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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 11 November 2015 ISSUE #142
=======================================================================
Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
Just before press time, the Cirque fandom was all a-twitter over a
website found by fans that purported to show extended tours for
Quidam, Corteo, OVO, Kooza, and many other Cirque du Soleil shows -
including the newest: Cirque 2016. Many of us debated whether the
site was legitimate or not, and therefore whether any of the info
listed was good. Turns out the site, although by Cirque du Soleil's
IT department, was a QA Testing site, testing out new layout ideas
and the like, and was thus populated with some fictional information.
One thing that wasn't fictional, however, was the use of Cirque2016's
actual name within the site, which we won't name here. Those of you
out there that know it - great! For those who don't yet know, don't
despair. A media day, similar to the one Cirque held for TORUK-The
First Flight, is scheduled to happen soon. In the meantime, by the
time the next issue is out Cirque will have made their official
announcement about the show, which will include the unveiling of the
show's name. So we won't steal their thunder.
Speaking of TORUK-The First Flight. On October 28th, Cirque unveiled
the new arena show to the media in Bossier City, Louisiana, where
the new show will make its soft-opening debut. Here Cirque will keep
tooling the show for it's Montreal debut in December. A week before
the Media Day the Shreveport Times went backstage to get a Behind
the Scenes look at the show's development, the text of which we've
included in this month's issue (see the Special Engagement section
of our news section - Cirque Buzz - to see their backstage look).
For those who might be interested: the Cirque du Soleil gift cards
are back! The gift cards can be redeemed for show tickets anywhere in
the U.S. and Canada, so use them to treat someone to an unforgettable
experience at Cirque du Soleil today! The kicker is that the cards
are only available as an eGift card, rather than a physical piece of
plastic, but according to the cards' website, a physical card is
coming soon. Check out details about the "new" card at their website:
< https://www.cirquedusoleil.com/gift-cards >, which includes an
extensive FAQ for those with questions. You can buy a card for as
little as $25 USD and as much as $200 USD!
In addition to the resurrection of the Cirque Gift Card, after months
and months offline, just before TORUK's Media Day, Cirque du Soleil
revamped and relaunched its online boutique! Finally, am I right?!
The offerings are very slim right now, but we're assured that the
selection will only get better in time. We've also heard that Cirque
has taken over management of all its Las Vegas boutiques as well (it
seems Cirque was losing revenue from the stores since MGM managed
them - no longer), so it's possible we'll start seeing some of the
selection usuall exclusively found there online as well. Meanwhile,
check out the new store here: < eboutique.cirquedusoleil.com > or at
< www.cirquestore.com >.
And while this news is exciting, there's plenty more within, such
as: Cirque is ready to begin updating LOVE for next year's 10th
anniversary celebration. BELIEVE is also due for an upgrade. LA
NOUBA is getting two new acts, and possibly replaced by 2018. A new
"show" will pop up in Russia - JOEL - to celebrate the winter season.
Cirque is now out of the night club business; BAZ will head to The
Venetian. And much, much more!
Last month we continued our exclusive interview with KURIOS drummer
Kit Chatham, picking up with Kit's first Cirque experience, Corteo,
and following him through his time with Viva Elvis, Mystere, and
Zumanity. And now in part three, after being stolen away from Kooza
by KURIOS director Michel Laprise, Kit discusses with us what he
brought to the show. And more! We also continue with our look back
at Guy Laliberte's Poetic Social Mission. In Part 1, "The Countdown
Begins" we listened as Guy took us through his first steps. In Part
2, "Training Kicks Up a Notch", Guy got settled in, and passed a few
essential tests. Now we continue as he gets down into the nuts and
bolts of his training, covering the month of July 2009. And last, but
certainly not least, is a special article reprinted from Sarah Barmark
from the Canadian Business Magazine - she takes a look at what she
calls the astonishing second act of Cirque du Soleil - a Cirque that
is no longer an independent company. Check it out!
As always we also have the relevant posts made to Cirque's Facebook
pages, and updates to Cirque's touring schedule.
So, let's get started!
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
| |
| Realy Simple Syndication (RSS) Feed (News Only): |
| < http://www.cirquefascination.com/?feed=rss2 > |
| |
\----------------------------------------------------/
- Ricky "Richasi" Russo
===========
CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News for the Month
* Q&A - Quick Chats & Press Interviews
* Special Engagement - More In-depth Articles
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Club Cirque -- This Month at CirqueClub
* DidYaKnow? -- Facts About Cirque
* Networking -- Posts on Facebook & Other
o) Fascination! Features
*) INTERVIEW /// "The Third Time: An Exclusive Interview
w/ Christopher Kit Chatham, Kurios Drummer" (3 of 3)
By: Keith Johnson - Seattle, Washington (USA)
*) LOOK BACK: Guy Laliberte's Poetic Social Mission
PART 3 of 8: "Getting My Hands Dirty"
By: Ricky Russo - Atlanta, Georgia (USA)
*) SPECIAL: "The Astonishing Second Act of Cirque du Soleil"
By: Sarah Barmak, Canadian Business Magazine
o) Subscription Information
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
---------------------------------------------------
LA PRESSE General News for the Month
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Cirque Debuts SPARK, Teambuilding Workshops for Groups
{Oct.06.2015}
-------------------------------------------------------
Cirque du Soleil is moving from the Big Top to the Boardroom: As
of Oct. 1, the Québec-based performance group is offering SPARK
Sessions for VIP groups in Las Vegas. Exclusive workshops
custom-built for corporate groups, the sessions are designed to
stimulate creativity, innovation, and synergy by harnessing
Cirque du Soleil principles and best practices.
Our guests have always wanted to go behind the curtain at a
Cirque du Soleil performance, and companies have been asking us
for years how we manage to spark the creativity that you see on
stage, says James Guilford, SPARK program manager at Cirque du
Soleil. SPARK Sessions are our way to bring people into the
Cirque world and create some of the most interactive and
educational team-building experiences in the world right on
stage. Its our hope that SPARK Sessions ignite innovation,
curiosity and creativity in everyone who participates.
Cirque du Soleil is offering two types of SPARK Sessions:
Learning Sessions and Teambuilding Sessions.
Learning Sessions illustrate the unique ways that Cirque du
Soleil fuels innovation, maintains operational excellences and
nurtures creativity in its employees. They include: Journey a
tailor-made tour providing exclusive insights and sneak peeks;
Forum an interactive panel discussion staffed by Cirque du
Soleil experts; and Flare a demonstration of the theatres
amazing technical abilities.
Teambuilding Sessions (Soar) challenge participants to build
synergy by creating a cast of characters and building a
performance with make-up, costuming, and props in a unique
Cirque du Soleil space, leading to improved communication,
collaboration, and trust. Sessions include: Formation
instruction in Cirque du Soleil arts by the companys world-
class artists and coaches; Exhibition a live performance on
stage by the participants and their group; and Flash a
professional photo with Cirque du Soleil characters in full
costume and make-up.
Both Learning and Teambuilding Sessions offer groups a view of
the show from the best seats in the house (Vista).
SPARK Sessions start at $550 per person and are available at all
eight Cirque du Soleil productions that are currently residing
on the Las Vegas Strip. Email corporate.sales@cirquedusoleil.com
for more information.
{ SOURCE: Stressful Meetings | http://goo.gl/PN3I79 }
La Nouba Celebrating 8,000th Shows with Changes?
{Oct.08.2015}
-----------------------------------------------------
According to multiple sources, La Nouba will undergo a few
changes as it celebrates its 8,000th Performance...
A couple of years ago, current artistic director Daniel Ross
took the helm and immediately saw some changes he wanted to make
to keep the show fresh.
He added more appearances by the shows comic relief-providing
clowns, which brings a good break from the high-energy acts in
between. And the clowns are downright funny, creative characters
of their own, far more enjoyable than your average circus clown.
They are able to engage with the audience in an honest way,
never resorting to insulting anyone. It all feels appropriately
innocent.
Other changes on the horizon recently announced include
replacing the shows two opening acts, beginning in December.
The somewhat long winded jump rope routine is being replaced
with break-dancers. The high wire act will be changing to a
different aerial act with a bamboo pole.
Ross explains the frequent changes to the show: When we have
new people coming in, we try to let them influence the show and
make it something else. As a result, La Nouba is still very
fresh after 18 years. Its a show thats still alive, its still
current, its still real, its still true to the moment. So its
something that we really take pride in.
{ SOURCE: CirqueSpotlight, Inside the Magic | http://goo.gl/ZS9NoH }
Cirque du Soleil is Out of the Nightclub Business
{Oct.09.2015}
-----------------------------------------------------
Cirque du Soleil is accustomed to staging acrobatics, but this
is impressive even for the famed artistic company.
In one fell swoop, Cirque has shed its ownership interest in
Light and Daylight at Mandalay Bay, while Hakkasan Group also
has ended its management agreement to operate the entertainment
venues on the Strip.
Hakkasan, the preeminent nightclub company in Las Vegas, had
previously been working in an operations agreement with Cirque
at Light and Daylight. No more. The company issued a statement
Tuesday afternoon announcing that it was finished running both
clubs:
Hakkasan Group and the ownership group of Light and Daylight at
Mandalay Bay have mutually agreed to terminate their management
agreement for both venues, as well as end all litigation between
the two parties. Both Hakkasan Group and ownership wish each
other well in the future.
In June, the company MB BC Limited, a consortium of investors
under the Cirque umbrella, sued Hakkasan. The group claimed that
Hakkasan Group and CEO Neil Moffitt had gained a monopoly of Las
Vegas nightclubs and had been diverting customers away from
Light and Daylight (which, again, it was actually operating) and
also had been luring DJs and promoters to work at Hakkasan
clubs.
That litigation has now been settled.
Amid all this activity is the role Cirque had been playing as
owner of the Mandalay Bay clubs. Word seeped out of the company
in late August that Cirque had been bought out of its
controlling interest in Light and Daylight by business partner
The Yucaipa Companies (which, oddly enough, means that Light and
Daylight are now owned by the same company who owns the Fresh &
Easy Neighborhood Market chain).
The fallout of the change in operations at Light has already
been felt: The chief reason the highly regarded rock musical
For the Record: Baz moved out of Light was because of the
ownership change at the club; Baz was staged in Light
specifically because it was a Cirque Theatrical production in a
Cirque-owned club.
Not anymore.
Why would Cirque shed its nightclub interests? Its a relatively
slim profit margin for the amount of work and organization
required to effectively operate a nightclub on the Strip, and it
is a highly competitive, often cutthroat business.
TPG Capital, which purchased controlling interest in Cirque in
April, is said to have no interest in nightclub ownership.
Today, Cirque officially announced that it is out of the
nightclub business with a statement issued from its headquarters
in Montreal:
Cirque du Soleil is now completely focused on its existing live
entertainment/shows and creating new live shows. We have decided
to pull out of all hospitality projects to ensure that we stay
focused on that objective. We therefore have no more business
and creative links to Light and Daylight.
We have concluded a very amicable agreement with Yucaipa.
Our
priorities and initiatives in Las Vegas are targeted at focusing
our marketing initiatives and priorities to reach more specific
segments such as Millennials and other groups.
Expect, then, a major rebranding of Light and Daylight in coming
months. What remains unknown is if Cirques divestment in
nightlife entertainment might stray elsewhere. The company has
been a partner in the Rock in Rio USA event, which returns in
May 2017.
If the event is to return, as expected, would Cirque still be
willing to help stage a festival that lost tens of millions of
dollars while trying to gain traction in its first year in the
U.S.?
And what of the little musical left without a home? For the
Record has been trying to find a venue for Baz, but if that
theater/showroom/nightclub is not an MGM Resorts property and
the likely scenario is for a non-MGM Resorts home for the show
Cirque will end its partnership.
What remains obvious is that Cirques grand designs on operating
a cool nightspot with the assistance of the citys largest
nightclub operator have reached last call. The party is over.
{ SOURCE: Las Vegas Sun | http://goo.gl/wYyCIj }
BAZ Heads to Venetian
{Oct.09.2015}
-----------------------------------------------------
It has been confirmed but off the record that For the
Record: Baz, which opened and closed at Light, has found a new
home at the Venetian, and it will get a new name, with all
references to the Baz title changed. The show won rave reviews
and growing audiences at Light before the recent executive
shuffles and decision by Hakkasan Group to exit its ownership
status.
Venetian officials decided to re-title the show for its move
there because Baz, named for Australian movie director Baz
Luhrmann and known to the film crowd in Los Angeles, is
basically unknown here on the Strip. The show was developed from
its hit Los Angeles run by Cirque du Soleils new theatrical
division, who has, since the changes at Light, relinquished
their partnership.
The arrival of the new-look, new-name show at the Venetian
necessitates major entertainment changes there. Wicked Whispers
& Racy Rumors are that Human Nature have been given notice, and
the Aussie foursome will exit for a venue next door at Harrahs.
Also, two shows from the East Coast are rumored to take over the
main Palazzo theater at the property where Bob Anderson will end
his run of Frank: The Man, The Music Sinatra tribute on Nov.
28.
{ SOURCE: The Las Vegas Sun | http://goo.gl/zSHtuO }
JOEL: Made of Snow! Made in Russia!
{Oct.15.2015}
-----------------------------------------------------
From out of the blue, Cirque du Soleil has announced it has
created a special winter-themed show just for the Russian public
- JOEL!
Pronounced "yule", JOEL is inspired by the traditions of the
Russian New Year and follows the Snow Maiden in a snow-shrouded,
enchanting world where a myriad of cooler stars will point her
way to finding love. Imagine a bustling metropolis a few hours
before the New Year; the incessant hustle and bustle; glittering
lights in windows; singing all over the city; pedestrians
hurrying in all directions; and huge traffic jams holding
everyone at bay. This is not a populace who believes in the
miracle of winter any longer, these people are lost! And for
many years they've seen Father Christmas as someone in the next
room absently fiddling with a false beard, but not her... not
the Snow Maiden. Fascinating beautiful, brave and stylish, this
evening The Maiden hurries home and is resolutely rushing on the
snowy street, when she stumbles on one of the inhabitants of the
Kingdom of Snow. He stretches out his hand to this young beauty
on this New Years Eve and opens the door to the incredible
world of JOEL.
The show is under the direction of Fernand Rainville and a team
at 45 Degrees events. Fernand Rainville, you may remember, was
also responsible for the artistic direction of the opening
ceremonies of the Outgames at Montreals Olympic Stadium in 2006
(Circle), he was co-director for the opening ceremony of the
Montreal 2005 XI FINA World Championships (Reflections in
Blue), Director of the Cirque du Soleil pre-game show at the
2007 Miami Superbowl (One Day, One Game, One Dream), as well
as Director of Creation on both Wintuk and Amaluna.
More details as they become available. In the meantime, check
out a few concept pictures (< http://www.cirquefascination.com/?
p=6595 > - it reminds us of Wintuk) and if you happen to be in
Moscow, check out JOEL at the Barvikha Luxury Village Concert
Hall from January 2nd through 10, 2016. There are two shows a
day 3:00pm and 7:00pm.
{ SOURCE: Cirque du Soleil RUS | http://www.cds-show.ru/joel }
Cirque Officially Announces TOTEM Japanese Tour
{Oct.15.2015}
-----------------------------------------------------
Cirque du Soleil on Wednesday introduced its new production
TOTEM at the headquarters of Fuji TV. The TOTEM Japan Tour
starts in Tokyo on Feb 3, 2016, then moves on to Osaka, Nagoya,
Fukuoka and Sendai. (Check out Pictures here:
http://www.cirquefascination.com/?p=6606 )
TOTEM, an evolution-themed performance, has been staged in 30
cities in Australia, Canada, New Zealand, the Netherlands, the
United Kingdom and the United States since 2010. It shows many
aspects of humankinds journey physically, intellectually and
spiritually. The evolution theme also sees Cirque du Soleil
adopt new technologies such as projection mapping and movable
stages.
At Wednesdays press conference, two acts were demonstrated for
the media a pair of roller skaters and unicycles with bowls.
Neelanthi Vadivel, artistic director of TOTEM, said the show
would be very colorful and humorous, and that she hopes
audiences will enjoy the journey through time and continents.
Schedule:
TOKYO, Odaiba Big Top
Feb 3, 2016 April 10, 2016
OSAKA, Nakanoshima Big Top
July 14, 2016 TBA
NAGOYA, Nagoya Big Top
Nov 10, 2016 TBA
FUKUOKA, Fukuoka Big Top
February, 2017 TBA
SENDAI, Sendai Big Top
April, 2017
Tickets: Available at Fujitv Direct International Sales or call
the information desk at 0570-020-520 to book your tickets.
{ SOURCE: Japan Today | http://goo.gl/moeiFz }
Cirque Ready to Overhaul LOVE and BELIEVE in 2016
{Oct.20.2015}
-----------------------------------------------------
At the recent One Drop Walk for Water at the Springs Preserve,
Cirque du Soleil Senior Vice President Jerry Nadal put a
timeline on some highly anticipated upgrades weve heard about
recently
As earlier reported, Love is due for a major renovation in
time for the shows 10th anniversary in June. That effort should
be underway in early 2016. Love will get an $8 million
refresh and at the end of February, well soft-open that again
after taking it down for a couple of weeks, and then run that
for a couple of months, Nadal said. Closer to the end of May,
or in early June, well do another red-carpet event, big event
tied to the anniversary. Giles Martin will again design the
music, having access to all of the material the Beatles recorded
over the course of their entire career. There will be technical
changes. There will be choreographic changes. The sound is being
changed out, Nadal said. It will be a big overhaul that will
cover the shows next 10 years.
* * *
Criss Angels Believe, too, is set for a large-scale overhaul
possibly by January, provided the budget and resources for those
upgrades can be finalized this year. It was expected Believe
might be refreshened as early as November, around the shows
seventh anniversary on Halloween. But as Nadal said, Were
looking at changes with Criss, sorting that all out, and Id say
probably January or February, hopefully, we can make some
changes on that show with him. The show will remain titled
Believe and in its current format at least through the end of
this year. Wed like to make significant changes to it, Nadal
said. There are three more years right now on that (10-year)
contract, and we need a big refresh. Criss has an amazing fan
base so you want to give them a reason to keep coming back again
and again.
{ SOURCE: The Las Vegas Sun | http://goo.gl/PCDC4C }
PARAMOUR to Star Ruby Lewis
{Oct.23.2015}
-----------------------------------------------------
Cirque du Soleil has revealed one of the female leads of its
first production created specifically for Broadway and,
appropriately, shes a self-described thrill-seeker who lists
among her skills skydiving, improv and tae kwon do.
Ruby Lewis, a native of Kentucky, will make her Broadway debut
this spring in Paramour with a 38-member company that will
build a show about a love triangle with some eye-popping
acrobatics.
Lewis said she is currently visiting with friends and family
before my whole life takes off at 50 mph. She grew up a dancer
and has always been intrigued by aerial artists and gymnasts.
Balancing and strength and grace, all combined into one, is so
divine to watch so if I can hone in on those skills and fly
around, Ill be a happy lady, she said. Whatever skills I
have, Im ready to throw them in the ring. Thats whats going
to be so fun about it: Were just going to play.
Previews for Paramour will begin April 16 at the Lyric Theatre
with an opening set for May 25. The show is directed by French
stage director and choreographer Philippe Decouflé.
We cast Ruby for her amazing vocal talent and acting and
dancing. But the fact that shes unafraid to get 30 feet up in
the air in a harness above the stage is a bonus for us, said
Scott Zeiger, the president and managing director of Cirque du
Soleil Theatrical.
Lewis, a soprano, recently did her first aerial training at the
Cirques home base of Montreal. It felt very natural. I flew. I
flipped. I did a couple of little stunts. She also took a
physicality test to prove she had the core strength to do the
show. I passed with flying colors. Ive heard there are a lot
of plans for magical moments.
Lewis was discovered while appearing in For the Record: Baz, a
post-modern cabaret inspired by the films of director Baz
Luhrmann. She has also appeared in the national touring
companies of Grease, Jersey Boys and We Will Rock You.
Her TV credits include stints on Girl Meets World, Masters of
Sex, Desperate Housewives, Rules of Engagement and
Medium. She graduated from Western Kentucky University and has
worked with the improv comedy group the Upright Citizens
Brigade.
Zeiger was tasked in spring 2014 with transforming one part of
the Cirque empire into a theater-ready medium by adding linear
story-telling to what is often just an assorted group of acts.
If youve seen other Cirque du Soleil shows, they are primarily
visual and extraordinary spectacles and while they do have a
thin story, it really is a visual and emotional roller-coaster
and you take away for it what you wish, he said.
The creation of Paramour gives is us this extraordinary
opportunity to tell a story with a beginning, middle and end.
Well be doing this in a very, very unique way, meaning we will
use acrobatics and Cirque du Soleil theatricality for story-
telling.
{ SOURCE: http://goo.gl/N8YT57 }
Criss Angel Cancels Shows; Son Ill
{Oct.24.2015}
-----------------------------------------------------
Mindfreak magician Criss Angel has canceled performances of
his Cirque du Soleil show Believe at the Luxor as of tonight
through Nov. 1 as he flies to Australia to be with his sick 20-
month-old son. This is the first public confirmation of a long-
known and often-rumored child.
Little Johnny Crisstopher Sarantakos was diagnosed with Acute
Lymphoblastic Leukemia when he returned with his mother to their
homeland in Australia.
For many years, Criss has championed and raised money for
various childrens charities here in Las Vegas, but he never
thought it would hit this close to home, said one of his Cirque
colleagues this morning. This is a very personal family
crisis.
Criss has never missed a show in more than 3,000 performances of
his Luxor shows. He would have marked seven years on the Strip
this Halloween. Performances resume Wednesday, Nov. 4.
The illusionist is said to have secretly married Johnnys mother
more than a year ago, but they broke up this summer. Criss made
headlines in recent weeks being linked with former Fantasy
topless dancer Chloe Crawford when she divorced her husband,
magician Murray Sawchuck, who appears at Planet Hollywoods Sin
City Theater.
Chloe recently won raves for her own magic performances in
Britains Got Talent, and its rumored that shell join
Crisss The Supernaturalists touring show this winter.
Our best wishes and prayers go to Criss on his last-minute
travels.
{ SOURCE: Las Vegas Sun }
NBC to Present THE MAKING OF THE WIZ LIVE, 11/25
{Oct.27.2015}
-----------------------------------------------------
NBC will present THE MAKING OF THE WIZ LIVE on Wednesday,
November 25 on NBC (8-9 p.m. ET).
From NBC News Peacock Productions, this hour-long special will
give viewers an exclusive behind-the-scenes look at the
incredible teamwork it takes to create this holidays highly
anticipated television event, THE WIZ LIVE! (Thursday, Dec. 3, 8
p.m.). From casting to costume design, The Making of The Wiz
Live! is an all-access pass to The Land of Oz.
{ SOURCE: Broadway World | http://goo.gl/WePK7b }
---------------------------------------------------
Q&A - Quick Chats & Press Interviews
---------------------------------------------------
Q&A w/Koozas Gordon White
{Oct.21.2015}
-----------------------------------------------------
Gordon White is a local Vancouver actor who plays the Featured
Clown (The King) in the touring production of Cirque du
Soleils KOOZA. Vancity Buzz had the opportunity to sit down
with White recently to ask him a few questions about his
experience with Cirque and what its like to be back in his
hometown.
Q. Whats it like to be back in Vancouver?
Oh, its always great. Im born and raised here. It always feels
like home.
Q. Tell us a bit about KOOZA.
The name, first of all, is derived from the Sanskrit word koza
which means treasure box or gift. So the whole set design
was built with that in mind. The story is about an innocent
character and he starts out in a black and white world. Then, a
trickster character arrives in a box and actually his entrance
is quite spectacular. He rockets out of a giant Jack in the Box.
Everything turns to colour. He leads the Innocent through this
whole other world which the Trickster invents and totally
controls. But, on the way the Innocents runs into all these
colourful, extravagant acrobats, characters, and some funny
clowns.
Q. You play the character of The King (featured clown) in
KOOZA. What role does he play in the show?
Hes the king of the world of KOOZA. The other two clowns are
his footmen. So, theyre like the two bad kids. When Im not
looking theyre just totally doing other things but Im in
charge. Im actually a bigger fool than they are.
Q. Your background is in acting. How did you get into clowning?
When I was a kid I was heavily influenced by physical comedy on
TV. I was really drawn to the old films, Laurel and Hardy and
Charlie Chaplin. I went to Studio 58, I had the classical acting
training, but over the years I was drawn to comedy. It was just
sort of something I leaned toward and then things just sort of
branch out. I would always try something new, someone would
offer a new job and Id think, Oh, I can do that. As far as
clown in the circus goes, Cirque called me out of the blue one
day. I had my own one man show I did in Vancouver and it got
good reviews and someone referred me to Cirque casting when they
were looking for a clown for Saltimbanco. I hadnt done clowning
in a circus before but of course I said, Yah, I can do that.
They offered me that and that was the start of my work with
Cirque.
Q. KOOZA is described as a return to the origin of Cirque du
Soleil by combining the two element of acrobatics and
clowning. How does the show marry these two elements?
Its barebones circus and in your face. The acts are in your
face
This show getting back to the basics is the interaction
between the acts, the characters, the clowns. Its that total
interaction with the audience. Youre not doing a show for them
to just sit back and watch, the audience gets involved with the
clowns. We get volunteers up, we call them victims. But even
the acts do a lot with the audience, so it really crosses that
line. Its grassroots.
Q. As you had the unique opportunity to be involved in the
creation of KOOZA, what did the creative process look like?
It was incredibly fun. David [Shiner writer, director and
creator of KOOZA] wanted that theatricality and he knew that it
was important to have the house troupe and the clowns, the
acrobats, everyone needed to work together. There was about
three days a week that we had a jeau which is French for
game. Everybody would meet in the one big studio and all we
did was play games. Everybody was an equal. The camaraderie just
went through the roof from day one. Everybody knew each other,
everybody trusted each other, everybody had a good time. The
whole creation was total fun.
Q. As this is your return to KOOZA after being with Varekai for
six years, does it feel different a second time around?
Just material wise. Since I left, the show has evolved, as all
things do. Some acts come and go, they rotate out. Elements are
different, although the basic structure is the same but its
slightly different. It took some adjusting but now its just
back to having fun again. While Im doing the show, thats my
main thing, Im in the moment.
Q. What makes KOOZA unique from other Cirque du Soleil shows?
I think the in the face and on the edge elements set it
apart and that we really involve the audience. A lot of Cirque
productions are poetic and smooth. The music of KOOZA as well is
on the edge. Its a unique blend. Its not one style of music,
its mixing Western pop and standard Indian music. Theres six
musicians and two singers and the singers are amazing. The band
leader plays six or seven instruments. Some of it has this
Indian feel but its not Indian music. Thats getting back to
the koza Sanskrit which is a Euro-Indian sort of theme.
{ SOURCE: VanCity Buzz | http://goo.gl/77e6iY }
Q&A w/Yannis Spierkel KURIOS Company Manager
{Oct.22.2015}
-----------------------------------------------------
With the KURIOS sprawling blue and yellow striped big top at
the OC Fairgrounds in Costa Mesa, the Amplify team got a glimpse
into the crazy, steampunk-ified performance and caught up with
Company Manager Yannick Spierkel to talk about whats going on
behind the scenes.
Q. Can you give us an idea of the magnitude of the tent?
The theater here has 2,600 seats. Even permanent venues in many
cities dont have that many seats. So we are very proud to be
able to build this. It takes a day to build everything here. So
it goes very fast. Yeah, and [once the tent is built] then the
stage comes in. With the main company for the entire tour, we
are traveling with 65 trucks that carry 2,000 tons of equipment.
So we have not only equipment for the show itself, but all the
concessions, the sales, and the box office. The back-up side,
our shops, our kitchen, all this travels by trucks from point A
to point B. We have our own food and beverage and merch
counters, and a VIP area also. We are supported by around 160
people from the local staff here in Orange County that comes and
helps us.
Q. When people come to this show, theres this archway theyll
walk through, giving them a kind of visual experience. Can
you tell me a little more about this?
The arch is marking the entrance way for everybody to get to.
Its part of something that we wanted to enhance the experience
of the customer. In our case, were using this as a metaphor,
and we are getting people to our world. When they leave, yes,
they are coming out of it. This show is very, very uplifting.
Some other shows may be dark for some people, but this one is
very, very joyful. People come out with enthusiasm.
Q. What are some of the VIP offerings you have?
There are two things that can happen. In the VIP, you still have
a very good experience. You are well-treated here. Its Spectrum
Catering that is doing the catering for us. Another offering is
that I will personally host those people for longer evenings.
They arrive before the show, and I bring them behind the scenes,
backstage. They watch the show, they get the VIP experience, and
then at the end of the night they meet with some artists, and we
bring them backstage. Thats a new product that weve offered
for the past year, which is very popular because it is quite
limited. We sell 20 seats per week on that. Thats only on
Friday nights. This costs between $400-$500.
Q. This show started in Montreal in 2014 and Kurios is the 35th
production of Cirque. How did you make this show different?
Well, it was very important, at least for the director, Michel
Laprise, to create a new momentum. We wanted this show to
connect with the audience. The stage is much lower than any
previous show. More than one million people have already seen
the show in 18 months. While other shows left people to try to
understand the story line, this is a little bit more specific.
Its humans on stage in a specific time period.
Q. I always noticed that with Cirque shows; There is not
necessarily a traditional story arc. Does this have more of a
beginning-to-end type narrative?
Obviously, we still leave people to their own imagination, but
Michel Laprise, wrote more than 30 pages when he wrote the
script. When we arrive in the city, our four masts that hold up
the big top are antennas to reach out to a parallel world.
Theres a scientist and he is trying to connect with that
parallel world. The end of 1800s, early 1900s, it was a period
of time where a lot of discoveries were made. Electricity was
part of all this at that time period. So, thats why the masts
will help the scientist on stage to connect with that parallel
world.
Q. Cirque du Soleil has been around for a long time is this a
symbolic production for the creator Guy [Laliberté] up in
Montreal?
It is always exciting when a new show starts. Whether a show in
Las Vegas, or a show on the road, it creates an energy at our
production studios in Montreal that is incomparable. Thousands
of people were there, behind the show, making sure that
everything is needed for the day of opening in Montreal. There
is always struggle, we always try to reinvent ourselves, and do
something new. In this show, we have in one of the act, its
called the Acro Net, and theres a net that is stretched on four
masts on which six performers are jumping in the air, up and
down, but its only by their own propulsion that one is going
up. So its not a trampoline. Its only a net, and its all
physics that make it go up and down. Thats totally new. One
other thing that Guy strongly supported when we created this
show is have more poetic moments. We still have all of the high
acrobatic events during our shows, but there are moments that
will be more poetic in which we bring people with hand puppetry
on stage. These are moments that people are not used to, for
Cirque du Soleil, but it mixed very well with this show.
Q. How long has this show been on the road for? These shows tour
for years, right?
Absolutely. We are taking the show somewhere between 10 and 15
years around the world. We are in our 2nd year right now, and we
expect to be in North America at least until the end of 2017,
and then we will move on to other continents.
Q. Will you always be in the big top?
No. The show will be only in big top for at least ten years or
twelve years. Then the last few years, well see if it goes in
arenas.
{ SOURCE: Amplify | http://goo.gl/egpqFv }
A Conversation with Brandon Peredya
{Oct.22.2015}
-----------------------------------------------------
Brandon Pereyda is one of the worlds most brilliant & unique
performers EVER! His Chains act is breath taking and pushes
the human physicality to its limits. Brandon brings fantasies to
life. He flies and defies gravity on his chains. Dreams take
flight as he soars through the air, performing daring feats of
aerial athleticism choreography and strength. It is truly one of
the most dramatic, impressive, moving and brilliant acts
anywhere around the world!
# # #
Zumanity is one of my favorite shows on earth and here's why:
it's sexy, it's fun, it's got a great comedian, it's got an
emcee thats hysterical, and it's got these unique special acts
that will blow your mind. And when I saw the show in May there
was one man, and one man only I wanted to talk to, which is
Brandon [Pereyda], who has this unique chain act where he
dangles and twists himself and contorts, and he's here with us
now...
Q. How are you?
Very good. How are you?
Q. I am delicious but not as good as you because, let's face it,
you've got one of the most unique brilliant acts on earth and
I ask myself every time: how are you not dead?
Well that's a good thing or I'd not be here! It's a lot of daily
training and, to be honest, the act I do is scary as all hell,
but it is truly inside of me, inside my soul, so I literally
live it every night.
Q. Let's explain. So there are chains and you dangle from them
and you contort, and you do it over and over and over again
to the point where we're begging you to come down for your
own safety. You make it look so beautiful and clever but at
the same time it must be incredibly stressful and physically
demanding?
[It's] extremely physically demanding and emotionally as well. I
have a whole process that I go through by the time I come into
work [through] until I go up and drop in, so to say, from the
high grid. It's extremely mental. Everything has to be perfectly
planned out. Some people would say it's superstitious but to me
everything in the act is perfectly planned out, and has to be
specific, so leading up to it has to be as well.
Q. You're incredibly brave on two levels: one, the Act obviously
is far more dangerous than anything I can even conceive of
doing, but then the whole thing is so beautiful, and you were
born to work for Cirque du Soleil really because they scour
the world looking for people like you, unique performers who
have dedicated their life to a specific craft. Did this
choose you or I guess you must have chosen it?
I definitely chose it. I actually wanted to be a doctor! I saw
an aerial performance when I was about 17 years old; it's the
first time I ever saw aerial. I was a gymnast; I grew up doing
gymnastics, and decided to do this. So I started training [in
aerial]. I always liked the extreme; I don't like anything
that's the norm, so I've always - in my whole career - pushed
doing different things. How would I do it, you know, as opposed
to how somebody else does it? So I think I started doing the
chains just because nobody else does it. It's not very common.
And then with this apparatus... I created the apparatus...
designed it myself... designed the act... and just kept pushing
myself in creating new stuff because, for me, I don't like going
down that same groove that everybody else does.
Q. Let's be honest: you can actually fall off those chains?
There is nothing holding you on, is there?
I have no safety in the act. My act is named one of the most
dangerous acts in the show - if not the most dangerous - because
I'm flying over the audience multiple times. I only have my hand
grip, as opposed to a lock or some type of a safety [wire] or
[being] harnessed in, or anything like that. I'm not and it's
literally just my hand strength that's holding me onto the bar,
or to those chains itself.
Q. The focus you must have during that set is extraordinary. I
mean, every hand movement has to be specifically placed and
you must be thinking about everything in sort of an autistic
1-2-3-4-5-6-7 order. You must have an incredible memory?
It is literally one through one hundred. And each movement has
one through one hundred, so my mind is doing so many things just
to make sure that my body is going in the right positions,
whether it's focusing on where I need to be at a certain time
and also it comes down to lighting and to music; those have
effects. On the other side you're dealing with the costume, and
then you're dealing with, on top of that, performing and
actually making it a performance for the audience to enjoy as
opposed to just going up there and doing some impressive tricks.
Q. I would love to look like you and when I saw your body up
there I thought yes, I'll look like that. I've been to
buffets every day this week, just helping myself, in a three
or four times a day and nothing has happened. How do I create
this?
To be honest with you my diet is very strict throughout the week
and it's only because I'm practically naked every night on
stage. The act definitely does help. Doing this act 10 times a
week, as you can see, is very strenuous. In the morning I wake
up and I feel like I'm 90 with arthritis. Every part of my body
feels like I got hit by a bus, and then slowly throughout the
day I wake up and get my body moving and it feels back to life
again.
Q. Talk me through your day. You wake up and eat what at what
time, and how do we get to seven o'clock when you out in the
show?
Usually I wake up around 11 or 12 and have a protein shake for
breakfast. [Then] I usually have a fitness class that I teach;
I'll do a little nice quick workout - cardio. Come home and eat
a prepped meal that have already made and then I'll go into work
with a carbohydrate drink with amino acids. I come in usually
right at 4:30, start my hair and makeup at five o'clock, and
then at six o'clock I start stretching and warming up. That is
when I take my other amino supplement that I have just to help
with the breakdown of the muscle tissues that I do in the show.
And then I don't eat anything until after the second show. I
can't have any food from my in my system from 3:30 in the
afternoon until after the show at 11:30 at night just because
spinning, [being] upside down, and flying around with an extra
two pounds of liquid or food in my stomach isn't gonna help.
Q. I've been very lucky to interview the stars of Cirque du
Soleil across the strip from KA to "O" to all of the shows,
LOVE, here [Zumanity] many, many, times and I'm constantly
amazed by the discipline you have. The ninety minute you
spend on stage twice a day is nothing compared to what you do
off. It's a lifestyle isn't it? This is not a job, this is
your life?
It truly is a lifestyle because if you go out one night and you
decide to have a couple of drinks, you feel it the next day. And
you know that it throws off and it pushes back your day. I can't
just come in and sit down. I'm sixty feet in the air, flying
through the air, so I really have to know what I'm doing at all
times to make sure that the next day, and even the next couple
of days, are going to be flawless and safe for me in the air.
Q. And then when you see that poster with your face and body on
it, is there any greater thrill than that? Because, I mean,
that's your legacy that will live on forever. It is on the
internet [where] anybody can find it. It's an extraordinary
achievement. I guess this is the dream?
It's crazy because when I was 17 years old I [wanted] to do
Cirque du Soleil because [I saw} a Cirque artist performing, and
I was like: I'm gonna be in Cirque du Soleil. I joined Zumanity
when I was 23; it was like a fast-track road. To have an act in
a Cirque du Soleil show is very rare. To have a solo [act] is
even [rarer]. To have a solo [act] that is designed specifically
by the actual person [is] even [rarer than that]. So to [have]
that opportunity in the Cirque world was already a huge
blessing. And then now this year to see all these billboard go
up, and the posters of me in the ad that you see... it almost
doesn't feel real because I look at it and I'm like "why do I
see myself?"
Q. Who's that guy?
Exactly! Who is that? Who is that up there on the side of the
wall? Everybody is always like "oh my god Brandon you're
everywhere in Vegas!" and it came so fast, so quick, but like I
worked so hard to get there and it's nice to see that it's
there. It's nice.
Q. And there's no getting away from being you. I mean, you've
got extraordinary hair and you're so physically imposing.
When you walk through the casino most people must know who
you are. Does that ever become normal?
I have had red hair and a red Mohawk for about 10 years. With
long, bright, florescent red hair in a Mohawk with shaved sides,
you stand out already. The people here in Las Vegas recognize me
specifically if they've seen the show. Just a couple weeks ago I
was at the grocery store by my house, which is a good 20 minutes
away, and somebody came [over] and said "oh my god, you're that
guy in Zumanity!" And I was like "I.. What?" because sometimes I
forget! I get used to it now. It's funny because some of the
cast members don't like to leave the theater with me if we're
going out because if there are people still outside of the
theater, they recognize me and then I end up having to do photo
ops. Everybody just wants to go and have a cocktail after the
show so it slows everybody down. I usually leave by myself and
try and put a hat on or something to cover up.
Q. If I could be you for one day... I've never seen people look
up to a guy with such admiration. It's remarkable! And on a
physical level, what you do is so brilliant; I hope you know
how spectacular it is. These guys know how to make an amazing
act look even more spectacular, and that's what they've done
with you. It is so sexy and brilliant and unbelievable; what
you do is remarkable. I hope I've said enough nice things
it's all meant with truth. Great to talk to you, thank you
for your time. And good luck with the two shows tonight!
Thank you very much. It was a pleasure meeting you!
# # #
Listen to this interview here:
LINK /// < https://www.youtube.com/watch?v=6S4fKRvQUVk >
Transcribed by the Fascination! Newsletter.
{ SOURCE: Alex Belfield of Celebrity Radio }
---------------------------------------------------
SPECIAL ENGAGEMENT - More In-depth Articles
---------------------------------------------------
Check out the Best of Vegas Insider Access Tours!
{Oct.12.2015}
-----------------------------------------------------
Really get an inside look on how a Las Vegas show from Cirque du
Soleil is executed each night with three exclusive tours
available only at BestofVegas.com. A former Cirque du Soleil
performer with years of experience performing in big Las Vegas
shows will act as your tour guide, sharing all the best tidbits
about his (or her) days in the troupe. Each tour will grant you
a peek at what goes on behind the curtain. And depending on the
day, you may even see performers rehearsing, some stage
preparations, and more! Your Cirque Insider Access pass includes
premium seating for the performance, front-of-line access to the
concessions, and much more!
Celebrities always get meet the cast when they see a Las Vegas
show, so why shouldnt everyone else get to experience the
behind the scenes action at one of Cirque du Soleils Las Vegas
shows? Starting at $249 per person, Cirque Insider Access is
here! And you can get this special behind-the-scenes access at
"O" at Bellagio, LOVE at The Mirage, and KA and MGM Grand!
"O" AT BELLAGIO --- Beware, this Cirque Insider Access
experience will engulf your senses and take you into a realm you
may have never expected
inside O. Whether youre the
ultimate Cirque du Soleil fan or a first-timer, this tour is not
one to be missed. This package offers you a performers
perspective as you enter their world, behind the curtain, under
the water. This tour is a BestofVegas.com Exclusive, so you
wont find this opportunity anywhere else. Your tour will take
you behind the stage, under the stage and through the costume
areas, allowing you to take in all the extravagance, the
surreal, and the unimaginable pieces that make O such a
breathtaking creation. Learn about the complexities of
maintaining such an elaborate production, the importance of
bubbles, yes, bubbles, and even take a moment to relax in the
green room among the performers. Some may even be in costume,
make up and all! After your tour, you may pinch yourself to
remember that you werent dreaming; you did in fact face the
unique props of O just moments ago. You did stand within mere
feet of a famed Cirque du Soleil performer. And now the show is
in full swing, everything you saw backstage comes to life on the
O stage in one cohesive masterpiece. Enjoy your exclusive Best
of Vegas premium seat, and experience the show differently with
the insider knowledge you never knew before.
LOVE AT THE MIRAGE --- Beatles fans, Cirque du Soleil fans, and
newcomers to both are guaranteed to marvel at the spectacular
production that is LOVE, but before being engulfed in an all too
groovy and jaw-dropping performance, take an exclusive
BestofVegas.com tour behind the scenes of LOVE to see how Cirque
du Soleil is paying tribute to one greatest rock bands to date.
Guided by a former Cirque du Soleil performer, youll be
transported back to the 60s as you boogie your way through props
and costumes behind the stage, under the stage, and even above
the stage
52 feet above the stage, to be exact. Marvel at all
the levers and pulleys, nooks and crannies that push and pull,
drag, and drop props all bringing the show to life. Venture
through the gym and green room where youll come face to face
with some the performers. Some will be in costume and some will
even have their make up on. Go on, its perfectly okay to stare.
Learn about some of LOVEs most interesting facts like the
youngest performer in the show is 9 years old and played a
Beatle. Their oldest performer was 76 and played Eleanor Rigby.
Your once-in-a-lifetime experience doesnt end when the tour
ends; your Cirque Insider Access package includes a premium
ticket to see the show and with the best seats in the house,
youll have your breath taken away as all your newly found
knowledge is put on display right in front of you.
KA AT MGM GRAND --- This Cirque Insider Access package is now
available for guests who are looking for the ultimate, in-depth
experience of Cirque du Soleil and the world famous production
"KA". Come witness one of Las Vegas' most popular shows with an
exclusive and intimate backstage tour, premium center section
seating, front-of-line access to the theater and concessions,
exclusive Cirque du Soleil merchandise including the Exclusive
Cirque Insider Access Program and much more! There is extremely
limited availability for this package. The backstage tour
experience takes place the afternoon before the performance. All
guests must be in attendance prior to the tour to be included.
Because of the nature of the production, artist training and
stage preparation, tours may be modified or altered based on the
date. The tour experience will include a full, behind-the-scenes
tour with a very small group to observe the stages, cranes, show
props and other surprises that will make this truly a once-in-a-
lifetime experience.
INSIDER ACCESS INCLUDES:
o) Premium Cat 1 Ticket to "O" for select performances
o) Insider Access Entrance Line
o) Backstage Tour (approximately 1 hour)
o) Exclusive Insider Access Lanyard
o) Exclusive Cirque Insider Access Gift
o) Exclusive Insider Access Program
NOTE: Please be advised that the backstage tours are not
wheelchair accessible. The tours require a fair amount of
walking and portions may require that guests are able to walk up
and down stairs. A Cirque Insider Access Tour Guide will be in
front of the Box Office to greet you 30 minutes before the tour
starts. You must be 14 or older to attend event and everyone
must have a ticket to enter. Guests under the age of 18 must be
accompanied by an adult.
ALSO NOTE: For "O": Tickets will only be available for pickup
between 2:00pm and 2:30pm on the day of the show. The tour
begins at 2:30pm. For LOVE: Tickets will only be available for
pickup between 4:30pm and 5:00pm on the day of the show. The
tour begins at 5:00pm. For KA: Tickets will only be available
for pickup between 3:30pm and 4:00pm on the day of the show. The
tour begins at 4:00pm.
Get more information (and to purchase your tickets) at Best of
Vegas' website: < http://www.bestofvegas.com/Shows-
Tickets/exclusive-access/ >
The Shreveport Times Goes Behind the Scenes at TORUK
{Oct.19.2015}
-----------------------------------------------------
Run away to a dream world where time stands still, all magic is
possible and youre the star of the show.
Tumble through the air and through clouds to land in the arms of
10-foot-tall blue people. Learn how to speak the native language
of Navi. Then ride on the back of the Toruk Makto over the
mountains of your new home, Pandora. Run away to this magical
world with Cirque du Soleil as they tell the story of the first
flight of the Toruk.
Toruk: The First Flight is the newest in the Cirque du Soleil
series. The production of acrobats, puppets, kites and music
will debut Nov.12-14 at CenturyLink Center in Bossier City
before continuing the international tour.
Toruk is a prequel to James Camerons 2009 film Avatar and takes
place in the fictional planet Pandora home of the Navi
people. The live production is setthousands of years before the
events in Avatar.
In Avatar, Jake Sully, a paraplegic Marine from Earth, is
dispatched to Pandora disguised as a Navi person. He faces many
challenges and must make tough decisions when humans threaten
the Navis home. After a series of events, he becomes the sixth
person to ever ride the Toruk Makto the giant flying
dragonbird.
The live show follows the story of the first person to take
flight on the ferocious bird-like creature.
You have to see it to believe it, said Rob Laqui, Cirque du
Soleil puppeteer. All the work going into it is going to be
unlike what anyone has experienced. If youre a fan of Cirque or
a fan of Avatar, this really is the show to see.
Toruk is an original story taking place long before the setting
of Avatar, so Laqui said seeing Avatar isnt required for
understanding and enjoying the Cirque show. The shows large
cast and crew have been in Shreveport-Bossier City since Aug. 24
preparing for the November kickoff and its been no small
feat.
Laqui, acrobat Lisanna Ohm and director of creation Neilson
Vignola gave The Times a behind-the-scenes tour of Pandora
telling the crews personal adventures of running away with the
circus in the sun and what it takes to survive in the world of
Pandora and Cirque du Soleil.
BUILDING A VILLAGE
------------------
One of the toughest challenges of joining the circus is being
away from home for so long, Laqui said. When youre on the road
for 10 to 12 months for years you dont have the same structure
in life as most people do. It often means missing out on events
and special occasions and missing friends and family while away
from them. You really are a nomad, he said. You have to be
able to adjust to that life to do the work you want to do.
There are about 100 people on the Toruk tour including the 35
performers from the United States, Canada and other countries
around the world. . To make it as comfortable and easy as
possible for the workers during their months living in
Louisiana, CenturyLink transformed into a village of sorts for
the Cirque family.
Rooms usually reserved for administration, offices and costume
changes now are used for a wardrobe workshop and fitness center.
Even the hallways normally for public access are covered with
backdrops and props being worked on by touring and local crews.
By the end of the shows run, more than 650 locals will have
worked in different behind-the-scene positions, such as runners
or stagehands or in the wardrobe or carpentry departments.
The cast and crew rehearse 10-to-12 hours, six days a week, only
having one day off to explore their temporary Shreveport-Bossier
City home. In that time, Laqui, Ohm and Vignola have visited Red
River Revel, Marilynns Place for brunch and have hiked around
Caddo Lake and Toledo Bend. During their international tour,
they will explore many more places and have new adventures, but
living on the road still comes with its hardships.
Its a dream come true thats one side of it. The other side
is you work hard. The sacrifices you need to make to do what you
need to do is great, Laqui said. But whats worth it is that
you get to do this, and thats the whole point.
LANDING THE DREAM JOB
---------------------
Laqui dreamt of running away with Cirque for years before he was
cast for his role as puppeteer in Toruk. Sometimes its even
hard for Laqui to believe hes part of the Cirque world since it
took him more than a decade to be cast for a show.
Its all been a dream come true, he said. I auditioned for
Cirque 12 years ago as an actor and had been in their files.
This is the project that came a decade or so later that I fit.
The wait was worth it. His background as a puppeteer was noticed
and he was chosen as the first puppeteer to work with Cirque
full-time. Its the first time Cirque has employed a puppet
team because of the scale of the puppets and the way they are
used, Laqui said.
The puppets are large enough for the puppeteers to fit inside to
control movement. Those familiar with Avatar may recognize
direhorses, the viperwolves and Toruk. There also will be new
creatures introduced in the show. Theyre basically used
throughout the entire show, he said If were doing our job
right you wont even know were there.
Puppeteers are unusual in Cirque du Soleil shows, Vignola said,
but during the design creation process of Toruk he saw a need.
I put down all the names of the people I needed to handle the
show and then I looked at my chart and said, Wow, Im using
puppeteers all throughout the show. Vignola said. I was
hiring our acrobats to do the puppets, but I might as well hire
real puppeteers. Why hire acrobats to learn to be puppeteers and
not hire puppeteers right from the start?
Vignola also cast a kite choreographer for the same reason. The
show will feature many birds who will become animated in the
air, including the Toruk. The kite act is so important to us so
now I have a kite specialist who is a good mover and a bit of an
acrobat too so he can do other stuff in the show, Vignola said.
Toruk is breaking many more Cirque du Soleil molds. Vignola
hired a two-person team of professionals known for video
directing to use 40 projectors to cast images on the arena, the
set and, at times, the audience.
The images along with the narrator will assist in storytelling.
It kind of goes to show that you have to really commit to these
things and theyll happen if you direct your career and your
life in that direction, Laqui said. You never know. I had no
idea they were doing this show before I was cast. When they were
describing the contract to me it was a perfect fit. I couldnt
have asked for any different experience.
MAKING IT HAPPEN
----------------
For young audience members attending the show and imagining
themselves twirling, spinning and flying with the other acrobats
in Pandora, Laqui and Ohm said it takes time, dedication and
strength to make it happen.
In Toruk, Ohm will play the leader of the Tipani clan.
Before joining the Cirque du Soleil company two years ago as an
acrobat in the show Light in Las Vegas Ohm was a gymnast for
20 years. The technical experience helped to prepare her for
Cirque, but she said the competitive nature of gymnastics is
different from Cirques performance focus. Before being cast for
Light, she trained in aerial arts and reached out to others who
worked with Cirque to learn the ropes. Two years after Light,
she finds transitioning from one Cirque show to the next can
bring new learning experiences Cirque shows are usually
centered around acrobatics, but Toruk adds a deeper storyline
requiring the performers to train in unexpected ways.
With Toruk weve done a lot of investigating within ourselves
and what our Navi character would be, so its more theatrical
and emotional in addition to the acrobats, Ohm said.
When not performing, Ohm is a freelance graphic designer. She
encourages young performers to learn trades outside of the craft
in order to have occupational options. Stay in school but
pursue your dreams as well. You can do both, but its important
to have an education, she said.
It takes confidence, self-motivation and focus to make it in the
performance world, Laqui said, and a lot of training. It also
takes the strength to push through challenges and not get
discouraged.
Despite challenges, the performers and director said its all
worth it to be able to share their talents and the show with
people all over the world. Plus, the job does come with its many
perks such as wearing the blue Navi costumes complete with
Mohawk yarn hair, pointy ears and long tails.
We have fun playing with our tails. Its an interesting
addition to our costumes we trip over each others and our
own, Ohm said. They get caught around the ropes and vines, but
its been fun learning how to move with them and make them a
part of ourselves.
CREATING A DREAM WORLD
----------------------
Whats made the Canadian production series Cirque du Soleil a
hit since its official debut in 1984 is its unique spin on the
traditional circus. Cirque began in big top circus style and
continues to have similar-styled traveling shows. Its also a
longstanding entertainment staple in Las Vegas. But Cirque is
different in that its centered more on the creative design and
theatrics of the performers than many traditional circuses.
Its theatrical. People are going to come in and be immersed
into the world of Pandora, Ohm said. Theyre really going to
feel like theyre in a whole universe thats different than
earth different plants, different wildlife and Navi who
arent humans.
The show will be on the floor of the CenturyLink Center with the
audience seating surrounding the setting. Whats also great
about this arena is there really isnt a bad seat, Laqui said.
Its a great sense of intimacy for the audience to really
interact with the space.
The initial rehearsals were for five weeks in Montreal, the home
base for Cirque, but the company didnt have the space needed to
rehearse the entire show for the amount of time needed. They
chose CenturyLink Center in Bossier City to layout the plans for
the first run because of its technical and space offerings.
Its a nice place to be. The possibility to be at CenturyLink
Center is a huge plus, Vignola said. We have the chance to be
in a place where we can install everything. It has all the space
we need.
The creative team in Montreal trained the touring team before
they hit the road to Bossier City with 26 semi-trucks full of
the sets and enough supplies to stock a village. They will
return to Montreal after a five-city test run for an official
premiere Dec. 21.
Toruk is the seventh show Vignola has worked with in his 15
years with Cirque du Soleil. The new show posed new challenges
for him since he and the other designers had to find a perfect
balance of telling the story of Toruk in a way representative of
both James Cameron and Cirque du Soleils vision and style.
Its a huge challenge. The expectation about Cirque is huge and
(expectations of) Avatar are huge, so everyones waiting to see
what we end up with, he said. Our goal is to make sure
everyone who comes to see the show will be pleased whether
theyre coming to see a Cirque show or an Avatar show.
An added challenge was making something new and exciting for the
audiences. Vignola worked with the set designer and stage
director to come up with the original design. Two years ago they
presented the design to both parties. The first time it took us
an hour and a half to present our idea and at the end (James
Cameron) just looked at us and said, You know, its over my
expectations. I didnt know you would go that far with your
storyline. Vignola said. He loved it. And since then we
improved the story and its even better than what he saw.
The Toruk team continues to work with Cameron and his production
company, Lightstorm.
After design approval, Vignola and other directors moved forward
to hire a wardrobe team, music composer, prop masters and others
key roles for the crew. Next, he led the casting process for the
acrobats, musicians, puppeteers, dancers and singers who would
perform on stage. Working with a group so diverse in talents,
experience and backgrounds has been beneficial to Vignola who
can use the multi-faceted performers for various roles and for
Laqui who is taking this time to learn new skills.
Just to work with the caliber of people with this company and
this show has been absolutely mind blowing, Laqui said. You
have a group of people who are so passionate about their work
and want to do the work to share this with so many people. Its
awe-inspiring and it drives me to be better a better
performer, better puppeteer.
To get to this point, Vignola said it takes determination,
diligence and courage to live the Cirque life.
I started Cirque by touring. My family and I went on tour for
two years and I had to sell my house and car and I wasnt
scared, Vignola said. Im probably here today because I was
ready to do it. I took chances because it was the right thing to
do at the time. Just take chances sometimes and go for it.
{ SOURCE: The Shreveport Times | http://goo.gl/sRhftm }
Cirque Unveiled TORUK Today in Bossier City, LA
{Oct.28.2015}
-----------------------------------------------------
CIRQUE DU SOLEIL UNVEILS TORUK The First Flight
WRITTEN AND DIRECTED BY MICHEL LEMIEUX AND VICTOR PILON
INSPIRED BY JAMES CAMERONS AVATAR
Cirque du Soleil unveiled today in Bossier City its new touring
show inspired by James Camerons record-breaking movie AVATAR,
TORUK The First Flight. The show will be presented in arenas
around the world starting in Bossier City as of November 12,
2015. Presented by Visa Signature in the United States, the show
will premiere in Montreal on December 21.
MEDIA DAY PERISCOPE VIDEOS
--------------------------
To bridge the gap between traditional and social media, Cirque
du Soleil broadcast its media day outing via Periscope. The
following links to the videos in that broadcast:
o) Part 1: https://www.periscope.tv/Cirque/1LyxBPyaAmEGN
o) Part 2: https://www.periscope.tv/Cirque/1mrGmpYwVvnKy
o) Part 3: https://www.periscope.tv/Cirque/1DXGywaRlgPxM
o) Part 4: https://www.periscope.tv/Cirque/1OyJAwyDYNNKb
o) Part 5: https://www.periscope.tv/Cirque/1MnGnBNpzNdGO
o) Part 6: https://www.periscope.tv/Cirque/1djGXBOlAlzxZ
THE SHOW
--------
TORUK The First Flight is a live immersive multimedia
spectacle that brings to the stage the breathtaking world of
James Camerons AVATAR like you have never seen it before.
Through a riveting fusion of cutting-edge visuals, puppetry and
stagecraft buoyed by a soaring cinematic score, Cirque du Soleil
applies its unique signature style to James Camerons imaginary
world and makes the bond between two kindred artistic visions
that capture the imagination. This live immersive experience
also bears the distinct signature of directors and multimedia
innovators Michel Lemieux and Victor Pilon. It is a living ode
to the Navis symbiotic coexistence with nature and their
belief in the basic interconnectedness of all living things.
Narrated by a Navi Storyteller and populated by unforgettable
characters, TORUK The First Flight is a mythical tale set
thousands of years before the events depicted in the film
AVATAR, and before any humans ever set foot on Pandora. When a
natural catastrophe threatens to destroy the sacred Tree of
Souls, Ralu and Entu, two Omaticaya boys on the brink of
adulthood, fearlessly decide to take matters into their own
hands. Upon learning that Toruk can help them save the Tree of
Souls, they set out, together with their newfound friend Tsyal,
on a quest high up in the Floating Mountains to find the mighty
red and orange predator that rules the Pandoran sky. Prophecy is
fulfilled when a pure soul rises among the clans to ride Toruk
for the first time and save the Navi from a terrible fate.
CREATIVE TEAM
-------------
TORUK The First Flight comprises 13 creators under the
artistic guidance of Guy Laliberté (Guide) and Jean-François
Bouchard (Creative Guide) for Cirque du Soleil, and James
Cameron, Jon Landau, Kathy Franklin and Richie Baneham for
Lightstorm Entertainment:
Michel Lemieux Show Writer and Director
Victor Pilon Show Writer and Director
Neilson Vignola Director of Creation
Carl Fillion Set and Props Designer
Kym Barrett Costume and Makeup Designer
Tuan Le and Tan Loc Choreographers
Bob & Bill Composers & Musial Directors
Jacques Boucher Sound Designer
Alain Lortie Lighting Designer
Patrick Martel Puppet Designer
Germain Guillemot Acrobatic Performance Designer
Pierre Masse Rigging and Acrobatic Equipment Designer
TICKET INFORMATION
------------------
TORUK The First Flight will have a soft opening on November 12
in Bossier City, Louisiana. The world premiere will be held on
December 21 in Montreal, Canada. For the full list of cities and
to purchase tickets visit https://www.cirquedusoleil.com/toruk.
Follow TORUK on Facebook: https://www.facebook.com/
torukthefirstflight. Find TORUK on Twitter with #TORUK.
SPONSORS AND PARTNERS
---------------------
TORUK The First Flight is presented by Visa Signature. Xerox,
DHL, and ACTIVEON Action Camera are the official sponsors. The
show is being created through a licensing arrangement with 20th
Century Fox.
In an effort to bring audience members involvement to a whole
new level, Cirque du Soleil will be launching an app for TORUK
The First Flight. Working with technology partner SAP, the app
will enhance the overall show experience and enable audience
members to be a part of the action!
James Cameron has partnered with celebrity charity-fundraising
digital platform Prizeo.com to raise awareness and funds for One
Drop. Those who contribute will be entered to win the ultimate
Avatar fan experience: a VIP trip to the World Premiere of TORUK
The First Flight and lunch with the Academy Award-winning
director. Fans can participate by visiting:
http://www.prizeo.com/jamescameron.
{ SOURCE: Cirque du Soleil Press Room | https://goo.gl/Ozl2yM }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Corteo, Koozå, Totem & KURIOS}
o) ARENA - In Stadium-like venues
{Quidam, Varekai, TORUK & OVO}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
Believe, Zarkana, 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:
Paris, FR -- Nov 5, 2015 to Jan 3, 2016
London, UK -- Jan 16, 2016 to Feb 14, 2016
Amsterdam, NL -- Mar 17, 2016 to May 1, 2016
Frankfurt, DE -- May 11, 2016 to Jun 12, 2016
Knokke-Heist, BE -- Jul 14, 2016 to TBA
Corteo:
Quito, EC -- Nov 19, 2015 to Dec 13, 2015
** FINAL SHOW: December 13, 2015 **
Koozå:
Vancouver, BC -- Oct 29, 2015 to Dec 27, 2015
Kurios:
Costa Mesa, CA -- Oct 15, 2015 to Nov 29, 2015
Los Angeles, CA -- Dec 10, 2015 to Feb 7, 2016
Atlanta, GA -- Mar 3, 2016 to May 8, 2016
Boston, MA -- May 26, 2016 to TBA
Washington, DC -- Jul 21, 2016 to TBA
Cirque 2016
Montreal, QC -- Apr 22, 2016 to Jul 10, 2016
Totem:
Singapore, SG -- Oct 28, 2015 to Dec 13, 2015
Tokyo, JP -- Feb 03, 2016 to Apr 10, 2016
Osaka, JP - Jul 14, 2016 to TBA
Nagoya, JP - Nov 10, 2016 to TBA
Fukuoka, JP - Feb 2017 to TBA
Sendai, JP - Apr 2017 to TBA
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Quidam:
Seoul, SK -- Sep 10, 2015 to Nov 8, 2015
Canberra, AU -- Dec 10, 2015 to Dec 20, 2015
Wollongong, AU -- Dec 23, 2015 to Jan 2, 2016
Hobart, AU -- Jan 6, 2016 to Jan 10, 2016
Newcastle, AU -- Jan 15, 2016 to Jan 24, 2016
Aucland, NZ -- Feb 5, 2016 to Feb 14, 2016
Christchurch, NZ -- Feb 17, 2016 to Feb 26, 2016
** FINAL SHOW: February 26, 2016 **
Varekai:
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 18, 2015 to Nov 22, 2015
Innsbruck, AT -- Nov 25, 2015 to Nov 29, 2015
Munich, DE -- Dec 2, 2015 to Dec 6, 2015
A Coruña, ES -- Dec 22, 2015 to Dec 28, 2015
Barcelona, ES -- Jan 1, 2016 to Jan 10, 2016
Valencia, ES -- Jan 14, 2016 to Jan 17, 2016
Malaga, ES -- Jan 21, 2016 to Jan 24, 2016
Vitoria-Gasteiz, ES -- Jan 27, 2016 to Jan 31, 2016
Lyon, FR -- Feb 3, 2016 to Feb 7, 2016
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
Antwerp, BE -- Mar 2, 2016 to Mar 6, 2016
Bordeaux, FR -- Mar 10, 2016 to Mar 13, 2016
Montpellier, FR -- Mar 17, 2016 to Mar 20, 2016
Nice, FR -- Mar 23, 2016 to Mar 27, 2016
Moscow, RU -- Apr 14, 2016 to Apr 24, 2016
St Petersburg, RU -- Apr 27, 2016 to May 8, 2016
Kazan, RU -- May 11, 2016 to May 15, 2016
Chelyabinsk, RU -- May 18, 2016 to May 22, 2016
Togliatti, RU -- May 25, 2016 to May 29, 2016
Sochi, RU -- Jun 2, 2016 to Jun 5, 2016
Nantes, FR -- Nov 16, 2016 to Nov 20, 2016
Toulouse, FR -- Nov 23, 2016 to Nov 27, 2016
Strasbourg, FR -- Nov 30, 2016 to Dec 4, 2016
TORUK - The First Flight:
Bossier City, LA -- Nov 12, 2015 to Nov 14, 2015
Lafayette, LA -- Nov 20, 2015 to Nov 22, 2015
Richmond, VA -- Nov 27, 2015 to Nov 29, 2015
Allentown, PA -- Dec 4, 2015 to Dec 6, 2015
Worcester, MA -- Dec 11, 2015 to Dec 13, 2015
Montreal, QC -- Dec 21, 2015 to Jan 3, 2016
Toronto, ON -- Jan 7, 2016 to Jan 10, 2016
Auburn Hills, MI -- Jan 22, 2016 to Jan 24, 2016
Houston, TX -- Feb 11, 2016 to Feb 14, 2016
North Little Rock, AR -- Feb 17, 2016 to Feb 21, 2016
North Charleston, SC -- Feb 26, 2016 to Feb 28, 2016
Sunrise, FL -- Mar 3, 2016 to Mar 6, 2016
Miami, FL -- Mar 10, 2016 to Mar 13, 2016
Tampa, FL -- Mar 17, 2016 to Mar 20, 2016
Tulsa, OK -- Mar 24, 2016 to Mar 27, 2016
Kansas City, MO -- Mar 30, 2016 to Apr 3, 2016
Oklahoma City, OK -- Apr 6, 2016 to Apr 10, 2016
Louisville, KY -- Apr 28, 2016 to May 1, 2016
Cincinnati, OH -- May 4, 2016 to May 8, 2016
Columbus, OH -- May 11, 2016 to May 15, 2016
Hamilton, ON -- May 20, 2016 to May 22, 2016
London, ON -- May 27, 2016 to May 29, 2016
Providence, RI -- Jun 3, 2016 to Jun 5, 2016
Duluth, GA -- Jun 15, 2016 to Jun 19, 2016
Raleigh, NC -- Jun 22, 2016 to Jun 26, 2016
Ottawa, ON -- Jun 30, 2016 to Jul 3, 2016
Denver, CO -- Jul 21, 2016 to Jul 24, 2016
Lincoln, NE -- Jul 27, 2016 to Jul 31, 2016
Chicago, IL -- Aug 3, 2016 to Aug 7, 2016
OVO:
Rumored to begin touring in Arenas... June 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 November 11
Added performances in 2015:
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 November 30 - December 15
Added performances in 2015:
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 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 November 18
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 December 1 16
Added performances in 2014:
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 November 9 17
o December 14 22
Added Performances in 2015:
o December 29
ZARKANA:
Location: Aria, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
2015 Dark Dates:
o November 10
Added Performances in 2015:
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
2015 Dark Dates:
o December 15
Added performances in 2015:
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)
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) Club Cirque -- This Month at CirqueClub
o) DidYaKnow? -- Facts About Cirque
o) Networking -- Posts on Facebook, G+, & YouTube
---------------------------------------------------
CLUB CIRQUE: This Month at CirqueClub
---------------------------------------------------
KURIOS About... Episode 2: The Big Top
{Oct.07.2015}
-----------------------------------------------------
3 tents, 8 masts, 1200 stakes, 2000 tons of equipment, 65
trailers
It takes, 1 week of marking, followed by 6 days of
set-up for KURIOS to be ready to perform. Get a sneak peak at
the logistics of setting up our iconic Blue and Yellow Big Top
in every city we visit.
VIDEO [2:32] /// < https://youtu.be/B2mvWykpBFY >
Transcript:
Yannick Spierkel, Company Manager: Every city, when we arrive,
we need five days to set up. We have 2,000 tons of equipment to
install. Not only the permanent crew is building the site but we
are supported by 150 technicians that are hired locally to help
us.
Guy Rossignol, Head of Tent: Physically here we have three
tents held by 1,200 stakes. The week before we arrive we have
marking teams come marking everything. Then the first day we
build the artistic tent. After that we'll put the big top masts
in place. Next morning we're ready to raise the masts and bring
the canvas out. [
] After all those years we're still pushing
all those poles by hand. It's really impressive when you have
all those guys aligned and you yell for the 2-3 push... it's
really amazing. Takes about five to ten minutes and everything
is up!
{ SOURCE: YouTube }
KURIOS About... Episode 3: The Creators Minds
{Oct.21.2015}
-----------------------------------------------------
In this new episode, discover the various steps behind the
conceptualization of KURIOS by Cirque du Soleil and how the
creative team brought their ideas to life. It takes about 2
years of work and creation before we present a new Big Top show
to the audience, Michel Laprise, writer and director of KURIOS
tells us how it was for him and the 17 designers who worked on
this show.
VIDEO [4:25] /// < https://youtu.be/__lh-P9_mas >
Transcript:
Michel Laprise, Kurios Director: To me it was a big dream to do
a big top show at Cirque du Soleil, so I decided I wanted to
celebrate the big top and I spent a lot of time around the
Chapiteau looking at it. And it appeared to me... it's like an
antenna of steel that captates the energy of the invisible and
that energy goes into the stage and it manifests into the bodies
of the characters, the set elements and stuff.
So I decided to dream about the story of Kurios, thinking of, ok
there's this scientific man who has invented a machine. This is
why you have, what we call, the portal. He's using the
electricity energy to go through the portal to another dimension
where all the dreams that are waiting until someone dreams them
on planet Earth.
Mysterious energy for this machine would be electricity. So I
started to research electricity and I found out that it was
invented in the nineteenth century. I was in love with that era
because a lot of things were invented to bring people together,
to connect them. It's similar to our era with the Internet and
mobile phone.
The designer at Cirque said why don't we go with steampunk, but
as usual at Cirque du Soleil we invent our own stuff, so our
steampunk is like no other steampunk in the world. This is the
Cirque du Soleil thing: we don't do documentaries - it has to be
wild, it has to be more free.
Costuming is a huge part of our show. Most of them are like old
couture and handmade; you don't see many machines. You can feel
that. It's like every day at Cirque du Soleil is Fashion Week.
And the same thing with make-up. It takes two hours to apply the
make-up. Its a transformation that's almost like a meditation.
Each of the parts of these props comes with its own history.
Usually we have a prop, we have a mould, and we have to make
sure that for fifteen years we can reproduce exactly the prop,
in the way it is. IN this case we wanted to have something
authentic, so this is built with existing things that are
recycled. Kurios has more props than any Cirque du Soleil
touring show in the whole history.
So this is something I've never seen - the "Plan B's" - what
happens if someone is sick. So now he's working with Gabriel,
our juggler, on a back-up act. We don't sit down and say "oh, we
have a good show". We love our show and we want to keep it
alive. Gabriel I knew would fit in the show very well and the
show benefits from his talent very much. He is beyond juggling.
I've auditioned jugglers for years and I never saw someone who
can act like that; he's a real, real artist.
This show is very joyful. I'm like the audience members: I'm
excited! We wanted to do a show that was very optimistic and
would uplift the audience. I see the attachment that the
audience has for Cirque du Soleil and I say that with a bit of
emotion because we're so privileged to work here. To create in
this environment, to continue this relationship with the
audience... there's something magical in that.
{ SOURCE: YouTube }
Halloween Makeup Ideas from Amaluna
{Oct.27.2015}
-----------------------------------------------------
Searching for Halloween easy makeup ideas? Get inspired by
Amalunas characters: Goddess, Amazon, Clown and Reptilian
Humanoid!
Why youll love these styles: Theyre versatile enough to pair
up with any costume, plus theyre suitable for women, men and
children! So dare to transform yourself into a princess, a
sorcerer, a warrior or even a doll!
Makeup artist Eleni Uranis, who designed Amalunas looks, shows
you how to achieve these makeovers at home with MAC cosmetics.
Happy Halloween!
* * *
Moon Goddess: Mystical and Luminous
EYES: Apply BLACKTRACK FLUIDLINE gel liner around eyes and blend
along the eyelid with BLUE CALM eyeshadow. Apply MOONS
REFLECTION eyeshadow next and blend up to the brows. Apply WHITE
FROST eyeshadow on the inner corner of your eyes. Apply false
lashes 7 LASH.
EYEBROWS: Shape eyebrows with Chromagraphic Pencil HI DEF CYAN
and blend to contour the side of the nose. Apply BLUE CALM
eyeshadow over.
LIPS: Apply CHATTERBOX lipstick then line with Chromagraphic
Pencil HI DEF CYAN.
DETAILS: Draw swirls on forehead with white eye khol FASCINATING
and then with blue Chromagraphic Pencil HI DEF CYAN. Set with
INVISIBLE powder to prevent smudging.
Expert Tip: For extra sparkle, apply Swarovsky crystals using
DUO Glue.
Your MAC essentials checklist:
o) BLACKTRACK FLUIDLINE gel liner
o) BLUE CALM, MOONS REFLECTION, WHITE FROST eyeshadows
o) False lashes 7 LASH
o) Chromagraphic Pencil HI DEF CYAN
o) CHATTERBOX lipstick
o) FASCINATING eye khol
o) INVISIBLE set powder
* * *
Amazon: Strong and Fearless Lines
EYES: Draw a thick line along lash line with BLACKTRACK
FLUIDLINE gel liner. Repeat under the eye, and before the gel
dries out blend with SMUT. Apply NYLON eyeshadow to highlight
the inner corners of the eye. On the outer corner of the eye
draw several fine lines with BLACKTRACK FLUIDLINE. Apply false
lashes 44 LASH.
EYEBROWS: Draw a sharp line at the top of the eyebrows and fill
in half way with COFFE eye pencil. Apply SMUT eyeshadow, blend
and extend the line down the side of the nose with a fine brush
for a soft line.
LIPS: Draw and fill in the top lip with CURRANT lip pencil and
the bottom lip with RUSSIAN RED lipstick.
Expert Tip: For longer lipstick wear, press some INVISIBLE set
powder on the lips and then brush it off.
Your MAC essentials checklist
o) BLACKTRACK FLUIDLINE gel liner
o) SMUT, NYLON eyeshadow
o) False lashes 44 LASH
o) COFFE eye pencil
o) URRANT lip pencil
o) RUSSIAN RED lipstick
o) INVISIBLE set powder
* * *
Cali: Whimsical and Playful
COLOR SHAPES ON HEAD: Draw shapes on head and face you can
even draw on your body starting with BASIC RED paint stick and
a brush. Then apply LANDSCAPE GREEN paint stick and finish with
PRIMARY YELLOW using a latex sponge. With a lip brush, fill in
top lip with red. For the bottom lip, fill in with green and a
touch of yellow. Set with INVISIBLE powder using a powder puff.
EYES: Apply BLACKTRACK FLUIDLINE gel liner around the eyes using
a small brush and blend out with MYSTERY eyeshadow to create a
smoky effect.
EYEBROWS: Draw the shape of the brows and fill in with COSTA
RICHE eye kohl. Apply MYSTERY eyeshadow over.
Expert Tip: For perfectly blended cream products, use a latex
sponge and dab the product moving in and out from one color to
the other. If you want: Complete your half-lizard half-man look
with vibrant colored contact lenses!
Your MAC essentials checklist
o) BASIC RED, LANDSCAPE GREEN, PRIMARY YELLOW paint sticks
o) BLACKTRACK FLUIDLINE gel liner
o) MYSTERY eyeshadow
o) COSTA RICHE eye kohl
o) INVISIBLE set powder
* * *
Mirandas Nurse: Quirky, Funny and Eccentric Clown
EYES: Build up rounded shape over eyelid crease with REDD lip
pencil and fill in. Apply WELL-BEHAVED eyeshadow over. Under the
eye, draw a line with BLACKTRACK FLUIDLINE gel liner to make eye
appear larger. The upper and lower lines should almost meet in a
continous shape. Add the VIBRANT GRAPE eyeshadow in the outer
corner and blend for more contrast. Highlight inner corner of
the eye with PHLOOF eyeshadow. Apply false eyelashes.
EYEBROWS: With a small pointy brush, outline and fill in
eyebrows with BLACKTRACK FLUIDLINE gel liner, creating extended
feathery lines.
LIPS: Line your lips with REDD lip pencil and fill in. Dab WELL-
BEHAVED eyeshadow to set.
DETAILS: Dots use a cotton swab dipped in BLACKTRACK FLUIDLINE
gel liner and press on the face.
Expert Tip: Use a brush dipped in water with any eyeshadow to
get an instant eyeliner!
Your MAC essentials checklist
o) REDD lip pencil
o) WELL-BEHAVED, VIBRANT GRAPE, PHLOOF eyeshadows
o) BLACKTRACK FLUIDLINE gel liner
See these fantastic make-up routines here:
LINK /// < http://www.cirquefascination.com/?p=6678 >
{ SOURCE: CirqueClub }
---------------------------------------
DIDYAKNOW?: Facts About Cirque
---------------------------------------
o) Did you know: The creation of the Gold Frame in BELIEVE involved
the talents of 30 sculptors, mold makers, and painters over a
period of three months.
o) Did you know: The giant aerial frame in "O" was created by Cirque
du Soleil specialists to facilitate choreography and gymnastics in
an aerial space between the sky and the water.
o) Did you know: Most of the shoes you see in Cirque's shows are
actually hand-made at Cirque HQ. They make between 3,000 and 5,000
pairs of shoes per year!
---------------------------------------------------
NETWORKING: Cirque on Facebook, YouTube & Twitter
---------------------------------------------------
{Compiled by Keith Johnson}
---[ AMALUNA ]---
{Oct.07}
Out and about in London...
FOTO /// < https://goo.gl/Qg1ycW >
{Oct.11}
A little jamming session before the show?
FOTO /// < hhttps://goo.gl/S8KkLZ >
{Oct.24}
Goodbye Brussels and see you next year in Knokke!
VIDEO /// < https://goo.gl/36bS0M >
---[ CIRQUE DU SOLEIL ]---
{Oct.07}
Game On! Cirque Shoots, Cirque Scores - since 1984
FOTO /// < https://goo.gl/LVrTJr >
{Oct.13}
Our Quidam artists double-up for a thrilling trick
from two different perspectives.
VIDEO /// < https://goo.gl/vaXnEe >
{Oct.15}
Artists from The Beatles LOVE and Michael Jackson ONE
came together for The Dance Awards to inspire a group
of young, talented dancers.
VIDEO /// < https://goo.gl/28TXfF >
{Oct.16}
Extreme makeover! See how our baton-twirlers get gorgeous.
VIDEO /// < https://goo.gl/VbcCIt >
{Oct.17}
Bright Minds: fashion designer Denis Gagnon shares his
tips with Cirque Du Soleil employees on the creative
process, finding inspiration and following your dreams.
VIDEO /// < https://goo.gl/qLno2f >
{Oct.21}
Were shining a spotlight on Klara from KURIOS. See what
it takes to get into the role in the video below.
VIDEO /// < https://goo.gl/1Rn1hh >
{Oct.24}
our TORUK Navi strike a pose and show us what theyve got!
FOTO /// < https://goo.gl/Zp28Jx >
{Oct.28}
Kylie from @circus.artist.cirque is taking over our
Instagram account for TORUK Media Day in Bossier City.
Follow along: http://cirk.me/1Hb3xPt
VIDEO /// < https://goo.gl/ScHxp2 >
{Oct.29}
This high-flying shot is from our early years!
FOTO /// < https://goo.gl/5WLs36 >
{Oct.30}
TGIF! Were celebrating the night before Halloween with
a Flashback Friday Michael Jackson ONE Thriller video
from this year's Dance Awards.
VIDEO /// < https://goo.gl/8106fc >
---[ CORTEO ]---
{Oct.01}
The Balloons of valentyna are almost ready for the show!
LINK /// < https://goo.gl/c1cmYU >
{Oct.05}
Enjoying the last weekend in the city of Mexico.
LINK /// < https://goo.gl/Xg1l3y >
{Oct.09}
Last 3 days before we go... If you haven't seen corteo in
Mexico, this is your last chance!
LINK /// < https://goo.gl/e3ks1l >
{Oct.11}
Thank you very much for your warmth! Really enjoyed our
visit in Mexico, we're going to miss you. We're heading
to the final destination of corteo in Quito, Ecuador!
LINK /// < https://goo.gl/Z9ha09 >
{Oct.18}
Behind the scenes of Corteo.
LINK /// < https://goo.gl/VUifdB >
{Oct.24}
How many artists can turn on the monkey bars at the same
time? More than you think.
LINK /// < https://goo.gl/bgiE1X >
{Oct.28}
Artists waiting their turn to shine on the stage.
LINK /// < https://goo.gl/EXCmhc >
---[ KA ]---
{Oct.16}
Behind the Blockbuster: 5,000 speakers. 3,000 lighting
instruments. One phenomenal production.
VIDEO /// < https://goo.gl/ri3eCt >
{Oct.22}
Game day gear is packed and ready to go! Stay tuned!
ou'll get a "kick" out of our UCLA Football versus Cal
Bears halftime performance!
FOTO /// < https://goo.gl/Ws6vh0 >
{Oct.22}
It's field goal fury from KÀ at the UCLA Football
vs. Cal Bears game!
VIDEO /// < https://goo.gl/ANXioj >
---[ KOOZA ]---
{Oct.09}
Thank you ATX! We had an amazing time here!
FOTO /// < https://goo.gl/OIBME9 >
{Oct.29}
Putting the final touches on our costumes!
FOTO /// < https://goo.gl/23VYzg >
{Oct.29}
Body painting tonight at our Premiere in Vancouver!
FOTO /// < https://goo.gl/gcqg0s >
{Oct.31}
From all of us at KOOZA... Have a Spooktacular Halloween!
FOTO /// < https://goo.gl/bXeCLR >
---[ KURIOS ]---
{Oct.15}
Thank YOU Costa Mesa for the warm welcome! You guys
sure warmed our hearts!
FOTO /// < https://goo.gl/hq5WlZ >
{Oct.30}
Yesterday our characters were visiting Orange County!
See the pictures published in tomorrow's OC Register!
LINK /// < http://goo.gl/cLsjVy >
---[ "O" ]---
{Oct.14}
Plunge into the abyss of your fears with wings outstretched.
VIDEO /// < https://goo.gl/DwZzaU >
---[ QUIDAM ]---
{Oct.01}
Quidam is everyone's BFF. He's the best listener and
never talks back!
FOTO /// < https://goo.gl/562JFW >
{Oct.14}
Today the Seoul Street Team took Jeongdong by surprise
at lunch time. It was so much fun meeting people and
perform in front of the Spring Seoul Sculpture, around
and in Cheonggyecheon and at Seoul City Hall Plaza.
FOTO /// < https://goo.gl/cpyHvf >
{Oct.17}
Check us out taking over Seoul at lunch time!
VIDEO /// < https://goo.gl/os1wD4 >
{Oct.25}
Fall has officially arrived at Backstage Quidam!
FOTO /// < https://goo.gl/XlO6Fg >
{Oct.27}
How many acrobats can you fit on one Backstage Cirque photo?
FOTO /// < https://goo.gl/4MvNcD >
{Oct.31}
This Halloween, Quidam got groovy in true Studio 54 fashion!
FOTO /// < https://goo.gl/4ufmnd >
---[ TORUK ]---
Many of the posts this month were introductions to clans, items,
characters, and other items from the World of Pandora that TORUK
aims to express. We've covered these in the past in a post titled
"Exploring the World of Pandora", which you can find and read
here: < http://www.cirquefascination.com/?p=6100 > and one on the
show's characters, here: < http://www.cirquefascination.com/?p=6555 >.
{Oct.01}
Na'vi bow training. Getting ready to take the stage
in just 6 weeks.
LINK /// < https://goo.gl/4Kwo4U >
{Oct.03}
TORUK artists taking a break in between trainings
LINK /// < https://goo.gl/Z3XPhs >
{Oct.05}
See the otherworldly yet familiar fauna of
Pandora leap to life.
LINK /// < https://goo.gl/hTyc2e >
{Oct.06}
By focusing on every detail, we make ordinary extraordinary.
LINK /// < https://goo.gl/TIQSdC >
{Oct.07}
Where will we land next? PANDORA.
LINK /// < https://goo.gl/oXiu4e >
{Oct.08}
TORUK?-ification.
LINK /// < https://goo.gl/b880V7 >
{Oct.14}
Zip it! Nothing like teamwork.
LINK /// < https://goo.gl/z0lIC9 >
{Oct.16}
We must use time wisely, they say.
LINK /// < https://goo.gl/8u0obq >
{Oct.20}
Backstage at the CenturyLink Center, an endless collection
of roadcases and racks.
LINK /// < https://goo.gl/1Cydsl >
{Oct.21}
Jump into action!
LINK /// < https://goo.gl/GbdMMg >
{Oct.21}
Take our quiz for your chance to win a TORUK? souvenir
program! ?
LINK /// < https://goo.gl/dngKJQ >
{Oct.22}
Austrapedes may look friendly but personalities can
change in the blink of an eye!
LINK /// < https://goo.gl/54t8r2 >
{Oct.27}
We could get used to all this pampering...
LINK /// < https://goo.gl/gGND7v >
{Oct.28}
Spend a day in the world of TORUK - The First Flight for
a $5 donation to One Drop. Enter Now:
LINK /// < http://cirk.me/1MjcUOm >
{Oct.29}
Share with us your tips for great Halloween makeovers!
LINK /// < https://goo.gl/vXBvJQ >
{Oct.29}
We have a brand new visual!
LINK /// < https://goo.gl/8WAul1 >
{Oct.30}
Trick or Viperwolf. Happy Halloween from TORUK!
LINK /// < https://goo.gl/ui2YCD >
{Oct.31}
Taking a break from being Na'vi to channel our inner
cat! Happy Halloween to all!
LINK /// < https://goo.gl/Q1sjTd >
---[ TOTEM ]---
{Oct.04}
While we are moving the Big Top to Singapore, some of our
performers are getting ready for a special performance in
Tokyo next week! Stay tuned for more details...
LINK /// < https://goo.gl/g1ztGL >
{Oct.12}
Rehearsal time! We are now in Tokyo for a few days of
media activities for 2016-2017 Japanese tour!
LINK /// < https://goo.gl/TkVpfK >
{Oct.12}
We just did our first live performance on Japanese TV
on Mezamashi TV!
LINK /// < https://goo.gl/F1rjPO >
{Oct.13}
Our Japanese frog Umi-san applying his make-up before our
Tokyo Press Conference!! TOTEM will be coming to Japan in
February 2016!!
LINK /// < https://goo.gl/B5DFvM >
{Oct.14}
And it's a wrap!! We introduced today our Roller Skates
and Unicycles acts to Japanese media! Thank you to our
special supporters Happiness, Mr. Ogura and Sandwich Man!
see you soon Japan, we will start our tour in Tokyo in
February 2016!! http://totem-jp.com
LINK /// < https://goo.gl/CoQnhz >
{Oct.16}
Busy day for us in Singapore! As the crew is working hard
on getting the Big Top up, our Unicycle girls are rehearsing
on set for their appearance on President Star Charity
tomorrow night!
LINK /// < https://goo.gl/FjFXIS >
{Oct.17}
Ever wondered what our elite cast members were doing prior
to stepping on a Cirque du Soleil stage? Hoop Dancer Eric
Hernandez interviewed our artists and has the answer.
LINK /// < https://www.youtube.com/watch?v=5zitIAdVJmo >
{Oct.18}
Our technicians are still working hard getting our site
ready in Singapore next to Marina Bay Sands! Rehearsals will
start soon in preparation for our October 28 Premiere!!
LINK /// < https://goo.gl/VPV7nL >
{Oct.20}
One week left until our Singapore Premiere! Meet Rings
Trio artist Alevtyna Titarenko for a sneak peek of what
to expect from this upbeat high-flying performance!
LINK /// < https://goo.gl/QiF15q >
{Oct.22}
Only a few days left until our October 28 Premiere in
Singapore! Umi Miya shares the secrets of the jaw-dropping
opening act of TOTEM: High Bars (Carapace)!
LINK /// < https://goo.gl/AkFaYN >
{Oct.28}
It's been 10 years since the last time our Big Top
visited Singapore and it still feels like yesterday.
A huge thank YOU!
LINK /// < https://goo.gl/il9BQq >
---[ VAREKAI ]---
{Oct.11}
Today, Varekai received a very special gift.... Our own
Buddy bear! Thank you Mercedes-Benz Arena for a fantastic
start of the European tour. Now ready for our next stop:
Leipzig.
LINK /// < https://goo.gl/WodzDX >
{Oct.21}
Opening night Selfie! Icarus and the Promise are wishing
everyone a good show!
LINK /// < https://goo.gl/XXGPhA >
{Oct.28}
Last minute preparations before this character makes
her appearance on stage.
LINK /// < https://goo.gl/KXl4Qs >
{Oct.30}
Check out these stunning photos of our Premiere night
in Mannheim. If you could describe Varekai in one word,
what would it be?
LINK /// < http://goo.gl/AVm7Aw >
{Oct.31}
Happy Halloween from Varekai!
LINK /// < https://goo.gl/TcDaVe >
{Oct.31}
On Friday night, our lead male vocal known as The
Patriarch performed its 5000th show with Varekai.
Through time, he accumulated many memories including
this one: he was invited to sing at the Festival de
Cirque de Demain in Monaco by the silk performer on
Quidam. It was the first time a singer was invited to
sing live during this event. What a moment it was!
Join us to congratulate him and we wish him many more
shows. Cheers!
LINK /// < https://goo.gl/i4QVQG >
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) INTERVIEW /// "The Third Time: An Exclusive Interview with
Christopher Kit Chatham, Kurios drummer" (Part 3 of 3)
By: Keith Johnson - Seattle, Washington (USA)
o) LOOK BACK: Guy Laliberte's Poetic Social Mission
PART 3 of 8: "Getting My Hands Dirty"
By: Ricky Russo - Atlanta, Georgia (USA)
o) SPECIAL: "The Astonishing Second Act of Cirque du Soleil"
By: Sarah Barmak, Canadian Business Magazine
------------------------------------------------------------
INTERVIEW /// "The Third Time: An Exclusive Interview with
Christopher Kit Chatham, Kurios drummer" (Part 3 of 3)
By: Keith Johnson - Seattle, Washington (USA)
------------------------------------------------------------
This month, we conclude our exclusive interview with Kurios drummer
Kit Chatham. But before we get back into it, we asked Kit to help
fill in a few details we overlooked originally that would have been
mentioned in Parts One and Two.
First, we wanted to know how Kit got his job with Blast! (See Part
One). Looking for a job wasnt the first thing on his mind when he
was close to graduating from college. Right before finishing up my
Bachelors degree at the University of Georgia, my roommate, who was
also a percussionist, told me that the show Blast! was hiring to do a
big national tour. As soon as I heard that I decided to send in my
Graduate school audition video to Blast!
At the time I was deciding between going to the University of Miami
or the University of North Texas to get my Masters in Percussion
Performance. When I got the gig I told both schools that I was going
to do Blast!, as I figured school would always be there. My roommate
also passed the audition and made it into the show.
When we got deep into rehearsals for Blast! they told me they wanted
me to be one of the featured performers for the show. So I started to
work and develop a Snare Drum solo I would perform alone on stage
nightly in front of thousands of people.
Viva Elvis (See Part Two) was Kits resident show creation process.
Was the creation schedule or process much different from the Grand
Chapiteau shows he had been part of? The creation processes for
Corteo and Kurios were both very similar and the timeframes from my
arrival in Montréal to the premiere were almost identical. For both I
arrived in Montréal in January and the premieres were in late April.
So the creation and integration was quite a bit shorter than that of
Viva Elvis. [In addition] we started at the IHQ in the rehearsal
facilities and in early March we moved to the Grand Chapiteau at the
Old Port. Of course there were slight differences as you would expect
working with different directors, composers and personnel.
The creation process for Viva Elvis was quite different given that it
was to be a resident show in Las Vegas. For the band, we spent only 5
weeks in Montréal (including a weekend trip to Memphis and Graceland)
and then went to Vegas to finish the process. We spent 4 months doing
creation in the theatre at Aria before Previews and then we had a few
more weeks of changes before the premiere in February of 2010. This
process was quite long, but there were many more technical issues
since we were working with a complex stage and scenery that was a big
part of the show.
The best part of the creation process was all the jamming with the
band. Viva Elvis was definitely a special band and we had so much fun
jamming on the musical arrangements of (composer/arranger) Erich
Létourneau (also known as Erich Van Tourneau).
Being a music-centric show, the musicians worked quite closely with
the Musical Director. The variety of instruments Kit was to play
allowed him a degree of, as he called it, "controlled freedom.
Throughout the process I would suggest parts, Erich would listen and
wed build from there. Erich had a great percussive sense and at
times knew exactly what he wanted. Its great working with someone
who has a strong percussive sense, and even more so with composers who
are completely open to and encouraging of suggestions.
And now Part Three of our profile. After being stolen away from Kooza
by Kurios director Michel Laprise, Kit discusses what he brought to
the show.
BRINGING IT
-----------
Every artist or musician brings something unique to a show or project.
Their experience, emotions, technique, outlook. Kit plays the drums
for the show, obviously. But where might we hear his touch in the
music of the show? There are a lot of little bitty things that I had
the freedom to do. I had more freedom with the raw feel stuff [for
Kurios] because Raphaël [Beau, composer] isn't a drummer. [But] one of
the Bob & Bill composing team, Marc (Lessard), is a drummer. Working
with a drummer can sometimes be a weird dynamic, but it was super
cool. He was like, okay, go to town. And I was like, really? All right
cool!
Even though I'm only on drum set, we have some songs that are old-
school 40s and 50s sounding Gene Krupa-type stuff, and we have more
rocking stuff. The book is very varied and that's partly from me.
And what was great about Corteo and even a little bit [with Kurios]
was that I got to come up with a lot of my parts. The composer comes
up with the main theme and melody and everything, but rhythmically
they usually don't have an idea and they're really open. So I will try
different things. With Corteo especially, that whole percussion
world was like my ideal setup. (See images of his various drum
setups, including the one for Corteo, at < http://www.kitchatham.com
/gear.html >) I had my drums and my world percussion all around me. I
wouldn't say it was the hardest or toughest score to play but it was
one of the more involved for sure.
The thing that I try to bring to a show is that I have a lot of
experience. Usually a lot of times it's also my versatility in what I
can play, like in terms of grooves. My whole thing is about being
consistent and trying to make my shows sound the same night after
night. But not always be exactly the same; I might play different
fills, I might play different nuances here and there but still make it
feel like I do every show.
I've been really fortunate to work with Daniele (Finzi Pasca-Corteo
Director) and Michel (Laprise, Kurios director), both super great
human directors who work with you one-on-one. It's not where you feel
like there's a distance between you, they'll come and talk to you and
they're very personable. They're not distant or hard to approach at
all.
Part of the first act set piece, Juggling Chaos, involves Kit and
show percussionist Christa Mercey (.com) playing and banging on tables
and suitcases. The original concept for the table thing was a duo
that did drumming on various objects; I don't remember the name of the
group. In November we [were] exploring and talking about the show and
Cirque wanted something like that. I said, Do we want to do stuff
that's already been done? I don't feel we should copy, I think we
should come up with something new. So even the little bit that we do
on the table were not trying to be stoic, I wanted it to be
aggressive.
When we got to doing explorations I was on YouTube quite a bit. And
we already knew that [our characters] were travelers because we had
luggage. So I brought up an old Fred Astaire bit. (I grew up with Fred
Astaire and Bing Crosby and White Christmas, my mom was a big fan.)
I remembered a YouTube clip of Astaire playing drums but it's all with
his feet, kicking and stuff. (From the film A Damsel in Distress
from 1937, the scene can be found at < https://www.youtube.com/watch?
v=yTH9VwACh7o >.) And I thought that would be really cool to do with
the luggage. It didnt really work because it wasn't loud enough. But
that got us into the whole concept of playing on the suitcases.
[Playing on] the table happened because they knew I did a lot of
tricks from Blast!. So they said, Okay, why not do your bit on the
table. So the very first thing we do on the table I do some of my
more Blast! things. I'll do the tongue trick or something like that.
I'm getting too old to do a lot of that stuff, though. I need to be
able to play through the rest of the show; I can't get injured on the
first act. (Laughs)
While Kit is onstage during the first scene, drums are keeping tempo
in the background. But isnt Kit the drummer? It's a track. That's
the only song where we actually have a drum track that plays. It's our
one number that's more like a Broadway-style number, which is
choreographed to a T.. It's a minimal drum track, which is great
because it creates more space, so when I play on the table it allows
you to hear what we're doing.
Kit is also the Assistant Bandleader what does that entail? I
basically call the show when [Marc Sohier, bass player and Bandleader]
is out. That's pretty much the main role, if the bandleaders out I
can take over calling the show without a hitch. And I'm in a rotation
to make sure, every week I'll call a show or two.
I'm actually drumming as I call the show. And I have pre-recorded
samples of me calling, because in a lot of cases I'm playing, and if
you opened up the microphone youd just get a world of noise. So that
we dont have everyone hearing drums every time I turn on my callback
I have a lot of that stuff prerecorded so I can just trigger it, and
it goes, three-four. I can trigger it anywhere during the program.
It's a pretty technical program, and when I trigger three-four it
will go to the next section. Other bandleaders will verbally count
three-four and then trigger the next section.
THIRD TIMES THE CHARM
---------------------
For Kits first Cirque creation, Corteo, the CD production was
outsourced so didnt include the creation musicians (except the
aforementioned Mr. Bisson). It also took 18 months to be released.
Though the lag time was reduced to 10 months for the Viva Elvis CD,
the music for the CD again did not include him. Not using creation
musicians and re-arranging the music so it sounds different than the
show had gone on for awhile though, all the way back to the EDM-
influenced CD of Varekai. I remember buying the Varekai CD; I
havent listened to it in years. You watch the show and it has a very
nice groove to it, yet the CD is all electronic. It was one of those
things where it wasn't the show and it was disappointing. Even to me
as a musician, it was like, Aww man, I really wanted that song and
it's not on here. Or it is but it's like a remixed version of it.
Since Alain Vinet has been Cirques Musical Director the CDs have
begun sounding like the show, with most of the music from the show and
creation musicians playing the music. I can't remember if it was with
Zed, or what show it started with. That's great, you know. If I go to
a show, I want to hear the closest thing to the shows music. I mean a
studio-quality album version.
For its part the Kurios CD was recorded,
the day after the Cirque
30th anniversary party, Tue & Wed June 17 and 18, 2014 - just those
two days. It felt a little rushed but we got it done. With the music
being well received by all at Cirque and a high demand for the CD,
recording was quickly completed with the CD hitting Chapiteau shelves
just 7 months after Kurios gala.
They did some things where there were some re-arrangements; not like
a medley, but taking two songs and kind of combining them. I don't
know the name of the songs on the CD; they are still the show song
names for me. I look at the CD and I'm like, What's that? When we
were doing the little drumming videos for the website I was like,
Which is this? Oh yeah, Fearsome Flight - Rola Bola. (He has quite
the selection of videos at < https://www.youtube.com/user/
KitChathamPercussion >.)
CHALLENGES
----------
Having had experience with many Cirque scores, which was the most
challenging to play? There was one song in Corteo where I was playing
drum kit and then I would have to play darbuka and tabla (middle-
eastern drums) and go back to drum kit. It was the Roue Cyr act
[Anneaux on the CD], that was probably one of the most difficult
things to play.
(That act was also the first, and last, time he felt tempted to learn
a circus art. As he explained in a recent interview with 303 Magazine
(available here < http://goo.gl/uznis0 >), When I first joined Cirque
over 10 years ago with the creation of Corteo, I was amazed at the act
Roue Cyr. Its basically just a human sized ring that you can
manipulate and spin while doing acrobatic moves on. I started working
on it with one of the artists for a while and after an unfortunate
incident involving my fingers and the big circular pole rolling over
them I decided to retire from my roue cyr career.)
[Kurios] is great because I get to go back to my roots playing drum
set. And I get to work on it practicing and developing. There are a
few songs [that are favorites], Rola Bola (Fearsome Flight on the
CD) for instance, that's one of my favorite songs to play. It's very
simple but it's a nice hard rocking song, so for me energy-wise it's a
lot of fun. Banquine (Wat U No Wen on the CD) is also a lot of fun
because it's all over the place. All the drum heavy songs in this show
I like to play.
There are some rather unique occupational hazards to being a
professional musician, especially one that holds a drumstick in their
hand for a living. But Kit says he doesnt really suffer from a
common malady of those that use their hands for repetitive tasks, such
as typing or drumming, carpal tunnel syndrome. (Symptoms include
numbness, tingling or weakness in the hand.) No I don't, and it has a
lot to do with the way I play. Ive been very fortunate. When I played
marching band music I was very poor about it; they really want you to
be tight. I'm a drum nerd geek and I'm always trying to find the best
way [to play]. I never try and hold the stick with tension in my body.
If there's tension in your body there will be tension in the way you
play. It's like driving your car with the emergency brake on. So I try
to not have any tension in my playing; still being controlled, but
without tension.
But he cant say the same about tinnitus, the persistent ringing in
the ears most often caused by prolonged exposure to loud sounds, such
as those of drums! I do a little bit, but a lot of that stems from
marching band. When you're in a snare line with 10 snare drummers,
which is a really high-pitched drum, and you're cranking shots, which
are the loudest stroke on the drum, it's crazy. There were times when
we were marching and the guy next to me would do a loud shot and it
would trigger my ear to ring. I can remember walking off the field and
throwing down my drum and freaking out. So I think most of my damage
was done there.
I'm really smart about it now; I get my ears checked every year. Last
time I was in Montréal I got my ears checked and the tester said that
for a drummer I have super good hearing. He said I have the ears of a
10-year-old. I don't know where to go with that, is that a good thing
or a bad thing? Don't tell my wife, she thinks I'm deaf. (Laughs)
As we were winding down our time together we got to some of our life
& philosophy questions. What gives him his greatest satisfaction?
It depends. Of course there's my life, my wife and my two little
rats, my dogs. And I've been very blessed to do this.
But that has to be complicated by his wife, home, and two rats being
in Las Vegas, and him traveling the world with the show, doesnt it?
It's tough; it sucks most of the time. We make it work; she
understands that my passion and one of my big loves is to play, and
she's very understanding. She comes from a musical background - her
mom and dad are both musicians - so it's somewhat easier that way. But
we make it work; we try to only go a certain amount of time without
seeing each other, usually no more than four or five weeks. I think
our longest has been 10 weeks.
WHERE PREPARATION MEETS OPPORTUNITY
-----------------------------------
Kit could be considered to be lucky to have had the opportunities with
Cirque that he has had. But the opportunities have come because he has
been prepared. Hes applied himself to his craft, the result being
technical excellence. I have, yeah. But you know, I work hard, and I
always try to put myself in a position where I can do this, but I've
been very, very fortunate.
And I learned from an early age to be humble. I'm definitely not the
best at it but I still strive to be the best. Whatever I can do to
help me elevate to that level or above I still do. I always try to
better myself not only in music but everything.
Im 38 years old and I'm still in my apartment here in Redmond
practicing. [For example] today I was watching House Of Cards season
three (which I finished today). And while I was watching I was
practicing, working on my feet. Being a percussionist my hands are
usually fine, but I work on my weak things. I'm always practicing
things because I want to be versatile. I don't want to be considered a
jack of all trades and master of none. I don't like that; I want to be
a jack of all trades and I want to master them all. That's one thing I
always try to bring to the table, the versatility of what I play. And
having that versatility helps the musical score, like in Corteo
especially.
And what suggestions does he have for a young person who may be
interested in pursuing a career in music?
Nowadays I'd walk away from social media, get away from the computer.
I think social media is great, but there's a point at which you see a
lot of kids are into so many things that they're not putting in the
practice.
When I was in high school we moved out of Atlanta and there wasn't
that much to do, so when I came home I practiced. I would put on my
Rush CDs and I would practice to Neil Peart. I would put on rock 'n
roll or Led Zeppelin, and I would sit there and I would practice.
There were no video games, no distractions - just practice.
So the biggest thing I tell even people my age is to step back, and
if you really want to elevate to that level you have to put in the
time. And if there are distractions you need to figure out a way. [For
example,] I don't own a videogame system anymore. Because when I was
in college I didn't practice at all, I would just play video games.
Now I don't.
My advice is practice, you have to put in the time, it's not going to
come to you naturally. And just keep working. Don't think that you're
already at that level, keep trying to grow. And be humble. Especially
in work; when you're working with other people youve gotta be
workable and youve gotta be humble, or you're not going to get jobs.
You could be the greatest drummer in the world, but if you're not a
very friendly or nice person you're not going to get hired.
# # #
Kit can be found at:
Website (very complete): www.kitchatham.com
Facebook: https://www.facebook.com/kitchatham
You Tube: https://www.youtube.com/user/KitChathamPercussion
Sorry folks, No Twitter.
My sincere thanks go to: Mr. Chatham for so graciously spending time
with us, Amélie Robitaille, Kurios Publicist, Chantal Côte, Corporate
PR Manager, and my patient wife LouAnna, who sat in on this interview
and puts up with my sometimes obsessive hobby.
------------------------------------------------------------
LOOK BACK: Guy Laliberte's Poetic Social Mission
PART 3 of 8: "Getting My Hands Dirty"
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
Six years ago, on September 30, 2009, a civilian became a spaceflight
participant aboard Soyuz TMA-16, a manned flight from the Baikonur
Cosmodrome in Kazakhstan to and from the International Space Station
(ISS). Joining two members of the Expedition 21 crew - Russian
cosmonaut Maksim Surayev (Commander, from the Russian Federal Space
Agency, FSA) and NASA Astronaut Jeffery Williams (Flight Engineer)
was Guy Laliberté, who paid approximately $35 million USD for his seat
through the American firm Space Adventures, becoming the first
Canadian space tourist in the process. Besides fulfilling a life-long
dream, Lalibertés spaceflight was dedicated to raising awareness on
water issues facing humankind on planet Earth, making his spaceflight
the first in his words poetic social mission in space. And much
of this experience was captured on film and recently spun into a
feature-length documentary entitled TOUCH THE SKY. While the
documentary is a compelling visual look into the experience, the
adventure was also captured by Laliberté himself in the form of an
online journal.
At the time these events were originally taking place, we here at
Fascination were more concerned with the happenings here on Earth
with BELIEVE, ZAIA, ZED, OVO, VIVA ELVIS, and BANANA SHPEEL so we
didnt give much thought to this endeavor. However, thanks to the
recently discovered documentary (the aforementioned TOUCH THE SKY), we
recently re-discovered a text-copy of this journal in our archives,
which allows us to explore this extraordinary time in Cirque du
Soleils history in more detail. Thus in this series well be taking a
look back at Guys Poetic Social Mission through his eyes, from the
journal, in monthly installments, taking you through the initial steps
Guy undertook all the way through to the launch and landing. In Part 1,
"The Countdown Begins" we listened as Guy took us through his first
steps. In Part 2, "Training Kicks Up a Notch", Guy got settled in, and
passed a few essential tests. Now we continue as he gets down into
the nuts and bolts of his training, covering the month of July 2009.
* * *
POST 20 | DAY 101 - July 07, 2009
STILL SURVIVING!
Last week, June 29 to July 3, my training mostly revolved around the
Life Support System (sanitary aspects, oxygen, decompression, the
space suit, etc.). All week, the weather outside was pretty
depressingcold and rainy. Now Im getting ready for the big exam next
week. Im studying a lot and not getting much sleep (just 34 hours
per night). . . so a little sunshine would do me a world of good! Ive
also had some excellent work sessions with the Poetic Social Missions
creative team; the project is making good progress and becoming more
and more finely honed. Time is passing quickly, and the project
requires a lot of time and effortbut everyone is enthusiastic and
that gives me a great boost. Im happy. I spent the weekend in Moscow,
where I met with the Cirque du Soleil partner in Russia. It rained
harder than ever; in fact, in terms of weather, those were the worst
days Id experienced since arriving in Russia. So I took the
opportunity to watch some movies, work out, go to the spa and just
relax. On Saturday (July 4), I had dinner with some old friends, who
wanted to drag me out to a nightclub afterwards. But by midnight I was
exhausted and I returned to the peace and quiet of my hotel room! On
Sunday, I found out that one of my favourite restaurants, Nobu, had
opened a branch in Moscowso I couldnt resist the chance to go gorge
myself on sushi! I arrived back in Star City very early Monday
morning, ready to take on another week of intense study!
* * *
POST 21 | DAY 102 - July 08, 2009
WE PASSED!
Barbara and I had a big exam on the life system support. The test took
place right in front of the teachers. We expected really tough
questions, but it seems that all the nights we spent studying paid off
because it went very well. We got out of there feeling very proud of
ourselves, with a few more stars in our notebooks (before seeing the
real stars up close)!
* * *
POST 22 | DAY 103 - July 09, 2009
IN CASE OF EMERGENCY...
Today, we studied the emergency recovery/rescue system, which explains
the various systems and safety measures to be taken in the event of
any malfunctions (from 30 minutes before launch until our return to
earth). For example, the parachute system, the various parts that are
detaching themselves after launch and the leak systems. This class
made me realize two things: That there are potentially hazardous
situations at many stages of this adventure. I already knew this, but
seeing them in more detail increased my awareness of the risk. On the
other hand, their systems have already saved many lives. Its very
reassuring to know that they have analyzed all the steps to be
prepared for anything that comes up. So, yes, its very useful to be
aware of the potential hazards and its also comforting to know what
to do in such situations! The Russians have been launching rockets for
all these years with the same down-to-the-second accuracy.
* * *
POST 23 | DAY 105 - July 11, 2009
Finally I Can Get My Hands Dirty!
Last week was very busy and I didnt have a chance to sleep more than
the week before. We learned a lot of new things, including an
introduction to the Russian part of the International Space Station,
with explanations of its internal components and systems.
Of course, I have continued my Russian classes, which is definitely
the hardest part of my training! Its not going as fast as Id like,
so Im really concentrating on the basics, which will allow me to be
as independent as possible. Sometimes I wish it could work like in the
Matrix movies, so that I could learn Russian in 30 seconds just by
plugging a connection into my skull!
A large part of our training concerned our spacesuits aboard the
mockup. I like the simulations a lot, because they really give the
impression that youre experiencing the real situation, assimilating
theory and putting it into practice. Since Im action-oriented, I find
that this concretizes my learning and makes me realize that things are
going to happen... very fast! As I put on the spacesuit, Im becoming
increasingly comfortable inside it: This isnt a Halloween costume,
but something Ill be wearing every day in space!
It was cold and rainy all week. The sun toyed with us and timidly
poked its nose out just to give us hope. Apparently the weather is
similar in the rest of Europe and in Montreal, which reassures me a
little. I tell myself that at least Im not the only one whos
freezing! Too bad: We havent seen anything yet in our courses to
counter this kind of problem! Maybe thats why were going through all
these hours of training: It keeps us from getting depressed! Like they
say here: Were experiencing the Russian summer/winter!
My evenings are still devoted to study and meetings with my gang in
Montreal. Lets say that all these subjects give our brains a real
workout! Id really like to see whether my brain has expanded or
developed new synapses since my medical tests in May... ;-)
We have also made a lot of progress on the creative aspects of the
project. And weve had some good news... which well announce to you
at the appropriate time! LOL ;-)
* * *
POST 24 | DAY 108 - July 14, 2009
A Very Special Space Show!
On Friday, July 10, I flew out to Paris with my team to watch a U2
concert. I was excited all week at the thought of this little getaway
and meeting up with my good friends Garou, Gilles Ste-Croix and many
others!
I had many meetings with my team, but Saturday night was dedicated to
the U2 concert at the Stade de France along with no fewer than 95,000
people! I really loved the showdespite the enormous stadium, you
could really feel that rock band atmosphere U2 is so good at creating.
And I got a big surprise during the show, when Bono announced that I
was in the crowd, saying that he had a friend who was training for a
space mission and that he would be the first clown/fire-eater to
launch into space! And he said this during the part of the show where,
in addition to the music, you see a video projection of astronauts on
the International Space Station who are in contact with them. I found
it really heart-warming, because its good to have your friends
support, even for your wildest ideas.
After the show, there was a small party where I saw friends I had not
seen for ages. It was a welcome (and much deserved!) break where I
could relax and enjoy myself. All in all, it was a wonderful evening.
Once again, however, poor weather followed me to Paris and the sun
only made an appearance 15 minutes before we left, so really... And to
think there are places in the world that wish for just the opposite
and beg for rain for their crops. It would be really great if we could
even out Mother Natures gifts so that every region on the planet had
its fair share of water and sun...
* * *
POST 25 | DAY 111 - July 17, 2009
Training in Slow Motion...
In the end, after a little rain on Monday morning, the sun poked its
nose out and stayed with us for the whole week. It was great to see
Star City from a different perspective: people fishing and swimming in
the little lake, sun umbrellas and strollers... finally, some life!
Everyone came out of hiding: the sun was like a big piece of cheese
and we were the little mice!
My week of training seemed strange compared with the intense two weeks
we had just had. Its as though everything was in slow motion... Maybe
I felt like that because the focus was more on understanding the
flight stages than on mastering particular tasks.
Our training concerned flight plans, including launching, docking,
undocking, etc. We had a big exam on Tuesday where we had to show our
understanding of the layout and design of the Soyuz, and we passed
with flying colours (more stars)!
We also learned more about the Russian cabin in the International
Space Station (ISS). For example: where the electrical sockets are;
the emergency controls; how to switch on the lights; how to read
emergency information on the computer; the communication system (which
is not the 10/4, Roger system used on the airwaves!).
* * *
POST 26 | DAY 112 - July 18, 2009
MY CHILDREN GET THEIR TURN IN THE CANDY STORE!
My week was also marked by an important event: my partner, my three
oldest children and my goddaughter came to visit. They arrived in Star
City on Wednesday, and these three days with them have really
brightened up my week.
The children found my small apartment and my little bicycle very
funny! They were also fascinated by all the stages of my training and
took the opportunity to visit the premises while they were in Star
City.
We had some nice moments together as a family, including a spaghetti
dinner at the cottage where my documentary crew is staying.
Yesterday, we arranged with our teacher for a simulation, in which we
had to put on our fastened-up spacesuits. The children thought we
looked like the Michelin man, which they found very amusing! They even
sat in the Soyuz, and they just couldnt take it all in!
* * *
POST 27 | DAY 115 - July 21, 2009
ONE SMALL STEP FOR GUY... ONE GIANT STEP FOR THE MISSION
Last Friday (July 17), we left for Ibiza in late afternoon. I took
advantage of the beautiful location (better than the inside of the
Star City gym!) to catch up on my exercise.
Once again, I also made the most of this opportunity to take the boat
out for a few short trips (water is like a magnet for me) and to enjoy
dining with friends.
As always, time flew by like a Soyuz!
Yesterday, I left for Houston with my documentary crew. My schedule
over there will be really heavy, and apart from my training, the trip
is important to me because I hope to brief NASA on my project: one
small step for Guy, one small step for the project! Stay tuned. . .
The weeks are just whizzing byIm already halfway through my
preparation. This is a good sign, because it means theres not enough
time to get bored!
* * *
POST 28 | DAY 116 - July 22, 2009
IN HOUSTON FOR THE 40TH ANNIVERSARY OF THE MOON LANDING
We arrived in Houston late in the evening on Sunday and Monday, I had
to wake up early. With my back-to-back schedule, I would have to get
up at 5:00 the next morning to get some workout time in! My timing
couldnt be better, though. What with the 40th anniversary of the moon
landing, Julie Payettes mission and Saltimbanco playing at the Toyota
Center from July 22 to 26, this week, Houston is the place to be!
* * *
POST 29 | DAY 118 - July 24, 2009
RANGE OF TRAININGS AT THE INTERNATIONAL SPACE STATION
The last few days have been really interesting; in terms of the range
of things weve learned: safety training; an introduction to the
American part of the International Space Station (ISS); distress,
emergency and communication protocols; and so on. It was also really
good to see that our schedule on the ISS is organized based on our
mission goals (i.e. time for sleeping, eating and other activities).
With all this information, Ill be ready to be a good space-travel
companion!
We also took a tour of the NASA facilities, including mock-ups,
simulators and mission control centres. We had a lot of fun on some of
the simulators, even though that wasnt strictly part of our training!
You could say it brightened up my week. . .
The weather was stifling all weekover 35°C with thunderstorms and
intermittent rain. But, thanks to the air conditioning running at full
blast, it was freezing-cold inside the buildings. Well, at least it
keeps you awake!
Of course, I followed the mission of my friend Julie on the NASA
website! I even had the unexpected thrill of getting a phone call from
her and Bob Thirsk I was so excited!
* * *
POST 30 | DAY 119 - July 25, 2009
CATCHING UP WITH MY ASTRONAUT FRIENDS
I left Houston yesterday afternoon with my head stuffed full of
information and the feeling that I had spent a week that was both
enriching and important to my overall preparation.
One thing that made this week so important for me was the series of
meetings I had with NASA people about my mission. Im very happy with
the feedback I got and pleased that my goals were well received.
I also had the great pleasure of getting together with my crew a few
timesat the press conference, meetings at the JSC, and a barbecue
hosted by Jeffrey and his wife. As this was our first chance to spend
time together, I took the opportunity to ask them what they were
expecting of me during our training in August. Jeffrey showed us some
pictures he had taken from space, which just made me looking forward
to it even more!
I also got to catch up with some of my astronaut friends, including
Chris Hadfield and Mark Kelly (my friend Scotts twin brother).
Barbara and I took the opportunity to get some insights about
travelling into space, training and so on from those who had been
through it before. My only regret is that my tight schedule didnt
allow me to see all my friends in Houston, nor to enjoy Saltimbanco :(
* * *
POST 31 | DAY 121 - July 27, 2009
BACK TO STAR CITY WITH A DOUBLE DOSE OF ENERGY
I arrived in Ibiza for a short 36-hour stay with my kids, my love and
my friends, including my old buddy Gilles Ste-Croix. Like each time I
come here on weekends to recharge my batteries, I enjoyed everything:
the good company, my Chefs good food and the good weather.
I returned to Star City with a double dose of energyand luckily too,
since this weeks schedule, like the previous weeks, is jam-packed! I
was happy to find out though that well be learning all sorts of new
things
which Ill tell you about next week!
* * *
POST 32 | DAY 122 - July 28, 2009
DISCOVER MY FOUNDATION WEBSITE
Thank you for reading me so faithfully. It touches me to see that
youre curious about my mission in space. And while youre here, I
hope that you also take the time every so often to look at my
foundation website to discover all the many ongoing projectsand all
those that weve accomplished so far. Youre an integral part of the
process: one drop at a time
and we create a wave.
* * *
POST 33 | DAY 123 - July 29, 2009
ALMOST 3 MONTHS IN STAR CITY
Since our arrival in Star City close to 3 months ago, weve met quite
a few people and a true sense of camaraderie has taken over. Given the
serious nature of what were doing, the entertainer in me is working
hard at keeping the atmosphere light, so a good fit of the giggles is
always welcome! I have to say that Ive found a fine partner in
Barbara.
This weeks anecdote: Barbara and I had our bikes stolen! We were in
our ham radio class and had left our bikes outside, unlocked. During a
short break, Barbara went outside, and when she came back, she said:
Its funny but two young boys are looking at our bikes as if they
wanted to take them! We didnt think much of it but she was right,
since thats exactly what happened. This brings to 3 the number of
bikes stolen, since Geneviève, my coordinator, also ended up
bikeless!
However, that very same evening, our friends from Space Adventures in
Russia brought us 2 new bikes. And so the training continues! Lets
call it Adapting the bodys position to a new terrestrial bike!
* * *
POST 34 | DAY 124 - July 30, 2009
MY HEAD IS SPINNING
In terms of real training this week, I did a lot of vestibular
training (rotating chair) and, honestly, it doesnt beat the Tasses
Magiques ride at the La Ronde amusement park with its rotating cups!
Earlier on this week, I failed to break my record by 2 minutes, so
they tested a medication on me to help me reach my goal (which is 10
minutes!). I therefore took the little pills one hour before my next
vestibular training and showed up all happy and light-hearted! Was it
the effect of the pills or the fact that it was Friday afternoon and
that I was seeing my love that night? To make a long story short, I
found myself acting the clown on the rotating chair! All that was
missing was the Styrofoam clown nose? which would, of course, have
flown right off after only half a turn!
When I asked the doctor what this medication was, he told me it was a
tranquillizer. This puzzled me since the effect on me was rather
exhilarating! Or could it be simply because Im usually a tad restless?
Hmmmm
* * *
POST 35 | DAY 125 - July 31, 2009
BELIEVE IN MY DREAM
The weather was gorgeous all week. As Ive mentioned before, good
weather brings lots of life to Star City but I had forgotten to tell
you what other quiet charms it offers: babies crying in their
strollers, planes flying above our heads all day long, construction
work starting with a pickaxe at 6:00 a.m. and ending with a jig-saw at
9:00 p.m., partygoers bellowing their lewd songs throughout the night
accompanied by the backup vocals of barking dogs
And then, when all
becomes still, were kept awake by the lovely buzz of mosquitoes in
our earsthe little buggers absolutely insist on keeping us company!
Ah, it just makes me feel so much at home!
A warm hello to all my friends who read me every week. Im thinking of
you! And to all those who have started following my adventures:
welcome to my universe! I hope you also take this occasion to send the
link to your friends and family since one of the goals of my blog is
to arouse peoples interest in the cause and invite them to follow the
event Im aiming to create around my (OUR) Poetic Social Mission.
Many of you have written to us to enquire about products related to
the mission (T-shirts, badges, pins, etc.). Your request has been
passed on to ONE DROP. Without a doubt, this will be a fine way for
the Foundation to continue its fund-raising activities while leaving
you with a souvenir of this unforgettable adventure!
Thank you for your support and thank you for believing in my slightly
crazy but attainable dream: Water for all, all for water.
# # #
TO BE CONTINUED...
Next month well continue with From Training to Reality (August
2009), T-30 Days and Counting! (September 2009, Pt 1), Departure for
Baikonur (September 2009, Pt 2), Moving Stars and Earth for Water
(On Orbit), and finishing up with Back on Earth Mission Success!
Stay tuned!
------------------------------------------------------------
SPECIAL: "The Astonishing Second Act of Cirque du Soleil"
By: Sarah Barmak, Canadian Business Magazine
SOURCE: http://goo.gl/NwDTWR
------------------------------------------------------------
Up high in the air inside the Cirque du Soleil headquarters, trained
staff step gingerly on taut metal wires. Each cord can support 2,000
pounds, says technical whiz David Charbonneau, reassuringly, but
numbers are little comfort. Standing up here is enough to make your
stomach lurchnothing but a grid of thin cables, spaced a fists width
apart, lie between your feet and the polished concrete more than five
storeys below.
You have to make sure nothing is in your pockets, says Charbonneau,
Cirques chief of technical services for creative spaces. If just a
coin fell, it could really hurt someone.
It is not the acrobats, however, who walk these wires, but the unseen
riggers who operate the pulleys and ropes that hoist Cirque performers
up into the air, swinging them high above the crowd. The wire lattice
floor gives them a clear view of every complex move in the show.
They practice here, in the hangar-like Studio A/B in the Cirque du
Soleil International Headquarters in Montreal, a space big enough to
accommodate the entire stage of the companys trademark blue and
yellow Grand Chapiteau. Performers run through each death-defying
trick knowing everything will be exactly in the same place on opening
night.
Its here, in an out-of-the-way borough a 40-minute drive from
downtown Montreal, that one of Canadas greatest companies makes its
magic. Before shows can be unveiled in front of audiences in Tokyo,
Las Vegas and the Mayan Riviera, every gasp-inducing trick and routine
is scripted and practiced in this sprawling complex, which president
and CEO Daniel Lamarre calls Cirques secret weapon.
The company itself has rebounded since a couple of years ago, when
some wondered whether Cirques days of world domination were numbered.
Unchecked expansion and failed experiments, such as its 2009
vaudeville foray Banana Shpeel, resulted in poor reviews, early
closures and falling profits. The horrific death of one of its
aerialists on stage in June 2013its first evermarked a nadir for a
company that values its people above all.
After 400 layoffs in January 2013 and some soul-searching, a leaner,
more sober Cirque has emerged. In July, Guy Laliberté, the company co-
founder who remained its majority shareholder, sold a reported 60%
stake to U.S. private equity investor TPG Capital and 20% to Shanghai-
based Fosun Capital Group. The move gives Cirque not just money, but
new toeholds in Silicon Valley and the entertainment market in China,
respectively. The last new touring show, 2014s steampunk-inflected
Kurios, has sold more than a million tickets to date, breaking sales
records and winning the most enthusiastic reviews in years.
All that could be the prelude to its new arena show, scheduled for
unveiling this December in Montreal. Toruk: The First Flight, based on
James Camerons Avatar universe, will literally be hugethe first
arena show to use almost the entire surface of a hockey rink rather
than just one end. It will feature flying aliens and large-scale
digital projections from the roof onto the set below. In this case,
Cirques cavernous rehearsal spaces in Montreal were too small; Toruk
had to rehearse partly on-site in Bossier City, Louisiana, where it
will be showing previews.
For 31 years, Cirque du Soleil has been that unlikely thing: a
Canadian company that takes genuine risks. Missteps or no, it remains
a roughly billion-dollar business, selling 15 million tickets in 2014.
In an age glutted with digital entertainment, Cirque enjoys an
advantagea live spectacle cant be pirated. But each trick that
bedazzles the crowd only heightens the pressure to keep innovating.
Show after show, the expectation is getting higher and higher, says
the short and barrel-chested Lamarre during a tour of the studio.
Cirque also works hard to maintain its je ne sais quoi. Just as a
Pixar movie is always recognizable as Pixar, Cirque du Soleil must
remain consistent in its otherworldliness, from the challenge of
tossing blue aliens through the treetops in Toruk to the comedy and
pathos of a clown chasing an elusive spotlight across the stage in the
13-year-old Varekai. When the theatre door closes, when the tent
doors are laced, we have to make sure the audience is transported to
another place, says Diane Quinn, senior vice president of creative
and artistic operations. If we havent done that, we havent done our
job. Even if its [a performers] 400th show that year, we still have
to provide that freshness.
Lamarre says his job is ultimately that: finding yet a new way to make
the world say, Oh my God, they got me again.
* * *
The Cirque du Soleil headquarters stand on the site of a former
quarry-turned-landfill in Montreals Saint-Michel area which, when the
building opened in 1997, was among the citys poorest neighbourhoods.
The enormous grey building could be anythinguntil you notice the
sculpture of a leathery, old hobo clown shoe at the entrance, which
hearkens back to Cirques roots in small-town Quebec street theatre.
In the early 1980s, Laliberté, along with Gilles Ste-Croix and others
who would become the companys leaders, was working as a busker in the
small artist town of Baie-Saint-Paul. There, the group founded Le Club
des Talons Hauts (The High Heels Club), a non-profit that promoted
stilt-walking, fire-breathing, juggling and accordionsand dreamed of
founding a touring circus.
Even then, Laliberté was tenacious in gaining leverage for the group.
Cirque du Soleil first gained government funding not through arts
subsidies but through job-creation programs. The story goes that when
they failed to get funding from the minister of cultural affairs at
the time, Laliberté went to the capital and personally convinced
Premier René Lévesque to give the group a grant.
Cirque first toured outside of Canada in 1987, and kept expanding.
Needing a central home and rehearsal space, it built its headquarters
in 1997, then doubled its size in 2001 to bring its costume-makers
under the same roof. The building is home to its creative studios
(the Studio to staff)a creativity factory where costumed clowns and
acrobats walk the halls. Its workshops produce the 16,000 hats, wigs,
shoes, costumes and props needed for its shows. For several weeks this
summer, the Studios 1,200 staff became accustomed to seeing
performers from the new Avatar-themed show wander the halls wearing
long, blue tails. Their coaches made the artists wear the appendages
until they felt natural, a precaution to reduce the chance of becoming
tangled in mid-air. The Studio is also where the companys finance
magicians and logistics wizards crunch numbers to ensure the Cirques
18 concurrent shows around the world go onon time and on budget.
Because the clowns and the suits eat lunch in the same cafeteria,
neither forgets the other existsa dual emphasis that helps the
company maintain the delicate balance between unbridled creativity and
down-to-earth business sense.
The people employed here could staff the United Nations, representing
more than 50 countries. Publicist Marie-Noëlle Caron, a 13-year Cirque
veteran, met her husband herenot an unusual story, she says. But as
fun and feel-good as it can be working at Cirque, its not for those
uncomfortable with having their job reinvented daily. You need to
stay on your toes, she says. Some people love it, some dont.
The company employs about 4,000 staff, down from a high of 5,000 in
2009. Keeping the company under a single roof helps Cirque control
once-ballooning costs as it performs market research for new shows.
People here understand that in order to have the luxury of creating
the best shows, we need to do it in a financial environment that makes
sense, says Lamarre.?While the sale this year touched off concerns
about Quebec losing the brandand calls from politicians to keep
ownership in the provinceLamarre says the Studio isnt going
anywhere. The area isnt expensive, and Cirque benefits from
Montreals unique creative economy. Moreover, the new owners are
private equity groups, not Disney. They have no interest in messing
with Cirques vision. One thing I said to the new owners of this
organization: We dont touch the creative and the production people,
says Lamarre. Theyre the people who are going to continue to make us
successful.
* * *
Down the hall from the largest, football fieldsized training rooms is
the more modest Studio E. While a song by the Black Keys blares on the
speakers, acrobats in shorts and T-shirts get in position around a
curved contraption called a Russian swing. Serving as the machines
engine is a six-foot-five, muscular guy with tattoosthe pusherwho
pulls the long, suspended platform back over his head, gives it a
heave, then hops on one end. He works the swing like a see-saw, using
his weight to pump it higher. His smaller, lithe partnerthe flyer
slips a safety harness on over his Pirates of the Caribbean T-shirt
and hops onto the free end. Once the swing reaches its height, he
leaps off, flipping into a triple somersault and landing hands-first
on a mattress. The pair quickly get back into place and do it all over
again.
Its just another day at a company that demands near-perfection. Bad
reviews of recent years underscored what happens when it attempts too
much spectacle too fast. What Cirque does cant be punched out on a
clock; it takes the time that it takes. So the flyer, British gymnast
Sam Sturt, must get airborne like this hundreds of times in Studio E
before his trick is ready for the stage, where there will be neither
mattress nor safety harness. They must get it right nine times out of
10, he sayshands landing exactly in placebefore the act can appear
in the multi-acrobat flying climax of the touring show Varekai. Even
then, a team of artistic directors will critique each performance
every single night.
Sturt is here to get back in shape after breaking his tibia during
practice six months ago. Despite stringent safety measures, injuries
are common (the company says theyre less rampant than in most pro
sports). The company doesnt pressure performers to rehab quickly.
With a constant stream of fungible performers and a few irreplaceable
names, its artists can afford to take time to heal. Cirques casting
department is proactive, keeping files on stars in competitive sports
everywhere, from gymnastics to synchronized swimming. When the still-
young athletes careers begin to wane, Cirque reps approach them
through coaches and athletic federations. Sturt, who is just 23 years
old, is already on his second career, having competed internationally
as a gymnast.
Others are destined for Cirque early. I saw a Cirque show when I was
13 on television and fell in love
full chills on the arms, says
Elizabeth Ann Williams, a 25-year-old acrobat from upstate New York
with the flowing hair and perfect face of a Disney princessand
bulging biceps that look as though they could crush steel. A gymnast
from age four, she studied ballet and modern dance so she could add
grace to her moves in the hopes of one day trying out for Cirque.
We dont necessarily go for gold medallists in the Olympics,
explains Caron. Its not enough to do their tricks perfectly. They
need to have an artistic side. The stiff finishing pose of an Olympic
routine would land like a thud in a Cirque show. It would lack
emotion.
To find athletes with artists souls, the casting department asks
auditioning acrobats to do something odd: sing a song. If they hit the
notescool, a singing acrobat. But even if they cant carry a tune,
the fact they gave it a shot shows self-confidence and a willingness
to adapt. A refusal is a red flag.
More challenging than attracting artists is moving them across
borders. Cirque has a 10-person immigration department that processes
a jaw-dropping 4,0005,000 work visas each year. Getting artists to
Montreal is the easy part, says head of immigration Tim Morson. With
most shows spending only one-eighth of their time in Canada, the hard
part is cranking out multiple visas for Cirque artistswho may be
Polish, Russian, Chinese or Frenchas they tour.
When the performers do land in Montreal, Cirque puts them up in a
dorm-like training residence across the street. The Cirque artists are
a little like X-Men, and the Studio is like Professor Xaviers
academy. The training facilities boast extreme toys that allow
genetically gifted specimens to safely practice their craft, while
welcome teams assist foreign artists by explaining the vagaries of
Montreal transit and Canadian ATMs. They have physiotherapists,
nutritionists, Pilates instructors and sports psychologists on call.
Theres even a program to help aging acrobats transition to less-
punishing roles such as clowns or coaches. Their oldest employee is an
83-year-old clown in the Las Vegas show Mystère.
Performers learn to apply their own makeupand they have their heads
3-D scanned. Cirque keeps eerily perfect replicas of its active
artists craniums so they can be fitted for hats, masks and wigs from
afar. A well-fitting costume is a safe costume. In mid-air, a bodysuit
that rides up or falls over the eyes could mean disaster.
* * *
The heads reside in unsettling rows deep in the Workshops, a self-
contained factory employing 300 staff. There are no assembly-line
methods. In the hat and wig department, an artisan sits at a table,
inserting one hair at a time into a mesh cap. The technique takes
time, but the care sends a signal to the artists that excellence is
valued. These days, the costume department is busy putting final
touches on the characters for Toruk and the big, bright room is filled
with mannequins stretched with blue, skin-tight Avatar costumes with
macramé loincloths.
Toruk promises to be a smart addition to the Cirque program. The
company has successfully revivified its brand with partnerships in
existing properties like Michael Jackson and the Beatles. But rather
than trot out a live version of James Camerons 2009 blockbuster,
Toruks narrative takes place 5,000 years before the events in the
movie. Jim is going to launch three new Avatar movies in the next
four years, says Lamarre. Our show can tour for the next four years
and be timeless. And since Avatar was one of Chinas top-grossing
films ever, Cirque hopes Toruk will help it crack into the country of
1.35 billion when it tours there in 2017, building the audience for a
permanent show by 2018.
Inside a little side room of the Workshops is the cramped, glittering
Matériauthèquethe costume inspiration zone. Hung in rows is a library
of thousands of fabric swatches that glow in the dark, that have polka
dots, that are brocade, velvet, see-through. There are shelves of
feathers, bristles, tentacles. A 3D printer spits out costume
prototypesone shelf is littered with chain mail. Someone has made a
hat out of zip ties.
In his third-floor office, above the worker elves who are making sure
a squillion things are just so, Daniel Lamarre has just returned from
a week touring China. Recent panic about the countrys flagging
economy hasnt fazed him. The country has a moneyed middle class of
some 300 million, he says, and its a more fertile place for
entertainment than it was in 2012, when Cirque prematurely closed its
show Zaia in Macau.
What Im hearing now in China is that live entertainment is going to
become in two or three years what the movie business has become
[there], says Lamarre. Cirque has chosen Hangzhou, with its
reputation as a cultural hub, as the site of a new theatre and its
first permanent Chinese show. When you visit a second-tier city, as
they call it, its three times the size of Montreal
.I would be
disappointed if, in five years, I dont have three more permanent
shows in China. He believes there are about 10 Chinese cities where
Cirque could tour, adding an additional year of touring to all his
productions. He says all this will help raise operating earnings to
$350 million a year by 2019, which would be double what it was in
2014.
Fosun, which bought a minority stake, will provide deeper access to
Chinese hotels, real estate and lifestyle partners. Cirque will work
to incorporate local cultural angles to its shows, an effort that will
involve far more than translating dialogue into Chinese. Yet with
nearly 20% of Cirques artists already hailing from China, Lamarre
doesnt see it as a foreign culture.
Whatever new voice the company finds will be deeply inflected with a
French-Canadian accent. Quebec businessman Mitch Garber is chair of
Cirques new board of directors. Another board member is Christian
Dubé of the pension-fund manager Caisse de dépôt et placement du
Québec, which bought a 10% share of Cirque. Small stakes from TPGs
share were acquired by 21 Cirque executives, including Lamarrea
strategy, he says, designed to make sure everyones interests align.
A former TV exec, Lamarre joined Cirque in 2000 as its president and
chief operating officer before becoming CEO. He represents the
business side of Cirque, the left brain that balances its right brain.
Laliberté still serves as the creative lobe, retaining not only 10% of
the company but also an advisory role. Alongside him is the flamboyant
Jean-François Bouchard, Cirques rising creative guru. Known at the
company for his keen visual intelligence, teenage excitement about new
ideas and taste in shoes, Bouchard has attracted a new coterie of
young staff over the past three years.
Among them is Melissa Thompson, a soft-spoken young woman with silver
sneakers and a background in visual arts. She is on a team of five
responsible for incubating new shows. Its an art grads dream job:
attend exhibits, watch new shows and think up the thematic and
emotional core ideas that could undergird the next arena blockbuster.
With all the pressure on Cirque to innovate, the creatives in the
company work hard, but are cushioned from major bottom-line anxiety.
I get to work in that magical time before budgets, she says. Older
shows, too, are getting updates, adding more hip-hop and quickening
their pace to ensure they feel current for the YouTube generation.
How will Cirque maintain its high-wire balance between creative
freedom and profit under foreign ownership? The famous line from Guy
was, Were a private company. That gives us the freedom to grow, as
we didnt have pressure to make quarterly earnings. I think thats
kind of gone now, says Robert David, professor of strategic
management at McGill, who has followed the company from its early
days. Theyve got hard-nosed investors who are going to want a
return. The company will still enjoy geographic growth, he says, but
it wont be driven by wild product innovation of the sort seen in O,
its underwater showit will be driven by exporting and tweaking
existing ideas.
Yet Cirque has always used existing ideas, says Benoit Mathieu, vice-
president of costumes and creative spaces. Like Apple, it borrows and
improves. Cirque didnt invent the famed Wheel of Death, which shocked
audiences in Kooza, he saysbut it was hung from wires rather than
anchored to the ground, making it look more dangerous.
Back down in Studio E, Williams grips a pair of aerial rings above
her, presses up and rotates seamlessly into a handstand. Two weeks
ago, she had never even touched the rings. Now, shes spending an hour
and a half a day training to replace someone on the touring show
Totem, which is currently halfway around the world in Australia.
Shell be there in two weeks, and shell be ready. Cirque will make
sure of it. Its also updating her role to spotlight her dance
talents.
Thats one of the mottos at Cirque: The show is alive. New artists
are expected to not just fill old rolesbut to leave their
fingerprints on them.
In a third-floor boardroom wallpapered with drawings, a model of a
stage sits in the corner, a huge sun-like circle in the centre. Its
Cirques new big top show for 2016, its name still under wraps.
Whether it will break box office records, no one knows. But like
everything else about Cirque du Soleil, its going to evolve.
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 15, Number 11 (Issue #142) - November 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.
{ Nov.06.2015 }
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