2014 to Apr 13, 2014
Sendai, JP -- Apr 23, 2014 to Jun 7, 2014
Osaka, JP -- Jul, 17, 2014 to Nov 2, 2014
Nagoya, JP -- Nov.20, 2014 to Feb 1, 2015
Fukuoka, JP -- Feb 21, 2015 to TBA
Totem:
Santa Monica, CA -- Jan 17, 2014 to Feb 23, 2014
Portland, OR -- Mar 27, 2014 to May 4, 2014
Vancouver, BC -- May 15, 2014 to Jun 15, 2014
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Quidam:
London, UK -- Jan 4, 2014 to Feb 16, 2014
Brussels, BE -- Feb 27, 2014 to Mar 2, 2014
Toulouse, FR -- Mar 5, 2014 to Mar 9, 2014
Strasbourg, FR -- Mar 12, 2014 to Mar 16, 2014
Toulon, FR -- Mar 19, 2014 to Mar 23, 2014
Montpellier, FR -- Mar 26, 2014 to Mar 30, 2014
Lyon, FR -- Apr 2, 2014 to Apr 6, 2014
Rouen, FR -- Apr 30, 2014 to May 4, 2014
Berlin, DE -- May 7, 2014 to May 11, 2014
Nuremberg, DE -- May 14, 2014 to May 18, 2014
Hanover, DE -- May 21, 2014 to May 25, 2014
Bremen, DE -- May 29, 2014 to Jun 1, 2014
Hamburg, DE -- Jun 4, 2014 to Jun 8, 2014
Luxembourg, LU -- Jun 11, 2014 to Jun 15, 2014
Tel Aviv, IL -- Aug 7, 2014 to Aug 16, 2014
Dralion:
Lisbon, PT -- Jan 1, 2014 to Jan 12, 2014
St. Petersburg, RU -- Jan 22, 2014 to Feb 2, 2014
Chelyabinsk, RU -- Feb 7, 2014 to Feb 16, 2014
Kazan, RU -- Feb 21, 2014 to Mar 2, 2014
Moscow, RU -- Mar 6, 2014 to Mar 16, 2014
Minsk, BY -- Mar 20, 2014 to Mar 23, 2014
Hernig, DK -- Mar 27, 2014 to Mar 30, 2014
Malmö, SE -- May 1, 2014 to May 4, 2014
Glasgow, UK -- May 8, 2014 to May 11, 2014
Sheffield, UK -- May 14, 2014 to May 18, 2014
Birmingham, UK -- May 22, 2014 to May 25, 2014
Dublin, IE -- May 28, 2014 to Jun 1, 2014
London, UK -- Jun 4, 2014 to Jun 8, 2014
Manchester, UK -- Jun 11, 2014 to Jun 15, 2014
Santiago de Compostela, ES -- Jul 10, 2014 to Jul 20, 2014
Granada, ES -- Jul 23, 2014 to Jul 27, 2014
Bilbao, ES -- Aug 16, 2014 to Aug 24, 2014
Palma de Mallorca, ES -- Aug 28, 2014 to Sep 6, 2014
Michael Jackson THE IMMORTAL World Tour:
Dubai, UAE -- Dec 20, 2013 to Jan 14, 2014
Worcester, MA -- Feb 28, 2014 to Mar 1, 2014
Amherst, MA -- Mar 5, 2014 to Mar 6, 2014
Rochester, NY -- Mar 10, 2014 to Mar 11, 2014
Baltimore, MD -- Mar 18, 2014 to Mar 19, 2014
Fairfax, VA -- Mar 21, 2014 to Mar 22, 2014
Philadelphia, PA -- Mar 25, 2014 to Mar 26, 2014
Trenton, NJ -- Mar 28, 2014 to Mar 29, 2014
Raleigh, NC -- Apr 1, 2014 to Apr 2, 2014
Charlotte, NC -- Apr 8, 2014 to Apr 9, 2014
Greensboro, NC -- Apr 11, 2014 to Apr 12, 2014
Varekai:
Kingston, ON -- Jan 17, 2014 to Jan 20, 2014
Windsor, ON -- Jan 23, 2014 to Jan 26, 2014
Hamilton, ON -- Jan 29, 2014 to Feb 2, 2014
Detroit, MI -- Feb 5, 2014 to Feb 9, 2014
Youngstown, OH -- Feb 12, 2014 to Feb 16, 2014
Frisco, TX -- Feb 19, 2014 to Feb 23, 2014
Cedar Park, TX -- Feb 26, 2014 to Mar 2, 2014
Beaumont, TX -- Mar 5, 2014 to Mar 9, 2014
Baton Rouge, LA -- Mar 12, 2014 to Mar 16, 2014
Pensacola, FL -- Mar 19, 2014 to Mar 23, 2014
Pittsburgh, PA -- Mar 27, 2014 to Mar 30, 2014
East Lansing, MI -- Apr 2, 2014 to Apr 6, 2014
Knoxville, TN -- Apr 9, 2014 to Apr 13, 2014
Oshawa, ON -- May 21, 2014 to May 25, 2014
Lonson, ON -- May 28, 2014 to Jun 1, 2014
Providence, RI -- Jul 1, 2014 to Jul 6, 2014
---------------------------------
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
2014 Dark Dates:
o January 2 - January 17
o February 2
o March 12
o May 8 - 16
o July 9 - 11
o September 4 - 12
o November 5 - 7
Added performances in 2014:
o April 18
o December 26
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:00pm
2014 Dark Dates:
o January 5
o February 2
o March 21
o April 7 - April 15
o June 8
o August 4 - 12
o October 5
o December 1 - 16
Added performances in 2014:
o March 25
o June 3
o December 29
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
2014 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
2014 Dark Dates:
o February 2
o March 21
o April 9-17
o June 13
o August 20-September 4
o October 21
o December 10-18
Added performances in 2014:
o January 1
o March 12
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
2014 Dark Dates:
o TBA January 12-27
o TBA March 15
o TBA March 21
o TBA May 18-26
o TBA July 19
o TBA September 21-29
o TBA December 2
Added performances in 2014:
o TBA February 16
o TBA August 31
o TBA December 28
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
2014 Dark Dates:
o January 26-28
o February 2-4
o March 21
o April 1-9
o June 5
o July 29 - August 6
o October 2
o December 2 - 17
Added performances in 2014:
o January 22
o January 29
o February 5
o March 25
o August 12
o December 31
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.
2014 Dark Dates:
o January 5 - Feb 3, 2014
o March 21, 2014
o April 6 - 14, 2014
o June 15 - 30, 2014
o September 1 - 8, 2014
o November 9 - 17, 2014
ZARKANA:
Location: Aria, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
2014 Dark Dates:
o TBA
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two Shows Nightly: 7:00pm and 10:00pm
2014 Dark Dates:
o January 29
o March 13 - 21
o May 21 - 23
o July 24 - 31
o September 24 - 26
o November 13 - 28
Added performances in 2014:
o August 29
o December 26
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
---------------------------------------------------
NETWORKING: Cirque on Facebook, YouTube & Twitter
---------------------------------------------------
{Compiled by Keith Johnson}
---[ ALEGRIA ]---
{Dec.04}
Less than 4 weeks left to the final performance of #Alegria! Did
you know that in the 19 years of Alegria 14,560 pairs of shoes
have been repainted?
LINK // < http://goo.gl/BFFDkn >
{Dec.18}
Check out some of our artists who are huge Real Madrid C.F. fans
and did some back-tucks on their field!
LINK // < http://goo.gl/0NlcB0 >
{Dec.21}
Emotions are stirring up as Alegria is just one week away from
its final performance! Today we had a special fan who flew in
from Japan and watched all of our performances in Madrid and
surprised us with lovely gifts! It's thanks to our fans that we
have been able to run for 19 years! Thank YOU Midori Matsuno!
You have touched all our hearts xoxox.
LINK // < http://goo.gl/cUYjj9 >
{Dec.23}
Have a look at this holiday Q&A with the cast of Alegria to
celebrate this season with them for one last time.
LINK // < http://cirk.me/1bSKRGq >
{Dec.26}
Alegria is kicking off its last premiere ever in Antwerp and
it's a full house! We are overwhelmed with all the fan love. 7
more performances left!
LINK // < http://goo.gl/Gm3g55 >
{Dec.29}
In its final moments, Alegria wants to say thank you to all the
fans that have supported us throughout its 19 years of touring
the world. It is thanks to your love, inspiration and
imagination that has allowed us to remain in your hearts and
minds for years and years to come. You have all played a
significant part in the journey that was #Alegria and we will
remember YOU forever. Thank you! Merci! xoxo.
LINK // < http://goo.gl/EBQ9OX >
---[ AMALUNA ]---
{Dec.12}
Happy Thursday, San Francisco Bay Area! Have you purchased all
of your holiday gifts yet? Don't forget Amaluna is playing here
until January 12, then from January 22 in San Jose. Check out
this AMAZING aerial photo of our village!
LINK // < http://goo.gl/El5jEU >
{Dec.13}
Today our beautiful Amazons donated their time to raise money
for the The Salvation Army USA Holiday Drive in San Francisco.
Fellow volunteers included the The Oakland Raiders cheerleaders
and Santa!! Thank you girls, and Happy Holidays!
LINK // < http://goo.gl/C2XL1v >
{Dec.18}
You won't believe where we are performing today: At Facebook!!
LINK // < http://goo.gl/36x01E >
{Dec.18}
Our Teeterboard boys rocked it today at the Facebook HQ in Menlo
Park. Make sure YOU catch us in San Francisco until January 12
and from January 22 in San Jose.
LINK // < http://goo.gl/LdgLRH >
{Dec.24}
Is that...?! Could it be?!! SANTA CLAUS on our Big Top?! We
wonder what he's bringing YOU for Christmas... HAPPY HOLIDAYS!
LINK // < http://goo.gl/iHkUo9 >
---[ CIRQUE DU SOLEIL ]---
{Dec.13}
We all have our ways to hang on until the Holidays.
LINK // < http://goo.gl/yMmeib >
{Dec.16}
Thanks for helping us reach 2 million likes! Merci beaucoup!
Danke! Gracias! Grazie! Obrigado!
LINK // < http://goo.gl/1JB1v9 >
{Dec.18}
Celebrate the holidays on the high bar with Caoliang from Totem
LINK // < http://cirk.me/1elHPi7 >
{Dec.30}
We made a playlist of your favorite videos of 2013 on our
YouTube Channel! Can you guess what you'll find?
LINK // < http://www.youtube.com/watch?v=MXeAhj-xcg4 >
---[ CORTEO ]---
{Dec.05}
Bilheteria no Rio de Janeiro aberta hoje no Shopping Leblon. E
pode aproveitar para ver alguns figurinos do Corteo.
LINK // < http://goo.gl/JEMbt9 >
{Dec.25}
Feliz Natal do Corteo!
LINK // < http://goo.gl/PgzHvX >
---[ DRALION ]---
{Dec.03}
We love the posters on the side of the tram in Geneva! Have you
seen them?
LINK // < http://goo.gl/ChpO9c >
{Dec.09}
We love this live shot from the Skipping rope act!
LINK // < http://goo.gl/fgmLca >
{Dec.11}
Opening day in Basel, Switzerland. Dralion opens tonight for 7
shows only!
LINK // < http://goo.gl/hgqwLA >
{Dec.19}
Yesterday, our trampolinist - Alex - performed for the first
time in his hometown - Barcelona! See how he got involved with
Dralion and how he feels about performing at home.
LINK // < http://goo.gl/6pja5W >
{Dec.27}
Our artists have started their preparations for tonight's 1st
show of the week end. With only 5 shows to go, we hope to see
you. Photo credits: F. Gimenez.
LINK // < http://goo.gl/dflO5I >
{Dec.30}
Last night in Barcelona we said farewell to two members of our
Dralion family, Mandi and Alex have been with Dralion for many
years and we wish them all the luck in their future adventures!
Love from your Dralion family!
LINK // < http://goo.gl/SjJjDJ >
LINK // < http://goo.gl/SDywaV >
---[ KOOZA ]---
{Dec.03}
ONE DROP hold an event in Paris on November 28, 2013. Here
you've some pictures of the evening.
LINK // < http://goo.gl/MZp6ZN >
{Dec.06}
We love our Kooza buses campaign in Amsterdam! Our show opens
there on March 13, 2014
LINK // < http://goo.gl/rTteUB >
{Dec.11}
We are extremely excited to present KOOZA in #Portaventura next
Summer...more details will be announced soon!
LINK // < http://www.portaventura.co.uk/cirque_du_soleil >
{Dec.12}
KOOZA featured on MAC Cosmetics Tumblr feed!
LINK // < http://goo.gl/thM37C >
{Dec.13}
Today's deliciousness prepared by KOOZA kitchen team!
LINK // < http://goo.gl/zJWFWb >
{Dec.13}
What an amazing portrait of one of our performers! This picture
is part of a series done by Russian photographer Alexei
Moskalenko.
LINK // < http://goo.gl/7DWTWS >
{Dec.27}
Are you ready for 2014??? Kooza's team would like to wish you an
amazing New Year full of love and happiness!!!
LINK // <https://www.facebook.com/kooza/posts/10151813815261339>
---[ LA NOUBA ]---
{Dec.09}
We're coming up on fifteen years of La Nouba and the Disney
Parks blog takes a look inside the show with Sergey and Balto!
LINK // < http://goo.gl/Ow1ArY >
{Dec.12}
Tickets from $69 for the 15th anniversary performance of La
Nouba on 12/18, featuring special friends from WDW!
LINK // < http://goo.gl/56k4Zn >
{Dec.16}
Gearing up for our 15th anniversary with well wishes from Neil
Patrick Harris!
LINK // < http://goo.gl/hpft55 >
{Dec.19}
La Nouba celebrated its 15th anniversary performance last night!
LINK // < http://goo.gl/HbAH0b >
{Dec.21}
Tune into Good Morning America on Monday as we celebrate our
15th anniversary with a performance on the show!
LINK // < http://goo.gl/UQMolo >
{Dec.23}
Did you catch us on Good Morning America this morning?
LINK // < http://goo.gl/BUVJlZ >
---[ MJ IMMORTAL ]---
{Dec.03}
We call it a quick change for a reason! Check out how Khalid
Freeman goes from dancing in Billie Jean back to his Fanatic
character in just over a minute!
LINK // < http://www.youtube.com/watch?v=6FAAEt1ADuM >
{Dec.06}
Did you know drummer Jonathan "Sugarfoot" Moffett played behind
Michael for over 30 years? Here he is with Michael on tour.
LINK // < http://goo.gl/2yYyzP >
{Dec.18}
Thanks to all our fans, Michael Jackson THE IMMORTAL World Tour
by Cirque du Soleil is very proud to be part of The Billboard
Top 25 Tours of 2013!
{Dec.24}
Did you know that Greg Phillinganes discovered Guitarist Desiree
Bassett from online material and her YouTube videos?
LINK // < http://goo.gl/J3Cv7g >
{Dec.26}
Aerial Strap artists Igor Zaripov and Giulia Piolanti are busy
training in Dubai before the premiere on December 30th!
LINK // < http://goo.gl/O0Mybp >
{Dec.30}
We're just hours away from our #Dubai premiere at the Dubai
World Trade Centre!
LINK // < http://goo.gl/GKKrDJ >
---[ MJ ONE ]---
{Dec.02}
Did you miss our performance on the Soul Train Awards on BET?
You can still check it out at the link below!
LINK // < http://goo.gl/S9OJq4 >
{Dec.12}
Meet Michael Jackson ONE by Cirque du Soleil's dancer Pedro
Aviles as he shares with us his #holiday favourites from his
native #PuertoRico!
LINK // < http://cirk.me/18ohIo0 >
---[ "O" ]---
{Dec.18}
Inside the "O" offices, there are bronze molds for some of the
performers, and every year around this time, they get a little
more festive!
LINK // < http://goo.gl/IycPxI >
---[ OVO ]---
{Dec.03}
The White Spider at Taipei 101 (7 photos) - Hello Taiwan! The
people at Taipei 101 liked us so much that they asked the White
Spider to do a performance in the Lobby! Here are some pictures
of the event!
LINK // < http://goo.gl/gLF3ul >
{Dec.12}
Today, Billy Chang, former main character on Dralion, came to
visit OVO for a special dance workshop.
LINK // < http://goo.gl/JRKgu5 >
LINK // < http://goo.gl/ur5eed >
{Dec.14}
One of our crickets, Michel, wanted to share with you how he
applies the cricket makeup, so he created this great time-lapse.
How long do you think it takes to apply his makeup?
LINK // < http://goo.gl/NZwqio >
{Dec.18}
Li Wei, our Slackwire artist, is getting ready for tonight's
show. Did you buy your tickets for the show? Only 2 more weeks
left in Taipei!
LINK // < http://goo.gl/3ZTj8g >
{Dec.20}
LINK // < http://goo.gl/mJ3Jih >
LINK // < http://goo.gl/Mttj5O >
{Dec.25}
Merry Christmas from the cast and crew of OVO!!!
LINK // < http://goo.gl/trG1VO >
{Dec.27}
Meet Master Flipo: Master Flipo is the chief of the insect
community, maybe because hes the oldest. Hes smart and wise -
but eccentric too, and hes very silly sometimes. The whole
community respects and likes him even though they know he can be
a bit dim-witted.
LINK // < http://goo.gl/NUOrIu >
{Dec.30}
The Cast and Crew of OVO would like to wish you a Happy New
Year!!!! We hope 2014 will be your best!
LINK // < http://goo.gl/MB7p7i >
---[ QUIDAM ]---
{Dec.05}
After a 2 week vacation Quidam is back and ready to take over
Spain for a month! Buenas Tardes Malaga!!!
LINK // < http://goo.gl/91kGna >
{Dec.12}
It's beginning to look a lot like #mycirqueholiday on Quidam -
which hat does not belong? (Answer: Santas Hat!)
LINK // < http://goo.gl/lCQyvs >
{Dec.18}
Opening tonight in beautiful Sevilla!
LINK // < http://goo.gl/DFvv1q >
{Dec.19}
little #mycirqueholiday flare here and there
LINK // < http://goo.gl/St2PIw >
{Dec.25}
Last night #Quidam celebrated the Holidays in style! Tonight, we
are opening the very first Cirque du Soleil show to visit A
Coruna to a nearly sold out Coliseum.
LINK // < http://goo.gl/gcUCP3 >
---[ TOTEM ]---
{Dec.02}
We are getting ready for the taping of The Ellen Degeneres Show
this afternoon with our Crystal Ladies Marina & Svetlana! Watch
us tomorrow afternoon!
LINK // < http://goo.gl/t4e4Yd >
{Dec.03}
The Tsodikova twins with Neela, our Artistic Director, on set at
The Ellen Degeneres Show! Watch them perform on air this
afternoon, check your local listings for more info!
LINK // < http://goo.gl/iOCOkU >
{Dec.03}
Did you miss our performance on The Ellen DeGeneres Show? Watch
it online now!!
LINK // < http://www.youtube.com/watch?v=1Q6LWWkxTko >
{Dec.04}
The Crystal Ladies on The Ellen Degeneres Show (3 photos) - On
December 3, 2013, TOTEM Jugglers Marina & Svetlana Tsodikova
performed on The Ellen Degeneres Show!!
LINK // < http://goo.gl/MX1tlA >
{Dec.07}
Chilly day in Orange County, TOTEM is getting into the Holiday
Spirit!!!
LINK // < http://goo.gl/RjO0W1 >
{Dec.09}
Meet with TOTEM - Cirque du Soleil publicist Francis as he
chronicles his experiences on spending the #holidays on tour!
LINK // < http://cirk.me/1d1gZqj >
{Dec.15}
Happy Holidays from TOTEM!!
LINK // < http://goo.gl/FW6nZ0 >
{Dec.26}
Have you missed Hoop Dancer Eric Hernandez's appearance on KTTV
Good Day L.A. earlier this week? You can now watch it online!
Only 4 TOTEM performances left in Irvine through tomorrow night
at the Orange County Great Park! TOTEM opens at the Santa Monica
Pier on January 17!
LINK // < http://goo.gl/HzCrpz >
LINK // < http://goo.gl/MM0nSx >
{Dec.27}
Ever wondered where the beautiful images featured in our video
projections come from? Did you know the images react to the
movement of the artists? Watch this interview with Pedro Pires,
Video Content Creator of TOTEM to learn more!
LINK // < http://www.youtube.com/watch?v=b52qSNfJkQU >
{Dec.29}
It is already our last day of performances in Irvine, CA before
moving to the Santa Monica Pier! Our technicians are getting
ready for the tear-down of our equipment...and gave a Holiday
twist to the Fork Lift! Happy Holiday Season to all our fans!
LINK // < http://goo.gl/X1RZYF >
{Dec.30}
Happy New Year 2014 from the #TOTEM characters! May all your
wishes come true! #2014
LINK // < http://goo.gl/i38vki >
---[ VAREKAI ]---
{Dec.10}
To celebrate the Holiday season, we made tickets rain from the
sky over Montreal. Were you there?
LINK // < http://www.youtube.com/watch?v=nYXXVwuirvY >
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "GETTING SOCIAL: An Exclusive conversation with Cirque's
Social Media Director - Andrew Levey" (Part 2 of 2)
By: Keith Johnson - Seattle, Washington (USA)
o) "A Beautiful Roaring Scream - Viva L'Alegría!"
By: Ricky Russo - Atlanta, Georgia (USA)
----------------------------------------------------------
"GETTING SOCIAL: An Exclusive conversation with Cirque's
Social Media Director - Andrew Levey" (Part 2 of 2)
By: Keith Johnson - Seattle, Washigton (USA)
----------------------------------------------------------
How companies find and market to their audience has changed
drastically in the almost 30 years since Le Cirque du Soleils first
performances. It used to be that marketing was limited to print, radio
and television. Now it has completely changed, with the Internet
becoming a vital tool in reaching out and touching the fan and
customer base.
When we were researching iTunes podcasts concerning Cirque for our
review article the two most interesting had to do with how Cirque uses
Social Marketing. After listening to the podcasts, we were curious as
to how a brand with such a unique emotional visual product as Cirque
du Soleil works with social media, and how they interface with their
more dedicated fans. So we contacted one of the podcast interviewees,
Mr. Andrew Levey (LEE-vee), 33, who took time out to speak with us
last month. Now we continue our conversation with Andrew Levey,
Director of Customer Relationship Marketing for Cirque du Soleil.
Social Disaster
---------------
Social media is also an important tool when disaster strikes, as it
did last summer with the death of an artist at KÀ. How much or how
little to post can become a very serious question. The tendency can
be to present too much information, allowing speculation and criticism
to run free, as social medias focus can make small events larger than
they are. In KÀs case the Facebook page has been silent except for an
announcement about the resumption of performances posted in mid-July.
Since then, nothing. With the investigations now over and the final
report issued, we hope the page will again see some life (though
Cirque does plan an appeal). But Cirques overall concern is to be
respectful, both to the artists family and with the KÀ family as a
whole. When asked about it, the response focuses on "common sense."
"What happened was awful and it affected all of us," Mr. Levey
explained. "And we want to respect that and have other people
understand. You see a lot of brands who just don't use common sense.
You look at the 9/11 anniversary and all these brands made very
insensitive posts. Such as, "Always remember 9/11 - here's a special!"
We live in a day and age where the minute you do that you're opening
yourself to ridicule, and were very cognizant of that and want to
make sure that we protect our family as well."
Social Media, but its nature is, "sensationalized and moves very fast.
For us the main thing that we wanted to do was work very closely with
Chantal (Côté - Cirque Corporate PR Manager) and RC's (Renée-Claude
Ménard, Senior PR Director) team, and the important thing was that we
got our message out there. For us and for the people at KÀ it's still
very fresh. Were in a position right now where we have to continue to
respect them. We work very closely with the technical and artistic
teams. And at some point in time we want to be able to go to them and
say we would like to do something behind-the-scenes for Facebook or
YouTube or whatever. We want to make sure that we keep that
relationship with them. And we don't want to do something that would
damage the relationship."
Where Have All The Fans Gone?
-----------------------------
Having so much data on a particular persons interest level and habits
allows companies to slice up their fans into smaller and smaller
groups. And Cirque has developed its own internal nomenclature for
their fans. "We have something internally that looks at different
personas, but that's not something we share with the public. There are
different strata of fans, which we're addressing right now. We
definitely need to change the way we [reach out to different fan
groups] and I think there's a lot of opportunity to work with you guys
and the fans to help define the experience. Figure out how we can best
work with you guys and reach out to you guys."
One way to do that is through using"brand ambassadors." "An
ambassador is someone who is really projecting our values and telling
more and more people about why Cirque is relevant to them and why
Cirque du Soleil matters to them. They can be famous people, they can
be celebrities, they can be influential on certain topics. They can be
someone like you who's a huge fan. Someone who has an affinity or
loves the brand and spreads the brand's message for us."
The largest discussion forum for Cirque ambassadors (and fans), Cirque
Tribune, imploded by choice early this year, leaving fans scrambling
with no other viable place to gather. Cirque Spotlight has since come
on the scene, but its activity is nowhere near what Cirque Tribune was
during its time. This is something Cirque is sensitive to as well.
They could give us no other clues as to where the fans have gone.
"Between Fascination! and Cirque Spotlight (www.cirquespotlight.com)
that's pretty much it. We see people talk to each other within
Facebook, but it's tough for us to go in and pinpoint who they are.
When you reach out individually you don't know who you're getting
specifically, so it's really tough to validate. But those are the only
two places, and that's something were trying to figure out. Is there
a community, and is there a place where we can work and speak with the
fans and kind of cohabitate together?"
This is part of Mr. Leveys mandate in his new position, to re-imagine
Cirques social outreach through its in-house Cirque Club. This will
involve a number of new initiatives that he couldnt talk about, but
assured were thought out with the fan in mind. For now just know
Cirque Club is in flux. "As far as the future we have some plans that
I can't really get into further details on. But we think it's really
exciting and it's something that everyone who is a fan of Cirque will
want to be part of and will bring them even closer to us than before."
The largest fan outreach initiative Mr. Levey was involved with in
Resident Shows Division was the annual Cirque Week. A major
experiment for him last year in his former position as Senior Manager
of New Media and Analytics was a half-hour podcast which showed
highlights from the various Cirque Week activities. Did the broadcast
meet the goals for which it was produced? "Cirque Week is very
specific and we know it's a specific audience, And we know [it occurs
at] a specific time of year and that not everyone is going to be able
to spend a whole week in Las Vegas seeing all of these shows. So we
really wanted to give people a sneak preview of what it would be like.
To say, Hey, you could be a part of this, and if you don't know what
Cirque Week is here's [something] to show you what it was like. And
we think it was successful, it created a lot of awareness. I think for
fans like you we don't really need to explain the benefits of Cirque
Week, I think you guys know that. But I think there are fans that
might say, That looks like something I should totally do, I never
knew that existed."
Becoming a Social Business
--------------------------
For the future Cirque du Soleil plans to be on all the social
channels, more or less all the time. But each different channel
requires a different approach. "For us every channel is a different
strategy. Because every channel has different types of people on
them."
"We have what we call social stratification. The content that we post
on Google Plus may be similar to Facebook, but Facebook is going to be
more editorialized. Twitter is going to be more news. Instagram is
going to be photos, but photos that either tell a story or that are
quick and throwaway. Now that [Instagram can] do 15-second videos, we
could have an artist taking off their shoes, things like that."
"For us YouTube is emerging. We have a lot of videos on YouTube, but
those videos werent made for YouTube they were made for something
else and retrofitted to YouTube. What were looking to do in the
future is really make YouTube-specific videos or videos from Cirque
shows or behind-the-scenes [videos] that are specifically built for
YouTube."
In a recent Tweet from Mr. Leveys feed he posted a reference to an
article written by social media analyst Brian Solis. "This guys my
mentor, my idol. Everything this guy publishes is brilliant;
everything he tweets is really fascinating." In the article, which
can be found here < http://www.briansolis.com/2013/08/5-important-
questions-answered-about-the-importance-of-social-business-strategy/ >
Mr. Solis writes about the qualities of a "Social Business," where a
business or brand is truly involved in social media. "When you begin
with business objectives," Mr. Solis writes, "Social technology and
the communities they reach are evaluated against bona fide priorities
that already have the buy-in of executives, such as sales, employee
and customer satisfaction, and brand resonance." Is Cirque on its way
to becoming a Social Business, or is it already there? "Were getting
there, we really are," replied Mr. Levey. "And that's part of what my
new role is and what our department does. We work very closely with
Chantal and RC's team in terms of PR; we also try and champion our
cause to Marketing. We do a lot of cool things and we want our
consumers to know about it."
"[Social marketing] is the most efficient, effective way to reach
people. But I could be biased because I work in it. For me the
coolest thing about Twitter is I can go and talk to Brian Solis and he
may tweet me back. I can talk to Conan O'Brien if I wanted to, and he
might tweet me back. It's a weird position because it brings you
closer to people you might never have had the opportunity to talk to.
But it's also an anti-social tool because you're on your phone or on
your computer and you're not talking face-to-face."
Getting Motivated
-----------------
Starting out in finance but ending up in Social Marketing, as Mr.
Levey did, is quite a marked change of direction. But it was part of
a process he values, which includes making mistakes. "For me it was a
combination of honing what I really wanted to do with my career. I
think failure is something else as well. Obviously failure is the
greatest motivator. We make mistakes all the time, and learning from
those and figuring out how not to make those mistakes again and how to
really improve upon them is what drives me."
And his advice for those hoping to go into the field? "Read! Read a
lot! And do research. By that I mean go to Facebook and [analyze] the
brands and people you want to follow. Why do you want to follow them,
what makes you engage with them? And the same with Twitter. I would
also say dabble in the field. If you want to get into it get in and
dabble. Don't just tell people that because you have a Facebook page
or blog or Twitter account that you're good at social media. You have
to practice it, it's a craft."
Job satisfaction, for him, comes from communicating to Cirques vast
network of followers some of the exciting things Cirque is doing. But
it also comes from the atmosphere of Cirque itself. "It's really cool
when you go to a theater during the day and film something, or you
have a meeting, and you think - tonight there are going to be 2,000
people here, and it will be their first Cirque show, or their last
Cirque show, or their first with their grandma, or the first with
their girlfriend or daughter or son, whomever. And they're always
going to remember that. That's something that is really cool that you
don't get with a lot of jobs."
Though dont ask him how many hours he spends on the computer. "Too
many. My wife will tell you too many."
Of course Mr. Levey can be followed on his own social media accounts.
Facebook: https://www.facebook.com/andrewmlevey
Twitter: https://twitter.com/andylevey
My sincere thanks go to: Mr. Levey for so graciously spending time
with us, Chantal Côte, Corporate PR Manager, And my wife LouAnna for
putting up with my sometimes obsessive hobby.
----------------------------------------------------------
"A Beautiful Roaring Scream - Viva L'Alegría!"
By: Ricky Russo - Atlanta, Georgia (USA)
----------------------------------------------------------
If you have no voice, Scream.
If you have no legs, Run.
If you have no hope, Invent.
And if everything were permissible? And if it was the king's fool who
made sense? And if the Big Top became a magical world where the
elderly became young and where the kings were clowns! And if you were
king for a night! And if that's what Alegría was, what would you make
of it all?
Like a bolt out of life, Alegría thunders forth with an insatiable
need to tell its story - the desire for a better world. In developing
Alegría, Cirque du Soleil saw around them a society in flux and in
constant upheaval. They saw a world of contrasts - power and
powerlessness, cruelty and kindness. They saw the paradox of
globalization, where a constantly shrinking world left individuals
more isolated than ever before. They saw the irony of progress as
though the sum of evil and hardship in the world remained forever
constant. But through this uncertainty Cirque believed was the glow of
the human spirit - unconquerable; resolute in its strength. Thus
Alegría sets a stage where old age and youth collide, where a rallying
cry-out for change takes shape to shake the foundations of society and
force those who control unjustly to see the error in their ways so
that together we may build a better tomorrow.
Spanish for "joy", "elation", "happiness", and "jubilation", Alegría
is an impassioned celebration of life in its most primitive form, an
evocation of a time when fantasy and magic were integral parts of
everyday life - a time when a person's world was his family, his
village, and beyond was the great unknown. Many characters exist in
the world of Alegría: court jesters, minstrels, beggars, old
aristocrats and children. They are joined by clowns who alone have
been able to resist the political upheavals and social transformations
of the day. They are witnesses to the passing of centuries and serve
as the social commentators for what we are about to witness. Together,
they weave a tapestry of life that has been described time and again
as Cirque du Soleil's signature show.
Yes, Alegría gives us the power to transform society. This is the
underlying theme to the classic production by Franco Dragone and
Gilles Ste-Croix, one that has received international acclaim and
wowed over 14 million people worldwide since it premiered in Montréal
in the Spring of 1994. Since its birth, Alegría (a $3 Million
production) has toured North America (1994-1995), Japan/Hong Kong
(1996), Europe (1997-1998), set up residence at the Beau Rivage (1999-
2000), been restaged under the big top across Asia/Pacific (2001-
2002), North America (2002-2004), Japan (2004-2005), Europe (2006-
2007), South America (2007-2008), and the Middle East (2008-2009),
before once again embarking on a tour of North America (2009-2011) and
Europe (2011-2013) in stadium-like arenas.
And now, after almost 20 years of performing to audiences world-wide,
Alegría has bid us adieu. But what a history this show has traced out
in those years. We give thanks to Alegria's cast and crew by taking a
look back at all its glorious history.
THE TRUTH OF ILLUSION
---------------------
"Why not settle in under the big top, sheltered from the whims
of the weather? Come in, you're invited to the celebration of
the palace court. You'll see how thumbing your nose at things
morose can become quite exhilarating indeed." (Programme Book)
The appeal of the circus is universal. A circus show has the power to
touch us, to enchant and amaze us. Ever since Cirque du Soleils
beginnings, theyve had this single goal: to astonish us, and leave us
breathless. And ever since they re-invented the circus in 1987, Cirque
du Soleil was doing just that: showing us that magic is pure and
fantasy real, that dreams and reality do collide in the most bizarre
and inspiring ways. Alegría builds on this by showing us that all
dreams are permitted, we are the King, the poet and the Clown. The
stage they've set for us is a royal court where imagination reigns,
where all the emotions of the soul are expressed, but where joy wins
out at the end of our tale...
Alegría is the vision of such an amazing and highly-celebrated
creative team: Guided by Founding President Guy Laliberté and led by
director Franco Dragone, Alegría was created by the coven of Gilles
Ste-Croix (Creative Director), Dominique Lemieux (costumes), Michel
Crête (set design), Debra Brown (choreography), the late Guy
Desrochers (sound design), Luc Lafortune (lighting), René Dupéré
(composer) and Pierre Parisien (Artistic Director).
"Alegría harks back to the travelling family circuses that criss-
crossed Europe not so long ago," said Alegría's Director, Franco
Dragone in an interview for "Truth of Illusion", a documentary on the
creation of the show. "Its characters, costumes, and performances
evoke a time when fantasy was more real and magic was a part of
everyday life; a time when each Fool had a King; a time when a
persons world was a family, his village, and beyond was the great
unknown. Today the universe has shrunk, but the individuals isolation
has grown. We do not choose to turn back the clock, we cannot change
the world. But we can rediscover a magical belief in human tenderness.
Perhaps we need to rediscover that true ambition is not to reach for
the stars but to stretch a hand to wipe the tear from our neighbor's
cheek."
"Alegría was a very personal show for me," Dragone continues. "I was
going through some painful experiences at the time, and wanted to
express that pain." Some of that pain came during the creation of
Mystère at Treasure Island, Las Vegas. He found adapting technical
demands to the artistic potential of the theater created many
problems. "We were [just] getting to understand the big top [and]
pow!, [we're] doing a show in a theater!" And while all of that was
happening, the wheels of creation were already churning on the next
touring show, informing its basic theme. "It would be sad, heavy,
really hard. There would be less color this time," said Dragone. "But
[where I come from] Alegría means that, even when you're in pain, life
goes on. It's impossible to have only joy. It's impossible to have
only tears. Joy's always with tears and tears are always with joy. But
this show has touched me very much."
"Alegría, for me, was inspired by history," admits Gilles Ste-Croix,
the show's Director of Creation. "The Berlin Wall was falling, the old
order was changing. We were asking ourselves: what new power
structures will replace the old ones? So Franco created two poles of
order: the young vs. the old, the rich vs. the poor..."
"I hate power, any kind of power," Dragone re-affirms. "It's why I try
never, never to abuse with my power. Sometime people think and been
casting people out is thing that I scream a little bit too much.
Alegría was an exorcism, and there was joy at the end of it."
The set was built to express the idea of a changing world. "Alegría
came out of a process of questioning the whole notion of power and its
abuses," Michel Crête muses. "How can anyone presume to have power
over another human being? It's terrible! So, for me, the dome on the
set is a sign of imposing power. We replaced the circles from previous
shows with squares, which are more solid, unforgiving. The centre of
the tent itself became more important. The characters live within a
much more oppressive structure."
Thus, the Big Top was transformed into the King's court. An enormous
dome overhung the stage, which was surrounded by diamond-shaped paving
stones to protect the occupants of the palace as if they were in a
fortified castle. Four huge masts supported the dome, bringing to mind
the heavy chains of a drawbridge. Two spiral staircases encircled the
ring leading downwards, symbolizing the unknown (and enabling the
personae to sneak in and out.) A raised platform decorated with
stylistic columns and balustrades served as the minstrels' balcony.
There they set up their musical instruments and looked haughtily down
on the activities of the world below. Yes, Alegría's set was an
imposing monument, an undefined monolithic structure suggesting an
institution of great power and influence. A huge structure, heavy in
its connotations yet light in its execution.
The lighting is designed to reflect a nostalgic atmosphere, like that
of a 17th-century ballroom. The autumnal tones create the luminous
obscurity of the show. "If you look at the Nostalgic Old Birds you
really get a feeling of death and decay, which made me think of
Autumn," remembered Luc Lafortune, Lighting Designer. "So I went in
that direction with the lighting: the texture of heavy leaves, dark
greens, reds, browns. And it works! When the Angels, who are the
opposite of all that, come on, the whole place just bursts because of
the contrasts." The beams of light shine through and onto a mesh
cyclorama, creating dazzling lighting effects. On the floor, one can
discern the head of a salamander, which lives in all four elements.
The lavish costumes for the characters representing the Old Order -
Fleur, the Old Birds and the Singers - are made from richly-colored
fabrics which are painstakingly hand-detailed with lace, feathers and
sequins. They evoke the flamboyant costumes worn by the aristocracy at
Versailles and other European palaces of the period. "Alegría is the
scream of destiny. The Jester and the Old Birds represent a bygone,
pompous era. Their only remaining wealth is their faded nobility. The
rich fabrics and colors of the court of Versailles are the expression
of this tarnished splendor. Their opposite is the White Angel,
representing youth, innocence, and eternity," said Dominique Lemieux,
Costume Designer.
The costumes for the New Order - the gold-clad Bronx, Nymphs and
Angels - reflect the same rich tones, with less decoration, but more
luminous for these young creatures. The materials are lighter and
emphasize the agile bodies of these characters who will take control
of the future.
"We're looking for alternative ways of expression that have normally
been expressed through athleticism and tumbling, height and flight and
dynamics," Debra Brown reminds us. "And what else is there that can
come out of that apparatus in collaboration with the artists and the
dance and the movements and the music."
The lively and emotional musical score by René Dupéré moves between
jazz, pop, tango and klezmer.
"I started from a single idea that came from Gilles Ste-Croix and
Franco: the idea that the fools have lost their King," Dupéré recalls
in "20 Years Under the Sun'. "For me, the fool and the king can be two
parts of the same individual, mirroring one another. It gave a sort of
half-ethnic, half-middle-ages feel to parts of the music." "Alegría
has a kind of European flavor," Dupéré continues. "So I wanted to go
back to our Felliniesque origins. I was a street performer. I played
in the streets and there was something very lively, something very
emotional. I wanted to go back to the emotion in the music with
accordion, a kind of raunchy street voice, and violin and those basic
instruments. I also wanted to go back to the music I'm particularly
fond of: Rota, Morricone, Vivaldi, Mancini
the Italians!"
The music of Alegría evokes the passion and intensity of travelling
minstrels by using acoustic and percussion instruments including
accordion, saxophone, keyboard and guitar. The vocals render the
gravelly and genuine voice of the street. But in counterpoint the
synthesizer arrangements also reflect the change that is imminent.
The music to Alegría is the most successful in Cirque du Soleils
history. The soundtrack has reached platinum level twice in Canada and
was on Billboard Magazines hit parade for 55 weeks in the "World
Music" category. The title song, Alegría, was nominated for a Grammy
Award in 1996 in the "Best Instrumental Arrangement with Accompanying
Vocal(s)" category.
According to Guy Desrochers, sound designer for Alegría, bringing
singers and live musicians to the big top before the age of in-ear
monitors posed a special challenge. "A tent is made of vinyl, and
vinyl reflects sound. Because, for all intents and purposes, you're
outside, and weather has a huge effect on sound, for instance when the
humidity changes. With Alegría, we had to preserve the integrity of
acoustic instruments like violins and accordions in that environment.
And we had to ensure the singers heard themselves, so monitors had to
be pointed to the middle of the tent. The audience gets mixed up in
that, and it makes it even harder to point and place the speakers
properly."
# # #
They're all obsessed. They're all possessed. The spell which has been
cast is irreversible. At last, they've all gone mad. Mad! They've all
gone mad, at last... And so it goes. Faster and faster yet, higher and
higher still, beyond their wildest dreams and so we go, beyond the
point of no return for the sky is no longer the limit. Time is running
out in the space of their dreams, however. It seems like a light year
ago when they first came to life.
But the old order is trying to keep the curtains drawn, to keep out
tomorrow; you'd wish time could come to a halt. You wonder if the
vision might be an illusion after all. A blinding darkness for a cast
of shooting stars, scanned and telescoped to find their perfect
orbit... No. No to this hell on Earth. No to the fears and tears. No
to the sadness of many years. A new day is dawning. The future is
rushing in.
Alegría! Alegría!
Their time is now. And now, the time is right. It is the vigil of the
longest night, when the builders of dreams, magicians, engineers,
fools and kings are humbled seers, welding their flying machines for
the coming of the new dawn... Your time has come. And should we ask
who you are, would you remember who you were? Now that you know the
mysteries of many lives ago, you may go joyfully to rest for there is
music now and a dream to share... there's music now and Alegría in the
air!
THE FOOL AND HIS KING
---------------------
The King and the Nobles gathered round to listen. The Fool cleared his
throat and began to explain. "It's really perfectly clear: if I were a
King," said the Fool, "I would need a Fool. And if the Fool were King,
then the Fool King's Fool would truly be a paragon of folly. Folly so
foolish as to be wise. Since if the Fool were King, then the King
would be Fool and the one would be the other and the two would be one,
like the tail and the head, together, to lead the world, because who
is boss depends on whether you walk North pointing South or vice versa
all relative to which way you look. You see?" And the Nobles and the
King could not see so the Fool took a deep breath with just a hint of
a smirk and started all over again... "You see, it's really perfectly
clear..."
Step up to the front. Tap your toe to the beat. Let the music move
your limbs. That's right... a step to the right, a step to the left,
two steps to the back. It's not progress, but who cares. Now look
around. There she is. Your partner. Let the music move you towards
her. She's playing the game. Play along. Mirror her moves, mirror her
moods. Find her eyes with your eyes. Sink into the music, let it carry
you. Away. Away and within. Far and deep. Hmmm! It's so good. You link
arms without a thought about who you should be. You let it go. And the
music plucks your heart.
# # #
A crash of cymbals and the pounding of drums announce a procession...
the musicians march into view, creating mayhem wherever they go. They
are dressed in white and are followed by a overly rounded man dressed
in red: Fleur. In the absence of a king, the Old Birds have only a
fool to turn to: Fleur. Fleur is our guide through the world of
Alegría, but he is unpredictable, and a dangerous madman who believes
he is king. Carrying a magical stick (lit at its tip) ready to show
the cruelness and loneliness of the world to us. Fleur struts about
like an ill-mannered man before appearing on stage. And then, as he
looks out at the spectators who have come to see his play, he takes a
deep breath and yells out with all his might: "ALEGRIA!"
"Mirko" fills the air as characters of all shapes, sizes and colors
fill the stage. A trio of clowns waddle out and sit upon a suitcase,
only to be frightened away by a big bolt of white light. Enigmatic
characters in white fill and then leave the stage. The two singers,
White and Black, come to us and fill the world with melodies. The
Nymphs join the chorus, strutting about in birdlike fashion. We're
introduced to Tamir and little Tamir; followed by the Fire Man. And
then the most aristocratic characters of them all: the Old Birds. The
nostalgic Old Birds observe the goings-on as though they were still
young and beautiful and the future was still theirs. They admire their
reflections in mirror less frames, but are only empty shells, shadows
of their former selves. They are the old aristocracy, still convinced
of their power and beauty. But they are twisted, deformed and ugly.
And thus Alegría begins!
SYNCHRO TRAPEZE
The Old Birds are the mainstays of Alegría; they've lived in the
palace for as long as it has existed. Courtiers without a court, they
are a reminder of the unchanging guard and as such they infect the
show, as they do the world, like a plague. These bird-like characters
have grown old and forgotten, and yet they think of themseleves as
fresh, new and beautiful. We find one sitting in front of a mirror,
admiring itself, as they always seem to do, when something spectacular
happens: a young woman appears in the reflection. And then a man. And
the two walk through the mirror and into the realm where voice - above
all - is repressed. But their voice will not be silenced. For the
moment they step into this world a great and thunderous voice fills
the air, singing out against sorrow and the madness of man in "Vai
Vedrai".
Vai vai banbinno vai vedrai vai... "Go child, go and you will see,"
the White singer hails, as the two young performers ascend into the
heavens. As they do so, the sorrowful voice of the singer touches us.
Oh mio fanciullo vedrai, vai vedrai che un sorriso. Nasconde spesso un
gran dolore. Vai vedrai follia del uomo... "Oh my child you will see,
you will see sorrow. It often hides a great pain. And Madness, you
will see the madness of man..."
The Syncro Trapeze and the animation that accompanies it is a
wonderful start to the show. Youthful and carefree, this duo swings
from the heavens above. Their symmetrical dance in the air captures
the energy in each breath of life. Perched on their individual
trapezes, two graceful aerialists perform an awe-inspiring display of
harmony and beauty. In this breathtaking routine, the daring duo
defies the law of gravity with incredible mid-air twists and
maneuvers, building to a crescendo of aerial feats. Their performance
is a slow realization of the struggles and indignities present in
today's society. They react to this raw emotion, tossing themselves
from the safety of their bars - only to catch themselves with their
feet. Then get up to do it over and over again, signaling to us we can
break free...
FAST TRACK
The Syncro Trapeze artists give way to a group of energetic, swift
moving acrobats spun in silver and gold ("The Bronx"). The Bronx are
young and tough. They are the next generation, ready to topple the old
order and take power from the weak Old Birds. Individually and as a
gang, their acrobatic prowess on the Fast Track is a measure of their
power. They are strong, but also sensual and graceful. They are both
an imposing force and a celebration of youth. This ethereal group of
performers soar in the air executing lively gymnastic and tumbling
displays in unison and in counterpoint, reaching astounding heights
and speeds on an elongated overlapping trampoline that magically
appears from within the stage. Like medieval warriors penetrating the
depths of a mythical forest, the tumblers not only demonstrate their
undeniable acrobatic prowess and strength, but also their grace in a
dance whose manner is unique to Cirque du Soleil.
Joining The White Singer for the first time is her alter ego, The
Black Singer. The Singer in White is a symbol of all that was good in
the old order. She is the storyteller who echoes in song everything
she sees around her. The Singer in Black is the Singer in White's
alter ego. There is a wickedness about her. In her elegant black
dress, she hides many secrets in her dark heart. Their harmony on this
beautiful theme is spine tingling. But, just as the listener is lulled
into a trance, "Irna" returns with more power to complete the Fast
Track act's climax.
SHOUDER-POLE WIRE
Alegria's clowns perform "Bird on a Wire" before fluttering away for
the Shoulder-Pole Wire act. Enlightened with "Kalendero", the number
is performed by a team of two artists in two separate groups: Group 1
consisting of Shi Yanping and Liu Lu, while Group 2 consists of Kang
Kui and Zheng Li Sha. Both performers take the stage with one holding
the pole on her shoulder while the other flipped in the air on its
thin wire line above. Tamir appears when he is needed, only to
disappear once he has fulfilled his mission, stands by in case help is
needed. His wide grin and sparkling eyes are windows into a generous
soul.
STRONG MAN
Guarding the Nymphs, nubile young women with wings, is the Strong Man.
He is ever present in the world of Alegría and is a man you never want
to meet. Reminiscent of the Strong Man acts of traditional circus
culture, Alegria's gentle giant bends bars of steel, juggles 34 kilo
weights and even lifts 340 kilos with his bare teeth. In spite of his
obvious strength, two less timorous birds fly onto his "perch" and
playfully challenge his fortitude. At first, he plays a little tug of
war with the Old Birds over a steel bar. But then, he summons all his
strength and bends the bar around his shoulders and head. After that
amazing show of strength, he is presented with a cage and inside, all
the Old Birds stand. He must lift them all! But then, as he prepares
to lift the Old Birds, Tamir and Little Tamir join in the fun and with
his back to them all, he lifts them off the ground! An amazing show of
strength!
HOOPS
Fleur calls to the Old Birds, who rush the stage. One by one they come
out, each holding a metalic hoop. Seeing it as more of a toy than
anything else, they try and manipulate it around their waists, but it
falls to the ground. Too lazy to pick them up, the Old Birds leave the
hoops. Fleur smiles again when a young girl appears. In her yellow
form-fitting costume with delicate brocade accents, her head topped
with tight yellow curls; she is a graceful performer as well as a
stunning beauty. She is youth personified. Combining the grace and
agility of a gymnast with the flexibility of a contortionist and the
dexterity of a juggler, the enchanting elfin-like performer weaves her
way through a myriad of ever-spinning hoops. She's all a-glow in the
limelight!
SNOWSTORM
The Snowstorm is a unique clown act that has more sorrow in it than
laughter. Performed to the song "Nocturne", the clown with the white
tuft of hair shows us all his sorrows. He appears with a tattered
suitcase, chugging along the train tracks left on the floor. When he
arrives at his destination, he opens the suitcase, pulls out a dress
coat and hat, and hangs them up. He then begins to brush off the coat
when it mysteriously comes alive!
The two cling to one another in comfort, but there's malice afoot as
the mysterious friend slips a letter into the clowns pocket. A train
whistle interrupts them and the Clown takes off.
When he arrives at his intended destination (his hat smoking), the
clown finds the letter in his pocket. As he reads it, his smiles turn
to frowns. He is so saddened by the contents of the letter he tears it
up and throws it into the sky. Snow begins to fall alongside the
pieces of the letter. The clown is alone in the world. Sad, the clown
begins to walk away but is confronted by a blast of wind. The wind
blows harder yet; the snow blinding us all.
FIRE DANCE
Fire is an essential part in any society. Here, Cirque uses fire to
show turmoil and upheaval in the world. Performed by a wonderful
artist from the Pacific Islands, the entire stage bathes in the glow
of his flame. He takes the fire sticks from the gold and silver
dressed Fast Track artists and lights it with his hands. With a
Polynesian flair, the fire blurs in rings of light stopping only long
enough for him to wash the fire over his skin. After twirling one such
stick, he is brought another and the adventure begins all over again.
Tribal and magical - this authentic ritual dance is performed with the
pulsing rhythm of congo drums by an artist weaving his baton-like fire
knives around his entire body, from his feet to his palms to his
mouth, in a seductively dangerous dance.
In the end, a clown appears and uncovers a single candle, which he had
hidden under his clothes. Mocking the previous performance, he moves
the candle from side to side, up and down, and around his arms. And in
a finale to rival all finales, the clown wets his fingers and snuffs
out the candle light, burning himself. Intermission is upon us.
AERIAL CUBE
The second act of Alegría opens with a flurry of activity. The White
Singer, in all her beauty, is drawn to the men in the audience. After
teasing a couple, she selects one and takes him up on stage. The two
dance until the Strong Man - the protector of Alegría - roars onstage
and takes the man back to his seat. Then a clown on horseback rides by
carrying a letter in his hands. He tries to deliver it to the Singer
in White but everyone grabs for it. The letter passes from the Clown
to Fleur to Tamir to the Strong Man back to the Clown before he rides
off.
A man bolts into the forefront, signaling the end of the clownish
antics. The stage once again tints Orange as this new performance sets
to take hold. A virtuoso who can turn a simple cube into an object of
beauty. Mind over matter, light over darkness, the cube man in a
seemingly effortless manner dominates his instrument. Shunning open
shows of strength in favor of the more subtle artistry evoked by
sensual masculine movement, the performer manipulates the cube while
suspended in the air or, in a stunning flurry of light, on the ground.
Strong yet tender, natural and surreal the cube man evokes a higher
authority in search of life's force.
RUSSIAN BARS
The White Angels are the graceful guardians of Alegría. Agile,
confident and daring, the angels are the youth of tomorrow who have
alighted in the palace from the heavens. Their bearing is regal, their
arms - like wings - are always poised elegantly at their sides.
Dressed all in white, with breastplates of woven gold and their noses
painted red, the Angels support one another as they take turns
tumbling through the air on the Russian Bars. Amazing acrobatic flyers
are thrust into the air from a single, double or triple bar that is
perched on the sturdy shoulders of powerful catchers. The sure-footed
flyers perform multiple synchronized somersaults and mid-air twists at
an unbelievable pace. The Russian Bars requires a high level of
concentration and mutual trust between the performers. Each flexible
bar measures two to six inches in width.
CONTORTION
One of the most celebrated performances in Cirque du Soleil's Alegría
are these small, delicate bird-like creatures - two contortionists who
bring this refined Mongolian circus art to the stage. Perched on a
seemingly weightless table which rotates slowly as they perform, the
duo executes both impressive and imaginative feats of flexibility and
balance. The fluid movements are masterful, as they manipulates into
extraordinary sculpted forms. Sometimes they move in "mirror image" to
each other, sometimes together, and sometimes supporting each other
one on top of the other.
FLYING LEV (HIGH BAR)
Human dreams taking flight, borne by the hopes of a new millennium.
This High Bar apparatus was especially designed by Andrei Lev and
Choreographed by Pavel Brun just for Alegría. (A dual-version of this
apparatus appeared in Mystère beginning in 1995). The pendulum
movement of the cradle emphasizes that time continues and never stops
passing. The benefits outweigh the risks, for the adventure is the
reward. Three high bars set more than 40 feet above the stage form the
aerial playground for daring acrobats to fly to and from the arms of
mighty catchers, suspended by their knees on a cradle swing. The
astounding act, performed by Russian acrobats culminates in a death-
defying plunge into the net.
"Querer" and Little Tamir fill the set-up time for the act, as Little
Tamir and a bird fly through the air. But, a couple of minutes
thereafter, "Icare" fills the big-top and eight men climb up one by
one to their perch atop the big-top. One by one, they flip and turn
around the apparatus before letting go and placing their future in the
hands (literally) of the catchers.
EPILOGUE
Almost as soon as it started, Alegría - the cry for help; of
contrasting worlds: those who have power suppressing those who do not
- comes to a close. Change has begun; the Human Spirit lives on. The
White Singer fills the stage with the show's signature song:
Alegría, come un lampo di vita
Alegría, come un pazzo gridar
Alegría, del delituso grido.
Bella ruggente pene, seren.
Come un assalto di gioia, Alegría!
I see a spark of life shining, Alegría
I hear a young minstrel sing, Alegría
A Beautiful roaring scream of joy and sorrow,
so extreme. There is a love in me raging,
Alegría! A joyous, magical feeling!
The Old Birds are once again on stage with their glassless mirrors.
The artists step back through and the Old Birds dance about.
Performers fill the stage and bow. As the performers retreat, the
Strong Man steps forward and roars a beautiful roaring scream and the
lights dim.
Alegría comes to a close.
ON TO ASIA & EUROPE
-------------------
We have no illusions. The children of the streets will not see
Alegría. Laughter is still a luxury they cannot afford. Tonight,
our cries of joy will become screams of rage because millions of
young hearts will again freeze in the gutters of our goodwill.
May Alegría become a rallying cry for those of us who still have
a voice. (Europe Tour Programme Book)
Cirque du Soleil celebrates its 10 year anniversary in staging
Alegría, and true to tradition, the two-year North American tour is
launched in Montreal. Meanwhile, Mystère continues to create a
sensation in Las Vegas. And Saltimbanco? Saltimbanco embarks on a six-
month run in Tokyo that attracts a great deal of attention (and
spectators; 557,851). It's clear from these numbers that Cirque du
Soleil has quite an audience in Asia. So by 1996, while Saltimbanco
continues to conquer Europe, Mystère runs strong in Las Vegas (getting
revamped in the process), and a fourth show is launched in Montreal
(Quidam), Alegría finishes up its triumphant 13-city North American
Tour and prepares for a three-city tour of the Pacific region,
specifically Tokyo and Fukuoka, Japan and Hong Kong.
Alegría would change in the process.
Both Aerial Cube and Shoulder-Pole Wire acts went missing from the
line-up. While Shoulder-Pole would never be seen again, Mikhail
Matorin (the act's creator) would take his performance to Mystère (as
part of that show's revamp). In its stead, Cirque presented "Flying
Man in Silk" by Russian artist Yuri Maiorov (who also performed
Russian Bars and FastTrack at the time). Described as "Strong yet
tender, powerful yet light, natural yet surreal - the Flying Man shuns
open shows of strength in favor of the more subtle artistry evoked by
sensual masculine movement and the rich flow of silk..." - Yuri would
go on to perform his act through both Japanese cities and Hong Kong in
1996, transfer to Mystère for a time in 1997, then become part of La
Nouba's creation in 1998 (He most recently retired from La Nouba,
passing on the act to a much younger man.)
Additionally, in 2003-2004, Ebon Grayman who had been performing the
character of Fleur at the time (and had also been a member of the
Bronx FastTrack team before that), created and performed his own
Flying Man in Silk act as an act-in-reserve. Although no longer
performed (since Ebon has moved on from Cirque), his act was not only
full of strength, but unending grace. (You can see him practice this
act on the Alegria DVD Behind-the-Scenes Feature, but I'm getting
ahead of myself here...)
Tight Wire was another addition to the show. It made its first
appearance during the Japanese Tour (1996) and continued through to
Hong Kong that same year. "Reminiscent of a young girl thoughtfully
playing out her game of hopscotch, the artist is a study in nimble,
dexterity and relaxed grace. Balanced on a wire measuring less than
two centimeters in diameter, no one breaks her concentration or
disturbs the lively pace of her intricate footwork for she is in a
world which only she commands." The act was performed by Molly Saudek,
a young artist from the United States, and was not employed when
Alegría went to Europe (1997-1998). When Alegría returned to
Japan/Hong Kong in 2004-2005 (as Alegría 2), those extra elements were
once again added. One of those was a "Slack Wire" act performed by
Yang Huang, a young artist from China. When Alegría moved on to Europe
for the second time (2006-2007), Slack Wire did not continue.
The final new act to be introduced to Alegría during this period is
Samuel Tétreault's Hand-Balancing number, which the programme book
described thusly: "Like the stately spires of a medieval cathedral,
this elegant equilibrist reaches to evermore lofty heights seeking not
only the challenge of the rarefied air but some illusive deity.
Whether on the ground or precariously perched, the performer is
dexterous on one hand or two. His style is simple and pure, as
unwavering as the tower which protects the throne."
One Alegría reached the shores of Europe in early 1997, Saudek's Tight
Wire and Maiorov's Flying Silks would be replaced, and Aerial Cube
would make its triumphant return under native Australian Paul Bowler,
who learned the art directly from the act's creator. (While Paul was
busy on tour, Mikhail took up residence at Mystère.)
Paul, of course, would continue on until the end of the European Tour.
Tétreault's Hand-Balancing act would also. But even more drastic
changes were coming to Alegría. On April 29, 1998, Cirque du Soleil
and Mirage Resorts announced that Alegría would find a permanent home
at the Beau Rivage.
THE BEAU RIVAGE ENGAGEMENT
--------------------------
"Come to a place where genuine Southern hospitality and charm go
hand in hand with meticulous service..."
Situated on the salty-shores of the Mississippi Gulf Coast, Steve
Wynn's Beau Rivage sported 1,780 "elegantly appointed" guest rooms and
66 luxurious suites, which come with either a spectacular view of the
Gulf of Mexico or of the Bay. And under the 32-story tower was a
78,000 square-foot casino, twelve restaurants, a full spa, a salon, a
shopping promenade, a marina, a pool, and a sandy white beach - all
for your pleasure. The final price for all this luxury? $800 million.
And that isn't a lot considering the Bellagio cost double that amount.
With the Beau Rivage's opening on March 16, 1999, came another
collaborative effort between Wynn's Mirage Resorts and Cirque du
Soleil - the fourth such venture. Nouvelle Experience began the
partnership in 1992 when it was presented in the white and gold Big
Top on the grounds of The Mirage. Mystère solidified that partnership
in 1993 (at Treasure Island), which "O" extended in 1998 (at
Bellagio). And after much discussion, Cirque du Soleil and Steve Wynn
settled on Alegría to set up stakes at the Beau Rivage. But not just
under the Big Top, oh no... within was a 1,552 seat theater reflecting
the "warm welcome inspired by the climate of southern France."
For those who bore its splendor, the design of the venue was simple
and elegant, featuring a wonderful splash of color. And, unlike the
"O" theater the Alegría Theater was ornamented with an elegant display
of the show's name - right above the door. Inside, the ceiling was a
vibrant shade of blue, representing the skies of the village Alegría
played upon. Here, Sky Art also provided designs for a 15,000 square-
foot mural "reminiscent of Claude Montet's water paintings." Below the
skies were the theater seats, bright yellow, creating an allegory of
the beaches where the Beau Rivage was founded. And then there were the
walls, adorned in oranges and reds, bringing meaning to the rising and
setting sun.
Besides the wonderfully adorned space, the Beau Rivage Theater
incorporated a no-proscenium arch design quite similar to its Mystère
counterpart. Like the Treasure Island Theater, the Beau Rivage Theater
also had no obstructive poles, providing a limitless viewpoint to all
spectators. The set and stage retained its familiar squarish form,
complete with the Fast Track built into the floor. Overhead an
enormous dome that for designer Michel Crête signifies "a sign of
imposing power," which reflects the theme of the show - an allegory
about power; who has it and who does not.
For the Beau Rivage engagement the show would go under the knife,
cutting several segments previously seen on tour (such as the Aerial
Cube and Strong Man), updating the Fast Track to something a little
more reminiscent of the choreography seen in "Alegria: Le Film", and
re-ordering the flow of the acts slightly to accommodate the missing
acts. What audiences got was a highly truncated version of the show
(at 90-minutes) that ran through seven still-amazing acts: Syncho
Trapeze, Hoops (by Elena Lev), Fire/Knife Dance (by Isaac Samuela),
Russian Bars, Fast Track, Contortion (by Chimed Ulziibayar and
Tseveendorj Nomin), and Aerial High Bar, clinching the show.
Audiences in Mississippi didn't "get" the show, or Cirque du Soleil
for that matter, as patrons in Las Vegas had undoubtedly had - much to
the chagrin of both Cirque and Mirage Resorts. And thanks to
Saltimbanco's re-staging and tour of Australia and New Zealand in
1999, and a return to Japan (as Saltimbanco 2000), Alegría's time on
the Gulf Coast was as short as its truncated running time; it was
going back on tour under the Grand Chapiteau!
BACK ON TOUR
------------
A low wall surrounding a field flowing with waves of wheat,
shimmering with shocks of sunlight, stands silent sentinel to a
man, old and infirm, dancing, crazed and crooked, with arms
akimbo. Beating time with a tired twig, he serenades the serene
sky: mother of my mother, father and friend feast on this
wonderful wheat, generous gift of my God. The Old Man's cracked
cackle careens over the wall and wails into the nearby vale
where a goat grazes. The butt of the beast bolts up to listen to
the lament of the drunken devout. With a moist mouth and a
goat's gaze the beast bellows a bleat of enamored emotion. The
Old Man and the Ram rhapsodize a crazy cantata. (Programme Book)
Alegría packed up its troubles on October 2, 2000 and prepared to
conquer new markets, beginning with Australia. The re-staging would
forever change the show, though, making it darker, heavier, more
powerful.
Although some acts missing during the Beau Rivage engagement would be
re-integrated into the line-up (such as the Strong Man), others would
be retired forever: Elena Lev, who'd been with Alegría since the very
beginning, would retire from Cirque (for a while - she'd later return
for the show's filming, to replace Hand-Balancing in Quidam for a
time, and even star in Wintuk and Zaia, before those shows closed.)
Elena Lev's Hoops Act was replaced by a Manipulation number: "The
enchanting performer combines rhythmic gymnastics, flexible
contortion, deft juggling and graceful ballet into one act. Using
silver hoops and beautiful silk ribbons, she dances and leaps across
the stage as the music plays on."
Aerial Cube, which was not presented at Beau Rivage, would be
represented on tour now as "Flying Man": "Combining the elasticity of
the bungee with the power of the gymnastic rings, the artist soars
through the air while performing acrobatic feats. His awe-inspiring
performance is a combination of incredible skill, agility and
strength. His sculpted physique is imposing, yet he is tender and
graceful." And Hand-Balancing would return as an act-in-reserve,
performed by young Ukrainian Denys Tolstov: "Using his incredible
strength and his great abilities in ballet and contortion movements,
he executes slow figures on canes of different heights. The tallest
cane is at 1m 90 from the stage."
And later, when Alegría returned to Japan/Hong Kong in 2004-2005 (as
"Alegría 2"), extra elements were once again added into the show: A
"Slack Wire" act performed by Yang Huang, a young artist from China.
And once again "Aerial Cube".
When Alegría moved on to Europe for the second time (2006-2007),
"Slack Wire" did not continue. (But occasionally an Aerial Cube act
was seen in rotation.) Another act-in-rotation was kept in reserve
too: a jugging number by Victor Moiseev, a young artist from the
Russian Bars number, who just wanted to have a solo act of his own.
Attaining a high level by creating original movements and tricks with
the balls, he succeeded to manage his own place in the show.
And the show played on...
* * *
Fifteen years after its birth, Alegría was given a fourth life. Once
again thanks to Saltimbanco, the show would be reborn in 2009 as an
arena construct, setting out across North America and Europe with one-
week engagements at a time. And, yes, ushering in even more changes -
new acts such as the Cyr Wheel and Hand-Balancing (which was
integrated int the main course of the show rather than set in
reserve), and some simplifications too - but the song still played.
Until now.
It's hard to believe that Alegría's journey is now over. That we'll
never get to see this amazing, fantastic, and classic expression of
Cirque du Soleil's prowess under the Grand Chapiteau ever again. Or
will we? Only our friends at Cirque du Soleil know for certain. Who
knows what may happen in five... or ten years down the road. If a set
of young acrobats may want to resurrect Saltimbanco one day... we can
only hope Alegría may follow. In the mean time we'll miss you, and
thanks!
# # #
Thank you. Thank you to the Makers of Rules. To the Breakers of Backs.
To the sincere Autocrats. To the false Democrats. To the Builders of
Walls. To the Painters of Lines. Thank You. Thank you again. To those
who Tattoo Numbers. To those who point fingers. To those who count
their greed. To those who split by color. To those who smile their
lies. Thank you. Thank you so very much. Please, step into the
Spotlight. Let us take your picture. To immortalize you. To thank you.
Let us engrave your faces into our album of infamy. So that we may
never forget. So that we may never accept. Viva L'Alegría!
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 14, Number 1 (Issue #120) - January 2014
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2014 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
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infringement intended.
{ Jan.04.2014 }
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