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Fascination Issue 134
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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 15, NUMBER 3 March 2015 ISSUE #134
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
As Varekai winds its way across North America to finish up its arena
tour here, rumors have been circulating about its future in Europe and
beyond. To put it simply: the rumor states Varekai will close during
the summer of 2016 after a very short European Tour (and arena tour
overall). The reason for its premature end wasn't part of the mill,
but even Wikipedia has picked up on this gossip, so it has to be true,
doesn't it? I mean reports of Kooza returning to the United States for
a brief period circulated about recently too and they've just come
true. (I hope you're ready Columbus, Ohio See the dates in our
Itineraire Section!) And there are rumblings that IRIS may be close to
resurrection for Cirque's new permanent residence in New York City
(New York Post columnist Michael Riedel quoted unspecified sources
suggesting Cirque du Soleil is looking to take over the Lyric Theatre
on Broadway in the spring). So who knows! Nothing is official at this
point, but it's not beyond the realm of possibility that Varekai would
close early. Could it be because AVATAR is slated to begin touring in
arenas by year's end? Is it because OVO is due for conversion into an
arena format soon? Would there be too many arena shows by that point?
(Quidam is expected to close in 2016 as well.) Or could it be that
Cirque is having a hard time lately finding profitable and available
locations for its arena shows?
Considering a February 22nd report that Cirque's reported a 33.6% drop
in revenues from its European Tours, it seems likely the company is
having troubles finding profitable locations. So no wonder arena tours
are getting shorter and shorter! To prove that I pulled together some
arena tour data, as is my wont, to compare and contrast each of the
arena show tours to date. To give me a baseline I re-traced Salti's
arena tour with focus on the number of months the show spent in a
particular market and which markets it visited throughout its run, and
then compared Saltimbanco's tours to each subsequent arena conversion
(Alegria, Quidam, Dralion, MJ Immortal, and Varekai). I ignored
DELIRIUM because as it was Cirque's first arena show and a proof of
concept and a specialty tour to boot, it would skew the analysis.
Show Start End Mo Tour
------------------------------------------------------------
Saltimbanco 7/31/2007 8/23/2009 25 NAT
9/17/2009 3/4/2011 18 Europe
3/9/2011 4/3/2011 1 Africa
4/21/2011 9/4/2011 5 Australia
9/21/2011 9/9/2012 12 World
10/10/2012 12/30/2012 2 NAT
Thus looking at the chart above, Saltimbanco visited 5 different
markets - North America, Europe, Africa, Australia, "World" (as it
bounced around from market to market), and North America again before
the final curtain call. The data shows Saltimbanco spent most of its
time in North America (27 months total), secondly in Europe (18+
months), and so on. By the end of its tenure, Saltimbanco spent 63
months touring throughout the world's arenas, or the equivalent of
5.25 years.
Show Start End Mo Tour
------------------------------------------------------------
Alegria 5/27/2009 8/14/2011 27 NAT
9/7/2011 12/29/2013 27 Europe
Alegria was the next show to undergo conversion, and the data on its
tour makes quite the contrast to Saltimbanco's. The show visited only
two major markets during its time (North America and Europe) but spent
an equal amount of time in each (roughly 27 months). There's nice
synergy there, but why didn't it tour around the globe like its
predecessor? Either way its tour was cut short at 54 months or the
equivalent of 4.5 years. Since both Dralion and Quidam were put on the
road virtually in tandem, we'll look at them together...
Show Start End Mo Tour
------------------------------------------------------------
Quidam 12/11/2010 8/11/2013 32 NAT
9/5/2013 4/20/2016 31 Europe
Dralion 10/20/2010 12/23/2012 26 NAT
2/6/2013 10/20/2013 8 World
10/20/2013 9/6/2014 11 Europe
10/2/2014 1/18/2015 3 NAT
Quidam had quite the healthy tour, didn't it? It spent just as much
time out there as Saltimbanco did 63 months, or the equivalent of
5.25 years but like Alegria, Quidam only visited two major markets:
North America and Europe Why? Dralion didn't fare as well: even
though it visited more markets than Quidam (North America and Europe
before bouncing around other markets of the world), its arena tour
only lasted approximately 48 months, or just 4 years. Are we seeing a
market saturation trend? Is Cirque finding it hard to market shows in
this format to arenas it's previously visited? Is it finding many
stops unprofitable? Are there too many shows touring at once? Probably
all of the above! The tour of Michael Jackson THE IMMORTAL is even
bleaker:
Show Start End Mo Tour
------------------------------------------------------------
MJ Immortal 10/2/2011 9/2/2012 11 NAT
10/12/2012 4/21/2013 6 EUR
5/9/2013 1/14/2014 8 Asia-Pacific
2/28/2014 8/31/2014 6 NAT2/Mex
The special nature of the show almost precluded me from considering it
- on average arena shows spend about 5 days per city for approximately
7 performances, the MJ Immortal Tour only performed 1-2 days per city
with a very limited number of performances but considering it did
visit other markets besides North America and Europe it felt a worthy
contender. But the data on its tour continues the trend: arena tours
are getting shorter and shorter. In fact Michael Jackson THE IMMORTAL
World Tour clocks in at only 31 months, or 2.58 years long. That might
not be so shocking considering the trouble Cirque had getting the show
booked and its turbulent tour itinerary later in its run (although it
seemed to make boo-coo bucks!), it's fascinating never-the-less
because Varekai's tour could be shorter!
Show Start End Mo Tour
------------------------------------------------------------
Varekai 12/13/2013 9/6/2015 21 NAT
10/8/2015 7/xx/2016 9 EUR
As it stands Varekai's North American tour will come in at approx. 21
months in length, much shorter than any of the previous shows in this
format. Furthermore, if the July 2016 rumor holds true, Varekai will
spend only 9 months touring Europe. Wow! That means Varekai's life-
span will only be 30 months, or 2.5 years beyond the Grand Chapiteau.
That's three years less than Saltimbanco or Quidam!
Taking a look at Cirque's arena tours like this also begs the
question: why has Cirque ignored Australia, Japan and other markets in
the Asia-Pacific region? Additionally, why hasn't an arena show
visited South America? Are there just not enough appropriate venues?
Are there not enough interested parties to bring those types of shows
in those markets? I really cannot say. But if Saltimbanco can visit
Australia and MJ Immortal can tour Japan and other Asian markets, then
it stands to reason other converted shows could as well, doesn't it?
Alas the answer might be very simple: those markets were just not
profitable enough for Cirque to return converted shows there, and/or
the markets may not have wanted them to return there. That still
doesn't answer why South America is ignored, but alas perhaps there's
just not the proper facilities to house a Cirque arena show there
but
I can't believe that's true! Maybe it's not worth converting shows
anymore?
Meanwhile, while I've contemplated Varekai's status in the arena line-
up, three shows reached celebratory milestones of their own this past
month: On February 21st, JOYA celebrated its 100th performance; on
February 27th, Amaluna celebrated its 1000th performance in Houston,
TX; and on February 28th, OVO celebrated its 2000th performance in
FukuoKÀ, Japan. KÀ also celebrated its 10th Anniversary (official
shows began on February 3, 2005; previews began November 26, 2004).
And a few new projects were announced: HEART Ibiza collaboration with
the Adrià Brothers acclaimed restauranteurs in Spain. (It's a
partnership we've eluded to twice in the past and now it's really
happening), and Sama-Sama, a business partnership between Cirque du
Soleil and Sama-Sama Creative Labs for the production of the first
Sama-Sama Live Experience. Both of which you can read a little more
about in our news section this month.
And hold on to your hats folks, but according to Amazon.ca, the
special show that would never be filmed and released to home
audiences, then was later broadcast via the web (in edited form and
only to Canadians), is due to be released on Blu-ray/DVD next month.
What exciting new thing could this be? Why Cirque du Soleil's 30th
Anniversary Grand Concert, of course! Amazon.ca has a pre-order page
up and running for "Cirque du Soleil - The Great Concert/ Le Grand
Concert Blu-Ray + DVD (Bilingual)" for $22.50 CDN
(http://goo.gl/V0EiuC). The release date is listed as April 21, 2015
so it'll be here soon! We can only thank Cirque du Soleil, Radio
Canada, and/or CBC for putting the effort into releasing the broadcast
for home consumption, so forgive our jibe earlier about it never
coming out on DVD because we think it deserves to be released! (And
we'll be first in line to get it!)
As for our features: Our friends over at TheChapiteau recently visited
Varekai in Houston and had the opportunity to speak with Isabelle
Corradi (Varekai's Chanteuse) and Fernando Miro (The New Icarus) while
there! The interviews were done via video but you'll find a
transcription of each within as well as two rather large press pieces
one from Robin Leach giving us a glimpse of One Night for One Drop 3
(which debuts March 20th), and a piece giving us a "first look" at
Cirque du Soleil and Saban's "Luna Petunia" project!
As always we also have the posts made to Cirque's Facebook pages,
and updates to Cirque's touring schedule. Oh, and don't forget to
pick up Issue #4 of "The Chapiteau-Fascination! Magazine" here:
< http://issuu.com/thechapiteau/docs/tcfmag_issue_4 >.
So, let's get started!
/----------------------------------------------------\
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| Realy Simple Syndication (RSS) Feed (News Only): |
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\----------------------------------------------------/
- Ricky "Richasi" Russo
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CONTENTS
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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
* Didyaknow? -- Facts About Cirque
* Networking -- Posts on Facebook, G+, & YouTube
o) Fascination! Features
*) SPECIAL /// "A One Night for One Drop 3 Preview"
By: Robin Leach, via The Las Vegas Sun
*) SPECIAL /// "A First Look at Luna Petunia'"
By: Jeremy Dickson, via Kidscreen.com
*) INTERVIEW /// "Isabelle Corradi - Varekai's Chanteuse"
By: The Chapiteau, a Cirque du Soleil Fan Club
*) INTERVIEW /// "Fernando Miro The New Icarus"
By: The Chapiteau, a Cirque du Soleil Fan Club
o) Subscription Information
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
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KÀ Celebrates a Decade at MGM Grand
{Feb.02.2015}
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Cirque du Soleil launched KÀ at the MGM Grand on Feb. 3, 2005.
Much has changed on the Stripand the MGM Grandin those 10
years, but KÀ remains a constant, drawing capacity crowds to its
$165 million, 1,950-seat theater for 10 performances every week.
It's rare enough that any show lasts that long in Las Vegas, but
KÀ has also maintained one-third of its original cast despite a
rigorous schedule and a tragedy that led the production to
temporarily drop its climactic battle scene.
Cast and crew are looking forward to the next 10 years of
relating the odyssey of a pair of twins separated after an
attack by sinister forces. As the 10th anniversary approaches,
general stage manager Stacey Myers describes the mood within the
300-plus member KÀ community as "very excited. It's a great
group. The technicians and the artists get along famously."
Myers functions as the liaison between the artistic director and
tech crew, as well as the show caller who gives cues from the
back of the house during shows. "We have a very good
understanding that no one person makes this show happen. It
takes all of us together."
KÀ immediately distinguished itself from other Cirque
productions thanks to an ambitious set design by the late Mark
Fisher, perhaps most notably the ingenious hydraulics of the
Sand Cliff Deck. The cast includes talent that has been with the
show since the beginning: internationally known baton twirler
Noriko TaKÀhashi; sisters Jennifer and Cheri Haight, who play
the twins at the heart of the narrative arc; "acro-valet" Jason
Zulauf; and brothers Sabú and Francisco Alegría, traditional
circus performers from Mexico who defy danger on the "Wheel of
Death."
The KÀ family lost one of its own when Sarah "Sasoun" Guyard-
Guillot fell from her harness during a performance on June 29,
2013. The scene had to be pulled while safety standards were re-
examined; show producers reinstated it last December. Guyard-
Guillot's fellow cast members were devastated, but while her
absence will be felt as the 10th anniversary is observed, it's
her passion for performing that will be remembered.
KÀ is one of the Strip's most demanding productions, but passion
drives the cast performance after performance, making the show
seem fresh the second, third or even fourth time around. "When
you're happy with your surroundings, and you're happy with what
you do, and when you love what you do and you're passionate
about what you do, you go out there every day and try to do the
best job that you can," Myers said. "I think we have a bunch of
happy people here, and that's why the audience sees and feels
that passion from the show, because they go out there and give
it their all, all the time."
{ SOURCE: Las Vegas Magazine | http://goo.gl/wA18Jf }
See Inside JOYA Theater on Google Maps!
{Feb.03.2015}
-----------------------------------------------------
Check this out!
Interested in seeing what the inside of Cirque du Soleil JOYA's
Theatre looks like? You can, right on Google Maps!
LINK /// < https://goo.gl/maps/No0Zj >
{ SOURCE: Google Maps }
Cirque du Soleil Marketing Department Signs AOD
{Feb.03.2015}
-----------------------------------------------------
Cirque du Soleil recently added AOD Marketing as part of their
SEO online visibility strategy.
"This mandate requires an exciting technical strategy that we're
ready to take on. Our collaboration with Cirque du Soleil marks
the beginning of a promising 2015 year," says Augustin Vazquez-
Levi, President and founder of AOD Marketing.
Cirque du Soleil is among the rare clients that could propel
this agency among key players and reinforce AOD in the web
marketing space in Canada.
About AOD Marketing
AOD Marketing is composed of true SEO and web analytics experts.
The agency is recognized for creating and maintaining close
relationships with clients, using a win-win approach to both
internal and client strategy. Based out of Montreal, AOD has
expertise trusted by recognized names like Ricardo Cuisine,
iPerceptions, Renters Pages, Linen Chest, La Presse, Jessica
London, Du Proprio and more. AOD manages a client base, whose
traffic represents more than 45 million daily web visits.
{ SOURCE: AOD Marketing | http://goo.gl/JYjXpS }
Valentine's Day Cirque Style
{Feb.04.2015}
-----------------------------------------------------
Check out these images Cirque du Soleil posted to their Facebook
page in celebration of Valentine's Day!
LINK /// < http://www.cirquefascination.com/?p=5472 >
{ SOURCE: Cirque du Soleil }
KÀ, a Technical Marvel, Celebrates 10 Years
{Feb.09.2015}
-----------------------------------------------------
The athleticism and gymnastics are extraordinary. The agility is
more than amazing. The computer technology and machinery to
bring Cirque du Soleil's "KÀ" to life twice nightly at MGM Grand
are exceptional. It's all about fearless courage and tenacity in
a unique family of performing artists. They've been defying the
laws of gravity for 10 years and are still climbing. Tonight is
the start of the 10th anniversary celebration shows, and it's
good to take a look back at the spectacular that still has
audiences confounded and wondering if what they saw was real.
One tragic incident during "KÀ's" decade-long run at MGM Grand
led Cirque officials to delete the final Epic Battle Scene, but
it was restored in early December. On June 29, 2013, acrobat
Sarah Guillot-Guyard plunged 90 feet off the rising vertical
wall to her death after her safety cable was cut in a winch. It
was the first onstage accident resulting in death in Cirque's
30-year history. Shows were put on hold for about a month, and
the battle scene was replaced with an alternative sequence and
then a previous video projection of the act. It took nearly 18
months and more than $500,000 for Cirque performers and
executives to feel confident and comfortable about reintroducing
the scene that reached the climatic finale.
My interview with senior Cirque exec Calum Peterson, who was
candid about the circumstances that led to Sarah's death, how a
similar disaster could never happen again and why the scene was
reintroduced to the show two months ago, was posted on Dec. 7.
It's still as dangerous as it looks, even more so than the Wheel
of Death, which I've always thought of as the most dangerous act
in any show. "It is highly dangerous," Calum explained to me.
"It requires a lot of the human body. The training that goes
into the athlete's core building this act is intense. It takes
months of strength training."
"KÀ" premiered on Feb. 3, 2005, after previews that began Nov.
26, 2004. I remember the premiere night well as everybody in the
glittering audience were open-mouthed at the spectacle the
show and theater had cost nearly $200 million to develop. It was
hailed as a "masterpiece of theater" and a "unique entertainment
of the first order."
The theater seats 1,950 people at each performance in the 16
seating zones who find a pair of speakers at ear level in every
seat. Hundreds more are installed in the auditorium in all
4,774 loud speakers in 2,139 cabinets. Instead of a conventional
stage with a permanent floor, there are two giant moving
platforms and five smaller ones that seemed to float through a
bottomless space. The height of the high grid is 98 feet above
the stage and the drop to the lowest floor level is 51 feet from
the audience, a mind-numbing 15 stories in height from top to
bottom with computers controlling the movable platforms. The
unique floating stages won "KÀ" the Thea Award for Outstanding
Technical Achievement in 2008 from the Themed Entertainment
Association.
One of the highlights of the production is the Sand Cliff Deck,
which a vertical gantry crane controls rotating it 360 degrees,
tilting it from flat to 100 degrees and lifting up and down 72
feet. The performers use 80 "rod-actuators" that sprout from the
floor surface to assist their climbing vertically. It turns into
a beach with the entire deck covered with 350 cubic feet of
imported granular cork from Portugal. That's one ton of cleaned
cork hydrated to specific conditions for every performance. The
cast members inside the human-sized puppets are buried within
the cork and then revealed to mimic giant sea creatures,
including a mischievous starfish and playful crab.
Since "KÀ" opened, more than 130,000 pounds of cork have been
used. During the run of the show, 1,586 Spearman/Spearwoman
unitards and 243 wigs have been used. The cast has worn out
7,421 makeup brushes since opening night. Just what does "KÀ"
mean? Its title is inspired by the ancient Egyptian belief that
an invisible, spiritual duplicate of the body accompanies every
human being throughout this life and into the next. Eighty
phenomenally physiqued individuals make up the team of onstage
artists and performers with backup from 220 others, including
technicians and support staff on the production team. Amazingly,
about 30 percent of the staff and one-third of the performing
artists have been with the show since Day 1. They celebrated
4,000 shows in 2013.
Happy 10th anniversary! It's truly a remarKÀble achievement and
another only-in-Las-Vegas experience.
{ SOURCE: Las Vegas Sun | http://goo.gl/ZkFm1L }
Cirque May Walk Tightrope on Ownership?
{Feb.12.2015}
-----------------------------------------------------
Cirque du Soleil founder Guy Laliberté may be ready to sell
control of his company as it reaches a crossroads in its 30-year
history.
Laliberté mused publicly in December about selling a 20- to 30-
per-cent stake in the Montreal-based entertainment giant. In an
interview with The Wall Street Journal, he said he was looking
for a partner to help expand the business globally.
Now, there are suggestions that an even bigger block of the
company could be up for grabs. La Presse reported this week that
the Cirque 90 per cent owned by Laliberté is considering
all its options, including the sale of majority ownership.
The Cirque and its adviser Goldman Sachs are seeking a deal that
would value the company at about $2 billion, according to a
Bloomberg News report, which identified private-equity firms TPG
Capital Management and Carlyle Group LP as interested suitors.
[ED: The Carlyle Group, one of the world's largest investment
firms, is listed on the New York Stock Exchange and achieved a
significant money shot (200% in one year) as a shareholder of
50% of shares Beats Electronics last year. TPG Capital is a
private investment firm managing assets of 65 billion, which has
invested in the Uber transport service and the Fairmont hotel
chains.]
If it happens, Quebec could see financial control of one of its
flagship cultural enterprises slip out of the province. How long
before we hear pleas from PQ leadership candidate Pierre-KÀrl
Péladeau and others for the provincial government or public
pension fund manager Caisse de dépôt et placement du Québec to
step in to keep the Cirque in Quebec?
Well, that possibility has been dismissed by Economic
Development Minister Jacques Daoust, who says a pricey
government investment in the Cirque is out of the question.
He's right. We know by now that the Cirque du Soleil, like
Céline Dion, has decamped to Las Vegas and points abroad. Other
than the people who work at the head office in Montreal, the
Quebec flag is not all that visible on Laliberté's business.
The real strength of the Cirque has been its ability to produce
shows of artistic genius that resonate with audiences worldwide.
Creative control is likely to remain here and, aside from any
nationalist considerations, new capital and new ideas could be
just what the Cirque needs at this point in its history.
The show has been running for three decades, but the business
peaked just before the recession began in 2008. Signs of fatigue
have been showing for a while. When the recession hit, the
Cirque continued to expand its offering even as consumer demand
slowed down.
In January 2012, it announced 400 layoffs. There were reports of
another 52 job cuts last November.
Some shows have flopped, others have been shut down early or
scaled back and management ranks have been rationalized. A
tragic accident shook the Cirque in 2013 when an acrobat was
killed after falling during a Las Vegas performance.
What might lie ahead under a new ownership group?
"They have smartly trimmed down the company to make it
attractive to investors," says Concordia University theatre
professor Patrick Leroux. And the Cirque has moved its
activities into separate divisions to give a clearer sense of
the different markets in which it operates.
"But," he asks, "have they kept their essential players, the
people who actually drive the creative process without which the
company is but a brand?
"Accountants and marketing staff have their roles, but they
don't reinvent the circus year in and year out. For that, you
need a clear and driven artistic and business vision."
Leroux says it's difficult to know what will happen next.
Depending on the potential partners' core values, the Cirque
might actually be poised for an interesting expansion with the
infusion of new funds and ideas.
One possible partner identified in La Presse is Mitch Garber,
chief executive of gaming company Caesars Acquisition Company,
which owns resort and casino properties such as Planet
Hollywood, Bally's Las Vegas, The Cromwell Las Vegas, The Quad
Las Vegas, Harrah's New Orleans and the Horseshoe Casino in
Baltimore.
Garber is reportedly interested in making a bid with private
equity firm Apollo Management.
If there's anyone who understands how Las Vegas works, it's
Garber. And if there are potential ties between the Cirque and
the casino/entertainment industry, then Garber could be well
placed to find them.
Attempts to reach him were unsuccessful. But he does fit the
bill in one important respect. The company he runs is
headquartered in Montreal and despite those Las Vegas
connections, Garber is a Quebecer.
{ SOURCE: Montreal Gazette | http://goo.gl/GzB0y2 }
CREACTIVE to Launch June 2015
{Feb.12.2015}
-----------------------------------------------------
According to Travel Pulse, Club Med and Cirque du Soleil's joint
project CREACTIVE will launch at Club Med's Punta Cana
location in June 2015.
The Zen Oasis will be the second new program to debut at the
resort in 2015. Late last year Club Med officials announced the
resort will launch Club Med Creactive by Cirque du Soleil in
June 2015.
{ SOURCE: Travel Pulse | http://goo.gl/YOepim }
Cirque Announces: HEART Ibiza
{Feb.13.2015}
-----------------------------------------------------
Cirque du Soleil today announced another collaboration, this
time with the Adrià Brothers acclaimed restauranteurs in
Spain. We've eluded to this potential partnership twice in the
past, and now it's really happening.
From Cirque's Facebook Page:
We are happy to announce HEART Ibiza, a creative partnership
between The Adrià Brothers and Cirque du Soleil. A unique and
exciting concept that explores the creative collision between
food, music and art. HEART Ibiza opening in summer 2015
www.heartibiza.com
And from HEART Ibiza's Facebook page:
The Adrià Brothers and Cirque du Soleil unite their unique
creative minds in HEART, an innovative concept curated by Albert
and Ferran Adrià, the world-famous chefs renowned for their
Michelin three-star restaurant elBulli, and Guy Laliberté,
founder of Cirque du Soleil.
For more than 10 years, Albert and Ferran Adrià and Guy
Laliberté have been sharing ideas on the concept. This project
was born from their common passion for art, gastronomy and music
and will be set at an iconic location at Ibiza Gran Hotel. HEART
seeks to explore what happens when food, music, and art collide.
Three places to experience HEART Ibiza:
o) THE BARAKÀ A hippie chic take on street food markets. This
outside terrace features curated music, original contemporary
art pieces, ambient live art performances and gastronomy.
Inspired by traditional street food markets and various
street foods of the world, the Adrià brothers have taken
great care to design an astonishing gastronomic offer to
create a unique and global experience.
o) THE WORKSHOP Where to experience art, music and food. The
Workshop is a unique space that offers a seated food service
experience combining ambient visual and performance art,
curated music and signature Adrià gastronomy.
o) LA BOÎTE A live music venue, featuring live bands, live
art, and a decadent food and beverage service. A space where
the hottest nightlife ingredients mix in different ways to
create a distinct flavor resulting from the creative genius
of the Adrià Brothers and Cirque du Soleil.
HEART explores the creative collision between food, music and
art. Check out HEART Ibiza:
o) WEBSITE - http://www.heartibiza.com/
o) FACEBOOK - http://goo.gl/Fnhbqg
About Albert and Ferran Adrià:
Albert and Ferran Adrià, spirit and soul of restaurant elBulli,
can certainly be considered the most well-known brothers in the
world of gastronomy.
For many, elBulli is considered a before-and-after of modern
cuisine, not only for the creation of innumerable elaborations
and techniques, but also for its philosophy and values such as
creativity, passion, challenge, and humility, which have always
defined the way Albert and Ferran work. The Adrià brothers are
also known for their willingness to communicate and spread
recent developments in gastronomy through their participation in
conferences, projects and books.
Over the years, elBulli has been an incubator for some of the
foremost chefs in modern gastronomy. Rene Redzepi, Andoni
Aduriz, Joan Roca, Grant Achatz, José Andrés and Massimo Bottura
are among the most eminent of the more than 2,000 trainees that
have completed an internship at elBulli over the years.
Aside from their projects as a team, Albert and Ferran are
currently working on personal projects. The year elBulli closed
its doors, Albert embarked on the BCN5.0 project with Tickets,
the first in a series of five concepts (culminating in 2016 with
project Enigma), all located in el Paralelo, one of the most
celebrated neighborhoods of Ciudad Condal.
Ferran is fully committed to the development of
elBulli Foundation, the evolution of what was once elBulli. This
project is meant to create a physical and digital archive of the
restaurants' legacy and creativity as well as to serve as a
learning center for knowledge sharing and acquisition.
{ SOURCE: Cirque du Soleil }
Mystere at Nación ESPN's 4th Anniversary Show!
{Feb.14.2015}
-----------------------------------------------------
LINK /// < http://www.cirquefascination.com/?p=5518 >
{ SOURCE: Cirque du Soleil }
ZarKÀna at USA 7's Rugby Tournament!
{Feb.15.2015}
-----------------------------------------------------
LINK /// < http://www.cirquefascination.com/?p=5521 >
{ SOURCE: Cirque du Soleil }
Las Vegas Sun: KÀ By The Numbers
{Feb.16.2015}
-----------------------------------------------------
Today's Monday By the Numbers focuses on the Cirque du Soleil
spectacle KÀ at MGM Grand celebrating its 10th anniversary this
month. The show opened officially on Feb. 2, 2005.
Similar to an acrobat in "KÀ," we fly freely with the figures:
o) $165 million: Cost of the "KÀ" theater.
o) 1,900: The theater's seating capacity.
o) 98: Distance in feet from the lowest level of the stage below
the boardwalk at audience level up to the highest grid.
o) 15: The height, in stories, of the lowest level of the
theater to the highest grid.
o) 50: The height, in feet, of the Sand Cliff Deck, the largest
moveable stage in the show.
o) 25: The width, in feet, of the Sand Cliff Deck.
o) 6: The depth, in feet, of the Sand Cliff Deck.
o) 50: The weight, in tons, of the Sand Cliff Deck.
o) 2,139: The number of speakers placed around the theater,
including in each seat.
o) 80: Number of cast members in the show.
o) 300: Total number of members of the production team in the
show.
o) 14: Number of acts in the show.
o) 20: Number of minutes before the curtain the show's
Gatekeeper characters begin taking their places in the wings
of the theater so that they can swoop down and run past
unsuspecting audience members.
o) 16: Number of songs in the "KÀ" soundtrack.
o) 350: The volume, in cubic feet, of granular cork used in the
show's washed-up-on-the-shore scene.
o) 14: Number of fake trees in the show's forest scene.
o) 160: Number of safety harnesses used in the show.
o) 500: Individual props used in the show.
o) 16: The length, in feet, of the Stick Bug puppet.
o) 80: The length, in feet, of the Snake puppet.
o) 110: Number of arrows shot across the theater during the
performance.
{ SOURCE: Las Vegas Sun | http://goo.gl/1ftVWO }
Mystère Characters to Stop By FACES Conference
{Feb.18.2015}
-----------------------------------------------------
The FACES 2015 Encephalitis Conference will welcome a number of
presenters.
Becky Dennis, a compassionate patient advocate and member of the
International Encephalitis Consortium will be our opening
speaker. Elaine Dowell, founder of The Encephalitis Society UK
will travel from England to share, "How Your Brain Works, an
interactive workshop." The Hashimoto's Encephalopathy SREAT
Alliance will offer a presentation and a question and answer
session hosted by Dr. Melanie Alarcio, Nicola Nelson and Cori
Zdebel. Dr. Patricia Hopps, Utah psychologist and encephalitis
survivor will speak of "The Least Talked About Yet Most Painful
Loss Due to E." Chris Maxwell, author of "Changing my Mind" will
invite others to face their inner wars post encephalitis and
turn mourning into dancing. Dolly Kelepecz, Affilate Assistant
Professor UNLV and owner of DK Bodybalancing Method will share
an introduction to Pilates and teach a few mind/body techniques.
The FACES Organizers have chosen a non-gambling Las Vegas hotel
to offer a comfortable and peaceful environment for all
attendees. This means they have removed the continuous sound of
those Vegas slot machines from FACES. But don't think for a
moment that they have removed all the fun!
Encephalitis Global is very proud to announce that a few artists
from the Cirque du Soleil show Mystère will be teaming up with
Encephalitis Global to be certain that this FACES Conference
will be a memorable one. Mystère Cirque du Soleil characters in
full costume will be stopping by at FACES to share a taste of
their show with us. The characters will be happy to take photos
with FACES attendees after their performance.
Encephalitis Global wishes to sincerely thank David Gomez and
Andrew "Moose" Allagree for making this dream a reality. Gomez
is the Artistic Director of Mystère; Allagree is an Artistic
Director at American Ballet Master Series. These two gentlemen
have put their heads together to arrange an unforgettable
"first" to happen at FACES.
{ SOURCE: Digital Journal | http://goo.gl/mRQP9t }
Edhec Business Students Join The Circus
{Feb.19.2015}
-----------------------------------------------------
The programmes are proving popular with students and
organizations alike, so much so that Edhec Business School in
France has signed up the Canadian entertainment group Cirque du
Soleil as sponsors of its one-year degree in creative business.
Daniel Lamarre, president and chief executive of Cirque du
Soleil, says the relationship is intended to generate ideas for
the company. "When I see a university I see young people with a
lot of creative talent," he says. "If I meet and talk to 30
students, already three want to meet me and pitch to me."
When asked if the relationship with Edhec will result in
projects, internships and jobs for students, his answer is
simple: "All of the above."
The collaboration with Cirque du Soleil is proving popular among
students too, in part because the company is showcased in class,
with Edhec professors teaching a case study about the
entertainment company. "They are one of the only companies that
have the cultural and artistic side and the social
[responsibility] side," says Miren Garaicoechea, a student on
the programme who wants to work in corporate philanthropy when
she graduates.
Students on Edhec's MSc in Creative Business are taught arts
management in the first semester and social innovation in the
second. It was this that Etienne Bouvier, a student on the
degree, found particularly attractive. Moreover, he is now
studying for part of his programme at HEC in Montreal, the home
of Cirque du Soleil. Eleven of the 40 masters students are
studying in Montreal, and along with Mr Bouvier will visit the
headquarters of Cirque du Soleil while in Canada, to talk to
executives and performers. On graduation he hopes to work as an
executive producer in the movie business.
Isabelle Sequeira, programme director of the MSc in Creative
Business says the degree is designed specifically to promote
careers in arts and cultural management. "Like any business
school, we have to train people in creative business." She now
hopes that the fledgling relationship with Cirque du Soleil will
develop into a long-term alliance.
{ SOURCE: Financial Times | http://goo.gl/ZgyWfZ }
Buyout Troupe Stage Bids for Cirque du Soleil?
{Feb.20.2015}
-----------------------------------------------------
Some of the UK's biggest buyout funds are plotting to take
control of Cirque du Soleil, the live entertainment company
which is one of Canada's most prominent global exports.
Sky News has learnt that BC Partners, CVC Capital Partners and
Permira Advisers are among a troupe of financial investors which
have tabled indicative offers for the Montreal-based business.
The auction of a stake in La Cirque du Soleil, which staged some
of the world's most spectacular live shows in the years after
its launch in the 1980s but has recently fallen on tougher
financial times, is expected to take place this year.
Set up by street performers in Quebec in 1984, Cirque du Soleil
describes itself as offering "a dramatic mix of circus art and
street entertainment".
Previous reports suggested that Guy Laliberte, the company's
founder and controlling shareholder, was hoping to sell between
20% and 30% of it to a new investor who could help it to enter
markets such as China and India.
However, sources close to the process say that financial
information disclosed to potential buyers suggests that Mr
Laliberte is now open to the possibility of offloading a
majority stake in Cirque du Soleil.
Millions of people have seen the company's range of hit shows in
London, which have been staged at the Royal Albert Hall for more
than a decade, and other cities including Las Vegas.
Notable for its daring acrobatics and flamboyant costumes,
Cirque du Soleil was valued at $2.7bn when Mr Laliberte sold a
20% stake to Istithmar World, the investment arm of Dubai World,
and Nakheel, a Dubai-based real estate developer, in 2008.
However, after Dubai was forced into a sovereign debt
restructuring, Mr Laliberte bought back part of the stake he had
sold in a transaction valuing Cirque du Soleil at just $2.2bn.
Analysts and company executives have reportedly said that the
company expanded too quickly, spending over-zealously on new
performers, executives and shows in a way which diluted the
brand's international distinctiveness.
Private equity groups are not the only potential acquirers of
the entertainment group.
Recent reports suggested that Live Nation Entertainment, IMG and
AEG Live, were expected to submit offers.
Goldman Sachs is handling the auction for Cirque du Soleil,
which could not be reached for comment.
BC, CVC and Permira all declined to comment.
{ SOURCE: SkyNews | http://goo.gl/AuRUkP }
LeVar Burton Goes Behind the Scenes at Mystere!
{Feb.21.2015}
-----------------------------------------------------
Come join LeVar as he goes behind the scenes with the talented
cast of Cirque du Soleil: Mystere! You will be drawn into the
unique mixture of decorative costumes, high-flying acrobatics,
and talented circus skills. Be inspired to imagine BIG today...
but you don't have to take our word for it!
VIDEO /// < http://youtu.be/Y04rTnwY1LY >
This video field trip and so many more like it are available
right now in the Reading Rainbow App. Watch, share and enjoy our
vast library of video field trips and interactive books with
your children.
Download the Reading Rainbow App for unlimited access to more
great content. Try it free on iPad: http://bit.ly/10sgjbs or
Kindle Fire: http://amzn.to/14tOPzY
About Reading Rainbow:
The beloved brand parents have trusted for 30 years, has been
reimagined as an award-winning app for kids. Reading Rainbow
takes children on a guided reading adventure hosted by LeVar
Burton. Filled with a library of quality ebooks and kids videos
for ages 3-9, the educational app is free to try. New children's
books, videos, reading activities and educational games are
added every week expanding the collection and encouraging kids
to believe they too "go anywhere, be anything."
{ SOURCE: YouTube, Reading Rainbow }
Cirque Reports a 36.6% Drop in Revenues
from European Tours
{Feb.22.2015}
-----------------------------------------------------
Cirque du Soleil, the operator of avant-garde circus events, has
reported that revenues of its European tours fell by 36.6% to
$59.9m (£36.3m) in 2013 due to a sharp drop in the number of
shows it hosted.
The Canadian company has been juggling with increased
competition and the economic downturn which is a particular
problem as its shows are seen to be highbrow.
Last week it finished a six-week run in London and began a new
era in its 30-year history as it was reported that the company's
founder Guy Laliberté is considering selling a majority stake in
it. He is being advised by Goldman Sachs and bids are understood
to have been tabled by UK buyout funds BC Partners, CVC Capital
Partners and Permira Advisers.
Mr Laliberté owns 90% of Cirque and the whole company is
understood to be valued at between $1.5bn and $2.5bn. It
operates 20 shows 10 in permanent venues in the United States
and Mexico with the remainder touring the globe.
In 2013 five shows toured in Europe: Alegria, Corteo, Dralion,
Kooza and Quidam. Their bizarre brand names reflect the surreal
stunts they showcase. There are no animals in Cirque's shows and
instead they take a unique twist on typical acts. Performers
juggle ping pong balls with their mouths, ride Penny Fathings
over high-wires and bounce off trampolines to make it look like
they are scaling the side of the set.
The European tours are run by offshore company Gaia Luxembourg
and the first-ever analysis of its accounts shows that in the
year to 29 December 2013 it made an operating loss of $9.9m down
by $3.3m on 2012. Its losses narrowed in line with a reduction
in costs and revenue which the accounts state "was the result of
having less shows in 2013, 400 shows compared to 600 shows in
2012."
Its single biggest source of revenue was ticket sales which fell
by 39% to $43.6m. At the other end of the spectrum hospitality
revenue plummeted 85.6% to just $250,000. The biggest expense
was $6.2m spent on accommodation for its 287 employees, followed
by the $5.5m cost of transporting equipment.
Each two-and-a-half hour show takes place in a 2500-seat big
top. Getting this to the opening night requires transporting up
to 80 performers, 20 technicians, 800 tonnes of equipment, 70
containers, four generators and even a school.
Creating a new tour requires a capital investment of around $11m
and about $10m to cover the research and development. In
contrast, the permanent shows can cost more than $100m to get
off the ground. However, they bring in more money than the tours
which are unable to generate revenue when they are in transit.
The 10 permanent shows are believed to make around $70m each in
venue annually with the five tours outside Europe generating
another $60m combined. Other income, including sponsorship from
brands such as printer company Xerox and delivery service DHL,
brought Cirque's total annual revenue to $850m in 2013. It was
down from $1bn and this trend looks set to continue in Europe.
The accounts reveal that "the net turnover will continue to
decrease as less shows will be presented by this company.
Moreover a general downturn of the European economies may have a
negative impact on the 2014 results."
{ SOURCE: UK Finance | http://goo.gl/X814vq }
Two Swimmers from "O" to Represent America
{Feb.24.2015}
-----------------------------------------------------
Two professional synchronized swimmers from Cirque's "O" at
Bellagio will represent America in the 2015 world championships
in KÀzan, Russia, from July 24-Aug. 9. Christina Jones and Bill
May qualified to compete in the mixed duet trials held in
Moraga, CA, at the highest level in the inaugural mixed duet.
The duo both returned from retirement to take part in the
historic competition. Another preliminary phase takes place here
this spring before the summer trip to Russia. Bill has won 14
U.S. national swimming championships and Christina was a 2008
Olympian. They're now in training for the world championships.
{ SOURCE: Las Vegas Sun, Vegas Duluxe | http://goo.gl/af8UDu }
Go Behind the Scenes at Varekai with
The Times of San Diego
{Feb.25.2015}
-----------------------------------------------------
On the road since 2002, Cirque Du Soleil's production of
"Varekai" landed Wednesday in San Diego for the first of seven
performances.
Famed for its 1984 Canadian origins and permanent Las Vegas
presence, Cirque du Soleil will show off its international
troupe through Sunday at the Valley View Casino Center (formerly
called the San Diego Sports Arena).
Two weeks ago in Albuquerque, Mayor Gregg Hull proclaimed one
day "Varekai Day."
But as Wichita Eagle reviewer noted in January: No two
productions are exactly the same.
The paper quoted cast singer singer Isabelle Dansereau-Corradi
as saying: "If someone saw Varekai' in 2002 when it was
created, and they came to see a show today, they would say it's
a different show. The story is the same, and some of the people
may be the same, but everything is always alive; nothing is
redundant or repetitive."
With acrobats, live original music and the circus company's
usual bizarre costumes, "Varekai" (which means "wherever" in
Romany, the Gypsy language) tells a version of the Icarus myth.
"From the sky falls a solitary young man, and the story of
Varekai begins," the producers say. "Parachuted into the shadows
of a magical forest, a KÀleidoscopic world populated by
fantastical creatures, this young man sets off on an adventure
both absurd and extraordinary. On this day at the edge of time,
in this place of all possibilities, begins an inspired
incantation to life rediscovered."
Dansereau-Corradi also said: "We have so many different
nationalities in Varekai.' It's so beautiful to have all these
cultures working together. It's a good example for the world,
too. We have Georgians and Russians working together. We have
Ukrainians and Russians working together. There's peace. It's a
little example that if we can achieve it in this little village
of Varekai, in the world with some time we can achieve it
too."
After San Diego, the circus takes a two-week break, then opens
March 18 in El Paso, Texas, before returning to California for
shows in Fresno, Bakersfield, Sacramento and Stockton. In late
2015, the troupe goes to Europe, with stops in Germany, Austria
and Luxembourg. The last scheduled performance is Feb. 24, 2016,
in Hanover, Germany.
Check out these fantastic pictures!
FOTOS /// < http://www.cirquefascination.com/?p=5550 >
{ SOURCE: The Times of San Diego | http://goo.gl/dyWhez }
Cirque & Sama-Sama Create a "Live Experience"?
{Feb.26.2015}
-----------------------------------------------------
Roy Ofer, Founder of Sama-Sama, and Charles Joron, Chief
Production Officer & Executive Producer of Cirque du Soleil
Group, have announced a business partnership between Cirque du
Soleil and Sama-Sama Creative Labs for the production of the
first Sama-Sama Live Experience.
The innovative concept will be a unique multisensory
entertainment experience combining elements from live shows,
theme parks and interactive events. Sama-Sama Live Experience
will transform audience members into performers through the
universal language of music, movement and rhythm. The experience
will appeal to multi-generational audiences and make the most
of state-of-the-art multimedia and technology.
Recognized for its innovative approach and high quality artistic
entertainment, Cirque du Soleil will provide guidance in the
development of this live experience as well as acting as a
business partner in the venture. "We see great potential in
Sama-Sama's new immersive concept and have decided to come on
board. This innovative approach is unique and we believe it will
touch audiences in a brand new way" said Charles Joron.
Honing the creative concept
A proof of concept was performed to outstanding popular and
critical acclaim in Tel-Aviv, in 2012, with more than 50,000
tickets sold over a one-month period. Since then, Roy Ofer, Co-
founder of the Mayumana Group and Founder of Sama-Sama, has led
an international creative team to further develop and refine the
concept. A select group of creators, programmers, designers,
technicians, music composers and video directors have
contributed their expertise gained from working in leading
entertainment brands such as Cirqeu du Soleil, Universal Studios
and Mayumana. The creative and production teams are hard at work
at the Sama-Sama R&D Studio in Tel-Aviv, which also serves as a
collaborative hub for international technology companies.
The Concept
Sama-Sama Live Experience invites the audience to immerse
themselves in a parallel universe where they will follow the
story of a mysterious community known as the Samis. The Samis
have built a unique space for creativity and inspiration,
bringing people together through the joy of creation in a way
never experienced before. They call this place Sama-Sama, which
means "together" in Filipino.
Sama-Sama takes the audience on a 360-degree immersive journey
to a parallel universe. A dozen large-scale interactive
installations urge the audience to unleash their creativity,
become performers, play and have fun. Each original installation
is created exclusively by the Sama-Sama team and features user-
friendly interfaces and intuitive instructions designed to fully
engag the audience. The Sama-Sama journey culminates in a grand
finale where all audience members become part of the Sami
community.
Tour of Europe, North and South America
The international launch of Sama-Sama Live Experience will take
place in Madrid, Spain, followed by a tour of other major cities
in Europe, North America and South America. The company is also
in discussions with different parties interested in hosting
permanent installations of the Sama-Sama Live Experience.
For more information:
www.samasamalive.com
{ SOURCE: Cirque du Soleil }
See a few free minutes of Cirque's ZUMANITY TODAY!
{Feb.26.2015}
-----------------------------------------------------
Las Vegas tourists will get a free eyeful of sexiness Feb. 26
when Cirque du Soleil's libidinous "Zumanity" performers put on
a few minutes of their show in the middle of the Las Vegas
Strip.
Cirque says cast members will be doing things with strawberries,
and putting on a dance number and then the "chains" act where a
performer begins to (newspaper guidelines may not let me tell
you the rest of this sentence).
This will be a promotion for the show's revamped bits and parts.
If you're titillated, you can see the public display at 4:30
p.m. today on the outdoor Brooklyn Bridge in front of the New
York-New York hotel.
{ SOURCE: Las Vegas Review-Journal | http://goo.gl/28yv2O }
A Revamped ZUMANITY Unveiled!
{Feb.26.2015}
-----------------------------------------------------
"Zumanity, the Sensual Side of Cirque du Soleil" is ready to
unveil its latest incarnation, an update after 12 years at New
York-New York Hotel & Casino. The sexy version of the show
continues to be part burlesque, part cabaret zaniness, with
feats of acrobatics thrown in, but about 30 percent of the
production changed.
"Zumanity" certainly is not for the faint of heart. The show
explores sexuality in all its forms and audience members must be
18 and older.
Yanis Marshall was brought on board to choreograph new pieces
for the show, debuting on Thursday night. Marshall, finalist on
last season's "Britain's Got Talent", said he'll dance in heels
during the show.
"We changed those little things that didn't work after 11
years," Marshall said.
So a scene with two men fighting in cages becomes two men
dancing in bird cages wearing red stilettos. "Girls are drawn to
it and the boys ask How?' It was a challenge to put into the
show."
Emcee "Mistress of Sensuality" Edie, played by famed drag diva
Christopher Kenney, remains, although her dialog changes to
accommodate new performers. Some of the costumes from French
designer Thierry Mugler were refreshed, and old pieces from the
early days of the show were revived, Marshall said. "The spirit
of it is the same."
So now the dance troupe includes a "very tiny little girl, a
huge drag girl and a woman with tattoos from head to heel."
Traditional circus arts such as contortion, acrobatics, aerial
stunts and hand-balancing are choreographed with dance genres
such as African dance, tango, contemporary dance and striptease.
"All of the performers have this confidence, this big
confidence. Obviously the big difference is the new energy. They
are younger than the previous dancers and have a little more
personality."
Another new act involves artist Brandon Pereyda, who sports a
red Mohawk. A favorite of women in the audience, Pereyda shows
off his athleticism while strapped in chains above the stage.
{ SOURCE: The LA Times | http://goo.gl/iWKEor }
VIDEO /// Zumanity: Outdoor Performance in Vegas 2015
{Feb.27.2015}
-----------------------------------------------------
Zumanity invited Las Vegas to get naughty as it unveiled a
preview of the reinvigorated show at New York-New York Hotel &
Casino. Cast members of Zumanity took over the Brooklyn Bridge,
enticing the audience with playful interactions and alluring
music. Guests also witnessed the brilliant creativity of
Zumanity's new choreographer Yanis Marshall as the cast
performed a spectacular dance number followed by the show's
famous Chains' act with the property's Statue of Liberty as the
backdrop.
VIDEO /// < http://youtu.be/hzYIss-sayE >
Additionally, check out these great behind-the-scenes pictures
of the Zumanity cast warming up and out and about before the
performance!
FOTOS /// < http://www.cirquefascination.com/?p=5570 >
{ SOURCE: Cirque du Soleil, YouTube }
Le Grand Concert Coming to Bluray/DVD?
{Feb.28.2015}
-----------------------------------------------------
Is Cirque du Soleil's 30th Anniversary "Le Grand Concert" coming
to Blu-ray soon?The answer appears to be YES!
Amazon.ca has a pre-order page up and running for "Cirque du
Soleil- The Great Concert/ Le Grand Concert Blu-Ray + DVD
(Bilingual)" for $22.50 CDN. The release date is April 21, 2015
so it'll be here soon!
The Product description:
For their 30th anniversary, Cirque du Soleil presents a
monumental musical event CIRQUE DU SOLEIL LE GRAND CONCERT,
a concert recorded live at the stunning Montreal Saint-Jean-
Baptiste Church, offering exceptional acoustic sound. Gregory
Charles is the artistic director for the choirs featured in this
90 minute musical Odyssey that unites 8 soloists accompanied by
28 musicians that transports us through the emotion and poetry
of 35 shows created by the Cirque du Soleil since 1984.
Dans le cadre de son 30e anniversaire, le Cirque du Soleil
présente un grand événement musical unique CIRQUE DU SOLEIL
LE GRAND CONCERT, capté au coeur de la splendeur de l'Église
Saint-Jean-Baptiste de Montréal, à l'acoustique exceptionnelle.
Gregory Charles assure la direction artistique des chorales de
cette odyssée musicale de 90 minutes réunissant 8 solistes
accompagnés de 28 musiciens qui nous transportent à travers
l'émotion et la poésie de la musique des 35 spectacles que le
Cirque du Soleil a créés depuis 1984.
Pre-order the disc here:
LINK /// < http://goo.gl/V0EiuC >
{ SOURCE: Cirque Spotlight, Amazon.ca }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Corteo, Koozå, OVO, Totem & Kurios}
o) ARENA - In Stadium-like venues
{Quidam & Varekai}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
Believe, ZarKÀna, MJ ONE & JOYÀ}
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:
Houston, TX -- Feb 12, 2015 to Mar 22, 2015
Madrid, ES -- May 6, 2015 to Jun 21, 2015
PortAventura, ES -- July 3, 2015 to Aug 23, 2015
Brussels, BE -- Sep 11, 2015 to Oct 25, 2015
Paris, FR -- Nov 6, 2015 to Dec 13, 2015
Corteo:
Bogota, CO -- Mar 19, 2015 to Apr 12, 2015
Guadalajara, MX -- Jul 30, 2015 to Aug 16, 2015
Monterrey, MX -- Aug 27, 2015 to Sep 13, 2015
Mexico City, MX -- Sep 25, 2015 to Nov 22, 2015
** CORTEO TO CLOSE IN MEXICO CITY **
Koozå:
Bern, CH -- Feb 28, 2015 to Apr 4, 2015
Columbus, OH -- Jun 4, 2015 to Jul 5, 2015
Kurios:
Seattle, WA -- Jan 29, 2015 to Mar 22, 2015
Calgary, AB -- Apr 9, 2015 to May 24, 2015
Denver, CO -- Jun 11, 2015 to Jul 26, 2015
Chicago, IL -- Aug 6, 2015 to Sep 20, 2015
Costa Mesa, CA -- Oct 15, 2015 to Nov 29, 2015
Los Angeles, CA -- Dec 10, 2015 to Feb 7, 2016
Ovo:
FukuoKÀ, JP -- Feb 21, 2015 to Apr 5, 2015
Sendai, JP -- Apr 23, 2015 to Jun 7, 2015
Totem:
Melbourne, AU -- Jan 21, 2015 to Mar 29, 2015
Brisbane, AU -- Apr 10, 2015 to May 17, 2015
Adelaide, AU -- Jun 11, 2015 to Jul 5, 2015
Perth, AU -- Jul 31, 2015 to Aug 30, 2015
-----------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Quidam:
Rotterdam, NL -- Feb 27, 2015 to Mar 1, 2015
Oslo, NO -- Mar 5, 2015 to Mar 7, 2015
Helsinki, FI -- Mar 11, 2015 to Mar 15, 2015
Vilnius, LT -- Mar 19, 2015 to Mar 21, 2015
Minsk, BY -- Mar 26, 2015 to Mar 29, 2015
Moscow, RU -- Apr 16, 2015 to Apr 26, 2015
St. Petersburg, RU -- Apr 29, 2015 to May 4, 2015
Linkoping, SE -- May 8, 2015 to May 10, 2015
Gothenburg, SE -- May 13, 2015 to May 16, 2015
Turku, FI -- May 22, 2015 to May 25, 2015
Tallinn, EE -- May 27, 2015 to May 30, 2015
Stockholm, SE -- Jun 3, 2015 to Jun 6, 2015
Tel Aviv, IL -- Jul 2, 2015 to Jul 16, 2015
Varekai:
San Diego, CA -- Feb 25, 2015 to Mar 1, 2015
El Paso, TX -- Mar 18, 2015 to Mar 22, 2015
Fresno, CA -- Mar 25, 2015 to Mar 29, 2015
Bakersfiled, CA -- Apr 1, 2015 to Apr 5, 2015
Sacramento, CA -- Apr 9, 2015 to Apr 12, 2015
Stockton, CA -- Apr 15, 2015 to Apr 19, 2015
West Valley City, UT -- Apr 22, 2015 to Apr 26, 2015
SpoKÀne, WA -- Apr 29, 2015 to May 3, 2015
Portland, OR -- May 6, 2015 to May 10, 2015
Penticon, BC -- May 13, 2015 to May 17, 2015
Vancouver, BC -- May 20, 2015 to May 24, 2015
Victoria, BC -- May 27, 2015 to May 31, 2015
Edmonton, AB -- Jun 18, 2015 to Jun 21, 2015
Winnipeg, MB -- Jun 24, 2015 to Jun 28, 2015
Ottawa, ON -- Jul 2, 2015 to Jul 5, 2015
Baltimore, MD -- Jul 8, 2015 to Jul 12, 2015
Boston, MA -- Jul 15, 2015 to Jul 19, 2015
Fairfax, VA -- Jul 22, 2015 to Jul 26, 2015
Duluth, GA -- Jul 29, 2015 to Aug 2, 2015
Tampa, FL -- Aug 5, 2015 to Aug 9, 2015
Sunrise, FL -- Aug 12, 2015 to Aug 23, 2015
Nashville, FL -- Aug 26, 2015 to Aug 30, 2015
Toronto, ON -- Sep 2, 2015 to Sep 6, 2015
Berlin, DE -- Oct 8, 2015 to Oct 11, 2015
Leipzig, DE -- Oct 14, 2015 to Oct 18, 2015
Stuttgart, DE -- Oct 21, 2015 to Oct 25, 2015
Mannheim, DE -- Oct 28, 2015 to Nov 1, 2015
Vienna, AT -- Nov 4, 2015 to Nov 8, 2015
Dortmund, DE -- Nov 11, 2015 to Nov 15, 2015
Cologne, DE -- Nov 19, 2015 to Nov 22, 2015
Innsbruck, AT -- Nov 25, 2015 to Nov 29, 2015
Munich, DE -- Dec 2, 2015 to Dec 6, 2015
Hamburg, DE -- Feb 10, 2016 to Feb 14, 2016
Luxembourg, LU -- Feb 17, 2016 to Feb 21, 2016
Hanover, DE -- Feb 24, 2016 to Feb 28, 2016
---------------------------------
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
2015 Dark Dates:
o March 25 - 27
o May 14 - 22
o July 15
o September 10 - 18
o November 11
Added performances in 2015:
o April 2
o December 31 (only 7 pm performance)
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:00pm
2015 Dark Dates:
o March 8 and 20
o April 13 - 21
o June 14
o August 3 - 11
o October 11
o November 30 - December 15
Added performances in 2015:
o March 17 and 31
o December 29
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
2014 Dark Dates:
o November 2 - 5
o December 7 - 9
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7:00pm on the following days in 2015: January 20,
May 8, May 15, May 19, May 20, and December 31)
2015 Dark Dates:
o March 7 and 20
o April 12 - 20
o June 16
o August 16 - 31
o October 31
o December 6 - 14
Added performance in 2015:
o December 27
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7 pm performances on May 9, 16 and June 21)
2015 Dark Dates:
o March 7
o April 15 - 17
o May 30 - June 5
o August 5
o September17 - 25
o November 18
Added performances in 2015:
o January 1 - 2
o April 3
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7:00p.m. performances on May 15-16, June 19-21, December 31)
(Only 4:30p.m. & 7:00p.m. performances on July 4)
2015 Dark Dates:
o March 15 21
o May 28
o July 28 August 5
o September 15 17
o October 20 22
o December 1 16
Added performances in 2014:
o June 9
o December 30
CRISS ANGEL BELIEVE:
Location: Luxor, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two Shows Nightly - 7:00pm and 9:30pm
2015 Show Schedule:
o Wednesday: 7:00pm & 9:30pm (only 7:00pm on January 7,
February 4 - 25, September 30)
o Thursday: 7:00pm & 9:30pm (only 7:00pm on January 8-29,
December 31)
o Friday: 7:00pm & 9:30pm (only 7:00pm on January 930,
February 6, February 20 27, March 6 13,
May 1 22, June 5, June 19, September 1125,
October 29, October 2330, December 4 11,
December 25)
o Saturday: 7:00pm & 9:30pm (only 7:00pm on May 216,
June 20, July 4, October 31)
o Sunday: 7:00pm & 9:30pm (only 7:00pm on February 822,
March 115, April 26, May 24, June 7, June 21,
September 1327, October 425, November 18,
November 2229, December 613)
2015 Dark Dates:
o March 20
o April 13 21
o May 25 June 2
o June 22 30
o August 31 September 8
o November 9 17
o December 14 22
Added Performances in 2015:
o December 29
ZARKÀNA:
Location: Aria, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
2015 Dark Dates:
o March 7
o May 10 -18
o July 14
o September 6 - 14
o November 10
Added Performances in 2015:
o March 30
o December 28
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Two Shows Nightly - Dark: Wednesday/Thursday
Schedule: 7:00pm & 9:30pm on Friday, Saturday, Monday & Tuesday
4:30pm & 7:00pm on Sunday
(Only 7:00pm on January 12, 19, & 26, February 9, 16, & 23)
(Only 4:30pm & 7:00pm performances on July 4)
2015 Dark Dates:
o April 14 - 16
o June 3 18
o August 11
o October 14 22
o December 15
Added performances in 2015:
o March 26
o August 19
o November 25
o December 30
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
Prices:
o) VIP Show Dinner & Champagne [RED] $MXN 2,970.00
o) Show Dinner and Champagne [BLUE] $MXN 2,178.00
o) Show and Champagne [GREEN] $MXN 1,452.00
o) Show Only [ORANGE] $MXN $1,056
o) High Stools (Show Only) [PURPLE] $MXN 858.000
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) Didyaknow? - Facts About Cirque
o) Networking -- Posts on Facebook, G+, & YouTube
---------------------------------------
DIDYAKNOW?: Facts About Cirque
---------------------------------------
o) Did you know: the Tatami Deck in KÀ can slide forward 46 feet at
full travel, like a giant drawer slide? At its full extension, it
appears to float over the abyss. (But it's a picture of something
else, as commenter Stephen Sywak explains: "Unfortunately, this is
a picture of the Sand Cliff Deck, a 50 x 25 x 6 foot floating,
tilting, revolving, 80,000 lb performance platform that rises up
and down on a 200,000 pound "H" frame structure, raised and lowered
by four of the largest hydraulic cylinders in the world, being run
by a force-compliant hydraulic servo-control system what would make
even NASA jealous!") FOTO /// < http://goo.gl/TxhhXD >
o) Did you know: controlled by artists, the Wheel of Death in KÀ's
Slave Cage scene weighs 10,000 pounds, and is comprised of two
independent sets of circular "cages" that rotate around a common
axle? The laws of physics at their finest!
FOTO /// < http://goo.gl/07r75g >
o) Did you know: La Nouba's front-of-house sound booth is equipped
with a Cadac F-type console with 72 dual inputs, feeding 10 Level
Control System LD-88's creating an integral 80x80 matrix? This
provides the ability to automate mixes and dynamic changes, as well
as the placement and movement of the sound image throughout the
showroom. FOTO /// < http://goo.gl/L0KYmz >
o) Did you know: all costumes for Mystere are custom-made in Montreal
for each artist? Each artist goes to Montreal to have full body
measurements taken, including head, feet and hands.
FOTO /// < http://goo.gl/KUXLH6 >.
o) Did you know: Some unusual materials are used in some of the
costume pieces in "O", such as shower curtain material and surgical
tubing? Now that's a fact that makes a splash!
FOTO /// < http://goo.gl/sf9qZa >.
o) Did you know: some of the leotards in "O" act as a second skin and
give the illusion that the performer is tattooed?
FOTO /// < http://goo.gl/Qvhfwy >.
o) Did you know? The TOTEM lifeguards' look and costumes are inspired
by the Aussie beaches! Warm weather this week-end in Melbourne,
good reason to come hang out in the Big Top with our beach boys!
FOTO /// < http://goo.gl/Z2G8oP >.
o) Did you know? The music of TOTEM tells the story of humanity by
weaving together native music and instruments from around the
world, ranging from North America's First Nations, Spanish
flamenco, African vocals and sonorities, to the sounds of the
Indian subcontinent.
---------------------------------------------------
NETWORKING: Cirque on Facebook, YouTube & Twitter
---------------------------------------------------
{Compiled by Keith Johnson}
---[ AMALUNA ]---
{Feb.18}
We spent the morning with the morning news team at KTRK-TV in
Houston and had a lot of fun with some Amaluna costume pieces.
Do you know how many costume pieces are featured in our show?!
FOTO /// < http://goo.gl/5rfs0M >
{Feb.22}
As we kick off our final show for the week, we are curious to
know if you have purchased tickets to see us in Houston yet?!
We have exactly four more weeks of shows here before saying
farewell to North America for a while and heading across the
pond to Madrid!!
FOTO /// < http://goo.gl/Ya6Dvt >
{Feb.26}
We had a lot of fun transforming Great Day Houston's Courtney
into the Moon Goddess! Our very own Moon Goddess, Andreanne
Nadeau, and Head of Wardrobe, Larry Edwards, had a lot of fun
with this extreme makeover! Stay tuned to KHOU this week to
see the full transformation.
FOTO /// < http://goo.gl/vCCeh5 >
{Feb.27}
Today Amaluna celebrated 1,000 SHOWS! What a milestone! We
marked the occasion with cupcakes under a beautiful sunset.
Where were you when you experienced Amaluna?!
FOTO /// < http://goo.gl/JBCAlZ >
---[ CORTEO ]---
{Feb.03}
Está es nuestra última semana en Costa Rica, estamos listos
para dar lo mejor y esperamos verlos por acá.
FOTO /// < http://goo.gl/ANBNkr >
{Feb.08}
Ticos, gracias por ser parte de un gran equipo!
FOTO /// < http://goo.gl/YkKÀpQ >
{Feb.12}
Empezamos la mudanza a Bogotá! Nos vemos pronto !!!
(For once a tent DIS-assembly video!)
FOTO /// < http://goo.gl/kWxsyy >
{Feb.14}
Un día como hoy se casaron Valentina y Grigor!! Feliz
aniversario para ellos y feliz San Valentín para todos
ustedes!!
FOTO /// < http://goo.gl/7JNIes >
{Feb.21}
Somos muy buenos trabajadores pero también exelentes
viajeros! Cómo pasamos nuestro tiempo libre?? Algunos
de nosotros estuvimos por la Antártica !!
FOTO /// < http://goo.gl/FZCYJN >
FOTO /// < http://goo.gl/fcMFbS >
FOTO /// < http://goo.gl/awze3N >
FOTO /// < http://goo.gl/GrfJYn >
{Feb.24}
Esperando paciententemente durante el entrenamiento
de Opera Roulettes
FOTO /// < http://goo.gl/GLA5OU >
{Feb.27}
Increíble Zoom!!! El artista balancea una pequeña
flor encima de la escalera!!
FOTO /// < http://goo.gl/fQLWEv >
---[ JOYA ]---
{Feb.10}
Our culinary experience is the ideal setting for an
unforgettable Valentine's Day.
FOTO /// < http://goo.gl/soRU65 >
{Feb.20}
Celebrating 100 shows and thousands of smiles this evening.
Thank you for being part of our history!
FOTO /// < http://goo.gl/QUd8Lm >
---[ KOOZA ]---
{Feb.04}
The Gallery at the Royal Albert Hall offers some incredible
views of KOOZA that we don't normally get to see in the Big
Top.
FOTO /// < http://goo.gl/Q2d56c >
{Feb.09}
What are you doing this Valentine's Day? KOOZA's Philippe
Bélanger invites you to be his Valentine this year at the Royal
Albert Hall!
VIDEO /// < http://goo.gl/jUXtuj >
{Feb.11}
It was lovely to have Cirque du Soleil Founder Guy Laliberté
see KOOZA last night at the Royal Albert Hall!
FOTO /// < http://goo.gl/Jpjw40 >
{Feb.12}
Long before they were performing High Wire on the KOOZA stage,
the Quiros Brothers were training with their sister and father!
FOTO /// < http://goo.gl/4ZXDkI
{Feb.14}
Dressed perfectly for the occasion as Red Army, KOOZA's Marina
Tikhonenko and Talita Lima are spreading the love today and
every day! Happy Valentine's Day!
FOTO /// < http://goo.gl/eKktT1 >
{Feb.17}
Only 5 more shows at the iconic Royal Albert Hall in London!
Take a look behind the scenes with Liberty London Girl and
then come see the on-stage performance before we pack up
and go! (ED: Has a great picture of the "activity board"
not often seen.)
LINK /// < http://goo.gl/PKGVRJ >
{Feb.18}
The KOOZA band looking fierce before one of the final
shows at the iconic Royal Albert Hall in London.
FOTO /// < http://goo.gl/h1Jnqz >
{Feb.24}
KOOZA's Unicycle Duo, Yury Shavro & Olga Tutynina, gave the
Kiss FM (UK) Breakfast team a lesson in Unicycle. And let's
just say, it's not as easy as they thought!
VIDEO /// < https://www.youtube.com/watch?v=3nKWY-ll-fE >
{Feb.28}
?Bern?! There's only a few hours left before you can explore
the zany kingdom of KOOZA! Are you as excited as we are?
FOTO /// < http://goo.gl/2909mJ >
{Feb.28}
A big THANK YOU from the entire KOOZA cast and crew for this
successful premiere night! Bern, you were amazing!
FOTO /// < http://goo.gl/cEJALn >
---[ KURIOS ]---
{Feb.14}
Choose us because we chose you. Happy Valentine's Day!
FOTO /// < hhttp://goo.gl/9LWjKd >
{Feb.19}
Last week, Michel Laprise, director of KURIOS was in Calgary
for an advanced media day. We are very excited to perform at
the Stampede Park starting April 9th.
FOTO /// < hhttp://goo.gl/ih7W3m >
---[ OVO ]---
{Feb.23}
Have you always wondered how many mouvements a cricket does
on the powertrack? Have a look at this! ?
FOTO /// < http://goo.gl/QZNWbR >
{Feb.27}
Congratulations OVO for 2000 shows! Also, a huge BRAVO!!! to
our scarab Safa, who has never missed a show! What an amazing
artist! A special thank you to the 4,000,000 spectators
around the world who came to see the show over the last 6 years.
FOTO /// < http://goo.gl/LqQC8H >
FOTO /// < http://goo.gl/gONAds >
---[ QUIDAM ]---
{Feb.05}
Quiet stage time before we take Bratislava by storm.
FOTO /// < http://goo.gl/khrbpY >
{Feb.07}
Nothing better than a Quidam full house. What a crowd!!!
FOTO /// < http://goo.gl/X9Fbrr >
{Feb.13}
Getting ready to open in Budapest
FOTO /// < http://goo.gl/K2ISQQ >
{Feb.14}
Quidam's cutest Backstage love story!
VIDEO /// < http://goo.gl/YcLePZ >
{Feb.15}
Quidam had such a good time in Budapest! Whether it's on
stage or visiting your lovely city, we'll be back.
FOTO /// < http://goo.gl/uTTUAI >
{Feb.18}
Backstage view from the office.
FOTO /// < http://goo.gl/HMbCi7 >
{Feb.25}
Another kind of backstage @tijdvoormax
FOTO /// < http://goo.gl/jNmPPs >
---[ TOTEM ]---
{Feb.03}
Get closer to TOTEM costumes designed by Australian Kym
Barrett at Highpoint Shopping Centre in Melbourne outside
Mecca Maxima on level 3 through February 23! Six colorful
costumes can be observed from up close, including our Blue
Frog and Butterfly!
FOTO /// < http://goo.gl/lw8WV8 >
FOTO /// < http://goo.gl/BNCDJq >
{Feb.04}
We are opening tomorrow a remote TOTEM Box Office at
Federation Square in Melbourne which will be opened from
Tuesday to Sunday until February 18! 100 tickets to be sold
daily for the performances scheduled on the same day at the
special price of $50! See you there between 11am and 6pm!
FOTO /// < http://goo.gl/nrupmC >
{Feb.09}
It is Carapace rehearsal time under the Big Top at
Flemington Racecourse and Victoria Racing Club in Melbourne!
Did you know we constantly work on the quality of the
artistic and acrobatic elements of the show? The goal is to
keep it fresh for the artists and for the audience who
experiences TOTEM for the first time!
FOTO /// < http://goo.gl/BiAm3R >
{Feb.10}
Hoop Dancer Shandien Larance is in studio today with Lauren
and Shane from Go!Kids' WB on Channel 9!
FOTO /// < http://goo.gl/gU67NC >
{Feb.17}
Cosmonauts posing for a special video shoot today,
more details soon!
FOTO /// < http://goo.gl/iKUiCb >
{Feb.19}
xzinnián kuàilè / Happy Chinese New Year from Yurong,
Xuedi, Yuting and Yang Jie who cooked amazing dumplings
for the whole TOTEM family!!
FOTO /// < http://goo.gl/Wl08Ub >
{Feb.19}
Don't miss Hoop Dancer Shandien Larance this Sunday morning
on GO! TV Kids' WB as she teaches Lauren Phillips and Shane
Crawford a few tricks and performs her routine!
FOTO /// < http://goo.gl/6fJR3e >
{Feb.24}
How would you react if you were to walk into one of our
monkeys on your way to work? Melbourne, keep your eyes
opened tomorrow morning as we will bring some characters
in the CBD for a special photo shoot.
FOTO /// < http://goo.gl/uE6Kxn >
{Feb.25}
Watch out! Our apes and Neanderthals are running around
Melbourne for a special photo shoot!
FOTO /// < http://goo.gl/mD7kVV >
{Feb.25}
Last week-end, we helped Starlight Children's Foundation
Australia make 14-year-old Sebastian's dream come true of
performing with the cast of a Cirque du Soleil show and
spend a day backstage! Sebastian got transformed into the B
lue Frog character and danced with the full cast on stage
during a dress rehearsal! A touching and emotional moment
for everyone who had the chance to attend and take part
in making this wish come true!
FOTO /// < http://goo.gl/IAHypS >
FOTO /// < http://goo.gl/jWPgrq >
FOTO /// < http://goo.gl/gtdpGO >
FOTO /// < http://goo.gl/rg8BAC >
---[ VAREKAI ]---
{Feb.03}
Want to know what's it like to be a flyer in one of the most
thrilling, yet daring acts in Varekai?
LINK /// < http://goo.gl/SBfVeN >
{Feb.10}
Hey San Diego! We're checking YOU out but be sure to check
US out at the Valley View Casino Center!
FOTO /// < http://goo.gl/RKVZiN >
{Feb.11}
Did you know that today was proclaimed official Varekai day
in Rio Rancho. We have a photo to prove it! Thank you the
city and the mayor for dedicating February 11, 2015 as
Varekai Day!
FOTO /// < http://goo.gl/pQGedw >
{Feb.14}
Will you be his Valentine? Share this with your loved one!
VIDEO /// < http://goo.gl/K9FVNO >
{Feb.19}
Some of the artists from Varekai put the hosts of
RightThisMinute to work! Be sure to tune in today and
tomorrow at your local listings to see if they're fit
enough to join Cirque?
VIDEO /// < http://goo.gl/KFfJzD >
---[ ZUMANITY ]---
{Feb.04}
Falling in love also means knowing someone will catch you.
Let them know you're thinking of them this Valentine's Day.
FOTO /// < http://goo.gl/CwveJe >
FOTO /// < http://goo.gl/TvJ5QD >
FOTO /// < http://goo.gl/8qFSeN >
FOTO /// < http://goo.gl/Ea70xG >
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) SPECIAL /// "A One Night for One Drop 3 Preview"
By: Robin Leach, via The Las Vegas Sun
o) SPECIAL /// "A First Look at Luna Petunia'"
By: Jeremy Dickson, via Kidscreen.com
o) INTERVIEW /// "Isabelle Corradi - Varekai's Chanteuse"
By: The Chapiteau, a Cirque du Soleil Fan Club
o) INTERVIEW /// "Fernando Miro - Icarus"
By: The Chapiteau, a Cirque du Soleil Fan Club
------------------------------------------------------------
SPECIAL /// "A One Night for One Drop 3 Preview"
By: Robin Leach, via The Las Vegas Sun
------------------------------------------------------------
It's the biggest and most glittering Cirque du Soleil show of the
year. But it runs only one night, yet involves, as an all-volunteer
effort, the casts and crews of all seven Cirque shows on the Strip.
It's the only production that Cirque founder Guy Laliberte never sees
and changes in advance of curtain up.
The first two "One Night for One Drop" shows at "O" Theater in
Bellagio in 2013 followed by the "Michael Jackson One" Theater in
Mandalay Bay in 2014 raised $11.3 million for the world water charity
One Drop. This year's production on March 20 will be at "The Beatles
Love" Theater in the Mirage.
We received a sneak preview over the weekend of this year's annual
charity production helmed for the second consecutive time by Mukhtar
O.S. Mukhtar, who started with Cirque as a performer in "Love" at the
Mirage. He presented the mind-blowing aerial gymnastics of twin
British brothers Kevin and Andrew Atherton, who star in "ZarKÀna" at
Aria.
I wrote about Andrew and Kevin, from my hometown of Manchester,
England, on March 7. They began their Cirque careers in 2000. They
will help illustrate Mukhtar's vision for this year's production based
on the long-distance journey women make in different parts of the
world to get water.
"It's the story of the journey, not the destination, for the six women
we introduced last year," he told me.
He stressed that this year's show is still in the raw state of
creation and the specially composed and selected music is not yet
completed. His video projections will only arrive two weeks before the
March 20 performance.
"But everybody at every Cirque show is already busy with the One Drop
project," he emphasized. "I began it in August, but now it's at full
intensity for everyone involved."
I talked with Mukhtar and One Drop CEO Catherine Bachand after the
Athertons' gravity-defying, one-strap act 50 feet in the air. Our
thanks to contributing photographer Tom Donoghue for his extraordinary
photos. [First up] is my Q+A with Mukhtar; my chat with Catherine will
[follow].
Q. How do you focus on the journey of six women without there ever
being a destination? What's the payoff? What's the finale? What's
the conclusion?
This is why I didn't want to say too much about the finale because
there's an element of surprise that we show at the end, and we show it
with this story. This journey that we've been seeing really is the
women's journey because there's something else in the show that we
show, and you find out at the end whether it's really them or not. The
surprise comes at the end. We're fabricating something very unique
specially for that to show the story of these women through one woman.
At the end, we find out how that woman we don't know who she is or
what she is but how she's connected to these women. We see her at
the beginning. We also see her for a few moments during the show, and
then the finale is all her.
Q. How tough is it to stage it in this theater that is an octagon?
I would say it's double time the effort, but I've worked here for six
years in "Love," so I know how the theater works. That's one of the
biggest things that pulled me in because it's a 360 and that challenge
of having this time constraint to create a 360 to make sure that you
please everybody in the crowd so there's no blind spots. I think
that's the biggest thing that truly made me want to do it again. If it
was any other theater, I probably wouldn't have come back.
Q. Have you succeeded?
We're in the process. We're definitely getting there. I can easily say
yes, but we're still creating right now, but I'm liking what I'm
seeing. The show will be approximately between an hour and 15 minutes
and an hour 30. This is the biggest cast that I've got. Last year, we
had I think about 100. This year I said you know I'm going to cut it
down to 80 to make it similar to what "Love" has: 60.
But I'm already up to 110. There are a lot of volunteers who want to
do it, and then as we go, we see
I have to say no at some point; we
have to. Some because it doesn't fit what we're doing, but then we
also see positions that pop up as we're creating.
Q. The first year that this took place with water being the theme was
at Bellagio, where you had all the water in the world to work with,
but my knowledge of "Love" says there's no water. Does the fact that
there's no water to work with become a strength for the show and its
message of drought and disappearance?
No water at all. That's definitely a strength. The first year was
about the celebration of water. They did a great job of really showing
how we can use water in celebration. The second year, I thought how
can I do something different, so I concentrated on the desertification
of the lack of water.
This year I thought how can I create a show because we have the same
crowd that will come. They can relate to what they've seen already and
connect the shows. The No. 1 thing were the women because we've seen
elements of the women in the last two shows, and now people can really
see who these women are.
In terms of water, I don't want to use any water really onstage. We
only have one element of water we use, and that's a specially built
bowl. I'm calling it "the vessel." All props that you see in the show
are specially built for this occasion and one-night-use only.
Q. Are you cutting it close with video projections not being delivered
until two weeks before the one big night?
Not really only because we're really prepared in what we're doing with
the projections. We have two or three content designers for the show,
so each concept has their task of what they need to do. My job is to
make sure I give them the right directions so that when they put the
projection with the movement, everything fits.
Q. Today we saw the Atherton twins, who are totally remarKÀble people.
Fearless people; fearless.
I see a lot of strap acts, and I see a lot of people doing straps, and
for you to really earn your way, you've got to do something really
interesting. For me, it's poetry for them. They're not two separate
people; they become one. You don't really look at the straps when
you're watching them; you watch them.
Q. How do you make their aerials work for water? What's the message
other than the fact that they're stunning, and you will expose them
hopefully to a new audience? What's the connection between them and
the air and water?
It's a projection element. I want to make the show so that there are a
lot of things to look at and understand. I don't want to just limit it
to these women are just looking for water. Usually half the time, the
stories are sad. You know they've been traveling a long distance, so I
don't want to do that and make the whole show sad. I want to expand it
and look at different things they explore.
So each woman I've given a different exploration in life. One woman
explores love and the different forms of love, so in that section, we
explore for example the love of twins and this is how they come into
it and how unique their love is. We also explore the love between a
masculine energy and a feminine energy and know that all love is the
same. It's just society that breaks it up.
We also explore the love between a mother and her baby. So that's
three things that love can be seen, but we'll show that they're all
the same. It's just society that breaks it into pieces. Each woman
explores something completely. One woman explores love and different
forms of love, another woman explores memories and how this affects
us, another woman explores figuring the system that we're living in
this everyday life.
Q. It's a ballet, it's a play, with no words?
We have some words. I'm not using the spoken word poet again. This
year I thought I'd go in a different direction and see how I can still
tell the story without the poet. We do have poetic elements in the
show that you hear throughout the show. There are some acted words.
There's also a character as a guide who will speak in the show.
We've got different types. I've created clowns who are going to go the
opposite directions. I don't want clowns to be funny or make people
laugh and joke. I want clowns who are cooler. I want clowns that when
kids look at them, they say, "I want to be that when I grow up." There
are six clowns.
Q. The six clowns match the six women?
Exactly. So there are little things like that I'm bringing together
that bring the circus with this cause, and it makes sense.
Q. When did you start writing this show? When did you start banging
your head against the walls?
Maybe August. July is when I started thinking, "OK, what can this show
be? What would be interesting?" The easiest part for me is working
with the team just because everyone really wants to do it. I don't
have to persuade people; they're already engaged. The toughest part is
telling people they can't help, but also the time limit is very tough.
It's already tough enough on a regular stage, but when you're in a
round, it's four angles. That for me is a tough thing, but it's also
the biggest thing that drew me back because what is life without a
challenge. I really wanted to see how it can be tested in this
theater.
Q. Is it sad that it's only one night?
It's so sad. For me, especially as a director, I want more people to
see this live. There's something about seeing it live that you're
never going to get on the Internet. No way; never. Even most years
when I watch the DVD, I'm still not affected like I was when I was
watching it live. I wish we would have a two-week run so that more
people could see it.
Q. Maybe bring back a Cirque tent to the Strip?
Exactly. That's what was mentioned, that maybe "One Drop" could be a
temporary show. So that's already in the works, but I also love the
element of this uniqueness. You only see it once, so you need to fight
to get your ticket to come and see this.
Q. Has the big boss, Guy Laliberte, had any input in this yet?
No, none whatsoever. He doesn't see it until the night of; it's the
only show he does that. To be honest with you, it's good and bad. The
good element is that you can fully create without anybody interfering.
The bad thing is, it's not bad, but you need to make sure you have
your act together because he's coming in for that one night, and you
need to deliver.
Q. No shortage of volunteers from performers to seamstresses at the
Cirque shows?
No shortage. This year has been better than the last two. I think from
last year, people saw a lot of things, how we developed and how
people's time was used, so I think that really engaged people to come
back this year. For example, the costumes, we had all the shows really
taking on projects.
We have all-new costumes. We're not using any
old ones.
Q. Is it safe to say that the minute you walk into the "Love" Theater,
you know you're inside the "Love" Theater, but you're not going to
see anything of "Love"? The love is all about protecting water?
The love is all about water, and the love is about this theater that
we're transforming. It will be physically transformed by virtue of the
unique show. The challenge with that is "Love" coming back in the next
day. So understandably of course they're worried about time; how much
we change that we can change back. I think that's the biggest worry.
Of course I'm trying to do the most I can.
Q. The "Love" stage in sections is either a computer genius' nightmare
or the ultimate tech pleasure. You get to use it all?
I get to use everything, which is amazing. That's another way of us
transforming how people see "Love." We're trying not to use any of the
transfigurations that "Love" uses. There's also a safety element.
"Love" took nine months to a year maybe just to make sure things are
safe.
I have limits, for example lifting the sensor, I want it to come up 30
feet; "Love" doesn't do that. So there's that collaboration and that
negotiation with all the necessary licensing departments and
inspectors.
Q. I noticed that the Atherton twins this morning worked with no
safety nets. How many feet up?
That's how good they are 50 feet up. In their rehearsals, they haven't
once used their safety nets because they feel so comfortable working
with each other. We're still playing with how dangerous we can make
it. The fact that they do an aerial act and this is not a completely
new discipline, we do not have to have mats.
But we have other acts in the show, for example we're bringing in a
trampoline with teeterboard. It's one of the first times that's been
done. We're doing it together. There are nine people in that right
now. It's never been done. These guys are basically the top trampoline
act and also the top teeter artists from "Mystere."
We made sure we got the best. This show will be different than last
year, and it's going to be an upgrade, too.
Q. Have you signed up for No. 4 yet?
No. Right now there are a lot of projects in mind that I want to
really focus on, and my main focus is really making this one a
success.
* * *
"We're going to see things that will blow your mind," said One Drop
Exec Catherine Bachand.
"Robin, let me emphasize this again. We do One Night for One Drop'
because the fact is one child dies every 20 seconds somewhere in the
world going without water. It's 4,000 a day. That's more than five
filled jumbo jets falling out of the sky a day."
Q. A very sad but powerful illustration of the problem with the lack
of water in the world. What did you think of this preview with
these two aerial acrobats who are going to be the stars of this
year's show?
I actually get really emotional before events like today because it
really reconnects me with not only the concept of "One Night for One
Drop," but also the fact that there is so much talent and passion
going into putting on this event. These guys have 10 shows a week, and
on top of that they have to imagine a whole new act, practice it in
their own hours, on top of the training that they do for their own
show, which I think is three hours per day.
It's a big challenge for them to perform in a 360 venue like this one.
For all the artists, it's going to be a challenge. It's something when
you're used to it, but when you leave a different venue to come here
Q. This is year three. Remember the very first time in year one, you
said it was one-night, one-time only. It's now gone to a second
year and a third year, so it looks set as a permanent fixture?
Well, I would never take it for granted. I think this is; because all
of the employees are so committed, that's the only reason we can have
this event. It's also because we have a partnership with MGM Resorts
and Cirque du Soleil.
We have more and more committed, all volunteers in their own way.
During the year whether you're doing PR communications, info graphic
stuff, you get to work on One Drop.' I think what it did for the
employees, it really brought them all together to deliver something
bigger than themselves and connected them to the higher purpose.
That's what Cirque is doing by committing so much to water globally.
Q. Year One was in the "O" Theater, Year Two in the "Michael Jackson
One" Theater, and now the third one is in "The Beatles Love"
Theater. You're going to run out of theaters by year eight, so does
Guy let you bring the tent back where it all started for him?
We might have a surprise to announce for 2016. Our idea is to engage
the whole community. I think through these events, we've brought new
audiences here to the theater. It shows them also what the capability
of the venue is. Mukhtar will be able to use this in ways that it's
never been used before. The idea is to really surprise and please the
audience, just like the first year at the "O" Theater.
We were able to use that stage to create mountains and elevation,
which you actually can't see in the "O" show. I think here we're going
to see things that will blow your mind.
Q. If he gets his way?
He will. There's no one to say that he can't. Creating a new Cirque
show costs millions of dollars, but this one is done on the dime just
because people contribute all their time and talent. They all give,
and we have technical donations from all sorts of people.
Q. It's so special, couldn't it be more than one night and still be
special? Couldn't it run two weeks? Couldn't there be an
opportunity for it not to just be one night, or does that upset all
the other productions? If you had a Cirque tent at the Rock in Rio
site or MGM Resorts Village opposite the Luxor, then you could do
two weeks?
It's a good question. It's a question for Cirque. What the capacity of
the market is to have a whole new show, it certainly would take away
from the special
I mean, it's called "One Night for One Drop"
because it is just for one night. It's still more than 2,000 tickets
that we have to sell for that special night putting on the show and
everything that comes with it.
I think for everyone who buys those VIP tickets, there's a sense that
you're part of something unique. You know what it's like when you
watch something magical happen right in front of your eyes, like
you're KÀyaking and you see a whale jumping; You have to really pay
attention because this moment is actually never going to happen again.
That's the feeling I want everyone in that room that night to have.
That feeling that what you're watching is a manifestation of a company
coming together to change the world, and pay attention because it's
not going to happen again.
Q. The two previous shows raised $11.3 million?
Yes, and in addition with our overall first generation of programs, we
helped 655,000 people. One Drop when we started our first water-access
programs, they were all done in sort of pilot mode, and we were
reaching anywhere between 20,000 to 50,000 beneficiaries per program.
Now because of the new business model, so all the partnerships we're
developing within the sector, the work that we do in the field in
Central America and Africa and India, because of our model of
partnership and leverage and with local governments, corporations and
other sector players, we are able to deliver programs that now reach
655,000 people.
So the scale and scope of our program have grown tremendously because
of those partnerships and the way we operate.
Q. In your own words, please explain to the people in Nevada who think
this problem only exists in India, therefore," "I don't have to
worry about it. It's never going to affect me." How do you address
that on a local or state level?
The World Economic Forum that just concluded in Davos, Switzerland,
identified water as the top challenge risk of the century for
humanity. It's a risk not only for developing countries, but for
developed countries, as well. There are a lot of diseases being spread
because of the lack of water, bad water.
There's a lot of political instability, the fact that we're keeping
half of the African continent busy carrying water all day whereas
productive time could be freed to generate so much revenue.
Q. How does that affect people in Nevada and Las Vegas? People don't
think we have a water problem. Tell me why we have a water problem.
Tell me why we're going to have a water problem.
Well the problem is that we're taking from the water shed and
underground water reserves. Way more than the reserve is able to
replenish itself. The problem is when you have years like we have had
in the past few years where you do don't have a lot of snow pack, the
problem is that the water reserve is not replenishing itself. The
levels are lower, and it's dramatic.
It's as important for people in Las Vegas and Nevada to worry about it
as for people in India. It starts at home; it starts with us. We take
it for granted until it stops running from the tap. You wake up one
morning and you don't have water. I think we have to figure out ways
to manage the resources better. We have very water-intensive
industries that could do a whole lot better in using new technologies.
The water that we save, the community here in Las Vegas, are credits
that we get back to use more water from the Colorado River. Every
single drop that we save is important and has a real impact. The
economy here is so tied with the Colorado River that it represents $9
billion. If the river was not there, our economy would be poor by $9
billion. I don't think people realize how tied we are to water.
If you don't have water here, everything is going to close up. Look at
big cities like what's going on in Brazil and Sao Paulo. They now have
water only three days a week. What do you do the rest of the time? The
idea is to be smart enough that in Las Vegas we never get to that
state. So we recycle, reuse and replenish so we never run out.
Everybody has a role to play.
{ Original Sources: | http://goo.gl/153jrv & http://goo.gl/8I0Vp9 }
------------------------------------------------------------
SPECIAL /// "A First Look at Luna Petunia'"
By: Jeremy Dickson, via Kidscreen.com
------------------------------------------------------------
Iconic Montreal, Canada-based performing arts organization Cirque du
Soleil has achieved more success in its 30-year history than most
companies ever dare to dream about. Since Guy Laliberté founded the
company in 1984, its unique live shows have thrilled close to 150
million spectators in more than 300 cities in 40-plus countries on six
continents. Generating US$850 million in revenue in 2013, Cirque
currently operates 20 different touring shows simultaneously around
the world and continues to evolve and expand globally.
In December 2012, it caught the attention of the kids entertainment
industry by launching Cirque du Soleil Média, a joint-venture with
Canadian broadcast heavyweight Bell Media. The plan was to expand the
Cirque brand and its values beyond live shows into new and original
youth- and kid-targeted content for television, film and digital
platforms.
The joint-venture's first project brought L.A.-based Saban Brands
(Power Rangers, Julius Jr., Popples) into the mix in February 2014 to
help launch a kids property that includes a TV series, a consumer
products line and interactive content. Eight months later, Cirque and
Saban introduced Luna Petunia to the world at MIP Junior, and revealed
that an animated TV series of the same name was already in development
with Bradley Zweig (Sid the Science Kid, Yo Gabba Gabba!) as
showrunner.
The series marks uncharted waters for Cirque du Soleil Média, but the
company is confident its collaboration with Saban will move the
property in the right direction and open up a wealth of opportunities.
During a recent visit to Cirque headquarters, where a joyful, creative
energy permeates every inch of its vast interior, Kidscreen spoke with
Daniel Lamarre (president and CEO of Cirque du Soleil), Jacques Méthé
(president of Cirque du Soleil Média), Elie Dekel, (president of Saban
Brands) and Brian Casentini (Saban SVP of development and production)
about Cirque's move into the kids space and the progress of the
series.
Why preschool animation?
------------------------
When Cirque was initially exploring ways to bring the magic and
emotion of its live shows to a larger audience through mass media, it
kept coming back to kids animation. "We've been toying with the idea
of kids animation for many years. We think it is the right way to
attract a new demo," Lamarre says."It's very important to expand
Cirque's target demo beyond those who can afford to go to its live
shows in person."
And when it came time to pinpoint a specific age group within kids,
Cirque and Saban both agreed that preschool was a sweet spot. "For the
majority of the world, adults are the most aware of the Cirque brand,"
says Casentini. "So we felt that because moms and parents control the
media preschool kids consume, launching a preschool brand first made a
lot of sense."
In addition, Saban's global success with its own brands and Zweig's
experience in developing and producing TV series were big factors in
Cirque's final decision. "Bradley's openness to another creative
process was a big factor for us," notes Méthé. "A lot of people when
they interact with us see the surface, the acrobatics and colors. He
cut straight to our DNA and values. He asked right away, Who is Luna
and what drives her?'"
Creating Luna
-------------
While Luna Petunia will have nothing to do with circus life, Cirque's
values and the whimsical nature of its stage shows will seep into the
fabric of the series' characters, stories and visual world.
The series follows the adventures of a little girl, Luna, who lives in
the real world, but plays in a dreamland where she learns to make the
impossible possible. She teaches young viewers the importance of
believing in themselves and in the wonderful things their minds and
bodies can do.
According to Casentini, a bible is complete, the core characters have
been designed, and the digital development of the backgrounds has
started. The 52 x 11-minute series will be 2D-animated with 3D
elements, and Casentini says Cirque and Saban are actively seeking co-
production partners. "We are looking at a bunch of different Canadian
studios in conjunction with Cirque Média to help us produce the
series, but no official decision has been made yet," he says.
As for scripts, Zweig is currently writing episode one and a number of
premises have been turned into full story outlines.
Luna's world
------------
The narrative begins at Luna's birthday party. After her friends
leave, she receives a special gift from her mischievous aunt Zuzua
mysterious box adorned with a petunia and filled with unusual toy
characters. The box is also inscribed with the phrase, "Make the
impossible possible today
feel your heart, touch your mind, and swirl
away!" When Luna speaks the words, she is magically transported to the
world of Amazia, where the toy characters from the box come to life
and accompany her on wondrous adventures.
One of Luna's friends, Sammy-Stretch, is a playful character who is
fluent in gibberish (how Cirque!), and has accordions for limbs that
make music when they move. He loves riddles and games, and he often
challenges Luna to try new things.
Bibi Bubbles, Amazia's excitable brainiac tour guide, and cuddly
Koalaroo, who has a KÀngaroo tail, the body of a koala bear and
springs for legs, round out the core ensemble. A particularly creative
aspect of the Bibi Bubbles character is that her thoughts can be seen
by other characters because they appear in bubbles that pop out of her
ears.
As for unique environments, the series features a mood willow tree
that changes a character's hair color to suit their mood when they
walk under it. Wiggly lily pads also react to characters' emotions.
In the development of the show's characters, Méthé says a number of
Cirque artists were called on for creative input. "A bunch of them are
involved and have produced all sorts of elements that are in the
present course of development. We will keep on this path because it is
working really well," he says.
Future opportunities
--------------------
With positive early reactions across the board from broadcasters at
MIPCOM, and a deal close to being secured with a global distribution
partner, Cirque and Saban are confident in the potential of the IP.
"It's exciting and frightening because we have to deliver," says
Méthé.
Lamarre concurs. "The risk is that we have to produce a series that
will not only be appealing to viewers, but that will be a good
demonstration of our brand, too," he says. "Our consumers have very
specific expectations of what Cirque is all about, and it's very
important that moms recognize the creativity in the new brand.
Obviously, we don't want to disappoint them."
With delivery of the series expected for summer 2016, Cirque and Saban
are also exploring ways to extend Luna Petunia to interactive,
digital, learning and other consumer products. "As the creative is
developing, we are paying a great deal of attention to how the
storylines, characters and visuals can translate to the other
platforms," says Dekel.
One of the ultimate goals, according to Lamarre, would be to launch an
immersive live experience and bring the property back to what Cirque
does best. "The greatest reward we could have, and it would be a first
for us, would be to establish a character that has enough impact to
integrate into a live show."
------------------------------------------------------------
INTERVIEW /// "Isabelle Corradi - Varekai's Chanteuse"
By: The Chapiteau, a Cirque du Soleil Fan Club)
------------------------------------------------------------
Q. Where were you born?
I was born in Italy and raised in Montreal.
Q. How long have you been with the show?
With Varekai it'll be 11 years on the 10th of July - a big day! And
I'm still passionate about it. I love what I do.
Q. What other shows have you been in?
I did Alegria in '94, and I did Saltimbanco so this was singing and
dancing a lot on that [angled surface], so it was interesting to dance
with little boots(-ies) with little heels(-ies) but I was having a
great time. I did Alegria again, then I was the voice coach for a
while, then I was a dance coach for a while too and then I came to
Varekai!
Q. What is it about Varekai that you enjoy?
I love the music, and I can say my favorite [song] to sing would be
the opening act, which is called Hula. Another one that I really like
too is the one of song trapeze that is more rhythmic. The lyrics are
written even if it's, like, an invented language. I guess you call
this gibberish. The words are actually created and composed with the
note and everything, so musically the score is done. When there are
changes of acrobats, changes of rhythm, or new tricks we want to put
in, my band leader will say: oKÀy, Isabelle, we're going to do this,
this, and this... but we are framed... well, not framed... but we are
guided to the score but intention, we put intention behind it. And yes
I have vocabulary of movement on stage but I chose everything... I'm
not the same [everyday], I don't feel the same [everyday], and the
intention is not the same [everyday]...
Antipodise is very smooth and touching, and with the new mise en
scene, because when we were in the big top we had different staging,
here because we have so much ground to cover our artistic director
restaged things, so I love it.
Q. How does it feel to sing your sister's music on stage every night?
It feels great!! It feels amazing; it feels fabulous. We sang all our
lives together, and then we separated... she wanted to do things and I
wanted to do musicals (like Les Miz and other musicals), and then when
I heard that they needed more composers I contacted my sister and said
that would be great if you could, you know, send your material. And
they loved what she did, so she composed Dralion (was the first one),
Varekai (the second one), and Zaia.
Q. Do you enjoy touring?
My parents were on tour, I'm on tour; i like it. It's like getting
used to something. When I started, of course, I missed my friends
because when you arrive you don't know anybody. But then what happens
- there's amagic that happens - the people you work with become your
family because you see them more than your real family, so I embrace
it the best I can.
I have a contract with me: as long as I am having fun, as long as I
have challenge, I stay. When I feel less feeling I pick up the phone
and say "can I do this show? Do you have another show?" Something like
this. I did this once, and so far everything is going well. I'm very
blessed and I'm very conscious about it.
Read and HEAR this fantastic interview on The Chapiteau's Website:
< http://www.thechapiteau.com/interviews/isabelle-corradi/ >
------------------------------------------------------------
INTERVIEW /// "Fernando Miro The New Icarus"
By: The Chapiteau, a Cirque du Soleil Fan Club)
------------------------------------------------------------
Hello, my name is Fernando Miro, and I'm Brazilian-Puerto Rican, and I
play the character of Icarus in Varekai.
Q. Who is Icarus to you?
Icarus is this young man who was given wings to fly and he was a bit
greedy. So he decided - even though he was told not to - he decided to
fly close to the sun. And with that he burned his wings off. In the
actual mythological story he drowns, but in the show Varekai it takes
a twist so he lands in a mythological forest and he gets a second
chance. So the whole story is based on this second chance, and how he
overcomes this situation.
Q. How do you see your act?
The whole show is based on this character that is telling his story.
So my act is more based on the suffering of he just burning his wings
and you just landed in this place that you don't know. So including
the acrobatics, I'm trying to tell the story that this net has me
trapped. Through a little contortion I do a little suffering, I try to
fly again, but I don't have wings. So instead of doing an acrobatic
piece number, it's more an interpretive dance with acrobatics.
Q. How much training did you receive?
I had two months in Montreal with coaches over there and with the help
of the current artistic director of the show. They were really
specific with the vision they wanted, so I could show them options of
what could be possible and then they could choose what would be
perfect for their visual.
Q. How did you get started with circus?
I started in gymnastics when I was very young - gymnastics and choir
(I was trained as a singer as well), and slowly, as I got older, I
quit gymnastics and I started in the dance world, so I did a little
Contemporary and Hip-hop. Then I got a scholarship with one of the
biggest schools in Puerto Rico, so I had to do the whole dance
training. With the gymnastics background it was very helpful. When I
got older I lived Puerto Rico to the United States, and that's where I
started my circus training - about 10 years ago. And I trained all
sorts of circus stuff: contortion, hand balancing, aerial (of course),
and yeah, here I am!
Q. How many shows have you been in with Cirque?
I've been in three shows, and I've also been part of the LIGHT Night
Club in Las Vegas. Though it's not counted as a show, I've been in
four Productions. My first show was BELIEVE - Criss Angel Believe - as
one of the rabbits, then I took a break and went with Taylor Swift,
the pop star; did a tour with her for 2 years, then after that I got
the Michael Jackson show. So I did the Immortal World Tour show for a
bit as a dancer, and had my own aerial act as well, and that led me to
audition for Icarus, so here I am!
Q. Do you find traveling difficult?
It is extremely difficult. I've never been in big tops, but I have
toured in arena shows. It's a lot of traveling. In MJ Immortal we did
two cities in a week, here at Varekai we do one every week so I
literally never unpack. I just pull stuff out of my suitcase and put
it back in. But it is extremely hard, especially with family and
friends, you have to try to keep in touch when you have five
minutes... my character has a lot of scenes involved so there's a lot
of rehearsals as well throughout the day before the show, so it's a
busy schedule but you kind of get used to it after a while. Yuu
appreciate your time off a lot more than on resident shows or big
tops.
Q. Do you have a special moment in the show?
There's a special moment where I'm not Fernando, I'm actually Icarus,
and I'm telling thousands of people the story of Icarus, so I think
that's special every night. If I can reach that moment in the show
then I truly believe that I did a good job.
Q. Any advice to aspiring performers?
Anything is possible. I know it sounds tacky, but you just have to
work hard and everybody has their own spark and their own special
ability so if you manage to find that, you have to exploit it and make
it more of a beautiful thing than anybody elses. It's your own thing
so you make sure you shine.
Read and HEAR this fantastic interview on The Chapiteau's Website:
< http://www.thechapiteau.com/interviews/fernando-miro/ >
=======================================================================
COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 15, Number 3 (Issue #134) - March 2015
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2015 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination!
Newsletter." By sending us correspondence, you give us permission
(unless otherwise noted) to use the submission as we see fit, without
remuneration. All submissions become the property of the "Fascination!
Newsletter." "Fascination! Newsletter" is not affiliated in any way
with Cirque du Soleil. Cirque du Soleil and all its creations are
Copyright (c) and are registered trademarks (TM) of Cirque du Soleil,
Inc., and Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
{ March.05.2015 }
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