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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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E X P A N D E D I S S U E
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VOLUME 13, NUMBER 03 March 2013 ISSUE #110e
=======================================================================
Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
Up until the last ten days of the month, February was turning out to
be one of the quietest as far as Cirque news was concerned. Following
the shocking announcement that, due to restructuring after years of
rising expenses, 400 plus jobs would be lost at Cirque du Soleil
world-wide, I had expected to hear a little more about those plans,
hearing that those affected by the change in course had found new
opportunities and about what other shows (if any) might be closing to
further save expenses. Alas, nothing official has been announced on
that front and it seemed we wouldn't hear about the upcoming debut
of the Michael Jackson show at Mandalay Bay Las Vegas... and then
Cirque surprised us with a quick announcement on February 21st:
The Estate of Michael Jackson and Cirque du Soleil today unveiled that
Michael Jackson ONE will open and take residency exclusively at
Mandalay Bay Resort and Casino this summer. Directed by Jamie King,
Michael Jackson ONE will start its preview performances on May 23,
2013 and have its official premiere on June 29, 2013. This entirely
new show is the second creative project to be developed between
Cirque du Soleil and The Estate of Michael Jackson after the top
grossing Michael Jackson THE IMMORTAL World Tour, currently playing
arenas in Europe as it travels the world.
So... there you go. Michael Jackson ONE hits the Las Vegas strip
this summer! And while we wait for news of Cirque's upcoming plans
regarding Tour 2014 and the rest of its portfolio, we'll continue
our series looking back at Cirque's repertoire of shows with the
company's first production for "children and families" - WINTUK -
which was announced to the world March 7, 2007.
As always we've got the latest news items posted to Fascination!
Website over the month and, of course, updates to Cirque's tour
schedule - check out where Quidam, Dralion and MJ Immortal are going
next!
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
* Club Cirque -- This Month at CirqueClub
* Networking -- Posts on Facebook, G+, & YouTube
o) Compartments -- A Peek Behind the Curtain
* Historia -- Cirque Company History
* Odyssea -- Cirque Tour History
o) Fascination! Features
* "WINTUK: Cirque's Winter Tale - a Look Back"
By: Ricky Russo - Atlanta, Georgia (USA)
o) Subscription Information
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Cirque du Skrillex - LIGHT Opens April 26th [EXPANDED]
{Feb.07.2013}
------------------------------------------------------
Mandalay Bay's new LIGHT Nightclub will officially open April
26th, the Light Group announced Wednesday. The new club is the
second iteration of LIGHT, which originally closed in 2007 after
a six-year run at the Bellagio. The new LIGHT, originally
scheduled to open in March, has touted itself as being an
interactive, changing performance concept that will bring
elabroate costumes, multimedia elements and top-tier technology
to the mainstream nightclub experience. The new venue also
revealed its initial lineup of resident DJs to include Skrillex,
Sebastian Ingrosso, Zedd and Baauer, keeping in line with the
trend of A-list headlining DJs that has helped popularize other
major nightclubs like Marquee at the Cosmopolitan and XS at
Encore. Skrillex spoke with Rolling Stone Magazine regarding the
gig, hoping to create a unique environment in the new dance
spot:
# # #
"The LIGHT Skrillex show is gonna be only in Vegas," Skrillex
says to Rolling Stone. "I want it be distinct to the LIGHT club
because the configuration is so customizable, it's fucking
crazy. That's the thing about the club, too: they can do
anything, so it's how you maximize the dynamic of a great show
with all their fucking bells and whistles and all of their
budgets and resources to do anything."
Because of the flexibility of the space and the resident DJs'
partnerships with Cirque and Moment Factory, the production
company behind the venue, each residency is intended to
integrate different visuals and project separate atmospheres.
Skrillex is cautious about incorporating Cirque's famed
contortionists. "It's not about having acrobats for my set," he
says. "For me, personally, the objective is to have something
based around your music and something you want to dance to, not
something you want to stare at the whole time. But how do you
make the environment completely immersive? I think that's the
goal for my show, at least."
"The cool thing is, Zedd's show is gonna be different than mine;
Alesso's show is gonna be different than Baauer's," Skrillex
adds. "I'm getting in with these guys on a personal level; we're
designing something that fits the club - and that's what's cool
about LIGHT, too. Every show is gonna feel like a whole
different experience."
Zedd was also attracted by the offer to design his own show.
"I've worked with Amy Thompson, who is part of the LIGHT team,
before," the EDM up-and-comer tells Rolling Stone. "I met with
Amy and we went through the whole concept: how we could design
the whole production, the whole stage." While his show is still
in the planning stages, as all of the performances are, he has
great ambitions for it. "I don't think it's going to be like a
normal electronic music dance show. Those guys have experience
with shows that are far away from a normal EDM show."
Zedd references Lady Gaga's current stage setup as an
inspiration for his LIGHT show a comparison that hits close to
home, as he is working with her on her upcoming album, Artpop.
"Gaga's a really great example. We've seen all sorts of
production in dance music, but when I personally watched her
production for the first time, I was reminded of how much there
is we did not think of yet, and one big part of it is maybe the
human touch," he says. "We can have the brightest lights and
everything we want to have, but what I liked about Gaga's show
was [that] there's a lot of humanity; there are a lot of dancers
and it's almost like a theater play with music. I could see
parts of that in the whole LIGHT concept."
After the vastness of Swedish House Mafia's headlining
productions, member and solo artist Sebastian Ingrosso is
looking forward to returning to a club vibe at LIGHT.
"Production on dance shows has been escalating for a long time
now. Swedish House Mafia shows have been something we build for
months before a tour," he says. "But this is putting the
production layers back where this all began: the club dance
floor. This isn't a huge arena, this is a club, and the vibe in
a club is very different and special. This isn't escalating up,
this is it taking it back to the dance floor and we'll all see
where it takes us and enjoy it."
Skrillex also appreciates the distinct club vibe and is anxious
to see how the shows unfold. "We're just as curious; this is
exciting and we're meeting with the Moment Factory already and
vibing out what the music could look like," he says. "The great
thing is all three Cirque, Moment Factory and Skrillex[are]
three different things that when we get our heads together and
come up with the perfect plan, we'll have something great."
# # #
And here's what the space might look like when it's unveiled!
PIC #1 /// < http://goo.gl/3J2UR >
PIC #2 /// < http://goo.gl/mqB2D >
{SOURCE: Rolling Stone Magazine}
Worlds Away Comes to DVD/BluRay March 12th
{Feb.08.2013}
----------------------------------------------
Far more than circuses featuring impressive acrobatics, Cirque
du Soleil's live and filmed shows are powerful presentations
that seamlessly combine daring acrobatic feats, intense
artistry, and simple, yet emotionally rich stories. Worlds Away
is a stunning compilation of acts from seven Las Vegas shows: O,
Kà, Mystère, Criss Angel Believe, Zumanity, Viva Elvis, and The
Beatles Love. The disparate acts are woven together by a
poignantly romantic story of a young woman who falls into an
ethereal world searching for a man she's only glimpsed, but is
destined to love. The film showcases everything from
synchronized water ballet to martial arts-inspired combat,
aerial silk acrobatics, contortionism, and the frightening Wheel
of Death. Each impeccably choreographed presentation is
absolutely breathtaking in its beauty and its seeming defiance
of the laws of the human body's capabilities. Viewers will leave
the film feeling awed, uplifted, and completely inspired.
This is how Amazon describes Cirque du Soleil's Worlds Away and
you can now pre-order the film there for its March 12th release
in three different flavors - DVD, BluRay, BluRay 3D:
STANDARD DVD FORMAT
($29.99 USD /$20.99 USD - save $9.99)
LINK /// < http://goo.gl/kxYkh >
BLURAY / DVD / DIGITAL COPY
($39.99 USD / $27.99 USD - save $12.00)
LINK /// < http://goo.gl/qbxR5 >
3 DISC COMBO: BLURAY 3D, BLURAY, DVD, DIGITAL COPY
($54.99 USD / $38.49 USD - save $16.50)
LINK /// < http://goo.gl/4WoXw >
Get yours today!
{SOURCE: Amazon}
'One Night for One Drop' is "Ambitious" [EXPANDED]
{Feb.10.2013}
--------------------------------------------------
It's only one night, but it might be the most ambitious
production Cirque du Soleil founder Guy Laliberte has ever
dreamed up. The special show will have 237 performers onstage.
There will be 60 in the crew backstage to ensure that everything
goes smoothly. Another 75 are on the creation team for
everything from makeup to costumes.
There will be no previews. There will be no lion's den for
family and friends to identify flaws. From conceptual planning
last August to the start of rehearsals in December, it will all
come down to 90 minutes in "O" theater in the Bellagio with
everything on the line. Most details will remain secret until
the night itself.
Cirque's worldwide team wants the March 22 event to be the
biggest-ever splash for "One Night for One Drop." The pun is
intentional. It's a benefit performance of a global philanthropy
event to raise money and awareness for water issues worldwide.
One Drop is the nonprofit created by Guy to reverse the world's
growing water crisis.
Las Vegas resident Krista Monson, who began her Cirque career in
2004 as the artistic coordinator of "O," is directing "One Night
One Drop." A busy director, producer and collaborator, she has
choreographed more than 40 musicals in her native Canada, L.A.,
Tokyo, Paris and now here. She was the choreographer for the
opening and closing ceremonies of the World Championships in
Athletics.
The project is a monumental undertaking for the married mom of
two boys: "This is really important for Guy. It is a massive
commitment. We have one night with one show to move people and
help change the world. The cause is a really urgent one." Cirque
will close all seven of its resident shows in Las Vegas that
evening, and Prince Albert of Monaco is the night's event
chairman.
Before another round of rehearsals began, I talked at length
with her about the extraordinary endeavor. She told me: "One
Drop has been around since 2007 and done well, has had a face
all over the world on many continents. However, Guy wanted to
really increase the ripple effect by having one centralized,
concerted event that brought awareness and funds to the cause,
but also was linked to its mission with artistic expression.
"It may be one time, but it brings those key elements together.
It really allows Cirque du Soleil to do what we do best and to
entertain people and to move people and to transport people, but
to do it in a way with a certain resonance that's really linked
to this important message."
Q. It seems almost a shame to go to all this work, rehearse for
three months, plan for six months and have it all evaporate
in one night.
I am laughing with you as we sweat our days away, but the
Olympics is similar. Years of training and one race! There are
many, many events in the world that have that one night, that
one moment, that one inaugural pulse associated with them. It is
completely different than a Cirque show designed to remain open
for years and years. This is a major contrast. Its going to be
an amazing wow, but then go up in smoke in an hour and a half.
However, in that moment, it creates an adrenaline rush and a
real feeling of we must be there, we must participate. It has an
urgency to it.
It is crazy, but we are going to do it, and the
ripple effect will go on way beyond the night. We started
planning the concept back in August. We started some rehearsals
in December, then as of January, it has really taken shape. It
will be 2 1/2 months of very intense rehearsals with 230
artists. A majority of them perform daily at one of our seven
Las Vegas shows. There also are artists coming from other Cirque
shows as guest artists, but the majority are performing every
single night. Not only are they keeping on the schedule of 476
shows a year, but they also are rehearsing for this on a
volunteer basis during the day.
Q. I am assuming that you are doing it at O theater because of
its pool and because the show will be all about water?
I am very, very sensitive to it when I approached the concept.
Yes, you are right. There is that dip in the pool. The water is
visible there, but on the other hand, it is a good challenge for
us because this is a show about the urgency of the lack of
freshwater, and this show has been done on a pool with 1.5
million gallons of freshwater for entertainment purposes. There
is a certain obviousness with it, but there also is a great
challenge in how we are going to approach the content.
Q. Will the tickets for this once-in-a-lifetime event be more
expensive than a regular Cirque show?
The revenue goes directly to the cause, so they are much more
expensive. The majority of tickets will be $1,500 each. Some are
less expensive, but we are endeavoring to sell them in packages
not only because this is World Water Day, but also before the
show, there are galas, and after the show, there are parties, as
well. They are being structured by not only what people can
give, but also what their interests are and what type of music
they like. You have to look at it as a whole evening that starts
at 6 p.m. and runs to midnight, with the show at 8:30 p.m. Its
actually going to be an entire week with our Run Away With
Cirque du Soleil. We have our 5K run, and we are trying to
paint The Strip blue, to really make a splash -- another
intentional pun -- and create that awareness with a series of
events surrounding March 22.
Q. With 237 performers onstage, just how many people will it
take backstage?
The running crew that night will be about 60, but the creation
team will number another 75, including the costume designers,
the makeup and hair designers, the props designers, the
equipment designers. All volunteers; they work at our shows.
Q. What can you reveal about the show so it doesnt sound like
O in any shape, manner or form.
A few things. We will celebrate the Earth as an artistic
creation in its strength, vitality and fragility and to
highlight water as the essence of life in the Earths precious
ecosystem. That is where it all starts. We really researched and
pondered how we can link with that story and tell that message
in O theater without relying on all of the O tricks but with
images. We have partnered with a Montreal video factory who has
worked on previous Cirque shows and Celine Dions show here. We
are transforming the O theater with the use of video and
projection. It wont come across as a documentary, but the water
message is very real. We will balance being really honest about
the beauty of Earth, but also the danger it is in. There are so
many things on the planet that are stunning, and we take them
for granted, but what is happening is dangerous to them and to
us. I love that idea of that dichotomy of the beauty of danger.
This is a transformative entertaining experience with highs and
lows and different emotional levels. We have 550 artists in Las
Vegas, and they perform every night. I used to be the casting
director for six years before I accepted this challenge. I was
lucky in understanding not only what those artists can do on a
daily basis at each of their shows, but also knowing all of them
come from a huge array of talents. We have really tapped --
another pun! -- into those unshown talents. They are excited
about performing and doing things they havent done before or
dont do normally. They are excited -- it fills their blood
every night.
* * *
As we talked, Krista finally revealed some secrets: There will
be at least one scene with all 237 performers onstage, and
another with just one. She told me: I love the idea of go big
or go home, but I also like the idea of less is more. If its
best one person makes the statement, then I use only one. If it
takes 100 to say it, then we will use 100.
This concept is different than any other Cirque show.
We are
looking at a large group of people who have a huge array of
talents. We are able to paint this picture by gracing the stage
with different talents. For example, Danny Elfman is composing a
string quartet, but he is not doing the composition for the
whole show -- just one magical moment that will be unbelievable
and fitting. In other moments, we have other composers to
present different artists, mediums, choreographers, contributors
and really hone in to allow those moments to flourish without
them being involved as the whole show.
The show will have fun, drama, danger and a message. Guy was
very clear to say to his team -- everybody who lives here in Las
Vegas -- create this show to make the world aware of the
dangers of water disappearing. I am going to trust this team to
do it. For the first time in many years, he said hed trust us
to make that happen. That type of trust is an honor, but it also
is scary because to interpret such a global message is quite a
responsibility that I carry as the director and constructor --
and we carry as a team.
I have a pretty good feeling about it now. There is a strong
momentum; it is shaping beautifully. We have a lot of work to
do, but I also believe that if one is creating an amazing
impact, it requires an amazing amount of risk. I am trying to
balance making that risk with feasibility and making it
absolutely beautiful and ready. With the team we have in place,
I am really confident. We are riding a tight rope between being
dangerous and the need to deliver something truly unique and
exciting. I am really confident we will.
{SOURCE: Las Vegas Sun}
Border Agents Found Not Guilty
{Feb.13.2013}
----------------------------------------------
You remember this story, right? Where two off-duty U.S. Customs
and Border Protection agents were accused of committing lewd
acts at Cirque du Soleil's TOTEM in San Diego? They were found
not guilty today by a court of law. From the Globe and Mail:
# # #
It was Canadian pop star Alanis Morissette who first asked:
"Would she go down on you in a theatre?"
That provocative question was at the heart of a now concluded
California court case.
At a May 27 performance of the Robert Lepage-directed circus
spectacular Totem, Kallie Helwig, 24, and Gerald Torello, 35,
were observed engaging in some hot-and-heavy PDA by fellow
spectators - but they were cleared on Monday of having crossed
the line into illegal affectionate acts.
According to a report from NBC San Diego (http://goo.gl/zljwY),
other audience members testified that they had first seen the
couple kissing and groping, then later observed Helwig's head
moving up and down on Torello's lap during the show - the latter
giving a high-five to two children in attendance who turned
around to see what was going on behind them.
Helwig, however, testified that the patrons had wildly
misconstrued what happened on the circus date - with her mother
seated just down the row from her. Not feeling well, Helwig had
leaned over onto Torello during the show and, according to the
San Diego Union-Tribune, simply "propped her head onto her hand
while resting her elbow in his lap" and "occasionally leaned
over to grab a handful of popcorn from the tub at the couple's
feet."
So did shocking contortions occur off-stage at Totem - or only
on stage? The two U.S. border patrol agents were cleared of
committing one lewd act, while the jury deadlocked on the second
count. (Helwig was found guilty of misdemeanour battery, after a
scuffle ensued with one of the spectators who had complained to
ushers.)
# # #
And there you have it...
{SOURCE: Globe and Mail, NBC San Diego}
LIGHT Vegas announced the club's
full DJ line up today!
{Feb.20.2013}
----------------------------------------------
Axwell, Alesso, Nicky Romero, Thomas Gold, A-Trak, Otto Knows,
Mat Zo, Clockwork, Carl Kennedy, Bassjackers + More Join the
List of Powerhouse Talent at Light Vegas!
Check out our full lineup here:
LINK /// < http://www.thelightvegas.com/#djs >
{SOURCE: LIGHT Facebook / Cirque du Soleil}
One Night for One Drop
{Feb.21.2013}
----------------------------------------------
ONE NIGHT for ONE DROP is a global philanthropy event that
raises awareness and funds to ensure that water is accessible to
all, today and forever. Coinciding with World Water Day, ONE
DROP will host its inaugural ONE NIGHT for ONE DROP in Las
Vegas, NV, USA, on March 22, 2013. For one incredible evening,
international leaders, neighbors, philanthropists, and global
citizens will come together to make a dream a reality - a world
where every human being has access to water and can live in
dignity and health.
ONE NIGHT to remember:
o) Exclusive pre-show reception hosted by Guy Laliberté, Founder
of Cirque du Soleil and ONE DROP
o) One-night-only unique performance featuring over 200 artists
from all seven Las Vegas Cirque du Soleil shows, alongside
world renowned guest performers in the "O" Theatre at
Bellagio
o) Incredible post-show extravaganza at the pools and courtyards
at Bellagio created by Cirque du Soleil
o) In honor of the event, Cirque du Soleil will close - for the
first time - all seven of its resident shows in Las Vegas so
that all eyes can be on the week's grand finale ONE NIGHT for
ONE DROP!
Buy tickets:
LINK /// < http://goo.gl/ZmJVC >
{SOURCE: Cirque du Soleil}
Cirque Announces "Michael Jackson ONE"
{Feb.21.2013}
----------------------------------------------
The Estate of Michael Jackson and Cirque du Soleil today
unveiled that Michael Jackson ONE(tm) will open and take residency
exclusively at Mandalay Bay Resort and Casino this summer.
Directed by Jamie King, Michael Jackson ONE will start its
preview performances on May 23, 2013 and have its official
premiere on June 29, 2013. This entirely new show is the second
creative project to be developed between Cirque du Soleil and
The Estate of Michael Jackson after the top grossing Michael
Jackson THE IMMORTAL World Tour, currently playing arenas in
Europe as it travels the world.
After much anticipation, we are absolutely thrilled to announce
our new permanent show presented exclusively in Las Vegas at
Mandalay Bay: Michael Jackson ONE
Following in the successful footsteps of Michael Jackson THE
IMMORTAL World Tour, Cirque du Soleil and Michael Jackson unite
again in a new and unique theatrical experience.
Michael Jackson ONE is a theatrical evocation of Michael's
creative genius. Guided and inspired by his music, four misfits
set out on a transformative adventure. By journey's end, they
will personify Michael's agility, courage, playfulness and love.
Starting February 22, Cirque Club members will have priority
access to this brand new production with a limited-time
exclusive pre-sale. Update your profile and include Las Vegas in
your selected cities [by clicking on "add city"] to be notified
by email when tickets become available.
Be the first in line to witness this new production!
MICHAEL JACKSON ONE ON THE INTERNET
o) CirqueClub: http://goo.gl/yN3p5
o) Website: http://goo.gl/VlxwZ
o) Facebook: http://www.facebook.com/mjone
o) Twitter: @Cirque #MJOne
THE SHOW
Michael Jackson ONE is a state-of-the-art visual and audio
experience creating a theatrical evocation of Michael's creative
genius. Guided and inspired by his music, four misfits set out
on a transformative adventure. By journey's end, they will
personify Michael's agility, courage, playfulness and love.
THE NAME
Michael Jackson believed that all people are unique and equal,
regardless of race or culture. His message was one of unity,
harmony and hope for a better world. At once evocative and
enigmatic, the name Michael Jackson ONE also presents a paradox:
Michael was a multifaceted artist who strove to fuse together
various musical styles and art forms. It is a fitting title for
a unifying journey into the world of the King of Pop, the
genius, the visionary, the One.
"This is our second project with the Estate of Michael Jackson
which confirms how stimulating this creative partnership was
meant to be," said Daniel Lamarre, President and CEO of Cirque
du Soleil. "Michael Jackson is an all-time phenomenal artist,
both timeless and contemporary. As a creative challenge, this
project is the ultimate. Through the use of cutting-edge
technology, we will produce a new Cirque du Soleil theatrical
experience not only respectful of Michael's legacy but also very
distinctive from Michael Jackson THE IMMORTAL World Tour."
"We are guided by Michael's own philosophy in all that we do. In
preparing for this production, Michael's message to the cast and
crew for his This Is It concerts was foremost in our minds. He
counseled them on what the audience experience should be: 'They
want wonderful experiences. We want to take them places that
they've never been before. We want to show them talent like
they've never seen before. We're putting love back into the
world to remind the world that love is important. WE'RE ALL ONE.
That is the message. ' We feel the same, and that is what we are
delivering both to lifelong fans and those just discovering his
artistic genius with Michael Jackson ONE," stated John Branca
and John McClain, Co-Executors of the Estate of Michael Jackson.
Chuck Bowling, Mandalay Bay's president and COO, said, "The
partnership with Cirque du Soleil and The Estate of Michael
Jackson represents an extraordinary moment for Mandalay Bay. We
are in the midst of a major transformation at this resort,
introducing a new set of experiences for our guests. Michael
Jackson ONE is truly the crown jewel in that transformation and
we cannot wait to share this very special production with the
world."
Along with Jamie King-who started his career as a dancer on
Michael's Dangerous World Tour and also directed the arena
touring show Michael Jackson The ImmortalWorld Tour by Cirque du
Soleil-, Michael Jackson ONE will bring together the creative
minds behind the Michael Jackson Estate, John Branca and John
McClain, and the diverse talents of the following creators:
THE CREATIVE TEAM
o) Guy Laliberté - Creative Guide
o) Jean-François Bouchard - CEO, Creative Content
o) Jamie King - Writer and Director
o) Welby Altidor - Director of Creation
o) Carla Kama - Associate Director
o) Kevin Antunes - Musical Director
o) François Séguin - Set and Props Designer
o) Zaldy Goco - Costume Designer
o) Michel Lemieux - Creator, Man in the Mirror Scene
o) Victor Pilon - Creator, Man in the Mirror Scene
o) Travis Payne - Choreographer
o) Rich and Tone Talauega - Choreographers
o) Parris Goebel - Choreographer
o) Sidi Larbi Cherkaoui - Choreographer
o) Ivan " Flipz " Velez - Choreographer
o) Olivier Simola - Choreographer
o) Rob Bollinger - Acrobatic Performance Designer
o) Germain Guillemot - Acrobatic Performance Designer
o) Ben Potvin - Acrobatic Choreographer
o) Andrea Ziegler - Acrobatic Choreographer
o) Raymond St-Jean - Projections Designer
o) Jimmy Lakatos - Projections Designer
o) David Finn - Lighting Designer
o) Jonathan Deans - Sound Designer
o) Pierre Masse - Acrobatic Equipment and Rigging Designer
o) Nathalie Gagné - Makeup Designer
o) Brian Drader - Dramaturge
o) Manon Beaudoin - Characters' Guide
(Creators' bios are available on Cirque du Soleil's press room
at: http://goo.gl/RWRFv)
PREVIEW PERFORMANCES SCHEDULE
Preview performances for Michael Jackson ONE will begin on May
23, 2013 at Mandalay Bay. Saturday to Wednesday at 7:00pm. There
are no performances on Thursdays and Fridays.
TO RESERVE TICKETS
Call 877.632.7400 or 800-745-3000
Go to www.cirquedusoleil.com/mjone or mandalaybay.com
Visit the Mandalay Bay Events Center box office or any of the
MGM Resorts International box offices.
TICKET PRICES
$69, $99, $130, $140, $150, plus LIMITED Gold Circle Seating.
Prices do not include tax or fees. Tickets are available 120
days in advance of the performance date.
LVRJ's Norm on "Michael Jackson ONE"
{Feb.22.2013}
----------------------------------------------
Cirque du Soleil's new "Michael Jackson One" show plans to tap
into the pop star's years of being hounded by tabloid
journalists.
Robotlike characters dressed in black trenchcoats will be known
as "Tabloid Junkies," from Jackson's 1995 unreleased song of the
same name. They made their debut with other dancers during
Thursday's unveiling of the show's title and logo at a news
conference at Mandalay Bay.
Previews of the show start May 23. The grand opening is set for
June 29 in the 1,800-seat theater.
Welby Altidor, Cirque's director of creation, said, "We wanted
to do a tongue-in-cheek" reference to add a darker force that
"talks about his relationship with the media."
The recurring lyrics of the song go: "Just because you read it
in the magazine or see it on the TV screen don't make it
factual."
Another group of singers, described by Altidor as "our Greek
chorus," will represent all the different energies and
influences of Jackson, "and we will recognize that through their
costumes."
The 63 artists representing 17 nationalities will include
acrobats from all over the world and three dance crews: the Art
Farmers from Korea, a girl group known as ReQuest from New
Zealand and 787 Crew from Puerto Rico.
Dancers called the MJ Warriors will "create the first line of
defense for Michael," Altidor said.
Another act he is convinced will be a crowd pleaser will be the
slack-line artists.
"It's a completely new discipline that's been emerging on the
urban front. Imagine an elastic line attached to poles. The
artists bounce and do acrobatics on it, really cool tricks. It's
really popular with youngsters around the word."
Jamie King, the show's writer and director, said the song "Dirty
Diana," which wasn't in the touring Jackson show "The Immortal,"
will feature a Las Vegas police dancer named Jeanine.
{SOURCE: Las Vegas Review-Journal}
International Gymnastics extends
deal with Cirque to 2016
{Feb.25.2013}
----------------------------------------------
In a collaboration that dates back to 2009, the Canadian circus
company will continue to work with gymnastics' world governing
body to identify breakthrough talents while enhancing still
further the creativity of FIG events.
"For our athletes, this agreement opens the door to new
opportunities once they stop competing," said FIG President
Bruno Grandi, who signed the agreement with Cirque du Soleil's
vice-president of casting and performance Bernard Petiot in
Lausanne.
"This is also an extraordinary chance for gymnastics to benefit
from the expertise of Cirque du Soleil in terms of conceiving
and creating spectacles.
"Future FIG galas are sure to be inspirational events."
{SOURCE: Inside the Games | http://goo.gl/UR8hl }
Robin Leach: A Q+A with Jamie King [EXPANDED]
{Feb.26.2013}
----------------------------------------------
It's about three months until the first preview of "Michael
Jackson One" at Mandalay Bay, and Cirque du Soleil has already
sold $500,000 in tickets the first few hours of the spectacle
going on sale over the weekend exclusively to insider Michael
Jackson and MGM Resorts club members. General tickets go on sale
March 7.
"It's going to be a blockbuster. That's a staggering first-day
sale," I was told. In fact, it will be another 37 days - June 29
- until the monstrous production has its world premiere in the
converted Mandalay Bay theater formerly home to Disney's "The
Lion King."
Meantime, the touring Immortal show that also debuted at
Mandalay Bay continues its global journey breaking records and
winning awards, with box office sellouts in Europe as it heads
to South America and Asia and plans for repeat cities in the
U.S., keeping it on the road until at least the end of 2014.
The Jackson juggernaut continues -- and now the second show. The
One cast moved into their new Mandalay Bay theater last Monday
and showcased a hint of the ambitious project when the name
One was revealed last week.
Director Jamie King says that its one of the longest pre-
production schedules in Cirques history, if not the longest.
The casting and Montreal training -- particularly of acrobatics
never seen before in any production -- began in October.
Director Jamie King says that it's one of the longest pre-
production schedules in Cirque's history, if not the longest.
The casting and Montreal training - particularly of acrobatics
never seen before in any production - began in October.
"We are literally just in technical rehearsals now. I just spent
the last four months living in Montreal in production
rehearsals. Now we are in tech rehearsals here for the next few
weeks, and then we go into all production rehearsals here. It's
a long run before the premiere," Jamie told me. "Starting in
March, I am here every day. It needs to be a long set of work.
It's ambitious, but for a great show, you need to have that much
work put into it."
Additionally, Ive learned that Cirque founder Guy Laliberte
will be here in March and April adding his masterful input.
Officially, were told: One will be a state-of-the-art
visual and audio experience creating a theatrical evocation of
Michaels creative genius. Guided and inspired by his music,
four misfits set out on a transformative adventure. By journeys
end, they will personify Michaels agility, courage, playfulness
and love.
Michael believed that all people are unique and equal
regardless of race or culture. His message was one of unity,
harmony and hope for a better world. At once evocative and
enigmatic, the name Michael Jackson One also presents a
paradox: Michael was a multifaceted artist who strove to fuse
together various musical styles and art forms. It is a fitting
title for a unifying journey into the world of The King of Pop,
the genius, the visionary, the One.
Here is my conversation with Jamie:
Q. When you say interactive, do you mean the experience is
around you, in front of you and above you?
Yes. I am not going to say it is unlike any theater we have seen
before, but certainly what we are doing, our intention is to
immerse the audience in the energy of our show, which is
Michaels energy and spirit. We want to make sure that they see
and feel our costumes, see and feel the energy of our performers
and acrobats just as you saw here today.
Q. So the cast will leave the stage?
Absolutely. They will leave the stage and integrate into the
audience above you and around you, on the sides of you.
Q. You also were the director of Michael Jackson Immortal, so
how tough was it to do a show different from a show you have
already done? It has got to be the toughest.
I think at first the idea of it made me a bit nervous; I felt
the challenge of it. I was so excited about another opportunity
and knowing that it would be different because I know how to do
a rock show. That was really what Immortal was meant to be --
a rock/Cirque interpretation, arenas I get that -- but a theater
show, to be able to do that, is really a dream for me. It
already is a different show because it is in a theater, and once
I got my head around that, a smaller, more intimate venue, it
can be much more immersive. The bigger challenge was the music.
If I have to use the same songs because you know it is Michaels
hits, we want to make sure the fans in the audience feel
Michaels hits. I had those in Immortal, so it was about
making them different. How do I show them in a different way?
Q. Which is my next question. One presumably is based on the
No. 1 hits that he had. Did he have enough hits to fill the
show?
It is Michael Jackson, of course, come on! I didnt start by
counting Michaels No. 1s. I took his No. 1s and then I
inserted them in the show, but then I needed the story because
we are doing a theatrical show this time around. There is much
more story, it is much more story driven and fairytale-like, so
because of that, I needed certain songs that werent No. 1s at
times for segues and interstitial moments to tell the story.
Q. Where does the storyline start? How old is he, and where does
it finish?
It is in no way a chronological biopic story of Michael Jackson.
It is a complete new fairytale in a Cirque way. We have created
a new story, something that people may or may not get all the
way, but we certainly do. And we think it is a great fairytale
and journey to go on using Michaels music.
Q. The theater was built to your specs because of what you are
doing on an interactive basis? Unlike anything weve seen
before?
Yes, for sure. It is immersive, and you will see with the
visuals alone. They really wrap around in a way that is unlike
any theater that I have ever seen. Call it the visuals
wraparound theater.
Q. Did you get to spend all the money you wanted, or did you go
over budget?
Do we ever get to spend all the money we want? Come on now!
(Laughs) Do I ever go over budget? I feel like these are all
questions that you could answer. You know my history. I tend to
go over budget; ask Madonna!
Q. Is this the best show to date that you have done?
It is the most inspiring to me at the moment. It is something
that is not completely finished yet, so I cant say, to date,
because it is not done.
However, as youll read in our interviews, Daniel Lamarre,
Cirques president, and John Branca, Michael Jacksons estate
lawyer and executor, certainly believe that One is already the
best show to date.
{SOURCE: Las Vegas Sun}
Robin Leach: A Q+A with Daniel Lamarre [EXPANDED]
{Feb.27.2013}
-------------------------------------------------
Guided by Michael Jackson's own words, the new "Michael Jackson
One" by Cirque du Soleil starts previews May 23 and celebrates
its official premiere June 29 at Mandalay Bay.
L.A. attorney John Branca, co-executor of the Estate of Michael
Jackson, said: "We are guided by Michael's own philosophy in all
that we do. In preparing for this production, Michael's message
to the cast and crew for his 'This Is It' concerts was foremost
in our minds. He counseled them on what the audience experience
should be.
"Michael said, 'They want wonderful experiences. We want to take
them places that they've never been before. We want to show them
talent like they've never seen before. We're putting love back
into the world to remind the world that love is important. We're
all one. That is the message.' "
Cirque CEO and President Daniel Lamarre hosted a preview of
"One" at Mandalay Bay and added: "Our second project with the
Michael Jackson Estate confirms how stimulating this creative
partnership was meant to be. As a creative challenge, this
project is the ultimate - Michael Jackson is an all-time
phenomenal artist, timeless and contemporary.
"This new theatrical experience is not only respectful of
Michael's legacy, but also very distinctive from the 'Immortal'
world arena tour."
I chatted one-on-one with Daniel after the dance performance
preview. It was a surprisingly and extraordinarily candid
confessional of a conversation.
Q. So in terms of taking risks in show business, this new show
ranks where in your seven to eight Las Vegas productions?
Theyve built this theater to be a theater that has the show
over, under, around and in front of the audience.
We dont look at Cirque to underestimate every single new show
that we are doing. Every time it is a huge gamble, every time it
is a challenge. As you know, the magic operates when we walk
into the theater, so (Cirque founder) Guy (Laliberte) and I
cannot wait to see the show inside its real home. We have been
rehearsing in Montreal, and we have a good feeling about what is
happening, but the magic is going to operate in the next few
weeks prior to the preview and premiere. You will see a lot of
Guy in the next few weeks sitting in the theater and watching
rehearsals. We understand that with each new show, the
expectation of the public gets higher and higher, and the risk
for us gets bigger and bigger. That is why we are taking it with
a lot of humility.
Q. Would you say this is going to be the biggest and best to
date? Is it going to outrank Ka and O?
If you talk to John Branca, he will probably tell you that it
will be the No. 1 show. For us at Cirque, we love all our shows.
We are very happy with them all. When I ask cab drivers what is
their favorite show, I have probably five, six or seven
different answers because depending who you are talking to, they
have their own version. This one I hope will be able to
establish itself. I think that with all the support that
Mandalay Bay is putting behind the show, it can be successful.
Q. There is no dollar figure yet on the investment because there
is still more expenditures to come over the next few weeks?
Exactly.
Q. But will you top $100 million?
It is tough to say right now because it is a different
environment. First of all, we walked in a theater that was
already a good theater, so it was easier for us to really bring
the theater to the standard of Cirque du Soleil. We are really
looking forward to hearing the music of Michael Jackson in that
theater because, as you know, the technology of the sound
systems is improving all the time. This will be the newest
state-of-the-art sound system; I think people will listen to the
music of Michael in a different way here.
Q. This is not meant as an awkward question, but a really
serious business question. You can reach plateaus in every
business. Theater business is really soft at the moment in
Las Vegas. There are some real demographic income problems
here of how much people can spend when they visit. How as a
businessman do you deal with that when you are launching a
show as ambitious as this one?
The one thing that you have to do first and foremost is dont
take anything for granted. We feel today like if we would be
launching our first show in Las Vegas, so we dont take for
granted that the brand of Michael or Cirque du Soleil is a slam-
dunk. We come here and we have to convince people that this show
can work. At the end of the day, it is not us who will make the
success of this show. It is the word of mouth. We live it right
now with Zarkana; the word of mouth of Zarkana is very, very
positive. All of a sudden, we have a new show working, so it is
the public, at the end of the day -- they are the judge. In this
city, there are a lot of very important influencers -- the
concierge, the cab drivers, the employees of the casino. That is
why, right now, we are going to put a lot of effort to bring the
influencers to see the show. We also are spending a lot of time
listening to their comments. If there are things to be fixed, we
will fix it.
Q. It is not so much fixing, but when youve got seven shows on
The Strip, do you now say that this is it for Las Vegas and
concentrate elsewhere? Do we have enough? Are you worried
about cannibalizing yourself -- it is not you, it is because
of the population that is coming here with less and less
money as disposable income?
Obviously, we understand that by having more shows, we are
cannibalizing ourselves. It is a strategy that we decided we
will implement because we would rather cannibalize ourselves
than give away tickets to other producers. But as Guy was saying
to me, he says find me a theater and if I have a distinctive
content, I will bring it to that theater. That is the challenge
every time. We are not going to bring a show just for the sake
of being in a new theater. We will bring a show if we feel that
we have something very different to offer to the public, and
that is a challenge that we are having more and more. The
expectations of the public are getting higher and higher, so we
have, again, to try to push the needle all the time and bring
new content.
Q. So you dont rule it out, but it is not something that you
are looking into?
No, we have no plan for more now, to be precise.
Q. The public always wants more, and we in the media always want
to know more, so how do you deal with the increasing levels
of danger with the acrobatics? We know these kids risk their
lives and bodies -- how do you push that needle to make it
even more wow for word of mouth?
I understand what you are saying. First and foremost, we have to
be very careful because we will never do anything that will
bring additional danger to our artists. Our security measures
are very tight, probably the tightest in the industry. Having
said that, obviously what they are doing is risky by definition,
but at the same time, we dont think that in the future we are
going to bring people to the next level because someone is doing
something crazier in terms of taking risks. I think we have to
be much more sophisticated in the way that the shows are
directed, the way that we are bringing new technologies, the way
we are seeing the design of our costumes. You are seeing more
and more dance in our show, more and more technologies. We just
have to meld now the acrobatic act much more with the music,
with dance and other elements of content. Guy now is surrounding
himself with a new team of creators, bringing more and more
young creators to make sure that we are going, in terms of
creative content, to the next level and that we are bringing a
new perspective to the type of show that we are developing.
* * *
Before we said au revoir, I had to ask Daniel how it feels with
his huge French-Canadian conglomerate headquartered in Montreal
that most of the companys business is in Las Vegas and around
the rest of the world.
He told me, We certainly feel that we are a citizen of Las
Vegas because we now have as many employees in Las Vegas that we
have in Montreal, and we certainly feel at home and have over
1,500 employees based here. I feel home when we come to Las
Vegas.
On Thursday, my conversation with Mandalay Bay President Chuck
Bowling, who reveals other changes and attractions coming to the
casino resort.
{SOURCE: Las Vegas Sun}
An Interview with Cirque's Top
HR Executive: Pat Norris [EXPANDED]
{Feb.28.2013}
----------------------------------------------
Seth Kahan interviewed Pat Norris of Cirque Du Soleil, a
globally recognized leader of innovation with over 5,000
employees from over 50 countries who perform 20+ shows in over
270 cities around the world. Norris, SPHR, is Cirque Du Soleil's
director of human resources, Resident Shows Division. In Seth
Kahan's interview with Norris, they discuss the challenges,
responsibilities, and intrinsic rewards of leading this
important segment of Cirque's operation.
The uniqueness of the operation is clear as Norris explains,
"The artist who come to us often have no idea what it is like to
be part of an organization like ours, because there is no other
organization like Cirque!" Norris also emphasizes the key role
of all parties working together, "Even though we have a lot of
really smart and creative people, your success here lives and
dies on relationship building."
Kahan says, "This was a tremendously enjoyable assignment. I had
the opportunity to work for HR Certification Institute, a
cutting edge organization that is leading a national
conversation on strategic HR and innovation. They chose to
highlight the exemplary practices of Cirque Du Soleil and I had
the pleasure of conducting the interview with Pat Norris, an
absolute gem. His experience is nothing short of remarkable. He
truly understands how to innovate, as his story makes clear. No
wonder Cirque has placed him in a position of leadership. I
learned a great deal from Pat."
Here's a transcript of the interview...
Cirque du Soleil is no ordinary employer. It is one of the
worlds largest artistic entertainment companies with more than
5,000 employees from over 50 countries, performing 20+ shows in
over 270 cities around the world.
Working in Las Vegas as the director of human resources:
Resident Shows Division, is Pat Norris, SPHR. Norris has the
distinction of having single-handedly set up the HR function for
Cirque du Soleil when they signed on with Disney to do its show,
La Nouba, in Orlando.
The curtain went up in 1998, and Norris was there putting things
in place, including partnering with Disney, receiving the talent
and developing the HR policies and procedures.
I had the chance to catch up with him in Las Vegas and talk
about what it is like to direct HR services within such an
audacious company and his pioneering experience with a very
special show.
Q. Pat, what its like to work for one of the worlds most
creative and fast-growing entertainment organizations?
We have international headquarters in Quebec, and there we have
the people who develop the strategy. Here in Las Vegas, we
execute the strategy, and in a business such as ours we have to
have a very collaborative culture. Cirque is a hive. There is
activity everywhere. Its all exciting, and its all about the
show.
When I was first hired we were a very different organization. It
has been a thrilling ride to get to where we are today, and we
are by no means finished. The future is extraordinarily
exciting. It is a privilege to serve such an exceptional
company.
I have the opportunity to work with world-class artists every
day and see them exercise their amazing talents. This is true
not just of the performers, but the managers, the directors, in
fact every single person who makes the show a reality. They are
all the best in the world at what they do.
Since I began with Cirque, we have diversified our show content
to stay true to the spirit of the original thrust, but we break
new ground all the time. Cirque is on the frontier of live
entertainment. We have gone beyond the original presentations,
which were pioneering in their day, and continue to push the
envelope on what is possible.
Talent acquisition is critical in an organization like ours. We
rely on recruiting the best and most outrageous performers. They
have to be able to bring the show to life night after night.
They do it with skill and spirit repeatedly, systematically, and
always keep it fresh. Every moment in a live show is a discovery
of what can be done. That is our magic.
When I provide great service in HR and thats an innovation
unto itself here it impacts the performers on stage. This
directly affects the people who come to see the show, and that
has an influence on our ability to spread happiness throughout
the world and be audacious as we do it.
I may not feel the applause like I would if I were performing,
but it is real nonetheless to me. I am attuned to it; it is just
as tangible and powerfully rewarding.
Q. Tell me about recruiting and working with the performers.
The artists who come to us often have no idea what it is like to
be part of an organization like ours, because there is no other
organization like Cirque! They come from the Olympic world,
federations, private gyms and even the street from our Cirque du
Monde (literally translated, World Circus).
The people who come to us not only have amazing talents, they
have internal assets. For example, some bring an athletic
mindset that is self-motivated. They challenge themselves to
perfect their performance. They work extremely well within a
team structure.
Others bring a performance mindset which centers on their
ability to carry the moment on stage in front of a live
audience. They have a keen eye as to what it takes to succeed
professionally under that kind of pressure. They know how to
deliver their best and do it in a way that conveys powerfully to
an audience. We have two platforms to recruit talent. There is a
platform driven by our art talent acquisition group, and we have
a casting agency. Interested people can upload their videos on
our website and gain an amazing amount of information.
It is the place to go if you want to explore working with us. It
will teach you what we are about and how we operate, as well as
introduce you to life in Cirque du Soleil with great creativity
and bold transparency.
Q. What was it like to open HR in Orlando for La Nouba?
When I first started, I was part of the Division of the
Americas. They gave me a policy and procedure manual as a
guideline, and I put together a set of standards according to
U.S. labor law that I thought would make sense to a theatrically
minded person. I wanted it to be easy to understand, accessible.
Not a black-and-white policy manual.
Disney is a powerful and unique partner. They run a very
conservative ship, and we dont. They require a certain look, a
certain style. For example, Seth, you would not be allowed to
wear your beard or your earring as a Disney employee. As you can
imagine, some of our employees have multi-colored facial hair
and varieties of earrings and other piercings.
Everyone had to go through Traditions, Disneys orientation
program. They teach you about the history of Disney and
introduce you to the way Disney does things. Generally, they
require you to dress at least business casual. They actually
look over your appearance and instruct you to cut your hair,
wear less makeup and meet other image requirements.
When you go through the Disney program, you are required to
adhere to the Disney model. I had to go to them and tell them
theyve brought in an organization that does not adhere to these
same standards.
Its not that we wanted to buck their system, but we make a
boisterous attempt to celebrate our performers diversity and
individuality. Its part of our brand and it is one of our great
strengths. So, here you have this clash of cultures. Neither was
wrong; in fact, both have worked immeasurably well.
Sometimes I had to tell them, Youre going to have someone
coming in with a nose ring and a pink mohawk today. What do you
want them to do? Do you want them to wear a kerchief? The thing
is bolted to their nose. It cant beremoved.
Some of the Disney folks were okay with this and some were not.
Sometimes they would send our people away. That was tough.
Disney is the worlds largest single-site employer other than
some government facilities. Disney World in Orlando is the size
of Manhattan, and it has over 62,000 employees. Disney was the
company that everyone benchmarked. We were not benchmarking
them. We came in and were doing our own things our own way.
Their model of success has worked very well for them.
Although we are a very small cog in their wheel, they understand
us well and they value us. They know how we contribute.
I was fortunate to have been in Orlando for 21 years at the
time. I had real resources in place. I had my basic code set up
from my work at Manpower at Universal where I had been for seven
years.
I had a benefit plan that was created for me under a Canadian
model, so I had to start all over. The immigration piece I added
was very cut and dry because it was driven by Immigration and
Naturalization Service (now called the U.S. Citizenship and
Immigration Services).
Q. What was it like for you personally when you began with
Cirque du Soleil?
Even though we have a lot of really smart and creative people,
your success here lives and dies on relationship-building.
People who have a natural ability to communicate well, who are
authentic and transparent, do well here.
You must learn to work your relationships to advance the company
and the show. Once I figured that out I knew what I had to do. I
had to figure out the culture, figure out when I was going to
listen and when I was going to be ballsy and try to influence.
Initially, there was an old-school mentality among some of the
original Cirque aficionados. They projected an image that Cirque
already did things the right way, but they also knew that we
were all about bringing innovation to life, and that meant
constant improvement.
I dont speak French-Canadian, and so I was initially looked at
askance. I was not readily considered to be part of the culture
by some. I had to be patient and persistent. I also was faced
with this large challenge. I had to communicate that if we were
going to be in this sphere at this time with this partner that
we needed to do things a particular way so that we could be
successful. That is what I did for the first few years.
Q. What was it like after La Nouba launched?
I was with La Nouba for seven and a half years. The challenge of
being on a show for that length of time is knowing where to find
your applause. I found my value to the company in the service I
provided to the artists. It was deeply and personally meaningful
to me. Relating to the artists themselves was something I took
great pride in and found real personal joy doing.
We do not operate like a traditional Broadway show. On Broadway,
the cast comes in, they know their lines, they call their
places, and they do the show. We run it differently.
Every day between 4:00 and 6:00, our show is constructed on a
board. The stage manager knows who can do what, who is sick and
who has particular talents. They plug the right people in to do
the next show. They literally construct the show.
Then they brief everyone, and they do the show. And they do it
all over again before the second show because things change.
Someone could be hurt or sick.
If somebody does something silly, egregious, I cannot be a
policeman and go and run that person down. I cannot read them
the riot act. I cannot say, You have to follow your contract!
You have to follow the rules! You have to talk nice to people
or refrain from whatever interesting act you were engaged in. I
am not going to do that. It could ruin the show.
I have had traditional HR people come and say to me, You get
that involved? Yes, I do. My people require a different level
of service.
Lets say something happens, and I have to intervene. That
persons going to be on stage! I always have to keep in my mind
the most important thing: their ability to be present and bring
the show to life.
I have had other HR professionals tell me that a particular
person needed to be reprimanded perhaps, but at the
convenience of the show. They would say, No, no, no! You must
communicate to them so they know. My response is, Yes, youre
right. After the show.
I will find a way to communicate with that person. They have
artistic souls. I have to finesse the message, yet get the
message across. Most importantly I have get them out on the
stage in good spirits.
I sometimes have the pleasure of going to sit in the audience
and watch the show after an interaction. I get to watch that
person do their magic. Sometimes they can even see me in the
audience.
They come back to me after the show and they say, How did I do?
Isnt that wonderful? I say, You were great! And then I add,
But remember that is only one reason why you are here. The
beauty you demonstrate out there is amazing and important. But
the behavior you conduct backstage is equally important, and you
cant do whatever it is that you just did.
They have asked me, Why did you stay for the show? I always
tell them, Because I want you to know that I love what you do
out there.
# # #
About Seth Kahan
Seth Kahan has worked with CEOs and top-level executives in
companies that include World Bank, Peace Corps, Royal Dutch
Shell as well as over 40 associations and public sector
agencies. Kahan's book, Getting Change Right: How Leaders
Transform Organizations from the Inside Out, is a business
bestseller. He writes online for Fast Company (SethFast.com).
His next book, Getting Innovation Right, is due out in March
2013.
About HR Certified
HR Certified is a semi-annual publication of HR Certification
Institute. The HR Certification Institute (HRCI), established in
1976, is an internationally recognized certifying organization
for the human resource profession. Today, more than 120,000 HR
professionals worldwide proudly maintain the HR Certification
Institute's credentials as a mark of high professional
distinction. The HR Certification Institute is a global leader
in developing rigorous exams to demonstrate mastery and real-
world application of forward-thinking HR practices, policies and
principles.
{SOURCE: PR.com}
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Corteo, Koozå, OVO, Totem & Varekai}
o) ARENA - In Stadium-like venues
{Alegría, Quidam, Dralion & MJ Immortal}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
Believe & Zarkana}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
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:
Seattle, WA -- Jan 31, 2013 to Mar 24, 2013
Calgary, AB -- Apr 10, 2013 to May 19, 2013
Edmonton, AB -- May 29, 2013 to Jun 16, 2013
Denver, CO -- Jul 18, 2013 to Aug 11, 2013
Minneapolis, MN -- Sep 25, 2013 to Oct 20, 2013
Corteo:
Sao Paulo, BR -- Mar 30, 2013 to Jul 14, 2013
Brasilia, BR -- Jul 26, 2013 to Sep 9, 2013
Belo Horizonte, BR -- Sep 19, 2013 to Oct 27, 2013
Curitiba, BR -- Nov 8, 2013 to Dec 15, 2013
Rio de Janeiro -- Dec 27, 2013 to Feb 23, 2014
Porto Alegre, BR -- Mar 7, 2014 to Apr 13, 2014
Koozå:
Madrid, ES -- Mar 1, 2013 to Apr 14, 2013
Bilbao, ES -- May 16, 2013 to Jun 2, 2013
Knokke, BE -- Jul 18, 2013 to Aug 18, 2013
Paris, FR -- Nov 22, 2013 to Feb 2, 2014 (??)
Ovo:
Melbourne, AU -- Jan 17, 2013 to Mar 24, 2013
Perth, AU -- Apr 14, 2012 to May 26, 2013
Totem:
New York, NY -- Mar 14, 2013 to May 12, 2013
Philadelphia, PA -- May 30, 2013 to Jun 23, 2013
Ottawa, ON -- Jul 10, 2013 to Aug 04, 2013
Columbus, OH -- Aug 22, 2013 to Sep 15, 2013
Varekai:
Bogota, CO -- Mar 21, 2013 to Apr 7, 2013
San Jose, CR -- May 5, 2013 to Jun 23, 2013
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Alegría:
Oslo, NO -- Feb 28, 2013 to Mar 2, 2013
Stockholm, SE -- Mar 6, 2013 to Mar 10, 2013
Helsinki, FI -- Mar 13, 2013 to Mar 17, 2013
Turku, FI -- Mar 22, 2013 to Mar 24, 2013
Tallinn, EE -- Apr 3, 2013 to Apr 7, 2013
Riga, LV -- Apr 11, 2013 to Apr 13, 2013
Vilnius, LT -- Apr 18, 2013 to Apr 20, 2013
St. Petersburg, RU -- May 9, 2013 to May 18, 2013
Chelyabinsk, RU -- May 23, 2013 to May 26, 2013
Kazan, RU -- May 29, 2013 to Jun 2, 2013
Moscow, RU -- Jun 5, 2013 to Jun 16, 2013
Kiev, UA -- Jun 20, 2013 to Jul 30, 2013
London, UK -- Jul 18, 2013 to Jul 28, 2013
Gdansk, PO -- Jul 31, 2013 to Aug 04, 2013
Palma de Mallorca, ES -- Aug 22, 2013 to Aug 30, 2013
Bucharest, RO -- Sep 5, 2013 to Sep 8, 2013
Bratislava, SK -- Sep 11, 2013 to Sep 15, 2013
Sofia, BG -- Sep 20, 2013 to Sep 22, 2013
Newcastle, UK -- Oct 17, 2013 to Oct 20, 2013
Leeds, UK -- Oct 23, 2013 to Oct 27, 2013
Liverpool, UK -- Oct 30, 2013 to Nov 3, 2013
Nottingham, UK -- Nov 6, 2013 to Nov 10, 2013
Lille, FR -- Nov 13, 2013 to Nov 17, 2013
Bordeau, FR -- Nov 20, 2013 to Nov 24, 2013
Valencia, ES -- Nov 28, 2013 to Dec 1, 2013
Gijon, ES -- Dec 4, 2013 to Dec 8, 2013
Madrid, ES -- Dec 18, 2013 to Dec 22, 2013
Quidam:
North Little Rock, AR -- Feb 28, 2013 to Mar 3, 2013
Houston, TX -- Mar 6, 2013 to Mar 10, 2013
New Orleans, LA -- Mar 13, 2013 to Mar 17, 2013
Mobile, AL -- Mar 20, 2013 to Mar 24, 2013
North Charleston, SC -- Mar 27, 2013 to Mar 31, 2013
Charlottesville, VA -- Apr 3, 2013 to Apr 7, 2013
Norfolk, VA -- Apr 10, 2013 to Apr 14, 2013
Greensboro, NC -- Apr 17, 2013 to Apr 21, 2013
Columbia, SC -- Apr 24, 2013 to Apr 28, 2013
Augusta, GA -- Apr 30, 2013 to May 1, 2013
Macon, GA -- May 3, 2013 to May 5, 2013
Savannah, GA -- May 7, 2013 to May 9, 2013
Columbus, GA -- May 11, 2013 to May 12, 2013
Orlando, FL -- May 15, 2013 to May 19, 2013
Cedar Rapids, IA -- Jun 6, 2013 to Jun 9, 2013
Dayton, OH -- Jun 12, 2013 to Jun 16, 2013
Louisville, KY -- Jun 19, 2013 to Jun 23, 2013
Sunrise, FL -- Jul 31, 2013 to Aug 4, 2013
Estero, FL -- Aug 7, 2013 to Aug 11, 2013
Graz, AT -- Sep 5, 2013 to Sep 8, 2013
Vienna, AT -- Sep 11, 2013 to Sep 15, 2013
Leipzig, DE -- Sep 18, 2013 to Sep 22, 2013
Stuttgart, DE -- Sep 25, 2013 to Sep 29, 2013
Innsbruck, AT -- Oct 2, 2013 to Oct 6, 2013
Salzburg, AT -- Oct 9, 2013 to Oct 13, 2013
Munich, DE -- Oct 16, 2013 to Oct 20, 2013
Cologne, DE -- Oct 23, 2013 to Oct 27, 2013
Frankfurt, DE -- Oct 30, 2013 to Nov 3, 2013
Dortmund, DE -- Nov 6, 2013 to Nov 10, 2013
Mannheim, DE -- Nov 13, 2013 to Nov 17, 2013
Malaga, ES -- Dec 5, 2013 to Dec 8, 2013
Zaragoza, ES -- Dec 11, 2013 to Dec 15, 2013
Sevilla, ES -- Dec 18, 2013 to Dec 22, 2013
London, UK -- Jan 4, 2013 to Feb 16, 2013
Dralion:
Cape Town, ZA -- Mar 5, 2013 to Mar 17, 2013
Johannesburg, ZA -- Mar 21, 2013 to Apr 1, 2013
Caracas, VE -- Apr 25, 2013 to May 12, 2013
Nice, FR -- Jul 18, 2013 to Jul 28, 2013
Beirut, LB -- Oct 10, 2013 to Oct 20, 2013
Geneva, CH -- Dec 4, 2013 to Dec 8, 2013
Michael Jackson THE IMMORTAL World Tour:
Antwerp, BE -- Mar 1 & 2, 2013
Amsterdam, NL -- Mar 8 to 10, 2013
Istanbul, TR -- Mar 15 to 17, 2013
Birmingham, UK -- Mar 26, 2013
Manchester, UK -- Mar 29, 2013
Paris, FR -- Apr 4 to Apr 7, 2013
Lisbon, PT -- Apr 11 to Apr 14, 2013
Barcelona, ES -- Apr 17 to Apr 21, 2013
Saitama, JP -- May 9, 2013 to May 12, 2013
Yokohama, JP -- May 16, 2013 to May 19, 2013
Nagoya, JP -- May 23, 2013 to May 26, 2013
Fukuoka, JP -- May 30, 2013 to Jun 2, 2013
Osaka, JP -- Jun 6, 2013 to Jun 16, 2013
Taipei, TW -- Jun 28, 2013 to Jun 30, 2013
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
2013 Dark Dates:
o March 13
o May 2 - 10
o July 10
o September 5 - 13
o November 6
2013 Added Performances:
o March 29
o May 16
o December 27
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:00pm
2013 Dark Dates:
o March 21 & 22
o April 10 - 14
o June 9
o August 7 - 11
o October 6
o December 3 - 17
2013 Added Performances:
o March 26
o May 27
o December 24
o December 31
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
2013 Dark Dates:
o March 19
o May 14-18
o May 21-25
o July 23
o September 17-21
o November 5-6
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Friday through Tuesday, Dark Wednesday/Thursday
Two Shows Nightly - 7:30pm and 10:00pm
2013 Dark Dates:
o TBA
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
2013 Dark Dates:
o March 19
o March 22
o May 26 - June 3
o July 20
o September 22 -30
2013 Added Performances:
o March 31
o December 30
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
2013 Dark Dates:
o April 2-10
o June 6
o August 21-7
o October 10
o December 11-26
2013 Added Performances:
o December 10
BELIEVE:
Location: Luxor, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 10:00pm
NOTE: Children under the age of 12 must be accompanied by
an adult. Children under the age of five are not permitted
into the theater.
2013 Dark Dates:
o March 22
o May 28 - June 1
o September 3 - 7
o November 26 - 30
o December 17 - 24
2013 Added Performances:
o March 27 & 28
o April 3 & 4
o June 3 & 4
o July 10 & 11
o July 17 & 18
o July 24 & 25
o July 31
o August 1
o August 7 & 8
o August 14 & 15
o August 21 & 22
o December 25 & 26
ZARKANA:
Location: Aria, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
Previews begin in Las Vegas November 1, 2012
Regular performance begin November 11, 2012
2013 Dark Dates:
o March 22
o May 8 - 16
o July 9
o August 21 - September 5
o November 5
2013 Added Performances:
o March 27
o December 26
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
One show nightly: 7:00pm
Previews begin in Las Vegas: May 23, 2013
Gala Premiere: June 21, 2013
Regular Performances Begin: June 22, 2013
2013 Dark Dates:
o TBA
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) Club Cirque -- This Month at CirqueClub
o) Networking -- Posts on Facebook, G+, & YouTube
---------------------------------------
CLUB CIRQUE: This Month at CirqueClub
---------------------------------------
"Bug Love"
{Feb.11.2013}
----------------------------------------------
When trampolinist Karl L'Écuyer joined OVO, he knew he was
embarking on a series of adventures, but he had no idea it would
be the adventure of a lifetime!
Love comes knocking when you least expect it
September 2008. Cirque du Soleil approached Karl and asked him
to participate in its new show inspired by the world of insects:
OVO. With 22 years of trampolining experience under his belt,
Karl joined the artists selected for the tour. Two months later,
he met Marjorie Nantel, a multi-talented artist who also joined
the OVO team.
While a love story between a ladybug and a strange insect was
blossoming on stage, sparks were flying backstage between the
two colleagues. But they knew they would eventually have to go
their separate ways, as Karl was about to go on tour and
Marjorie was due to go to Europe to join a different show.
As life always manages to bring lovers back together-and as
Cirque du Soleil is rather fond of great love stories-Marjorie
was promptly transferred to OVO... much to Karl's delight!
Red shoes and bowler hats
The couple were now together all day, every day, and living life
at double speed. Karl said: "Love on tour is like a 'crash
course' in relationships, as one year here is equivalent to two
or three years of living together for a 'normal' couple!" At
this breakneck pace, Karl knew straight away that he and Marjo
were made for each other. So he popped the question in December
2009 in San Francisco, and the beautiful spider said 'Yes' to
the charming grasshopper.
What the lovers wanted more than anything was to get married in
front of their loved ones in Quebec, and the outdoor show Les
Chemins invisibles would give them the perfect opportunity. In
the summer of 2012, family, friends and members of the troupe
were invited to attend the big celebration that took place on the
stage at the show. Karl remembers the big day: "To get to the
reception, about 200 people walked through the streets of Quebec
City wearing red shoes and bowler hats. There were people from
Japan, England, Russia, China; all our work colleagues could
discover our Quebecois culture and our friends and family could
meet our large touring family. Everyone had a truly amazing
experience."
Happiness in the land of kangaroos
Today, in Melbourne, Australia, the two artists are still enjoying
a life of wedded bliss. They go travelling with their son, Rafael,
who was born in Mexico and has already visited seven countries.
"At this young age, he's learning to walk at the same time as he's
learning to speak English, German, Russian and French. He's getting
to know what life's really like!" said Karl.
We expect it won't be long before we see all three family members
on stage. After all, Cirque du Soleil is a love affair in itself.
---------------------------------------------------
NETWORKING: Cirque on Facebook, YouTube & Twitter
---------------------------------------------------
{Compiled by Keith Johnson}
---[ ALEGRIA ]---
{Feb.07}
Opening in Herning, Denmark tonight! Let's follow Lars
Kristensen, Danish Power Track artist, who is guiding us along
his journey from his hometown gym to Cirque du Soleil's Alegria.
LINK /// < http://nyhederne.tv2.dk/video/index/id/64241438/ >
---[ AMALUNA ]---
{Feb.04}
Meet the Teeterboard boys: These castaways, shipwrecked on the
island of women launch themselves high into the air, twisting
and turning in a playful high-speed act.
{Feb.12}
Meet The God and Goddess of the Wind: Prospera summons a
ferocious storm; thunder and lighting erupt as a pair of artists
perform a midair ballet on straps, coming together in vigorous,
intense and frenetic movement.
---[ DRALION ]---
{Feb.11}
Good day South Africa! Dralion will open at the GrandWest Casino
and Entertainment World in Cape Town on March 5th and at The
Coca-Cola Dome in Johannesburg on March 21st. Watch this cool
story of Janez (host) from Top Billing trying out some of the
acts of the show. Do you think Janez made the cut?
LINK /// < http://goo.gl/W0u6i >
{Feb.22}
Check out this cool photo of some acrobatic equipment used by
our aerialists.
LINK /// < http://goo.gl/IbX0P >
{Feb.28}
Here is a cool photo of costumes worn by the Elements.
LINK /// < http://goo.gl/OI8Fj >
---[ KA ]---
{Feb.10}
The cast of KÀ on the move in MGM Grand Las Vegas to celebrate
Chinese New Year!
LINK /// < http://goo.gl/5sd5l >
{Feb.25}
KÀ Celebrates Chinese New Year! | Earlier this month, KÀ
celebrated Chinese New Year with a parade through MGM Grand Las
Vegas, here's a look at the festivities!
LINK /// < http://goo.gl/NIysF >
{Feb.26}
Desigual Magic Wednesday Event with artist from KÀ & Mystère
LINK /// < http://goo.gl/ICmhh >
---[ KOOZA ]---
{Feb.04}
Kooza in ABC - Spain
LINK /// < http://goo.gl/zj0k6 >
{Feb.19}
Amazing photo gallery in EL PAIS in Spain.
LINK /// < http://goo.gl/sgtCZ >
{Feb.25}
Kooza on Tele 5 - Madrid
LINK /// < http://goo.gl/e0QKy >
---[ MJ IMMORTAL ]---
{Feb.01}
Did you see MJ Immortal on the Finale of Russia's "Minute of
Fame"? A few of our artists made dreams come true for a team of
young contortionists! Check it out.
LINK /// < http://cirk.me/TVkXfS >
{Feb.07}
This is the secret to how we find our way in each arena. We're
getting ready to lay these down at the O2 Arena in Prague for
our premiere tomorrow night! It's the first of two shows - we
hope to see you there!
LINK /// < http://goo.gl/Idxze >
{Feb.12}
Thank you Zurich for the sweet welcome - a chocolate tree
representing Michael Jackson and our show!
LINK /// < http://goo.gl/3o3Kr >
{Feb.15}
ELLE Netherlands visited the tour in Berlin and put together an
impressive look behind the scenes!
LINK /// < http://cirk.me/XKHN8N >
{Feb.21}
Gearing up for our premiere in Montpellier, France on February
26. France 2 TV visited the tour in London and spoke with
Drummer, Jonathan 'Sugarfoot' Moffett; Artistic Director, Tara
Young; and Acrobat, Vincent Deplanche.
LINK /// < http://cirk.me/XibLB9 >
{Feb.27}
"The show runs fast and ends too soon, after two hours and a
quarter, with a great scene of color, music and flags, and the
beauty of Man In the Mirror. Then the lights dim and the stage
is just him, with its symbols, glove, hat." - Review from the
Italian Premiere in Turin.
LINK /// < http://goo.gl/mojKt >
---[ MJ ONE ]---
{Feb.21}
Michael Jackson ONE Press Conference (15 photos) | LAS VEGAS -
FEBRUARY 21: Cirque du Soleil dancers interrupt a news
conference announcing Michael Jackson ONE with a performance at
the Mandalay Bay Resort & Casino on February 21, 2013 in Las
Vegas, Nevada. (Photo by Isaac Brekken/Getty Images for Cirque
du Soleil) 2013 Getty Images - at Mandalay Bay Resort & Casino.
LINK /// < http://goo.gl/DbrJr >
{Feb.26}
Take a look behind the scenes as dancers and acrobats rehearse
for Michael Jackson ONE by Cirque du Soleil. Michael Jackson ONE
is a new theatrical adventure through the spirit and music of
Michael Jackson. It will reside permanently at Mandalay Bay
Resort & Casino. - at Cirque du Soleil IHQ.
LINK /// < http://goo.gl/ImNCZ >
---[ QUIDAM ]---
{Feb.09}
We did a V-Day photoshoot backstage with Lisa & Brian - which
photo is you favorite and why???
LINK /// < http://goo.gl/Q6lEx >
{Feb.10}
Passion takes center stage in most Cirque du Soleil productions
but did you know that love is in the air backstage, too? Since
Quidam by Cirque du Soleil was created, for example, 13 couples
have been formed amongst the cast and crew.
---[ BEATLES LOVE ]---
{Feb.27}
The Sound of The Beatles LOVE | Have you ever wonder how the
music of The Beatles comes together for The Beatles LOVE by
Cirque du Soleil? Our Head of Audio, Jason Pritchard, explains
in our new 3 part series - at The Beatles LOVE by Cirque du
Soleil.
LINK /// < http://goo.gl/Sa53s >
--- [ TOTEM ]---
{Feb.08}
TOTEM surprises Miami! (8 photos) | The Unicyles with Bowls
act of TOTEM surprised the shoppers of the Bayside Market
Place in Miami for a special photo opportunity with media!
LINK /// < http://goo.gl/ncJ1P >
{Feb.12}
CIRQUE CLUB VIDEO: Meet Denise & Massimo, the Roller-Skates
Duo. From their caravan in Italy, these lovebirds share
their life passion - the stage and their love for one
another.
LINK /// < http://cirk.me/X5RLOU >
=======================================================================
COMPARTMENTS -- A PEEK BEHIND THE CURTAIN
=======================================================================
o) HISTORIA - Cirque Company History
o) ODYSSEA - Cirque Tour History
------------------------------------
HISTORIA: Cirque Company History
------------------------------------
* Mar.04.1999 -- New Tour Name Released -- Dralion
* Mar.07.2007 -- Madison Square Garden Show "Winter Tale" Announced!
* Mar.07.2012 -- Viva Elvis Replacement at Aria Announced (Zarkana)
* Mar.11.1994 -- Saltimbanco Japan Tour Began (ends 9/11)
* Mar.11.2007 -- "O" celebrated its 4000th performance [Sunday, 10:30pm]
* Mar.12.2009 -- Cirque Dubai 2010 is once again delayed until 2010
* Mar.14.1999 -- Alegría: Le Film showcased in Santa Barbara
* Mar.14.2003 -- La Nouba celebrated 2000th Performance [Friday, 6:00pm]
* Mar.15.1998 -- Mystère celebrated 2000th Performance [Sunday, 7:30pm]
* Mar.17.2003 -- IBM and Cirque come together in 3-Year Partnership
* Mar.19.2002 -- Saltimbanco Extended CD Released (BMG/CDS Musique)
* Mar.19.2009 -- Cirque Unveils new Casting MySpace Page
* Mar.22.1996 -- Alegría Japanese Tour (until Sep. 8, 1996)
* Mar.22.2005 -- Zumanity CD Released (CDS Musique)
* Mar.22.2007 -- Cirque Luxor (Criss Angel) Announced!
* Mar.23.1993 -- Nouvelle Expérience CD Released in Canada (RCA/Victor)
* Mar.23.1999 -- Alegria: Le Film CD Released in Canada (RCA)
* Mar.23.2000 -- Alegría celebrated 2000th performance [8:00pm/Biloxi]
* Mar.24.1998 -- Cirque Collection CD Released in US (RCA/Victor)
* Mar.24.2002 -- Cirque performed at the 74th Academy Awards
* Mar.24.2004 -- "The Bar at the Edge of the Earth" opened
* Mar.28.2009 -- "O" Honored Earth Hour 2009
* Mar.29.1994 -- Mystère CD Released in Canada (RCA/Victor)
* Mar.29.2012 -- Le Voyage Inspiré by Infiniti JX
------------------------------------
ODYSSEA: Cirque Tour History
------------------------------------
* Mar.01.1988 -- Cirque Réinventé opened Santa Monica, CA
* Mar.02.2012 -- Saltimbanco Arena opened Bordeaux, FR
* Mar.02.2012 -- Totem opened San Jose, CA
* Mar.03.2010 -- Alegría Arena opened Hoffman Estates, IL
* Mar.03.2010 -- Saltimbanco Arena opened Torino, IT
* Mar.03.2011 -- Totem opened Charlotte, NC
* Mar.04.1999 -- Quidam opened Amsterdam, NL
* Mar.04.2005 -- Quidam opened Melbourne, AU
* Mar.04.2008 -- Corteo opened Portland
* Mar.04.2008 -- Saltimbanco Arena opened Little Rock, AR
* Mar.04.2009 -- Quidam opened Belfast, UK
* Mar.05.2004 -- Saltimbanco opened Lyon, FR
* Mar.05.2009 -- Alegría opened Dubai, UAE
* Mar.06.1997 -- Alegría opened Amsterdam, NL
* Mar.06.2001 -- Alegría opened Melbourne
* Mar.06.2002 -- Dralion opened Los Angeles, CA
* Mar.06.2003 -- Alegría opened Houston
* Mar.06.2003 -- Varekai opened Atlanta
* Mar.06.2012 -- Dralion Arena opened Laredo, TX
* Mar.06.2013 -- Alegría Arena opened Stokholm, SE
* Mar.07.2012 -- Alegría Arena opened Nice, FR
* Mar.07.2012 -- Quidam Arena opened Frisco, TX
* Mar.08.2008 -- Saltimbanco Arena opened Shreveport, LA
* Mar.09.1995 -- Saltimbanco opened Amsterdam, NL
* Mar.09.2006 -- Quidam opened Long Beach, CA
* Mar.09.2011 -- Quidam Arena opened Vancouver, BC
* Mar.09.2011 -- Saltimbanco Arena opened Johannesburg, ZA
* Mar.09.2012 -- Dralion Arena opened Corpus Christi, TX
* Mar.09.2012 -- Saltimbanco Arena opened Dijon, FR
* Mar.10.2006 -- Dralion opened Geneva
* Mar.10.2010 -- Alegría Arena opened Cedar Rapids, IA
* Mar.10.2010 -- Saltimbanco Arena opened Pesaro, IT
* Mar.10.2011 -- Dralion Arena opened Austin, TX
* Mar.10.2011 -- Ovo opened Houston, TX
* Mar.11.1994 -- Saltimbanco opened Tokyo, JP
* Mar.12.2008 -- Saltimbanco Arena opened San Antonio, TX
* Mar.12.2009 -- Koozå opened Baltimore
* Mar.12.2009 -- Quidam opened Newcastle, UK
* Mar.13.2003 -- Dralion opened Raleigh, NC
* Mar.13.2013 -- Alegría Arena opened Helsinki, FI
* Mar.14.2006 -- Varekai opened Portland
* Mar.14.2012 -- Alegría Arena opened Montpellier, FR
* Mar.14.2012 -- Dralion Arena opened Hidalgo, TX
* Mar.14.2012 -- Quidam Arena opened San Antonio, TX
* Mar.15.2007 -- Varekai opened Canberra
* Mar.15.2008 -- Saltimbanco Arena opened Laredo, TX
* Mar.15.2012 -- Saltimbanco Arena opened Rome, IT
* Mar.16.2006 -- Saltimbanco opened Santiago, CH
* Mar.16.2011 -- Quidam Arena opened Everett, WA
* Mar.17.2005 -- Dralion opened Barcelona
* Mar.17.2006 -- Corteo opened Scottsdale
* Mar.17.2010 -- Alegría Arena opened Champaign, IL
* Mar.17.2010 -- Saltimbanco Arena opened Bologna, IT
* Mar.17.2011 -- Alegría Arena opened North Charleston, SC
* Mar.18.1999 -- Saltimbanco opened Melbourne, AU
* Mar.18.2003 -- Varekai opened San Diego
* Mar.18.2009 -- Quidam opened Birmingham, UK
* Mar.21.2008 -- Saltimbanco Arena opened Corpus Christi, TX
* Mar.21.2012 -- Alegría Arena opened Strasbourg, FR
* Mar.21.2012 -- Dralion Arena opened College Station, TX
* Mar.21.2012 -- Quidam Arena opened Champaign, IL
* Mar.22.1996 -- Alegría opened Tokyo, JP
* Mar.22.2007 -- Corteo opened Houston
* Mar.22.2012 -- Corteo opened Amsterdam, NL
* Mar.22.2013 -- Alegría Arena opened Turku, FI
* Mar.23.2011 -- Alegría Arena opened Knoxville, TN
* Mar.23.2011 -- Dralion Arena opened San Antonio, TX
* Mar.23.2011 -- Saltimbanco Arena opened Cape Town, ZA
* Mar.24.2010 -- Alegría Arena opened Omaha, NE
* Mar.24.2010 -- Saltimbanco Arena opened Florence, IT
* Mar.24.2011 -- Quidam Arena opened San Jose, CA
* Mar.25.2004 -- Alegría opened Atlanta
* Mar.25.2009 -- Quidam opened Manchester, UK
* Mar.26.2008 -- Saltimbanco Arena opened Wichita, KS
* Mar.26.2009 -- Varekai opened Bilbao, ES
* Mar.28.1995 -- Alegría opened New York, NY
* Mar.28.2007 -- Quidam opened Seoul, SK
* Mar.28.2012 -- Alegría Arena opened Brussels, BE
* Mar.28.2012 -- Dralion Arena opened Highland Heights, KY
* Mar.28.2012 -- Quidam Arena opened Roanoke, VA
* Mar.29.2002 -- Quidam opened Charlotte, VA
* Mar.30.1993 -- Saltimbanco opened New York, NY
* Mar.30.2000 -- Quidam opened Bilbao, ES
* Mar.30.2011 -- Alegría Arena opened Charlottesville, VA
* Mar.30.2011 -- Dralion Arena opened Des Moines, IA
* Mar.30.2011 -- Quidam Arena opened San Diego, CA
* Mar.30.2012 -- Varekai opened Recife, BR
* Mar.31.2009 -- Quidam opened Dublin, IE
* Mar.31.2010 -- Alegría Arena opened East Lansing, MI
* Mar.31.2010 -- Saltimbanco Arena opened Stuttgart, DE
=======================================================================
FASCINATION! FEATURES
=======================================================================
----------------------------------------------------------
"WINTUK: Cirque's Winter Tale - a Look Back"
By: Ricky Russo - Atlanta, Georgia (USA)
----------------------------------------------------------
The story of WINTUK, Cirque du Soleil's "Winter Tale" for children,
begins with an announcement on November 20, 2006 whereby Madison
Square Garden Entertainment and Cirque revealed a joint partnership to
present New York's very first theater production of Cirque Du Soleil
at the Theater at Madison Square Garden. The announcement made by Guy
Laliberté, founder of Cirque du Soleil; Hank Ratner, Vice-Chairman of
Madison Square Garden and Cablevision Systems Corporation; and Jay
Marciano, President, Madison Square Garden Entertainment eluded to a
show with a narrative thread and a storyline designed to present the
theme of Winter; however, most of the creative details of the show
would be made known in the coming year.
The as-yet-unnamed Cirque production was being created specifically
for the Theater at Madison Square Garden and would run for ten weeks
for the next four years each winter, beginning in 2007. The creative
team would use traditional stage techniques and the very latest in
theater technology to bring the audience of nearly 5,000 as close as
possible to the performers. And there would be an emphasis on color,
music and comedy as well as the customary circus arts the public had
come to expect from Cirque.
THERE IS NO SNOW?
-----------------
On April 27, 2007, Cirque du Soleil, MSG Entertainment and BASE
Entertainment announced the world premiere of Wintuk presented
exclusively at the Theater at Madison Square Garden from November 1,
2007 through January 6, 2008. "Experience the excitement of Wintuk
with the whole family, only in New York this holiday season," the
announcement said, "and share the enchanting winter tale of one boy's
quest to find snow and adventure!"
"This is a real first for MSG Entertainment and Cirque du Soleil,"
said Jay Marciano, President, MSG Entertainment. "The debut of Wintuk
this holiday season marks the first time that these world-class
entertainment companies will unite to present a Cirque du Soleil
production, created exclusively for the Theater at Madison Square
Garden. Premiering only in New York, we look forward to entertaining
audiences with Wintuk throughout the holidays for the next several
years."
The show is playful, musical, and bursting with the energy of the city
and the broad sweep of nature. A cast of 50 performers weaves
thrilling circus arts, breathtaking theatrical effects and memorable
songs into a meaningful seasonal story that resonates with the whole
family.
"This new creative challenge for Cirque du Soleil is very inspiring,"
said Gilles Ste-Croix, Cirque's Senior Vice-President of Creative
Content. "Creating a new show based on a family-oriented storyline and
theme has made us look at different artistic forms. We're using large-
scale puppetry and transforming traditional acrobatic numbers into fun
and games experienced from a child's perspective. We really hope
Wintuk's tale will create a sense of child-like wonderment in the
audience."
Cirque du Soleil would incorporate many firsts into this new
production. Wintuk was designed exclusively for the Theater at Madison
Square Garden - Cirque's first permanent address in New York City for
a show presented outside the Big Top. Additionally, Wintuk would be
the first Cirque show created specifically for a family audience.
"People of all ages will identify with the lead character Wintuk, and
his quest to find snow and adventure" the release went on to say. And
Wintuk would be the first Cirque production to be built around a
specific precisely-defined premise: the theme of winter.
According to Cirque's release, the new production also marked the
first time director Richard Blackburn worked with Cirque du Soleil.
"Blackburn is a leading theatrical creator, playwright, director and
actor-manager. His shows are probably best known for combining actors
with oversized marionettes and sets, and integrating a wide variety of
multimedia techniques into his productions. In 1979, he became the
artistic director of Le Theatre de la Dame de Coeur (TDC) in Upton,
Quebec. Richard has also worked on overseas assignments with TDC,
notably in Singapore for the opening ceremonies of Esplanade Theatres
on the Bay in 2002 and as part of Expo 2005 in Japan."
Fernand Rainville, Director of Creation, has worked in Quebec theatre
as a distinguished actor and director since 1985. In addition to his
long list of stage credits, Fernand co-directed the bilingual Montreal
production of Les Miserables and has worked extensively in television.
He also co-directed the opening ceremonies of the Montreal 2005 - XI
FINA World Championships and created and directed the Cirque-produced
pre-game show at the 2007 Super Bowl in Miami.
But how would these two craft Cirque's "winter tale"?
CRAFTING THE ADVENTURE
----------------------
In early press releases by Cirque regarding the show, Wintuk became
"an enchanting tale about a boy named Jaime and his quest to find snow
and adventure. Jaime lives in a city where the arrival of winter has
brought long shadows and intense cold - but no snow! He interacts with
an extraordinary cast of high-energy urban street characters,
including acrobats, dancers and talking marionettes. But when the snow
doesn't arrive, he embarks on a quest with three companions - a female
shaman who's lost in the city, a shy man destined to discover his
courage, and the shadow of a young girl - all to bring the snow back
to where it belongs. The adventurers journey to an imaginary Arctic -
a world without sunlight (Wintuk) - where they encounter the rich
culture of the People of the North and extraordinary giant characters
made of ice. When at last the sun returns, they fly home on the wings
of a giant crane and generate a swirling snowstorm."
But as with any work-in-progress changes are inevitable. For instance,
by the time Cirque and MSG were prepared to officially announce the
show - as if some of their other numerous announcements weren't
"official" enough - the release on September 18, 2007 brought with it
some indications of changes to the show thematically, such as: "Jaime"
becming the lead's character name (after the young kid who played him)
rather than Wintuk, and Wintuk becoming the name of the aforementioned
Artic world without sunlight - to where the characters of the show
journeyed.
What brought about those changes? Creative workshops, intense meetings
in the round and refinements based on space confinements, time
restraints and other factors. The following entries are excerpts given
to us by an anonymous Cirquester from the Wintuk Creators' Notebook,
and they feature some very interesting behind-the-scenes notes
regarding the creation of the Madison Square Garden show. Picking up
just following the official announcement, we hear from Richard
Blackburn (Director), Fernand Rainville (Director of Creation),
Mathieu Gatien (Assistant to the Director), Marie-Eve Lemieux (Props
Assistant), Geneviève Barrière and Michel Granger - in their own words
- as they experienced the creative process of brining Wintuk from the
page into the theater.
WINTUK CREATIVE JOURNAL
-----------------------
February 9, 2007:
Members of the Production team have barely taken their places, but
already we have the complete storyboard and an acrobatic skeleton.
Some of the images from the storyboard for the show, which was
completed by Robert Massicotte on December 6, will be presented to
Daneil Lamarre shortly. Fernand Rainville, Director of Creation, and
Richard Blackburn, Director, are working feverishly to complete the
casting and confirm the acrobatic disciplines. The troupe will be made
up of a total of 50 artists. We signed our first artist's contract
last week.
On January 23, a preliminary set design was delivered by designer
Patricia Ruel, while François Barbeau has submitted all the
preliminary costume designs. These designs are aesthetic intentions
that will be used in defining the language of the show in concert with
the director. We should have the final designs by mid-March. A small
team is starting to assemble in the costume workshops, under the
supervision of Mona Tremblay, to produce the first few prototypes.
Two puppeteers from Théâtre de la Dame de Coeur demonstrate a handling
technique using a puppet from one of their shows. Designers have made
a first visit to the workshops at Théâtre de la Dame de Coeur to learn
about their working methods and puppet-handling techniques.
Almost 40% of the show's numbers will involve puppets. One of the
project's challenges will be to harmonize our know-how with that of
our collaborators: artisans from the Cirque costumes and props
workshops will have to work very closely with those of Théâtre de la
Dame de Coeur, who have the necessary expertise in "marionetics" (a
word we coined for the technique that lies behind this discipline).
Fifteen of the fifty artists will bring these puppets to life during
performances. Their coaching and training will involve techniques
similar to those used for our athletes.
The next steps: Simon Carpentier's musical intentions, auditions in
New York and the final concepts by mid-March...
March 9, 2007:
On February 19, in New York, Fernand Rainville, Director of Creation
gave a presentation on the show concept and storyboard to our partners
at Madison Square Garden. Here's what one of our partners, Mr. Tim
Schmidt, had to say afterwards:
"First of all, let me say again that we all loved the presentation.
The show has the feeling of a timeless fable that will appeal to all
ages. We all feel like we may really be witnessing the birth of a new
New York institution. I can't say enough about it! You guys have
really outdone yourselves! Again, we'd like to thank everyone for
their work so far. I think this show will have a unique universal
appeal."
Needless to say, these were encouraging words for the Creation team,
which will have to outdo itself in this unique, tremendous adventure.
The work is being carried out at an unbelievable pace, and the
atmosphere is incredibly intense, because the final concepts are going
to be presented in mid-March. So soon? Oh yes!
Spring is just around the corner, and the snow storm of a few days ago
was a good reminder of nature's beauty and strength, and of how
unpredictable and fragile it is. You will soon meet the Folk of the
North created by François Barbeau, Costume Designer and see Patricia
Ruel's inspiring and evocative set design, which takes us from the
urbanity of the big city to imaginary wide-open spaces inhabited by
disturbing shadows and Ice Giants. For this innovative winter tale,
the Creation team is exploring several original avenues.
First, a puppet plays the show's protagonist. Last week, the initial
prototype for an oversized Whimsical arrived at the Cirque workshops,
enchanting our teams and making everyone aware of the stimulating
challenges that lie ahead. The Whimsicals are magical dogs-not the
kind you'd ever find in a pet shop, which are absolutely adorable,
whacky, funny, wild and silly; they'll be sure to delight the
audience, not to mention the Merchandising Department!
Second, the show includes songs. Jim Corcoran has joined the team as
songwriter. That was some of the good news from February! He is
currently working on the musical cues with composer Simon Carpentier.
The cues are bits of song that provide information and move the story
along. As a joke, Mr. Corcoran challenged himself to producing the
next holiday season classic. I have had the privilege of hearing what
these two artists have been working on and, I have to say, Jim may
well achieve his goal.
The Winter Show project is unique in that the acts are all justified
in the script, meaning that the guest artists' expertise and acts will
serve to illustrate the story. This very simple tale is about a little
boy on a quest to find snow. His search takes him on an extraordinary
adventure.
A small Casting delegation, including Director Richard Blackburn and
Fernand Rainville, will be going to New York at the end of March to
look for the rare gem to take on the role of this pivotal character in
our story.
April 6, 2007:
Only two seasons to go before the carpet is rolled out for this much-
anticipated event. At that point, we'll be talking about a carpet
covered in snow and a wonderful winter's tale sure to be enjoyed by
adults and children alike. These seven months will be needed to finish
preparing the show. Initial training got underway on March 12, and
will continue until August.
Rehearsals will be held in Pointe-aux-Trembles, in a refitted space
that will be a carbon copy of the show's venue. A 150-foot wide stage
with acrobatic ramps will be built, allowing artists to rehearse their
respective acts. Also planned is the setup of a big top at the
intersection of Highway 40 and Boulevard du Tricentenaire (near
Montréal). These conditions will enable the Production team and
designers to put the finishing touches to the work. This is an
interesting challenge, considering we have only eight weeks of
rehearsals. It's worth noting that the show's preparation period will
be the shortest in Cirque's history!
Apart from acrobatic numbers, the Winter Show's concept rests on the
introduction of puppetry. At the workshops of the Théâtre de la Dame
de Coeur, in Upton, the prototypes of the most complex giant puppets
have been completed and artistic intentions finalized. At the Costume
Workshops, research and development is making good progress. The mock-
ups are done, while color testing and fireproofing of original, never-
before-used materials are in progress. At the Follow-up Props-making
Workshop, development work on the manufacturing of puppet coverings is
on the right track, which is quite a feat, if you consider that we
have to dress 14-foot high ice giants!
As regards the set, Scène Éthique will submit the design and
manufacturing plans at the end of April. Given the special nature of
the project, which will see the light of day during the Christmas
season, we like to say that Santa's workshops have opened a few months
earlier to ensure on-time delivery. And like any self-respecting
Santa's workshop, we sometimes have to put up with grumpiness!
As far as Casting is concerned, most of the show's artists have signed
their names on the dotted line. Numbering fifty, they come from just
about everywhere, including Germany, Argentina, Belarus, Canada, the
United States, France, Latvia, Lithuania, Italy, Mexico, Russia and
the Ukraine. As to the leading roles, the artist who will play the
part of the young boy has yet to be discovered. On April 1 in New York
City, auditions were held to find the boy whose character will be
questing for snow on the stage at Madison Square Garden.
This all-new Cirque du Soleil production will be presented from
November 1, 2007 to January 6, 2008. Madison Square Garden, our
partner in this adventure, is deploying every effort necessary to
ensure that this story becomes a big hit. On May 2, the show will be
performed before the owners of MSG, as well as some 150 sales reps
from New York State. The aim is not only to spike the interest of
retail outlets, but to present the scenario in the hope that that this
story will, with the passing of the years, turn into a classic.
Geneviève Barrière and Michel Granger
April 24, 2007:
"This new creative challenge is very inspiring for us," said Gilles
Ste-Croix, Senior Vice President of Creative Content. "Creating a new
show based on a family-oriented storyline and theme has made us look
at different artistic forms. We're using large-scale puppetry and
transforming traditional acrobatic numbers into fun and games
experienced from a child's perspective. We really hope Wintuk's tale
will create a sense of childlike wonderment in the audience."
Cirque will experience many firsts with this new production. Wintuk
has been designed exclusively for The Theater at Madison Square
Garden, Cirque du Soleil's first permanent address in New York for a
show presented outside the Big Top. Additionally, Wintuk will be the
first Cirque du Soleil show created specifically for a family
audience. People of all ages will identify with the lead character,
Wintuk, and his quest to find snow and adventure. And Wintuk will be
the first Cirque du Soleil production to be built around a specific
precisely defined premise: the theme of winter. With all of these
firsts, the new production is certain to amaze everyone from long-time
Cirque du Soleil fans to those experiencing the excitement of Cirque
for the very first time.
Richard Blackburn & Fernand Rainville
May 4, 2007:
The name of the show that will be put on by Cirque du Soleil at
Madison Square Garden was recently unveiled: Wintuk. The name
evocative of wide-open northern landscapes, with a seasonal resonance
and amusing sound is also a breed of dog! Look up Wintuk on Google
and, past the links referring to our show, you will learn a bit about
this breed of Alaskan malamute. Come to think of it, we also have dogs
in the show, but ours are funnier. But do you pronounce it Win-touk or
Win-tock? It is Win-touk. I would have pronounced it Win-tock, like
tick-tock!
Time's a-wastin'! It is passing very quickly.
Not a moment to spare. It is high time to reveal to you the names of
the designers who are working on the show. Listing off the highlights
and accomplishments of all the show designers' careers would keep me
tied to this computer for days. If you don't mind, I will keep it
simple.
In set design, props and puppet esthetics: PATRICIA RUEL - Patricia
made the props for LOVE and KÀ. This is the first time she is in
charge of décor for Cirque. In costumes and puppet esthetics: FRANÇOIS
BARBEAU - François made the costumes for Dralion, the FINA show and,
well, François does it all. Makeup: ELENI URANIS - A partner of
François Barbeau on Dralion and FINA. In musical design: SIMON
CARPENTIER - The music in Zumanity is his! In puppet design: RENÉ
CHARBONNEAU - René designed the puppets for the Théâtre de la Dame de
Coeur for almost 30 years. In acrobatic rigging design: GUY ST-AMOUR -
His name has been associated with Cirque shows since the early days,
most recently with LOVE. In acrobatic performance design: DANIEL COLA
- From artist for La Nouba to designer for LOVE. In lighting design:
YVES AUCOIN - "A New Day" for Céline, LOVE for Cirque. In
choreography: CATHERINE ARCHAMBAULT - Catherine has worked with Cirque
for several years. She did a remarkable job on DELIRIUM. In
projections: FRANCIS LAPORTE - Soon to be an old hand at Cirque.
Varekai and LOVE come to mind; he is also working on the magic project
for Vegas in 2008. In sound: JONATHAN DEANS and LEON ROTHENBERG -
Jonathan, master of sound for several Cirque shows, and Leon who just
did the sound design for KOOZA.
Fernand Rainville
May 11, 2007:
If you believe that the milder weather of the last few weeks has
melted the enthusiasm of the team behind the Wintuk show, think again!
The Cirque blizzard destined to sweep through New York City next
November is approaching on the horizon, and our teams are busy getting
ready for it.
Last week, Director of Creation Fernand Rainville and Production
Manager Michel Granger went to the Big Apple to present the Wintuk
creative concept to our partners responsible for promoting the
production. They showed a short video tracing the show's storyline and
unveiling a few of its creative and technical surprises. Among other
things, our partners were able to see the Inuit and Siberian
influences apparent in many of the costumes as well as the techniques
developed to move the show's puppets. The response from those in
attendance was very positive, suggesting great things ahead for
Cirque's first show in New York City.
After several weeks of intensive research to find the perfect home for
the Wintuk team until it leaves for New York City, a former garden
products factory in Pointe-aux-Trembles, a district in eastern
Montreal, was chosen. The 40,000-sq.-ft. structure will be renovated
to provide a fitting space for our artists and creation staff, and
even the production offices. Bringing the various teams closer
together will help them make the most of a very tight production
schedule. Let's not forget that the entire Wintuk team will have only
eight weeks to deliver the goods. A big top will also be pitched along
Highway 40, near the factory, so that equipment and materials required
for the show can be put in place.
June 29, 2007:
It's official! After a mere 11 months in development, Wintuk, a winter
tale for the whole family, will be ready for its debut! With a furious
work schedule, creators in high gear and ideas in abundance, the story
of Wintuk is taking shape beautifully in preparation for its premiere
in New York next November.
With this extremely tight creation deadline, Director Richard
Blackburn is carrying out the demanding and meticulous process of
exploring the space and the interactions between scenes, in order to
get an unequivocally precise visualization of the show. Inside a
large-scale 3-D model of Wintuk's set design, each scene is examined
under the Director's microscope.
Surrounding the model are miniature cardboard characters, patiently
awaiting their moment in the spotlight. The artists and their costumes
are printed to scale, the giant puppets are resized, cut, and placed
on their handmade bases, and the timer is set so that every second is
accounted for and used to its fullest. Allowing himself to be carried
away by his own imagination, and with the invaluable contributions of
the project's collaborators, Richard Blackburn creates the detailed
sequence of events that will define this show, in writing and in
images. Day by day, as the images accumulate and develop into a
storyboard worthy of the movies, the on-set dynamic begins to take
shape, issues make themselves known, and Wintuk's Great North becomes
a reality. The Director's process is spectacular and fascinatingly
methodical. Visualization allows the Director to pinpoint the
opportunities for fun and surprises which will make Wintuk a playful
adventure, with high-level performances and unpredictable action!
Further to this rigorous preparation and visualization, the artists
will have a short rehearsal period, during which they will be able to
devote their energy to the story. This is when the visual score takes
a backseat to the electrifying energy of our artists so that Wintuk
can come to life as an inspiring, imaginative metaphor and an
unforgettable show experience for the whole family!
Mathieu Gatien
Assistant to the Director
July 27, 2007:
Are you familiar with the tale of Alice in Wonderland? The passage I
enjoy the most is when Alice finds herself surrounded by oversize
objects, including a huge cup with a spoon the size of a shovel! And
now here I am, right in the middle of the creation of Wintuk,
surrounded, in turn, by giant props. Our own Alice, Designer Patricia
Ruel, is working closely with our mad hatter, Costume Designer
François Barbeau. Together they are creating the aesthetics of the
giant puppets that will be part of Wintuk's cast of characters.
Our wonderland will be inhabited by a family of dogs that are
perfectly irresistible despite their impressive size. To create these
enormous bow-wows, our designers drew inspiration from the
personalities of six dogs suggested by our Stage Director. The Costume
and Props teams were charged with the task of covering the dogs'
puppet structure. The result is simply magical! The dogs are garbed in
coats made of crazy white fur dyed in different shades for each member
of the canine family.
On stage, these large, friendly beasts amble between swing-style
lampposts. The streetlamps-our other giant puppets-have their own
personalities as well. Inspired from the swing singers of the 1930s,
they sparkle like stars in their sequined costumes.
For a few weeks Cirque's costume and props workshops morphed into ice
cube factories. All were busy building giant cubes made of fabric
which were modified and patinated to make them look like massive
pieces of ice. Once assembled, these cubes become ice giants. In
total, three gargantuan monsters will be manipulated on stage by
puppeteers.
From ice factory to feather factory: To clothe two mammoth birds, we
needed some 400 giant feathers, each of which is composed of four or
five different fabrics superimposed, assembled and fastened on the
birds' bodies. Altogether, we used more than 20 different fabrics to
give these birds their splendid look. Putting together these giant
props proved to be an extremely stimulating challenge for us. The
results of all this teamwork will no doubt sweep the show's audiences
into the unique world of Wintuk!
Marie-Eve Lemieux
Props Assistant
MEET THE PRESS
--------------
With the Wintuk Blizzard gathering steam throughout summer 2007 and
with only a few short months left until premiere, time was of the
essence. On September 18, Wintuk met the press for the very first
time. Fernand Rainville, Director of Creation, Michel Granger,
Production Manager and René Charbonneau, Puppet Designer, were on hand
and took a few minutes to present an overview of the show. More
specifically, they addressed the challenges of creating a show for an
existing theatre, how the acrobatic performances were adapted to the
location and the descriptions of the story's main characters, among
other things. It was a rousing success.
"It will snow in Manhattan every night from November 1, 2007 to
January 6, 2008. That's not a weather prediction; it's the promise of
Cirque du Soleil, which intends to introduce New Yorkers, and their
numerous visitors, to winter," said Daniel Lamarre.
After only one press release two months ago, close to 150,000 Wintuk
tickets have been sold, according to Daniel Lamarre. "This proves that
the Cirque brand is very, very strong in New York,which gives us a
significant competitive advantage," he says. "The other thing is that
people love Cirque's acrobatic performances, which they will see in
this show. I also think that we will be going where no one has gone
before with the puppets, because the word puppet does not do justice
to all the technological development put into creating them. People
will be highly impressed by what Mr. Blackburn has created."
Wintuk had a final dress rehearsal on Monday, October 29th before
premiering to favorable-but-mixed reviews: "Everything here is but a
shell of the usual Cirque du Soleil whimsical spirit and creativity,"
said the Asbury Park press of the show. "This is not an experience
that will take your breath away or make you gasp in amazement at the
beauty of it all. [...] That whole aspect of wondering "How did they
do that?" is missing here."
But that didn't stop the show from earning a second season.
A FUTURE FOR WINTUK?
--------------------
For its second season (October 30, 2008 - January 4, 2009) Cirque
added "even more wonder and adventure to the story, with riveting new
elements of suspense and intrigue, and surprising twists, turns and
reversals for the second season." Besides enhancing the show
thematically, the show also added Power Track, "a daring, high-speed,
precision choreographed trampoline act that pushes the very definition
of acrobatics to the limits." They also re-designed a couple of the
show's puppets.
The show remained relatively the same after the second season, with
minor cast changes here and there as performers came and went,
concluding after its fourth season, which ran from November 17, 2010
through January 2, 2011.
With the initial contract having concluded and no renewal in sight,
there was nothing left but to pack WINTUK up and leave the Theater at
Madison Square Garden. In an interview with Jerry Nadal (SVP of
Resident Shows) in Fascination, the Unofficial Cirque du Soleil
Newsletter (which you can read here:
http://www.cirquefascination.com/?p=2283), he spoke about at least one
potential future for Wintuk: "We were talking about touring it,
redesigning the sets to fit into theaters. But we've got so much
product in North America we thought it probably wasn't a good idea. So
I've been looking around for different places to put it."
Alas that has yet to occur; therefore, at present time WINTUK's last
show on January 2, 2011 was its final curtain call.
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 13, Number 03 (Issue #110) - March 2013
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2013 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
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{ Mar.01.2013 }
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