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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 16, NUMBER 9 September 2016 ISSUE #152
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
It's been a rather busy month for me here behind the scenes, but a
rather slow one (relatively speaking) news wise for Cirque du Soleil.
But even so there are quite a few little bits and bobs to highlight:
Amaluna celebrated it's 1,500th performance - on August 6th - and had
a special cake designed just for the occasion, which you can see here:
http://goo.gl/zU66tp, http://goo.gl/kJu3KS, and http://goo.gl/V0cxSn.
OVO had a reason to celebrate too: it reached the 100 arena show mark
(http://goo.gl/VtFDLa). And TOTEM welcomed a brand new singer into
the fold - Betina Quest (http://goo.gl/K65h4N) - making her debut in
Osaka, Japan. And LUZIA is featured in the September issue of Canada's
FASHION Magazine. A number of photos from the shoot have been featured
across Cirque's Facebook pages; see them here: (http://goo.gl/eqiWSJ,
http://goo.gl/oT3pWS, http://goo.gl/Cs1si4, http://goo.gl/VqTsdR, and
http://goo.gl/qoeV5T). Oh, and check out these fantastic new visuals
for LUZIA for its run in Toronto - http://goo.gl/uPzklt - aren't they
great?!
On August 12th, Cirque du Soleil announced that the August 22nd, 24th,
25th, and 31st performances of PARAMOUR were being canceled to make
"creative changes". The production released a statement explaining,
True to our roots as street performers, our shows evolve over time
to reflect feedback from our consumers and our creative team. At
press time the show is back up and running, and what those changes are
haven't made the rounds yet (but we're eager to hear about them!)
Either way, we'll have to wait and see what, if anything, the changes
do to help the show's gross earnings...
Week This Week Potential Difference Seats % Cap
Ending Gross Grosses in Dollars Sold
------------------------------------------------------------------
10-Jul $859,152.10 $1,805,456.00 -$141,160.30 9,176 60.50%
17-Jul $897,710.10 $1,805,456.00 $38,558.00 10,088 66.51%
24-Jul $980,483.20 $1,805,456.00 $82,773.10 10,681 70.42%
31-Jul $981,468.10 $1,805,456.00 $984.90 10,808 71.26%
07-Aug $910,341.70 $1,805,456.00 -$71,126.40 10,245 67.54%
14-Aug $997,867.25 $1,805,456.00 $87,525.55 11,360 74.89%
21-Aug $936,761.55 $1,805,456.00 -$61,105.70 11,376 75.00%
28-Aug $553,422.70 $1,166,264.00 -$383,338.85 6,519 68.77%
04-Sep $890,754.60 $1,592,392.00 $337,331.90 10,218 76.99%
Naturally the Olympics in Rio de Janiero was all the rage, despite all
the bad press leading up to the event. Cirque du Soleil celebrated the
happening with a new webseries - "FROM ATHLETE TO ARTIST" (which you
can find links to all the episodes in our OUTREACH section this month)
thanking Jenna Randall from "O", Fabrice Becker from Cirque du Soleil
Creation, Ludovic Martin from Mystère, Kana Kitao-Spendlove from O,
Grégoire Pennes Michael Jackson ONE, Christina Jones from O, Jean
Damien Climonet from Consultant Sport Xtreme, Grant Golding from KÀ,
Shona Morgan from Amaluna, Marissa King from Amaluna, and Yvonne
Tousek-Renne from Amaluna for participating (http://goo.gl/xTDwA3).
Well, that's all I have for this month. Let's get to the rest!
/----------------------------------------------------\
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| Join us on the web at: |
| < www.cirquefascination.com > |
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| At CirqueCast: |
| < http://www.cirquecast.com/ > |
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| Realy Simple Syndication (RSS) Feed (News Only): |
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\----------------------------------------------------/
- Ricky "Richasi" Russo
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CONTENTS
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o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
* Q&A - Quick Chats & Press Interviews
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
* Webseries -- Official Online Featurettes
* Club Cirque -- This Month at CirqueClub
* Didyaknow? -- Facts About Cirque
* Fotos -- Images From Cirque & Other Photographs
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* "ALAIN VINET: 'What I Was Thinking!'" (Part 2 of 2)
Interview by: Keith Johnson & Ricky Russo
* SPECIAL /// "Cirque Hits The Great White Way"
Written By: Ellen Lampert-Greaux, Live Design
* "Casting Q&A's - Meet an Artist, Part 1 of 6"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
---------------------------------------------------
LA PRESSE -- General News & Highlights
---------------------------------------------------
Metropolitan Fashion Week Partners with Zumanity
{Aug.02.2016}
-------------------------------------------------------
The 4th Annual METROPOLITAN FASHION WEEK (MFW) partners with
Zumanity by Cirque du Soleil to create two nights of fashion,
artistry and entertainment in the unique back lot of Warner
Bros. Studios on September 29 and October 1, 2016. The Le Vie En
BlueGala showcasing a unique, exclusive runway show, will
feature over 150 one-of-a-kind avant-garde costumes and couture
evening gowns, created by national and international celebrity
costume and fashion designers, benefiting Autism Speaks. The
cast of Zumanity will be wearing haute couture designs by
Thierry Mugler. The show is produced and directed by Eduardo
Khawam, fashion expert and TV personality on Telemundo and
Univision.
Khawam said: We are thrilled to partner Cirque du Soleils
Zumanity as part of this years Metropolitan Fashion Week. The
combination of these powerhouse entertainment companies is sure
to create an unforgettable evening that will tantalize the
senses and inspire creativity. If the Oscars are the most
glamorous evening in Hollywood, then Metropolitan Fashion Week
is truly the most unique and fashionable week in Hollywood.
MFW is a synthesis of French themes and storylines, incorporated
with global design styles. Events include a Fashion Designer
Competition, the Closing Gala and Awards Show and a Benefit
Fashion Show honoring Autism Speaks on September 29, 2016 with
an unforgettable evening of fashion, entertainment and
philanthropy. http://www.autismspeaks.org/lafashiongala
(#MetroFW)
Costumes and gowns featured in previous MFW shows have been worn
by such talent as Beyonce, Britney Spears, Katy Perry, Paulina
ubio and many more.
In addition to the runway show and Zumanity performances, MFW
debuts the Metropolitan Fashion Awards honoring outstanding
achievements in motion pictures, television, and live
performance. The winners will be announced at the Closing Gala.
The Metropolitan Fashion Awards categories include Costume
Designer of the Year (Motion Pictures), Costume Designer of the
Year (TV), Costume Designer of the Year (Live Performance),
Celebrity Stylist of the Year, Fashion Program of the Year,
Fashion Commentator of the Year, Fashion Blogger of the Year,
Outstanding Ensemble for Make-Up Artists and Hair Stylist and
Lifetime Achievement Award.
MFW HOLLYWOOD 2016 SCHEDULE:
Thursday, September 22, 6:30 pm
Opening Ceremony & Costume Contest at The Original Farmers
Market
Thursday, September 29,7:00 pm
Autism SpeaksLa Vie en Blue Fashion Galaat Warner Bros. Studios
Honoring Steven Grossman, Untitled Entertainment, and Harry
Topping Jr., City National Bank
Saturday, October 1, 7:00 pm
Closing Gala and Fashion Awards
ABOUT METROPOLITAN FASHION WEEK:
MFW is one of the fastest growing fashion weeks in the United
States, with shows in Seattle, Los Angeles, Las Vegas, Palm
Springs and soon, New York. Metropolitan is the only fashion
week in the world that features both Fashion Designers and
Costume Designers, from around the world, on one runway. MFW
spotlights works of art created by international fashion and
costume designers and are original one-of-a-kind creations.
https://youtu.be/XBsDwEYiZX0 www.metropolitanfashionweek.net
{ SOURCE: Metropolitan Fashion Week }
Former Cirque Dancer Turns Setback into a New Mission
{Aug.02.2016}
-------------------------------------------------------
These are Tyrell Rolles days of R.A.G.E.
Not rage, mind you.
If anything, Rolle radiates infectious joy as kids surround the
lanky dancer, leaping to high-five his outstretched hand after
theyve demonstrated a routine theyre rehearsing at his newly
opened Studio 305 in a North Las Vegas shopping center.
When the days activity draws to a close, Rolle directs his
students, ages 7 to 18, to form a circle, then share one
positive thing they experienced.
I made a new friend, says one.
To push myself and continue and dont give up, another says.
I get to learn a lot, one young girl observes, and love
everybody and everything.
As for Rolle (better known as Mr. T to his students, who werent
even born when that other Mr. T starred in TVs The A-Team),
he has his own positive thing to add: to show each of you that
you are very special. But its not time to go home yet. Not
before affirmations pairing even more positive statements with
choreographed moves.
I understand hard work pays off! the group chants in unison,
flexing their arm muscles to show their collective and
individual strength.
I have a passion for the arts! they continue. I will use
dance as an exit!
And, finally, they reach the true meaning of R.A.G.E.
Reaching Above Greater Expectations.
Leading the afternoons affirmations: 17-year-old Chancey
Wilson, a senior at Sierra Vista High School, who gave birth to
ALejen in December and returned to dancing two months after he
was born. Everyone has their own thing, Wilson says. Some
people sing. I use dance. Its something I love to do. You cant
give it up. Especially not with a big brother like Rolle to
encourage her and remind her she isnt a failure because she
made a choice to become a mother at her age, he explains.
The daily R.A.G.E. classes feature instruction in various dance
styles, from hip-hop to ballet, along with acrobatics and
musical theater. (Students will perform at a free grand-opening
celebration, at 6 p.m. Friday at the studio at 3251 W. Craig
Road, No. 150; fall classes begin Aug. 29.)
The weekday sessions also include journaling time, allowing the
participants to record their thoughts and their teachers to
know whats going on.
Through the R.A.G.E. classes, Rolle says, hes helped drug
dealers, teen prostitutes and other troubled kids find new
purpose through dance. But the program also has helped the
former Cirque du Soleil dancer find a new purpose, a year after
facing hip surgery that found him going from two crutches to
one crutch.
Before the injury, Rolles dance career had taken him from So
You Think You Can Dance to the Las Vegas production of The
Lion King he moved to Southern Nevada in 2009 and on to
Cirques Beatles-themed Love.
Rolle who danced (and won awards) with the renowned Alvin
Ailey American Dance Theaters Ailey II company taught master
classes with Cirque and launched his own Rolle Project to offer
classes and performances. And, a few weeks ago, Rolle opened his
own Studio 305, its name a salute to his Miami hometown.
Whether fundraising by running a Fourth of July fireworks stand
or pursuing corporate sponsors, Rolle is a self-described
overdoer whose Rolle Project, and new studio, help him
fulfill my passion and art.
A cardboard box containing 20 pairs of tap shoes, donated by
the city of Las Vegas represents one small step. Studio 305s
daily Meet Up and Eat Up collaboration with Three Square food
bank serves breakfasts and lunches to those 18 and younger,
bringing new visitors to the studio, according to Mardess
Roberts, community outreach coordinator. (Hardly coincidentally,
shes Rolles mother, who came to town to help him recover from
his hip surgery.)
The fact that Studio 305 is a few doors down from a state
welfare office makes it easy for at-risk kids to find their way
there for the Meet Up and Eat Up program. Hopefully, as they
watch, theyre begging their moms to stay and participate,
Roberts says, adding that she tells them, Dont make money
make you leave. We will work things out.
In addition to paying participants, Rolle says the summer
program has about five or six scholarship students their
scholarships coming from his own pocket while awaiting corporate
support. In the small second studio decorated with colorful
paint handprints of the young dancers Michia Eberhardt
instructs them to get happy as they perform another run-
through of a Peter Pan-inspired dance. Eberhardt, who studies
dance at the Ailey School (which is how she met Rolle) says the
R.A.G.E. founder is very passionate about dance and you can
see it in everything he does, she notes. Hes always on your
team.
The prospect of not being able to dance anymore, however, had
Rolle very worried, he acknowledges. (In addition to a ligament
that separated from his hipbone, he had arthritis and a cyst in
his hip, which in turn impacted his back.) I never thought I
would be in that spot, going from 12 shows a week, to have all
that stripped from me, Rolle says. But being in Las Vegas
meant he was in a striving city, he adds, with tons of
opportunity.
In Studio 305s back hallway, Roberts feeds a bottle of baby
formula to little ALejen, her first grandchild, while she
watches R.A.G.E. students practice pirouettes and floor drops.
Its all about giving these kids another way to express their
emotions, she says, recalling a moment at a previous class when
the whole place was crying, including me. They definitely left
their feelings on the dance floor.
And thats the point in a program Rolle created to give these
kids a chance. Besides, I cant turn back now, Rolle adds. I
got a five-year lease.
{ SOURCE: Las Vegas Review Journal | http://goo.gl/kxE5gc }
Paramour Cancels 4 Performances for Creative Changes
{Aug.12.2016}
-------------------------------------------------------
PARAMOUR has canceled the August 22, 24, 25, and 31 performances
to make creative changes. The production released a statement
explaining, True to our roots as street performers, our shows
evolve over time to reflect feedback from our consumers and our
creative team. A production spokesperson said ticket holders
should seek refunds at the point of sale, but said that all who
purchased tickets via Ticketmaster are being notified.
* * *
Cirque du Soleils $25 million Broadway musical Paramour is
going dark for four days so creators can revamp the production.
For Cirque, an internationally renowned entertainment company
based in Montreal, the stakes are high. Paramour, which
combines the brands signature highflying skills with
traditional musical-theater elements, is the first show to come
from Cirque du Soleil Theatrical, launched in 2014 to forge a
presence on Broadway.
The shows hiatus, starting Aug. 22, will give the cast time to
rehearse changes made in response to audience feedback, said
Scott Zeiger, president and managing director of Cirque du
Soleil Theatrical. Cirque routinely budgets for evolving
developments, he said: Every one of our shows has a reserve for
revisions.
The changes aim to please both Cirque devotees and local
theatergoers. For example, Mr. Zeiger said, many fans wanted
more acrobatics earlier in the show during the exposition, while
others wanted the plot and characters to be fleshed out with
more depth. So the creators have worked on the tricky balancing
act of crafting a stronger narrative while leaving room for
spectacle. Storywise, Paramour will remain a love triangle set
in the golden age of Hollywood. Changes will come in the
placement of some Cirque-style spectacles and in the shows
choreographyincluding its soaring drone lampshades. Also
expected: clarification in the actors scenes. We are giving
the story and the characters deeper dimension, said Mr. Zeiger,
a longtime entertainment producer.
While the alterations may be driven by comments from audience
surveys, social media and in-theater reactions, they also
reflect some complaints from critical reviews. The Wall Street
Journals dance critic Robert Greskovic wrote: Alas, only the
circus acts soar, sometimes literally, as the shows musical and
film elements play, at best, dutiful and uninspired parts. In
the Hollywood Reporter, Frank Scheck wrote of the shows
atrocious dialogue and forgettable songs. Mr. Zeiger waved off
the critics: We are not asking to be re-reviewed or trying to
get better notices.
The production is, however, looking ahead to the 2017 Tony
Awards. Following the completed changes, voters will be invited
to the show for the first time. Paramour opened May 25, making
it part of the 2016-17 season. The changes are also being made
with an eye to bumping up the box office. Paramour is being
staged in the Lyric Theatre, one of Broadways largest houses,
with 1,896 seats. Right now, we are doing well, said Mr.
Zeiger. But its a big theater and I want to sell every
ticket.
The shows best box-office showing came during its first full
week of performances, when it brought in $1.1 million, or 62% of
its potential weekly gross of $1.8 million, according to data
provided by the Broadway League. Since then the production has
averaged 55% of its potential, crossing the $1 million mark five
of 11 weeks. Attendance has stayed above 60% but hasnt bobbed
above 80% since opening week.
The Paramour hiatus comes during a challenging theater season
in which some Broadway producers have announced sooner-than-
expected closing dates for well-regarded shows, avoiding
expensive running costs in front of dwindling audiences. By
retooling for the long run, Cirque may benefit in continuing
when others have pulled up stakes.
It would seem economically foolish for [Cirque] to pull a show
theyve only just started, said Louis Patrick Leroux, founding
director of the Montreal Working Group on Circus Research, who
has long followed Cirque. Mr. Leroux noted that Cirques history
of adapting could be seen in its Las Vegas run of Viva Elvis,
a tribute to Elvis Presley. Months into the show, he said, the
company was finding their rhythm and allowing changes to the
show, which included dropping acts and adding ones.
Taking a brief timeout isnt unprecedented on Broadway, but it
usually happens during previews, before a show officially opens.
Last season, Shuffle Along scheduled a break between March 27
and April 1 for changes to the production ahead of its April 28
opening. Major fixes after a few-week preview period typically,
however, can signal a lack of cohesion from which recovery is a
challenge. Such was the case with Spider-Man: Turn Off the
Dark.
The $75 million production started previews in November 2010,
then went through an overhaul that included replacing its
original director, Julie Taymor, before a long-delayed opening
the following June. The result: a show more widely noted for its
public trials than its staging.
While Cirque has two of its more traditional spectacles slated
to come to the New York area this fall, Mr. Zeiger has his eyes
on a different crowd for Paramour, one that typically emerges
in New York after the summer tourists and groups have gone home.
I want the avid theatergoer in October, he said.
{ SOURCE: Wall Street Journal | http://goo.gl/hvZls8 }
Mystère Gets an Altitude Adjustment
{Aug.12.2016}
-------------------------------------------------------
As the pirates of Buccaneer Bay fired the first cannons from the
decks of ships anchored in front of newly opened Treasure Island
Hotel and Casino in 1993, Cirque du Soleil was launching a show
inside that would turn out to be the opening salvo in an
entertainment revolution for the Strip. Mystère would outlast
the pirates as well as countless other productions, and Cirque
shows that followed expanded or created a distinct variation on
the standards set by Las Vegas original Cirque show. To make a
change to the classic production is no small consideration.
When there is a change, its worthy of an announcement to an
audience of Cirque friends, family and media with a full-
production demonstration. Tim Smith, artistic director for
Mystère, gave the introduction to his shows newly revised
teeterboard act to a crowd assembled in TIs Mystère Theater on
the last Monday afternoon in June. This particular act hasnt
been touched in 23 years, said Smith. Thats pretty amazing.
Thats the exciting part for us. Theyve been standing in the
same places, doing the same sequences, walking, talking, all in
the same place for 23 years until Saturday (July 3) when this
debuts.
After the lights dimmed, Mystères central character The Red
Bird entered the stage and fruitlessly tried to use the new
teeterboard to break with gravity before white-wigged footmen
quickly commandeered it and demonstrated its potential. As Smith
had announced, it allowed them to soar 10 feet higher than the
previous teeterboard did as they engaged in the flips and twists
of Cirque skill set acrobatics. Fans who have seen Mystère
multiple times will likely notice the change in altitude, but as
Smith explained later, he was really looking forward to their
reactions this month.
Cirques mandate is creation, Smith said. Were constantly
changing the show on a nightly basis, and we do large, large
elements like this once every few years in order to keep the
audiences coming back. Weve upgraded the skill set about 80
percent. These guys that you just saw right now are so intense
and so concentrated, so when we get a month under our belts, at
10 shows a week, this acts going to soar.
The performers still need to feel the comfort of the air while
performing before audiences on the new board design, which Smith
said is only four years old and came from the extreme sports
world. Their marks and viewpoints are now 10 feet higher than
before on a board that is both shorter than the previous one and
provides better sight lines for viewers. But while from an
audience standpoint they have mastered the new apparatus, from a
Cirque standpoint Mystères new teeterboard act must be properly
seasoned. This is exactly where the act should be right now,
said Smith. And just like any live event, especially Cirques
real specialty disciplines, in about four weeks this things
gonna kill.
{ SOURCE: Las Vegas Magazine | http://goo.gl/qyRWO9 }
How Cirque is Changing Paramour
{Aug.15.2016}
-------------------------------------------------------
A new signature acrobatic sequence, re-choreographed flying
machines, a trimmed climax, and deeper backstories for the lead
characters are all among the creative changes that Cirque du
Soleil will incorporate into its Broadway production Paramour
work extensive enough to warrant cancelling four performances
later this month in order to accommodate it.
Its a rare move on Broadway, where the costs of additional
rehearsal time, coupled with the loss of revenue from the
darkened performances, tend to discourage such tinkering after
opening night. But according to Scott Zeiger, the president and
managing director of Cirque du Soleil Theatrical, its common
practice at deep-pocketed Cirque, which, hearkening back to its
roots as a troupe of street performers, often tweaks shows using
audience response as a guide.
Whats unusual for Cirque and necessitated by the strictures
of a Broadway venue and the industrys labor regulations is
the need to cancel shows to do the work, since touring shows
like Toruk, the Avatar-inspired outing that hits New York
next month, can make changes in the several days lag time
between stops. Even Love, the companys Beatles show in Vegas,
has been significantly updated for its 10th anniversary, with
Zeiger estimating that some 30% of the show has been reworked.
Paramour, a riff on the golden age of Hollywood with a love-
triangle plot, earned reviews that skewed mixed to negative when
the production opened in May, but that hasnt dissuaded
Broadways summer crowds, boosted by seasonal tourism, from
turning out. Weekly sales for the production top $1 million with
some regularity.
Cirque wont specify exactly how much the creative changes to
Paramour will cost. Its not free. It costs a lot, Zeiger
admitted, but added that the additional outlay fell within the
reserve funds built into the shows initialization
capitalization of $25 million.
The casts dancers are currently rehearsing some of the upcoming
changes in a studio during non-performance hours, but the
cancelled shows on Aug. 22, 24, 25 and 31 will allow for
full-staff, eight-hour work days. Among the changes are new
choreography for the flying machines in a $500,000 sequence that
marks the first time drones have been used on Broadway.
Depending on where theyre seated, some audience members have
mistaken the flying machines for marionettes on invisible wires,
which significantly reduces the impact of a lyrical sequence
that sees lampshades take flight. The shows creators will
re-choreograph the sequence to make it clear, from every seat in
the house, that there are no wires involved.
Despite a wealth of tumbling sequences throughout the first act,
a lot of audience members also felt they only get a taste of
signature Cirque acrobatics in the first aerial sequence,
starring the twins Andrew and Kevin Atherton, that comes three
quarters of the way through the first act. So Cirque is adding
what Zeiger called a new signature sequence one noticeably
different from the floor-based tumbling during the shows
third scene, set in a cafe. (Hes keeping mum on the exact
details to preserve the surprise.)
Even one of the shows best-received scenes, a climactic rooftop
chase with trampolines, is getting nipped and tucked. The scene
was cited favorably in a lot of reviews, and the audience seems
to love it, Zeiger said, but because their enthusiasm peters out
toward the end, he thinks it runs a little long. Itll be
trimmed by 90 seconds a complicated endeavor, given the number
of moving parts involved.
Perhaps toughest of all, however, might be the challenge of
deepening the characters of the three leads, which many critics
and traditional Broadway theatergoers found wan. Through new
dialogue incorporated into existing scenes, were going to give
the principal characters a little bit more backstory, Zeiger
said.
The cost of it all at a time when city tourism is at high tide
will be worth it, Zeiger said, if the improvements help
solidify the shows staying power. Were not doing this to get
re-reviewed, he said. We just want it to be better. We intend
to be here a long time.
{ SOURCE: Variety | http://goo.gl/phc1Pa }
Trina Solar Announces Marketing Partnership w/Cirque
{Aug.15.2016}
-------------------------------------------------------
Trina Solar Limited (NYSE: TSL), a global leader in solar
photovoltaic (PV) modules, solutions and services, today
announced a partnership in which Trina Solar will become Cirque
du Soleils first-ever Official Solar Partner in the United
States.
Jing Tian, Trina Solars Head of Global Marketing said, This
partnership is a natural fit for Trina Solar. We are striving to
promote our commitment to tapping into human imagination and
inspiring people around the world, and we hope our partnership
with Cirque du Soleil will help us achieve this goal.
The new partnership will focus around co-promotional campaigns,
Cirque du Soleil experiences for Trina Solars customers and
employees, and more. Trina Solar will be launching the
partnership with participation of Cirque du Soleil artists at a
special performance at Trina Solars booth at Solar Power
International in Las Vegas September 12-15th, 2016.
Cirque du Soleil was a game-changer over 30 years ago by
reinventing the Circus arts through focus and innovation, says
Richard Davies, Global Head of Corporate Alliances for Cirque du
Soleil. We believe we share these values with Trina Solar, and
we look forward to showcasing this partnership in 2017 and
2018.
At Trina Solar, we are committed to protecting the environment
and spearheading industry-wide change with groundbreaking
research and development. We are excited to partner with Cirque
du Soleil because our two brands are both driven by innovation
and quality. Cirque du Soleil is also known for its unique
experience and broad appeal, which is why we are confident this
is an excellent fit, said Jeff Dorety, Trina Solars President
of the Americas Region.
About Trina Solar Limited Trina Solar Limited is a global
leader in photovoltaic modules, solutions and services. Founded
in 1997 as a PV system integrator, Trina Solar today drives
smart energy together with installers, distributors, utilities
and developers worldwide. The companys industry-leading
position is based on innovation excellence, superior product
quality, vertically integrated capabilities and environmental
stewardship. For more information, please visit
www.trinasolar.com.
{ SOURCE: PRNewswire | http://goo.gl/txsxNC }
Cirque, Vegas, and Millennials
Oh My!
{Aug.15.2016}
-------------------------------------------------------
Cirques stage shows opened 20 years ago in Las Vegas with
Mystere at Treasure Island, and with the most recent activity
on the Strip completed, there is a feeling the company has
finally settled on the right amount of content (or, shows) in
Vegas.
But dont jump (to conclusions), says longtime Cirque Chief
Executive Officer Daniel Lamarre. Lamarre has been around long
enough to see the show blossom with, at its peak, eight shows
running concurrently on the Strip. Hes seen a couple close,
too, both at Aria Viva Elvis! in 2012 and Zarkana this
spring, as MGM Resorts opted to take apart the theater in favor
of a $165 million convention buildout.
We have a lot of ideas for Vegas, and where we want to be is to
reach a younger crowd. We have a lot of ideas we are testing
right now in order to remain a very important player in the
market. We have shows like [The Beatles LOVE], that will last
forever, but we have to bring in new types of shows.
Trying to lock up millennials, the 18-34 age group Lamarre is
referring to, is a maddening science. But Cirque has bolstered
its social-media team and activity in a way that will grab that
particular demographic as they arrive in Las Vegas. Often,
millennials arrive in the city with no plan whatsoever; drawing
them to something Cirque-like is challenging, but Lamarre is
optimistic the companys artistry appeals to a younger culture.
One thing we noticed is millennials, when they see our shows,
they love it, he said. We just are not talking the same
language.
Lamarre pointed to a new Cirque initiative, its partnership with
the NFL in Times Square in New York opening in the fall of 2017.
Titled, NFL Times Square, the project, which is also a
partnership with AEG, once more shows Cirque expanding its
reach.
The attraction will cover more than 40,000 square feet and
include a 350-seat theater, all of which will present a new and
unique view of NFL games in immersive high-definition and take
part in a series of skills tests. Cirque artists are not going
to be running plays which I feel would not be good for anybody
but the idea is that Cirque is adding its creative production
qualities to what is easily the most powerful sports brand in
the country.
This is new artistic content, and an equivalent of that type of
content can be brought for the younger crowd in Las Vegas,
Lamarre said. That is what we are exploring now.
Generally, Lamarre said Cirque needs to return to the more
underground sensibility it owned when the company was launched
by the street performer Guy Laliberte.
Cirque was very edgy 40 years ago, he said. Now we have to be
edgy again with new types of shows.
{ SOURCE: Las Vegas Sun | http://goo.gl/uWpdLe }
Cirque to Bring Its Magic to Life Is Beautiful
For a Fourth Year
{Aug.17.2016}
-------------------------------------------------------
Musical acts Brumby, Brittany Rose and The Lique wont be the
only homegrown talent performing at this years Life Is
Beautiful. The music, art and culinary festival has again
partnered with Cirque du Soleil to bring the production
companys magical marvels to the streets of Downtown Las Vegas.
Performers from Cirques seven resident shows on the Las Vegas
Strip will entertain festival attendees throughout the day on
September 23 at the intersection of Ogden Avenue and Eighth
Street, with performances occurring at 4:30 p.m., 5:30 p.m.,
6:30 p.m., 7:30 p.m., 8:30 p.m. and 9 p.m.
Fans can look forward to a medley of actsfrom Mystere, O,
Zumanity, KA, The Beatles LOVE, Michael Jackson ONE and
MINDFREAK LIVE!at each street-side spectacular. Performers will
interact with audience members for an immersive entertainment
experience.
Its similar to what you see before our shows start in the
theater. Seeing acts up close on the street is pretty awesome,
says Lou DAngeli, Cirques senior director of marketing and PR.
It brings Cirque back to our roots, and lets the audience
experience amazing performances up close and personal.
DAngeli says fans will see the dislocation act from Zumanity,
the Nowhere Men from The Beatles LOVE, and more surprises along
the way throughout the Friday affair.
This marks the fourth year that the Montreal-based production
company has partnered with the Downtown happening, and its
presence in the festival footprint is a testament to the goal of
bridging the gap between music, art and performance.
Weekend passes and single-day tickets to the three-day festival
are still available, and can be purchased at
lifeisbeautiful.com.
{ SOURCE: Life is Beautiful }
Cirque to Receive Metropolitan Fashion Excellence Award
{Aug.18.2016}
-------------------------------------------------------
Nominees for the Metropolitan Fashion Awards, which honor
outstanding achievements in fashion and costume design in motion
pictures, TV and live performance, were revealed on Wednesday.
The winners will be revealed during Metropolitan Fashion Weeks
closing gala on Oct. 1 at Warner Bros. Studios in Hollywood.
Categories include Costume Designer of the Year (Motion
Pictures), Costume Designer of the Year (TV), Costume Designer
of the Year (Live Performance), Celebrity Stylist of the Year,
Fashion Program of the Year, Fashion Commentator of the Year,
Fashion Blogger of the Year and Outstanding Ensemble for Make-Up
Artists and Hair Stylists on a single program.
We are so excited to receive a record number of entries from
all over the world. The enthusiastic response of the
entertainment and fashion community is remarkable. These awards
are unique because they also embrace fashion bloggers, stylists,
commentators and programs that cover the art and talents of both
fashion and costume industries, Metropolitan Fashion Week
founder Eduardo Khawam said in a statement.
Cirque du Soleil Las Vegas will receive the 2016 Metropolitan
Fashion Excellence Award for their outstanding work in costume
design during a special presentation.
In addition to the awards presentation, the closing gala will
also feature a runway show with more than 150 one-of-a-kind,
avant-garde costumes and couture evening gowns created by
national and international celebrity costume and fashion
designers.
{ SOURCE: Metropolitan Fashion | http://goo.gl/7InMs2 }
---------------------------------------------------
Q&A - Quick Chats & Press Interviews
---------------------------------------------------
A Day in the Life of Ruby Lewis
{Aug.04.2016}
-------------------------------------------------------
Ruby Lewis got her first big break singing in church. It was the
holidays and she was dressed like an elf, sitting on a piano.
The song was written just for me, says Lewis, who grew up in
Shelbyville, Kentucky. The choir would sing a line and I would
repeat it. I knew I nailed it because everybody was just
freaking out.
Lewis was only three.
In fact, Lewis mother says her daughter sang before she could
talk. From a very early age, I was fully immersed, recalls
Lewis who also studied dance from an early age. Coming back and
forth from dance class, my mom, who was an opera singer, would
sing something like Silent Night and have me harmonize with
her in the car, she explains.
By the seventh grade, the triple threat landed her first
professional acting gig playing Brigitta in The Sound of Music
at the Musical Theatre Louisville. She will never forget the
last performance, standing in the wings. I remember being
completely overwhelmed, thinking I will never stand here, in
this costume, in this character, at this time ever again, she
shares. I was so sad because it was ending. I tried hard to
take a mental snapshot and managed to take a pretty poignant
one. What truly stayed with her was the feeling, the longing
for more. I wanted to recreate that moment getting ready to
take the stage and share a character as often as I could,
recalls Lewis.
After majoring in Performing Arts at Western Kentucky
University, playing roles like Mother in Ragtime and Mrs.
Johnstone in Blood Brothers, Lewis was cast as Dainty June in a
touring production of Gypsy. Then, she went on the road with
Grease, Jersey Boys and We Will Rock You. She eventually moved
to L.A. and got an agent. I was very lucky, she says. Theres
maybe one musical theater agent out in L.A.
She was sent to an audition for the television series Medium
with Patricia Arquette, where she had to portray a girl who dies
from asphyxiation. I sat in a chair in an office, pretended to
suffocate and die, says Lewis. It was so believable that she
got the part. I really do look like Im dying when I see the
clip, she adds. After that co-starring role, more television
parts followed, and she worked with Gilles Marini, Felicity
Huffman, Vanessa Williams, David Spade, Nicholas DAgosto and
Ben Savage.
In May 2016, Lewis made her Broadway debut as leading lady
Indigo James in Cirque du Soleil Paramour. The production
combines jaw-dropping acrobatics with narrative storytelling.
For her, Paramour is a beautiful merger of all the things that
she learned in her career. When I lived in L.A., I did a lot of
on-camera work, and in the show, I get to do some on-camera
work. I dance and sing so many different styles of music, she
explains. Paramour almost feels like a quilt that has been
patched for me in all of my years touring and doing summer
stock. Its really kismet.
Lewis also remains in awe of her Paramour cast mates, who dazzle
her. Every night, I am blown away by the human capacity. Like
all Cirque du Soleil shows, Paramour is so joyous, so full of
color and light its like entering a magic wonderland, she
says. And then to be on Broadway! It doesnt feel like I should
be getting paid. It feels like I should be paying them.
The Paramour star took NewYork.com through her chock-full,
multi-tasking, high-flying day. Check out the source link below
for her full hour-by-hour day!
{ SOURCE: NewYork.com | http://goo.gl/2QIBsG }
Meet Luzias Kelly McDonald and Naomie Zimmermann
{Aug.05.2016}
-------------------------------------------------------
What goes through your mind when youre being flung, upside-
down, from one performer to another? For trapeze artists Kelly
McDonald and Naomie Zimmermann, its freedom.
Its travelling and giving you all that you would need to be
happy, says Zimmermann.
The two alternate playing the role of the Flyer in Adagio
one of the acts in Cirque du Soleils newest production, Luzia.
Whether its McDonald or Zimmermann on stage, theyre bounced
from one performer to another, seeming weightless. We want it
to be more poetic, different to what youve seen before, says
McDonald.
TRUST AND TEAMWORK
For McDonald and Zimmermann, the artistry comes from trust and
teamwork. I depend on the preparation of three other guys,
McDonald says. The performer, who has nearly two decades of
experience as a gymnast, has gone from competing in an
individual sport to becoming a team player.
When you move into acrobatics in a show its about creativity
and creating a story and giving something to a wider audience
they can take away.
That teamwork goes beyond just the big top. With just one day
off a week, the performers, trainers and artists even spend
their free time together. It is definitely like a family, we
spend our whole days together, we hang out together
were a big
team, says Zimmermann.
TOUCH OF FEAR
But its more than just teamwork that makes their performance
seamless. McDonald says a touch of fear is involved, especially
when youre learning a new trick, youre training with new
people or performing a new act. You dont know what the response
is going to be.
That fear, she says, is shared among every member of the team,
but it can also be useful. Once youre prepared to go on stage,
you have the trust youve built with your team, your show, you
trust that youve created something thats worth showing to the
public so the fear turns into excitement.
Both say that despite the rigorous training that goes into
putting together a show like this, when it comes time to perform
it becomes a different kind of experience. The trainers
involved, the conditioning we do, the costume designers,
everything that goes into it [is planned], says McDonald, but
in the end it is magic and it feels that way still.
{ SOURCE: CBC | http://goo.gl/fzS8Ji }
15 hours in the life of Gabriel Christo
{Aug.09.2016}
-------------------------------------------------------
Its hard work being a Cirque du Soleil performer, especially if
youre a main character in one of the most story-driven
productions the company has produced since it started in 1984.
Gabriel Christo, 29, joined Cirque du Soleil at age 20. He was a
professional gymnast at the time so professional that he
earned a spot on Brazils national team. When the team didnt
qualify for the 2008 Beijing Olympics, Christo found a second
career as an acrobatic performer in one of the worlds most
famous circus companies.
Toruk The First Flight is Christos fourth show with Cirque
du Soleil. Toruk is set on the fictional planet of Pandora.
You might remember it from James Camerons 1999 film Avatar.
Toruk opens in Indianapolis at the Bankers Life Fieldhouse on
Aug. 10 and lasts until Aug. 14.
The events in Toruk take place thousands of years before those
in Avatar before humans discovered the planet populated by
Navi aliens. In Toruk, Navi teenager Ralu, sometimes played
by Christo, sets out to save the sacred Tree of Souls with his
friend, Entu. Ralu and Entu speak their alien language
throughout the show while a Navi storyteller narrates.
The shows world tour began in December, and it will be
performed in 32 cities before it reaches Indianapolis. Where
Toruk goes, Christo follows. Performing for Cirque du Soleil
is a dream for him, he said, but Christos days are long. And
after Indianapolis, there are still 14 North American cities on
the tour. Here, we detail a typical first day in a new city for
Christo: from breakfast to back to bed:
9 a.m.: Christo wakes up in his new hotel room.
9:209:50 a.m.: Christo eats his breakfast usually a
combination of fruit, yogurt, oatmeal and a slice of gluten-free
bread with peanut butter. He has to eat a lot of calories to get
through his day. Also, he gets on his laptop during this time to
talk to friends and family.
9:5010:10 a.m.: Christo preps for the day with a yoga routine.
10:1011 a.m.: Christo takes a shower. He also packs his bag for
the day. It contains training clothes, energy supplements,
protein powder and a cellphone charger.
11-11:10 a.m.: Christo travels to the place where hell perform
later in the evening. In some cities, he walks. In others, he
might take a shuttle bus.
11:10-11:20 a.m. Christo searches for a dressing room where
hell drop off his bags and put on his training clothes.
11:2011:30 a.m.: Christo heads to the warm-up area. Hell do
pushups, active stretching, handstands and squats, among other
things.
11:30 a.m. to 12:30 p.m.: Its time for Christos first onstage
training session of the day. Hell do some jogging, flipping and
acrobatics to ease into the training. This time helps him get
used to the new arena.
12:301 p.m.: Christo leaves the stage to eat lunch.
11:30 p.m.: For Christos second training session, he practices
with Toruk, the namesake of the show, and also a flying creature
that Christos character must search for to save the Tree of
Souls. Toruk is a puppet in the show.
1:301:45 p.m.: Christo gets a 15 minute break. He often spends
it talking to friends, drinking coffee and eating fruit.
1:452 p.m.: Christo starts his third training session, which
involves climbing ropes.
22:45 p.m.: Christo leaves the stage again and starts his
makeup routine, but doesnt finish it. Performers apply their
own makeup in two parts.
2:453:30: Its back to the stage for Christo, where he
practices a battle scene with a kite.
3:304:30 p.m.: Christo eats another snack of fruit and juice,
then starts the second half of his makeup.
4:305 p.m.: Christo goes back to the stage to help with a scene
where performers do acrobatic stunts while hanging from silk
fabric.
55:30 p.m.: Christo eats his dinner of salted vegetables, rice,
meat and lots of salad.
5:306 p.m.: Its time for sound check. Christo gets temporarily
micd up and returns to the stage to practice his lines.
66:15 p.m.: Christo visits the lighting technicians to retrieve
his costume. They put sensors on it so the lights will follow
him during the show. Christo also gathers the rest of his
costume during this time.
6:156:30 p.m.: Christo gets a few rare minutes (15 of them) for
relaxation.
6:307:10 p.m.: Its back to business for Christo, who places
the finishing touches on his appearance. He puts on his costume,
which also needs to be miced up.
7:107:30 p.m.: Christo warms. He stretches, lifts weights,
squats and exercises his core. He even does some pullups.
7:3010:45 p.m.: The house lights go down and the curtain is
pulled open. Its showtime. Christo is on stage for most of the
show.
10:4511 p.m.: Christo finishes the show. He removes his
costume.
11-11:10 p.m.: He removes his makeup
11:1011:20 p.m.: Christo heads to catering for a second dinner.
He also chats with his friends.
11:20 p.m.12:15 a.m.: Christo returns to the hotel. He showers
and gets on the internet to talk to family and friends.
12:30 a.m. Its time for bed. Christo will be up in less than
nine hours to start all over again.
{ SOURCE: Indy Star | http://goo.gl/m2ucGc }
Meet Koozas Joey Arrigo
{Aug.16.2016}
-------------------------------------------------------
Cirque du Soleils new show Kooza returns to the fundamentals of
circus as it explores themes of identity and self-discovery. Out
troupe member Joey Arrigo, who plays the Trickster, shares his
journey with Cec Busby.
With a reputation for pulse-racing performance, any new show by
Cirque Du Soliel is wrapped in expectations by an audience eager
to be wowed. With Kooza, their eighth big top spectacular, the
company has set the bar even higher.
Marking a return to the intimate and fundamentally human
elements of circus acrobatics and clowning Kooza weaves a
colourful pastiche of breathtaking performance and theatrical
ingenuity as it explores a tale of self-discovery through a
comic kingdom of eccentric characters.
Leading us on our journey is the Trickster played by performer
Joey Arrigo, who bursts onto the scene like a jack-in-the-box
full of vibrant energy and high jinks.
Arriga, who said he realised he wanted to dance pretty much
from the womb, has been performing with Cirque Du Soleil for
the past two years. Kooza marks his first show with company and
saw the performer transition from a dancer to an acrobat slash
actor.
This is my first experience having a character, he tells SX.
I think what Ive taken away from it is that anything I do with
acting or dancing now I will think about what the intention is
behind a movement whether that is an emotion or an object or a
thought process.
Performing the same character for eight shows a week can be
wearing for even the most seasoned artist but Arrigo says the
revolving door of Cirque Du Soleil performers has allowed him to
keep his role as the Trickster alive. The artist turnover
changes a performance and that keeps it fresh and weve had
different artistic directors who bring new perspectives.
He says being a part of the Cirque Du Soleil touring machine is
like being part of a family. You have your mums and dads and
brothers and sisters. Sometimes you want to scratch out your
sisters eyes but you still love them. It can be challenging
because you do everything together, but where still a family,
he muses.
Cirque du Soleil has always been very embracing of all
lifestyles and as a gay performer Arrigo says hes always felt
welcomed and supported by the company. In Uruguay we had a
premiere party and I decided to wear some high heel shoes and
they were amazing and I worked those heels all night, he
laughs. And my biggest reaction was few raised eyebrows from
some of my circus brothers.
Arrigo says in the world of circus its pretty much anything
goes. You spend such a lot of time together even if you have
differences [in opinions] it doesnt matter. Everyone just
accepts you for who you are.
Its a theme that also runs through the show as it explores
ideas of fear, identity, recognition and power. Assistant
artistic director Chris Houston tells SX with every Cirque show
they want to push the boundaries even further. How do we take
it to the next level? Were always asking that whether its
about the shows themes or pushing the artists to take it up a
notch.
When Cirque du Soliel first came about there were very few
competitors in the human circus space, but Houston says having
the best artists in the world allows the company to remain a cut
above the rest. We attract Olympic gymnasts, world champion
divers the best of the best, so when the talent comes to us
and shows what they can do, we develop the best materials to
advance their skills.
He thinks with Kooza the company has returned to its traditional
roots. We have classic death-defying acts but it also has a
touching caring message. To have that effect on the public, to
blow them away but also give them a heart-warming story is
beautiful.
{ SOURCE: Gay News Network AU | http://goo.gl/KY0FR5 }
Meet Cirque du Soleils Olympians
{Aug.16.2016}
-------------------------------------------------------
After competing in trampoline at the 2000 Olympics, Lee Brearley
of Britain went on to performing double flips on stage in a zoot
suit, and tumbles in full zombie attire. He staggered around
like a drunk in one scene and sported a sarong in the next.
First time on Broadway, and I wear a skirt, he said of his
costume for the Cleopatra scene in Paramour, the Cirque du
Soleil musical.
By the time the Rio Olympics concluded Sunday, many athletes had
gone home to begin or resume other careers. Maya DiRado, an
American swimmer who won four medals in Rio, has said that a
business analyst job awaits her. Michelle Carter of the United
States, who won the shot-put, owns an online cosmetics business.
The Canadian distance runner Lanni Marchant is a criminal
defense lawyer.
A number of Olympic gymnasts fall into a different, hair-raising
pipeline, filling roles in the ever-expanding universe of Cirque
du Soleil.
In all, about 40 percent of Cirques performers come from
artistic, rhythmic and acrobatic gymnastics backgrounds, as well
as from trampoline, tumbling, diving and synchronized swimming.
At the moment, 21 Olympians two of them medalists perform in
eight United States-based Cirque du Soleil shows. Jeffrey
Wammes, a gymnast from the Netherlands who ended his career in
Rio, is about to make it 22.
His next routine will be in Las Vegas as a cast member of
Mystère.
For me, its a way of life, keeping your body in shape, Wammes
said. You still have to show people your best, but not in a
competitive way anymore. Its like living your dream job while
entertaining others.
For Cirque, recruiting high-caliber athletes is almost a no-
brainer, said the companys creative director, Fabrice Becker,
who won an Olympic gold medal in freestyle skiing for France at
the 1992 Winter Olympics. Cirque, for instance, conducted a
workshop with the Canadian national halfpipe team this year.
Snowboarders trained on the Russian swing, a circus staple,
which can send performers 30 feet in the air.
Still, the transition from serious competitor to performer can
be challenging. As if it were not hard enough to nail a
somersault on a trampoline, try doing it while in costume
perhaps as a cricket, with six legs.
To prepare for such a role in Ovo, in which most of the
characters are bugs, Brearley did what any self-respecting actor
would do: He consulted YouTube.
I saw this video, Crickets Fighting, he said. I thought it
would be the most amazing video, but it was the most boring
video Ive ever seen. They kind of crawled over each other, and
it took all of five minutes. But it taught me something.
Insects sit there until its time to frighten the hell out of
you, he continued. Actors, on the other hand, think doing
nothing is wrong, so they tend to do too much.
Some athletes find the transition fairly smooth.
I view it as going pro as a synchronized swimmer, said
Christina Jones, a 2008 Olympian in that sport for the United
States and a performer in the water-themed show O. I know no
one would care about my sculling techniques in an office, so Im
grateful Im able to cash in on my lifelong work.
The Cirque life often provides a career a second act. Or a
third.
Terry Bartlett competed in gymnastics at three Olympics for
Britain and retired after the Barcelona Games in 1992. Unsure of
what to do next, he stumbled on a Cirque du Soleil audition
while on vacation in California and accepted a job as an acrobat
in Mystère in Las Vegas.
After his acrobatic skills began to wane, Bartlett turned to
clowning almost 10 years ago. At 52, he now stars in O,
wearing a loosey-goosey sailor suit, a clown nose and shoes the
size of flippers. Instead of twists and tumbles, there are
slapstick and high jinks.
Suzannah Bianco, competing under her maiden name, Dyroen, won a
gold medal in synchronized swimming for the United States in
1996 alongside her sister, Becky, who was the choreographer for
a synchronized swimming scene in Austin Powers: The Spy Who
Shagged Me. The sisters have also performed together in O,
which features pools.
I still enjoy performing, being in the water, Bianco said. I
enjoy sitting at the opening of the show and sitting in the
silence of all the blue bubbles that are going around me and
its not yet showtime. That space is an amazing environment that
I cant find anywhere else in the world. I can take the joy of
being on stage in those moments, and its pervasive throughout
my whole show.
Brearley is the only Olympian in Paramour, from a cast that
includes 10 former members of national gymnastics or acrobatics
teams. The set, which weighs more than 18 tons, is a cityscape
of roofs, fire escapes and scaffolding. Hidden from view are two
trampolines.
In the shows climatic moment, paparazzi and Dick Tracy-esque
characters stage an elaborate chase-and-fight scene on rooftops.
Bodies crisscross in midair like human juggling pins, nearly
colliding. Fourteen acrobats and actors share the mayhem before
the focus narrows on Brearley for his solo.
It is a routine full of doubles, pikes, twists and planks. He
does five, maybe six low somersaults in one spot in rapid fire.
All that is visible is the blur of a circle, a cartoonlike cloud
of Road Runner dust.
Brearleys solo is short, but he is motivated by the same dread
that drove him as an Olympian the fear of failure. I dont
want to fail, he said. I want people to see a good trampoline
performance.
At the end of that madcap somersault bit, he dizzily stumbles
through a door and exits the stage. Applause follows, and that,
too, feels exactly the same.
{ SOURCE: New York Times | http://goo.gl/lpzubj }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia & Totem}
o) ARENA - In Stadium-like venues
{Varekai, TORUK, OVO & Séptimo Día}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
MJ ONE, JOYÀ & Paramour}
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/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Amaluna:
Manchester, UK -- Sep 7, 2016 to Oct 9, 2016
Dusseldorf, DE -- Nov 17, 2016 to Dec 18, 2016
London, UK -- Jan 12, 2017 to Feb 4, 2017
Vienna, AT -- Mar 9, 2017 to Apr 2, 2017
Koozå:
Sydney, AU -- Aug 25, 2016 to Nov 6, 2016
Brisbane, AU -- Nov 24, 2016 to Jan 8, 2017
Melbourne, AU -- Jan 20, 2017 to Mar 26, 2017
Perth, AU -- TBA
Kurios:
Washington, DC -- Jul 21, 2016 to Sep 18, 2016
New York City, NY -- Sep 29, 2016 to Nov 27, 2016
Miami, FL -- Dec 9, 2016 to Jan 29, 2017
Dallas, TX -- Feb 17, 2017 to Mar 26, 2017
Houston, TX -- Apr 6, 2017 to May 21, 2017
Winnipeg, MB TBA 2017
Portland, OR TBA 2017
Vancouver, BC TBA 2017
Luzia:
Toronto, ON -- Jul 27, 2016 to Oct 16, 2016
San Francisco, CA -- Nov 17, 2016 to Jan 29, 2017
San Jose, CA -- Feb 9, 2017 to Mar 19, 2017
Seattle, WA -- Mar 30, 2017 to May 21, 2017
Denver, CO -- Jun 1, 2017 to Jul 9, 2017
Chicago, IL -- Jul 21, 2017 to Sep 3, 2017
Phoenix, AZ -- Sep 22, 2017 to Oct 22, 2017
Totem:
Osaka, JP - Jul 14, 2016 to Oct 12, 2016
Nagoya, JP - Nov 10, 2016 to Jan 15, 2017
Fukuoka, JP - Feb 3, 2017 to Mar 19, 2017
Sendai, JP - Apr 6, 2017 to May 21, 2017
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Varekai:
Beirut, LB -- Sep 7, 2016 to Sep 11, 2016
Dubai, UAE -- Sep 16, 2016 to Sep 24, 2016
Doha, QA -- Sep 27, 2016 to Sep 30, 2016
Istanbul, TR -- Oct 5, 2016 to Oct 9, 2016
Milan, IT -- Oct 20 2016 to Oct 23, 2016
Florence, IT -- Oct 27, 2016 to Oct 30, 2016
Bologna, IT -- Nov 03, 2016 to Nov 06, 2016
Turin, IT -- Nov 10, 2016 to Nov 13, 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
Paris, FR -- Dec 7, 2016 to Dec 11, 2016
Lille, FR -- Dec 14, 2016 to Dec 18, 2016
Lisbon, PT -- Jan 5, 2017 to Jan 15, 2017
Seville, ES -- Jan 18, 2017 to Jan 21, 2017
Gijon, ES -- Jan 25, 2017 to Jan 29, 2017
Sheffield, UK -- Feb 2, 2017 to Feb 5, 2017
Dublin, IR -- Feb 8, 2017 to Feb 12, 2017
Newcastle, UK -- Feb 15, 2017 to Feb 19, 2017
Leeds, UK -- Feb 22, 2017 to Feb 26, 2017
Birmingham, UK -- Mar 1, 2017 to Mar 5, 2017
Nottingham, UK -- Mar 8, 2017 to Mar 12, 2017
Glasgow, UK -- Mar 15, 2017 to Mar 19, 2017
Lyon, FR -- Apr 13, 2017 to Apr 16, 2017
Budapest, HU -- May 12, 2017 to May 14, 2017
TORUK - The First Flight:
Nashville, TN - Aug 24, 2016 to Aug 28, 2016
Evansville, IN - Sep 1, 2016 to Sep 4, 2016
Brooklyn, NY - Sep 7, 2016 to Sep 11, 2016
Newark, NJ - Sep 15, 2016 to Sep 18, 2016
Milwaukee, WI - Sep 22, 2016 to Sep 25, 2016
Minneapolis, MN - Sep 28, 2016 to Oct 2, 2016
Winnipeg, MB - Oct 5, 2016 to Oct 9, 2016
Fresno, CA -- Oct 27, 2016 to Oct 30, 2016
Ontario, CA -- Nov 2, 2016 to Nov 6, 2016
Los Angeles, CA -- Nov 11, 2016 to Nov 13, 2016
Phoenix, AZ -- Nov 16, 2016 to Nov 20, 2016
San Diego, CA -- Nov 23, 2016 to Nov 27, 2016
Sacramento, CA -- Nov 30, 2016 to Dec 4, 2016
Portland, OR -- Dec 7, 2016 to Dec 11, 2016
Philadelphia, PA - Mar 8, 2017 to Mar 12, 2017
Vancouver, BC -- TBA
OVO:
Hershey, PA - Aug 31, 2016 to Sep 4, 2016
Hampton, VA - Sep 7, 2016 to Sep 11, 2016
Roanoke, VA - Sep 14, 2016 to Sep 18, 2016
Orlando, FL - Sep 21, 2016 to Sep 25, 2016
Estero, FL - Sep 28, 2016 to Oct 2, 2016
Jacksonville, FL - Oct 5, 2016 to Oct 8, 2016
Erie, PA - Nov 17, 2016 to Nov 20, 2016
Kingston, ON -- Dec 7, 2016 to Dec 11, 2016
Detroit, MI - TBA
SÉPTIMO DÍA NO DESCANSARÉ:
Buenos Aires, AR -- Mar 9, 2017 - Apr 16, 2017
Cordoba, AR -- May 2017
Lima, PE -- June 2017
Santiago, CL -- July 2017
Bogota, CO -- September 2017
Mexico City, MX -- October 2017
Guadalajara, MX -- November 2017
Monterrey, MX -- December 2017
Select US Cities -- 2018
---------------------------------
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
2016 Dark Dates:
o September 10 14
o November 9
Special / Limited Performances:
o June 18, 2016 (Only 7pm performance)
o June 19, 2016 (Only 7pm performance)
o December 29, 2016 (Two Shows)
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 9:30pm (as of Aug 12, 2015)
2016 Dark Dates:
o October 9-11
o November 28-December 13
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
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)
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)
2016 Dark Dates:
o September 15 - 23
o November 23
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. on May 15-16, June 19-21, December 31)
(Only 4:30p.m. & 7:00p.m. performances on July 4)
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
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)
PARAMOUR:
Location: Lyric Theater, Broadway, New York City
Performs: Wednesday through Monday, Dark: Tuesday
One/Two Shows Daily:
2:00pm (Wednesday)
7:30pm (Thursday & Monday)
8:00pm (Friday)
2:00pm & 8:00pm (Saturday)
2:00pm & 7:00pm (Sunday)
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) WEBSERIES -- Official Online Featurettes
o) Club Cirque -- This Month at CirqueClub & Casting
o) DidYaKnow? -- Facts About Cirque
o) FOTOS -- Images From Cirque & Other Photographs
o) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
WEBSERIES: Official Online Featurettes
---------------------------------------------------
*) ATHLETE TO ARTIST: CIRQUE CELEBRATES OLYMPIANS
This series of short webisodes focuses on former Olympians
who have made the transition from athlete to Cirque du Soleil
artist.
o) EPISODE 1: ATHLETE TO ARTIST O
August 15, 2016
Did you know O is the Cirque du Soleil show with the most
former Olympians in it? Meet 5 of them and hear their
stories in the first episode of a NEW CirqueSeries: Athlete
to Artist!
LINK /// < https://youtu.be/lVn6P8ryHvk >
o) EPISODE 2: ATHLETE TO ARTIST AMALUNA
August 16, 2016
Former Olympians Marissa, Shona and Yvonne shed light on
their journey from the world of competitive athletics to
becoming Cirque du Soleil artists on Amaluna.
LINK /// < https://youtu.be/HFljOObfPdE >
o) EPISODE 3: ATHLETE TO ARTIST MYSTERE
August 17, 2016
Olympian Ludovic Martin sheds light on his journey from the
world of competitive athletics to becoming a Cirque du
Soleil artist on Mystère.
LINK /// < https://youtu.be/SEBrLpoUMtU >
o) EPISODE 4: ATHLETE TO ARTIST KÀ
August 18, 2016
Olympian Grant Golding (Beijing, 2008) shares how his
athletic background prepared him for life in KÀ.
LINK /// < https://youtu.be/--HVErgIQrU >
o) EPISODE 5: ATHLETE TO ARTIST OVO
August 19, 2016
Meet the Olympians who are flying high in OVO!
LINK /// < https://youtu.be/6C81ohco8iA >
o) EPISODE 6: ATHLETE TO ARTIST OVO
August 22, 2016
Cirque du Soleil is one of the leading employers of past
Olympians. This is the Olympic story of a Cirque du Soleil
artist working on La Nouba.
LINK /// < https://youtu.be/A_K7AEYMz84 >
o) EPISODE 7: ATHELETE TO ARTIST - MJ ONE
August 24, 2016
This is the Olympic story of a Cirque du Soleil artist
working on MJ One.
LINK /// < https://youtu.be/r-eWXWDmEH0 >
o) EPISODE 8: ATHLETE TO ARTIST - PARAMOUR
August 25, 2016
This is the Olympic story of a Cirque du Soleil artist
working on Paramour.
LINK /// < https://youtu.be/5U0ztchgVns >
o) EPISODE 9: ATHELETE TO ARTIST - HEADQUARTERS
August 26, 2016
This is the Olympic story of some ex Olympians who
choose to create new shows and train the next
generation of artists at Cirque du Soleil. See their
stories in our final episode of the Athlete to Artist
series.
LINK /// < https://youtu.be/rrUGUpyuEbg >
*) MYSTERE'S NEW TEETERBOARD ACT
o) EPISODE 1: THE CHANGE
August 18, 2016
Year after year, we constantly update and reimagine
our shows with brand new acts. Heres your first look
at the update to the dynamic Teeterboard act in
Mystère by Cirque du Soleil at Treasure Island in Las
Vegas, Nevada.
LINK /// < https://youtu.be/FM21PNdOI2k >
o) EPISODE 2: THE PROCESS
August 23, 2016
Our artists can fly up to 22 feet in the air with our
new teeterboard. Wow! Heres your first look at the
update to the dynamic Teeterboard act in Mystère.
LINK /// < https://youtu.be/tRGAndtjYSI >
o) EPISODE 3: THE CREATION
August 30, 2016
Cirque du Soleils mandate is creation. Watch as ideas
come to life with the newly upgraded Teeterboard apparatus
LINK /// < https://youtu.be/fNyOeRNcuvQ >
o) EPISODE 4: THE ADAPTATION
September 6, 2016
Every voice matters as we integrate the technical and
artistic elements that bring together the entire act. We
are excited to share the adaptation process of creating
the newly upgraded Teeterboard apparatus in Mystère.
LINK /// < https://youtu.be/nl4NqqdaPEo >
---------------------------------------------------
CLUB CIRQUE: This Month at CirqueClub
---------------------------------------------------
CirqueClub /// High Wire Brothers
{Aug.11.2016}
-------------------------------------------------------
One of the many nail-biting acts in KOOZA is the high wire act.
Twin high wires are suspended 4.5 meters and 7.6 meters above
the stage. The four tightrope walkers perform feats in the air
that most of us would find difficult to do on the ground. Three
of the performers are the Quiros brothers who come from a long
line of Spanish circus performers. The Quiros Family Circus was
founded by their great-great-great-great grandfather. Their 99
year old grandfather is now the oldest living member of the
family and he has lived in the circus all of his life. Now his
grandsons are continuing the tradition with Cirque du Soleil.
In order to ensure a solid education, the boys were sent to
Madrid at an early age to live with their grandparents, and
attend school full-time. They spent every holiday with their
family at the circus, and so were exposed from a very young age
to the world under canvas. Their circus careers began from
around 12 years old when they began training in a number of
circus arts juggling, acrobatics, unicycle, low wire, and so
on. After some years, their father felt that it was important
that they had one solid number that would allow them to perform
in circus rings across the globe. He focused their training on
only one number a V-shaped low wire at 1.8 meters from the
piste. They developed a very technically complex routine, with
runs, jumps, forward and back somersaults, and so on. The most
dangerous number was the front somersault, since they could only
see the wire a fraction of a second before their landing! The
boys never worked with a net; it was a matter of pride for them.
A chance meeting with a Cuban high wire artist, el Gran Zapaton
changed the brothers lives. When he saw their act, he told
their father, Dont let them work so close to the ground, they
need to be on a high wire! The wire was raised to 9 meters, and
the boys never looked back. The brothers were quickly hired by
Gran Circo Mundial, Spains premiere circus company, and their
career was off and running!
They joined KOOZA when the show first premiered in 2007 and are
now looking forward to performing for Australian audiences.
KOOZA is on its way to Australia for an August 25 Premiere in
Sydney.
{ SOURCE: CirqueClub | https://goo.gl/XflSJh }
---------------------------------------
DIDYAKNOW?: Facts About Cirque
---------------------------------------
o) DidyaKnow that the Lyric Theatre is one of the largest theatres on
Broadway and seats over 1,800 people? With the furthest seat being
90 feet away from the stage, the glamour of PARAMOUR can be seen
at every angle!
o) DidyaKnow each Gopi girl in LOVE goes through 6 ropes a year on
average? With 4 Gopis in the show, thats over 1,000 feet of rope
per year!
o) DidyaKnow there are many rigging points in TORUK? There are 145
of them!
o) DidyaKnow Varekai's Icarus represents the duality between innocence
and curiosity? By flying to close to the sun, he loses everything.
With the help of the creatures he meets in the enchanted forest, he
learns to find himself and overcome the challenges he must face.
---------------------------------------------------
FOTOS: Images From Cirque & Other Photo Links
---------------------------------------------------
AMALUNA -- http://goo.gl/e2qigl -- Transferring Artists! :)
KOOZA -- http://goo.gl/WA5tPq -- Transporting to Sydney
KOOZA -- http://goo.gl/MyQ7mv -- The Stage is Set!
KOOZA -- http://goo.gl/d4d5m8 -- Backstage Selfies
KURIOS -- http://goo.gl/Fl9rNm -- Enjoying Events in DC
KURIOS -- http://goo.gl/ALa56M -- Props Display #1
KURIOS -- http://goo.gl/SU3135 -- Props Display #2
KURIOS -- http://goo.gl/zpAhFX -- Props Display #3
LA NOUBA -- http://goo.gl/NTrGq9 -- Ballerina Getting Makeup
LA NOUBA -- http://goo.gl/9hfP1w -- Balloonery!
TORUK -- http://goo.gl/VWpjcG -- Toruk Bus in Chicago
TORUK -- http://goo.gl/xVjCfY -- At Indy Motor Speedway
TORUK -- http://goo.gl/YzT3kC -- Kite Practice!
TORUK -- http://goo.gl/mmsKSa -- Goodbye, Gabriel Christo
TOTEM -- http://goo.gl/B2Irqu -- Trapeze Training
TOTEM -- http://goo.gl/Qy6MxB -- Enjoying Osaka On Site #1
TOTEM -- http://goo.gl/ovCGxY -- Enjoying Osaka On Site #2
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
AMALUNA -- http://goo.gl/klRyuN -- Hello Manchester!
AMALUNA -- http://goo.gl/7atTQx -- Interview with David Rimmer
CIRQUE -- http://goo.gl/ivcWq9 -- Thank You Andorra!
KOOZA -- http://goo.gl/1dKa2N -- Clowns Transporting to Syndey
KOOZA -- http://goo.gl/vGT5mZ -- Second Plane Landing
KOOZA -- http://goo.gl/TZXm1d -- Run Away with Kooza
KOOZA -- http://goo.gl/HnKtKf -- Adrenaline Rush in Sydney
KOOZA -- http://goo.gl/A7eLux -- Training to Thrill #1
KOOZA -- http://goo.gl/pTl2VY -- Training to Thrill #2
KOOZA -- http://goo.gl/QZWPa1 -- Training to Thrill #3
KOOZA -- http://goo.gl/yrEqdE -- 1 Hour to Sydney Premiere
KOOZA -- http://goo.gl/52AGjz -- Thank You Sydney!
KURIOS -- http://goo.gl/9NX3yw -- Eirini Singing National Anthem
LA NOUBA -- http://goo.gl/VpGwQG -- Floor Exercises
LA NOUBA -- http://goo.gl/YiBkyv -- Backstage Training Session
LA NOUBA -- http://goo.gl/VL49MR -- Flips, Twists & Jumps
LA NOUBA -- http://goo.gl/eJSnEC -- Olympian Claire Wright
LA NOUBA -- http://goo.gl/bD1YFw -- Vincent Lavoie's Power Moves
LUZIA -- http://goo.gl/Qj3HMu -- How Does It Rain?
LUZIA -- http://goo.gl/evyeCt -- How We Play Football
LUZIA -- http://goo.gl/blwPOl -- Meet Joenuel, Trumpet Player
LUZIA -- http://goo.gl/9kz6BQ -- Hoop Divers Admiring Art
LUZIA -- http://goo.gl/vir76x -- Take Hoop Diving to Another Level
MJ ONE -- http://goo.gl/iHySFM -- Unveiling the MJ Statue
MJ ONE -- http://goo.gl/w7E2VB -- Meet Dancer Alan Medina
MJ ONE -- http://goo.gl/9G9E0W -- Meet Dancer John Nelson #1
MJ ONE -- http://goo.gl/hqIKKj -- Meet Dancer John Nelson #2
MJ ONE -- http://goo.gl/3Lm7ej -- Olympian Greg Pennes
MJ ONE -- http://goo.gl/D26rIV -- MJ Birthday Celebration
"O" -- http://goo.gl/ZlWPG2 -- The "O"-lympians
"O" -- http://goo.gl/apsB2T -- Can't Go Wrong w/these Choices!
OVO -- http://goo.gl/A5bxzn -- The Colony Discovers St. Louis
OVO -- http://goo.gl/a84J4S -- Character Photoshoot Throwback
OVO -- http://goo.gl/k13Asx -- Interview with our Butterfly
PARAMOUR -- http://goo.gl/DYoYZS -- Make-Up with Natalie Gagne
PARAMOUR -- http://goo.gl/WfyvTi -- Show Score w/Jeremy Kushnier
PARAMOUR -- http://goo.gl/e5tKTZ -- Cast Recording "Hollywood Wiz"
PARAMOUR -- http://goo.gl/6AM432 -- Olympian Lee Brearley
PARAMOUR -- http://goo.gl/qYje0F -- Ryan Vona chats PARAMOUR
SODA -- http://goo.gl/3s6aeC -- 22 shows sold out; 150,000 tickets
SODA -- http://goo.gl/ZtJD6F -- How the MoviStarZoomZone works
TORUK -- http://goo.gl/VGCXF9 -- 5@5 w/Acrobat Stacey Magiera
TORUK -- http://goo.gl/wLdLiC -- Kissing the Bricks!
TORUK -- http://goo.gl/RDu1YX -- 5@5 w/Head Therapist, Mick Henry
TORUK -- http://goo.gl/aTdDTw -- 5@5 w/Guillaume Paquin, Entu
TORUK -- http://goo.gl/Xy16ww -- Tawkami flowers Mesmerize Audience
TORUK -- http://goo.gl/U4gXsi -- 5@5 w/Acrobat Brandon Livanos
TOTEM -- http://goo.gl/bIqX9o -- Unicycle Ab Workout
TOTEM -- http://goo.gl/0qTFCW -- Happy International Youth Day!
TOTEM -- http://goo.gl/rLXpd6 -- Insight-Acrobatic Challenge
TOTEM -- http://goo.gl/htOL87 -- How Ulziibuyan Mergen Warms Up
TOTEM -- http://goo.gl/XcOLsg -- Marie-Christine Fournier
TOTEM -- http://goo.gl/EdJhZq -- Russian Bar Family Portrait!
VAREKAI -- http://goo.gl/qn6pkC -- Countdown to Beruit
VAREKAI -- http://goo.gl/sAjdWX -- Solo on Crutches Character
VAREKAI -- http://goo.gl/0jAF5q -- Two Weeks Left!
VAREKAI -- http://goo.gl/nM3n84 -- Less Than a Week
ZUMANITY -- http://goo.gl/QufzLn -- Marina and Michael, Power Duo
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "ALAIN VINET: 'What I Was Thinking!' (Part 2 of 2)"
Interview by: Keith Johnson & Ricky Russo
o) SPECIAL /// "Cirque du Soleil Hits The Great White Way"
Written By: Ellen Lampert-Greaux, Live Design (July 2016)
o) "Casting Q&A's - Meet an Artist, Part 1 of 6"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
"ALAIN VINET: 'What I Was Thinking!' (Part 2 of 2)"
Interview by: Keith Johnson & Ricky Russo
------------------------------------------------------------
Last issue we discussed several CD releases in a busy year for Cirque
du Soleil Musique. But the main reason Mr. Vinet contacted us(!) was
to respond to erstwhile Editor Richasis review of the broadcast
version of the 30th Anniversary Concert, Celebrating 30 Years Through
Music ( < http://www.cirquefascination.com/?p=5487 >. Ricky raised
several questions about song and singer selection, which Mr. Vinet
felt could best be answered in a conversation. No, actually, I read
the review and I was really happy to read every word of it. I cracked
a little smile when I read the, what were they thinking? So I
thought maybe it's time we had a little talk. I thought it was a good
time to answer your questions, which were legitimate. And that's
exactly what I'm here for! I'm here for the question, What were they
thinking? (Laughs.)
(By the way, Mr. Vinet was interviewed by our friends at CirqueCast in
their Episode 5, where some time is spent recounting creation of the
concert. It can be found here < https://youtu.be/ZY2HiNVLOkA >)
Rickys review was mostly positive - dont get us wrong, go read it
for yourself. One part of Cirque's credo is to evoke emotions, which,
for dedicated fans of Cirque the concert does frequently. One hears a
piece of music and it evokes the memory of a show, or a trip, or a
personal interaction, or something. And just as that memory begins to
fade the next song starts, and another memory appears. It's not for
everybody, certainly not for the person who's been to just one Cirque
show. But if you're a fan of Cirque du Soleil and a fan of the music
of Cirque du Soleil, and if youve been to multiple shows and you get
into the music, it is sublime.
I DID IT FOR YOU GUYS"
-----------------------
Mr. Vinet has spoken about how proud he is of the concert, that was,
as he describes, my baby. But its genesis occurred several years
earlier. I don't know if you know [this], but this project was born
in October, 2009. Back then we did what we used to call, Creative
Forums. (These were day-long meetings wherea number of creative staff
would give presentations, brainstorm, and discuss current issues.)
When it came time to do the music forum, Gilles (Ste-Croix) suggested
we do it in a church. So I hired an organ player, I brought singers
(Roxane Potvin from O and Mathieu Lavoie from Quidam/Varekai, as
well as Catherine LeDoux, Mr. Vinets assistant at the time), a couple
of musicians, and we did just a few numbers like O. And Nostalgie
(from O) (in an arrangement with just the large church organ and Ms.
Potvins un-amplified voice) that Roxanne actually does in the
Concert.
That was the song, and I remember it like it was yesterday. Guy
Laliberté was sitting right in front of me and he turns around and
looks at me and he's got a tear going down his cheek. And he turns
around and goes to Daniel Lamarre and says, I want to do a Cirque
concert in a church. So that's where the idea began, and that's why I
kept that song [in the show].
It was that year he created an example set list for just such a
concert. However, the yearly appearance of arena Cirque shows in
Montréals Bell Center arena meant the concert idea had to be put on
the back burner. Each year he would refine the set list, presenting
it to Laliberté and Ste-Croix, only to be set aside when the next
arena show came through.
When the 30th anniversary came it was the first time in [several]
years that there was no arena show coming to the Bell Center in
Montréal, which is the big arena where we have our arena tours. So it
was [the perfect time] to have an event like this. But we didn't want
to make this into a Bell Center show, we wanted an intimate concert.
So I would say in September, 2013 we started talking about it, and I
spent [some] time preparing playlists of what the concert could be. I
put together little montages and sent them back and forth to Guy and
Gilles.
One thing that was very clear in my head from the beginning was that
this needed to be a creation [all its own] as well. This is why I
didn't necessarily go for all the obvious choices, the best of. I
wanted to create something that had movement, that could be glued
together, kind of like a DJ set. This is my DJ experience coming into
play. But planned so that we could play [a song] continuously for a
little while and then break [to another song]. Maybe there are one or
two songs that are made to be played alone but a lot of them are made
to have a nice segue to each other. That was a big point in deciding
which songs we would use; I obviously wanted to bring back the nice
salad of it.
He created a series of song movements or medleys of various songs,
somewhat like an opera. He had a lot of songs to feature (one song
from each Cirque creation) and only 75 minutes to get them all in.
Obviously for me being [involved with] Cirque music all the time
every day, it helped me to have only 2 1/2 minutes per song on
average.
The time limit and need for the songs to segue well together meant
many tracks that might be considered Cirques best didnt make the
cut. But at the same time, such as when we passed through (the show)
Alegria, I couldn't play (the song) Alegria at that point because
it's too early in the show. So that's why we decided to go with Vai
Verdrai which is a nice waltz.
Once the songs and running order were selected, the team put together
a rough rehearsal tape of the show with instrument samples to give an
idea of what the arrangements would sound like, a demo which would
help confirm when the arrangement charts were to their liking. These
tapes were also given to the singers and solo musicians so they could
practice in their own spaces on their own time, as a tight production
schedule meant little time to rehearse as a group.
FINDING YOUR VOICES
-------------------
Critical to the success of the venture was finding vocalists up to the
task. I had eight lead singers [I could hire]. I could not deviate
from that, that was what was agreed upon as the business plan, as the
concept. Mathieu (Lavoie) was the first male singer I contacted but at
that time he wasn't sure if he could do it. So I approached Paul
(Bisson), because we had changed Zarkana quite a bit so that he wasn't
singing in it anymore. I called Paul to see if he would be interested
but when Mathieu came back with a positive response I decided to keep
them both. That way I could have Paul sing, Volo Volando (from
Corteo, where he was the creation vocalist). At that point, it became
clear that in some places I had to make sacrifices, but they werent
necessarily sacrifices. Obviously, I had to have some of them not
singing their original songs. Like Estelle (Esse) singing the La Nouba
song (Reve Rouge). Mathieu had done the Michael Jackson song (Earth
Song) for another event so he knew the song already and, frankly,
between [them] I think Mathieu was the best choice. Francesca
Gagnon, original singer for Alegria, was contacted about participating
but was unavailable. That is why Francine (Poitras) sings Alegria,
she was the closest voice to Francescas that I had.
The final vocalist cast consisted of:
o) Francine Poitras creation singer Saltimbanco (1992)
o) Audrey Brisson original Zoe in Quidam (1996)
o) Mathieu Lavoie creation singer of Quidam (1996), creation
singer of Varekai (2002)
o) Roxane Potvin creation singer of O (1998)
o) Paul Bisson creation singer of Corteo (2005), Zark in
Zarkana (2012)
o) Anna Liani writer/singer of Bello Amore on the Zumanity CD
o) Estelle Esse sung for Alegria, Dralion, Corteo and Kurios,
also talent scout
o) Dominic Dagenais singer at several Cirque Special Events
Obviously not all the singers were in top shape, but at least on the
DVD we fixed that a little in the editing. It was hard actually, but
in the end, that's what I expected. But it was impossible for me [to
do otherwise]. It would have been [wonderful] to have all the singers
that actually sang each song there, that would've been a wet dream.
With the conditions we had I had to make difficult choices. But at
the same time the cast that I put together was, personally, one of the
easiest casts that I could work with, because I had worked with them
numerous times so the trust was immediately there. In the beginning it
was hard, because when I brought in Paul I had to find stuff for
Mathieu to sing, so that's why I also had him sing the Ovo song
(Briso do Mar). I had approached Marie-Claude (Marchand), the
original singer of Ovo, she had just come back, but by the time she
got back to me I had already capped my eight singers. I was already at
the point where it was hard for me to make any changes; since
everything had been approved I didn't want to touch anything.
(Laughs.) It's sometimes tough to get approvals, it just takes time.
FINDING YOUR MESSAGE
--------------------
The church selected for the concert was the Saint-Jean-Baptiste Church
(eglisestjeanbaptiste.com) in the Le Plateau Mont-Royal borough of
Montréal. First built in 1875 and able to accommodate 2,800 people,
it is the third largest church in the city, with beautiful acoustics.
When we showed up at the church everything was pretty much decided.
But that was because he had done his homework. What I did was I went
to the church on scouting [missions] and spoke with people, and
listened to music with my little iPod in this church setting. And
frankly it was really clear. I had had five years to think about it
(since the musical Creative Summit in 2009); it was really clear
really fast what I wanted to do.
There was some concern over being able to get the rights to non-Cirque
music, but they shouldnt have worried. We got the chance to play the
Michael (Jackson) song (Earth Song) and the Beatles Love song
(Because) and the Viva Elvis song (Love Me Tender), which was
cool. [We used] just a passage of the opening of Love, which is
Because sung a cappella; that way [there were] no arrangement
problems, no fiddling with Apple music, no you can't use this you
cant use that. In the church I thought an a cappella number was
needed. In the beginning I didn't know if it would be approved or not
but the Beatles answered gracefully.
FINDING YOUR SOUND
------------------
Another challenge involved incorporating the large church organ into
the show. It's really hard if you have a band on [the front] stage
and the church organ is in back, it's impossible to synchronize. There
is about 100ms of difference, that's almost half a beat depending on
the tempo. That's why in the beginning of the show were going back
and forth from the front stage to the back with the organ.
But the big church organ is only used up to Nostalgie (from O).
Nostalgie is the last song where we used the big organ in the back.
The church has a little choir organ in front, (it is in fact one of
the few churches in Canada with two organs) and the plan was to use
the little choir organ for the rest of the show because it became more
of an accompaniment than an actual lead like the big organ was. But
the little church organ died on us! But our organist had a digital
organ, a high-end expensive organ, sample-based but really, really
good. And he had a full-fledged four-register keyboard with pedal for
it which he said he could bring. So we placed him behind the choir.
The trick was that in the beginning we used the big organ so that
people think that whenever they hear an organ they think it's the big
organ. And nobody noticed the difference.
So it was a lot of little constraints, but I think we ended up doing
a really, really cool show, people really enjoyed it.
The onstage choreography of the vocalists was done by Event Designer
Véronique Dussault. Véronique is a seasoned stage director that's
been working with Special Events. [She and] I have worked together for
years. Mr. Vinet was also aided by his assistant, Thierry Angers,
who helped with the structure of the arrangements, Frederic Chasson
who did arrangements and orchestrations, and Creative Director Daniel
Fortin.
FINDING THE DVD
---------------
Initially there was no intent to preserve the concert on video or CD.
This changed when Radio Canada (Quebecs French Language television
network, ici.radio-canada.ca) signed on to record the show. It was
very last-minute and we didn't have a lot of time to put it together.
We filmed on December 23, 2014 and we needed to deliver an [audio] mix
by the 30th. And we had one studio day booked by the filming company
to [do final mixing]. On the day of the recording I was in the booth
calling the shots for the [audio] guys to have the best possible pre-
mix. I then said, I'm leaving with the recording, you will get it
back in four days. Rob Heaney and I spent four days and nights
working 20 hours a day in order to get it to where it needed to be as
a product (utilizing the 96 tracks recorded on-site). We really
insisted on having my hands on the production of the DVD. Which was
great, it was a lot of fun to mix and dig into piece by piece, to see
who missed a note (laughs). I came back for both the DVD release and
the German release. [There were] some addendums to the mix, but we
didn't touch the surround that much.
After being broadcast in January, the concert was released in Canada
on Apr 21, 2015, in a DVD/Blu-Ray combo pack, Radio Canada 22418. And
copies are still available! One place we found them, for $27 Canadian
plus shipping, is here < goo.gl/LU0ORN >.
One part of the concert that wont see the light of commercial release
involved the big church organ. I'm sad they didn't put the opening
organ [medley] that we had [as a prelude] while people were coming
into the church [on the DVD]. Claude Chaput, who was my bandleader,
wrote 30 minutes of intro music played by four hands on the great
organ. As people were walking in you would hear even more classic
Cirque themes on the organ. I get goosebumps just thinking about it,
it was incredible. That alone was a show.
As with the music for the Cirque 3D Film, Worlds Away, there wont
be a CD soundtrack. It wasnt considered and I'll tell you why; it
would cost way too much money. Eight lead voices, 70 member choir,
musicians; it's like 100 people to pay for each song. From a business
standpoint it wouldn't [work financially].
But even better, you have the DVD! You can actually watch it!
(Laughs) (and if you are a little bit tech savvy, you can make your
own soundtrack, but, umm, we dont know anything about that.)
The success and emotional power of the concert gave no clue that Mr.
Vinet was originally presented with a modest budget and a very short
production schedule. So short, in fact, there was only time for one
full rehearsal of the entire show with the full cast! We had a very,
very tight budget. It was promoted as Cirque du Soleils gift to the
city of Montréal. There was really no plan to make money, it was to do
something to celebrate Cirque's 30th anniversary. Hopefully one day
we'll get this into a touring show, but I wouldn't say that too loud.
If I can say one more thing about the show; it was probably one of
the most favorite projects of mine Ive done in my 10 years here. Not
that I was the only one putting it together, but that I was
instrumental in assembling this group of people. [It was] an
incredible moment to be able to experience.
SO NOW YOU'VE LEARNED, 'THE SECRETS OF THE GODS'"
--------------------------------------------------
When we talked back in April 2016 it was just getting into the spring
season, which in the past has been a busy time for him. But that had
changed. Not for about a year and a half. Because in 2015 there was a
split of the companys divisions to become Cirque du Soleil Group. The
Special Events division became 45 Degrees(.com), and CDS Theatrical
opened in New York to produce Paramour. Instead of going with 45
Degrees when that happened I stayed with the core company under Jean-
François Bouchard, the head of creation. I dont handle the music for
the 45 Degrees projects like I used to. So my spring is less busy than
it used to be.
Since then, there has been a change of direction for this friend of
the fan. In mid-August Alain Vinet left his position as Musical
Director for Cirque du Soleil to pursue other interests, though he
will be coming back to consult on a project-by-project basis. We wish
Mr. Vinet the best of Luck!
Sincere thanks go to: Mr. Vinet for so graciously (and repeatedly)
spending time with us, Marie-Noëlle Caron Cirque Publicist,
Erstwhile Editor Ricky Russo, for helping conduct the interview,
And Keiths wife LouAnna for putting up with his sometimes obsessive
hobby.
------------------------------------------------------------
SPECIAL /// "Cirque du Soleil Hits The Great White Way"
Written By: Ellen Lampert-Greaux, Live Design (July 2016)
------------------------------------------------------------
Paramour marks Cirque du Soleils Broadway debut, with star-crossed
lovers set in a kinetic world of song, dance, and acrobatic feats,
from trapeze to trampoline. The show premiered in June at the Lyric
Theatre for an open-ended run, produced by Cirque du Soleil Theatrical
(Scott Zeiger, president and managing director). Under the artistic
supervision of creative guide Jean-François Bouchard, Paramour is
directed by French director and choreographer Philippe Decouflé, whose
design team includes set designer Jean Rabasse, costume designer
Philippe Guillotel, lighting designer Patrice Besombes, projection
designers Olivier Simola and Christophe Waksmann, and sound designer
John Shivers. Live Design asked the designers to talk about their
biggest challenges in creating a Cirque du Soleil spectacle for
Broadway.
Projection designer Christophe Waksmann notes that one of the most
challenging things for him was to find the proper camera for the use
of live video in the show, with the least latency possible. As the
lip synchro is important for live cameras, we had trouble finding the
right model. After a few weeks trying different models, we finally
found the right one, he says.
Another challenge for Waksmann is that the show is run without a
projection operator, which is not the way hes used to working.
Usually in every show I design, an operator is necessary to run the
show properly, he says. So the challenge was to find a way to get
rid of the operator and launch the cues with the lights on a timecode.
Actually, it seems to work.
Jean Rabasse, the scenic designer, found that working on Paramour was
extraordinary, but there were a certain number of specific constraints
related to this spectacle, and one must understand that, in producing
Paramour on Broadway, Cirque du Soleil wanted for the first time to
unite three very different universes, he says. First, the universe
created by Philippe Decouflé and his design team: costumes,
choreography, video, lighting, and scenery. We all tried to find a
different angle, a spirit of contradiction, the desire to show things
in a graphic or abstract manner, but also to try and mix styles, and
the ways to tell a story in a linear and figurative way but also be
elliptical, in a more abstract manner.
The second universe for Rabasse is the world of Cirque du Soleil,
where, he states, acrobatic performance, or the showcasing of the
artists is balanced by a style close to that of Commédia dell'Arte,
with a strong sense of direction, that is dreamlike, festive, young,
and above all, always looking for the highest level of acrobatics,
without doubt the best in the world.
The third universe in Paramour is the world of Broadway theatre, with
its high level of music, the exceptional quality of its singers and
dancers, an incredible sense of narration, and the incredible quality
in the creation of scenery, costumes, and lighting, says Rabasse.
So, while uniting these three universes was exhilarating, rousing,
and magnificent, it was also difficult, sometimes conflicting but
possible. It took an incredible amount of energy by creative guide
Jean-François Bouchard from Cirque du Soleil, by producer Jayna
Neagle, and, of course, Scott Zieger to drive all these teams that are
so different yet so creative together.
Rabasse also finds that creating scenery for Cirque du Soleil entails
certain technical constraints. This is the very essence of Cirque and
its demanding performance style, as well as its concern for the safety
of the artists, he explains. Every acrobatic element is a long,
patient discussion that includes trainers, coaches, the director,
choreographer, engineers, scenic shop, and the set designer. It is a
huge job to succeed in creating a new number.
For Rabasse, The number with the trampoline on the rooftops of New
York, in the spirit of Warren Beattys film, Dick Tracy, was
extraordinary but long and laborious to create. Even the choreographer
for this number took a really long time to create the impression of
lightness and ease," he says.
The Western tableau was also a long process, even though the basic
idea was to create a light, joyous number. You often have to put
yourself at the service of the performance to make these tableaux
successful, while remaining true to your convictions, Rabasse notes.
Rabasses experience of many years working with Philippe Decouflé,
followed by three spectacles with Cirque du Soleil, gives him what he
feels is sufficient experience to be part of the creation of these
tableaux and propose scenic solutions in the service of the acrobatic
performance, he adds. It is truly a team effort, with a lot of
strong personalities and strong convictions.
In addition, Rabasse found that working on Broadway with American
crews was a true joy. I had the good luck to have Christine Peters as
associate designer and David Benken as technical director, he says.
I was also able to discover techniques that are specific to Broadway
and an ease of getting all the scenic elements coordinated. I also
really enjoyed working with the team of painters and have great
memories of their work.
Voila! concludes Rabasse. At the end of the day, these three
universes, with their knowhow, their desires, and their convictions,
created, I hope, a light and enjoyable production. I hope that the
audience senses my pleasure at being invited to create the décor for
Paramour.
Costume designer Philippe Guillotel discovered that Broadway is
different from circus or ballet costumes, with which I try to define
a strong universe and the characters that inhabit that universe in an
original, and even exaggerated, manner, he says. This time, for this
show, I had to apply myself to create costumes that were more from
everyday life, in service to the narration.
Guillotel found he had to rein in his creativity, he says, in order
to be sure to more deeply define the psychology of each of these
characters, while providing costumes that did not limit the actors and
singers in their specific actions at specific moments, so that the
audience would recognize themselves in them.
In terms of the speaker design for the house system, we decided to
use a system with components designed and manufactured by KV2 Audio,
explains sound designer John Shivers. We were introduced to KV2 Audio
on a project we did two years ago in Hamburg and absolutely love them.
Theyre compact, light, powerful, cost-effective, and more
importantly, excellent sounding products that proved to be a perfect
fit for Paramour and the need for a wide dynamic and diverse stylistic
scope.
For Shivers, Paramour, like most shows, presented a unique set of
challenges, but the show, having a range of acrobatic acts as well as
more traditional Broadway elements, added to the scope of tasks to
make the sound design effective and satisfying. We paid special
attention to the stage foldback, monitoring to ensure that the cast
and acrobats could hear well for the purpose of cueing their precision
movements, he says. We also added wireless monitoring systems for
musicians who were required to play on stage during some songs so that
they could remain synchronized with the rest of the orchestra in the
pit.
------------------------------------------------------------
"Casting Q&A's - Meet an Artist, Part 1 of 6"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
Ever wonder what it would be like to become a Cirque du Soleil artist?
Of course you have! Who hasnt? Wonder no longer! Through a series of
interviews on their casting website, Cirque du Soleil invites us to
get to know some of their performers (past and present), and discover
how each of them went from a career as an athlete, circus performer,
instrumentalist, singer, dancer, actor, clown, or in another specialty
to becoming a Cirque performer. Theyre fantastic reads if youve had
the pleasure, and if you havent, well, dont despair. Weve collected
all 30 artist interviews for you to peruse in this series, which, due
to the page count, well publish in six parts, beginning with Part
One: Anthony Gatto (Manipulation), Claudel Doucet (Aerial), Denise
Stefanie Gonzalez (Female vocals), Eric Scribner (Percussion
instruments), and Eve Castelo Branco (Classical & Contemporary dance)
# # #
ANTHONY GATTO
United States | Juggling
Q. WHAT WAS YOUR BIGGEST ARTISTIC ACHIEVEMENT PRIOR TO JOINING CIRQUE
DU SOLEIL?
I hold 11 juggling World Records and I am the only juggler to
win the Golden Clown in the history of the Festival
International du Cirque de Monte Carlo".
Q. PLEASE TELL US ABOUT YOUR ARTISTIC BACKGROUND BEFORE JOINING
CIRQUE.
I have been training since I was 3 and performing since I was 8.
I have 26 years of show business experience performing all over
the world and at nearly every major casino in Las Vegas.
Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL?
I joined in March 2007.
Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION? WHAT WAS THE
CONTEXT?
I was contacted by Cirque many years ago but had never found the
right project until the creation of KOOZA.
Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION AND/OR TRAINING AND/OR
WORKSHOP?
I didnt have to audition. David Shiner, the director of KOOZA,
has known me since I was child. He came to see my show in Las
Vegas and decided that I would be a good fit for the show.
Q. HOW DID YOUR INTEGRATION GO IN THE SHOW?
Due to my prior engagements I was the last artist to join and
was thrown right into the mix
it was quite a busy month!
Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS
YOURSELF IN YOUR DISCIPLINE?
This was an opportunity for me to experiment with a character
other than the ones I had been doing all my life. Performing is
all about growing and Cirque provides a good atmosphere to grow
as an artist.
Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL?
Cirque was the next level for me, the next frontier. Its a
great feeling to have made it here.
Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR
CURRENT CIRQUE CAREER?
The transition was smooth. Nearly all of my performing career I
have had a busy schedule: 2 shows a day, 6 or 7 days a week, and
that really helped.
Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE?
No other venue takes care of its artists the way Cirque does.
And there is a certain sense of security knowing that Cirque
will be around for a long, long time.
* * *
CLAUDEL DOUCET
Canada | Aerial Silk
Q. PLEASE TELL US ABOUT YOUR ARTISTIC BACKGROUND BEFORE JOINING
CIRQUE.
I studied at the École nationale de cirque" in Montreal where I
took a general formation for the first 5 years and then
specialized in Aerial Silks. After finishing school I worked for
various Circus Companies and trained.
Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL?
I began rehearsing in January 2005 and started performing in
March 2005.
Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION? WHAT WAS THE
CONTEXT?
Having grown up in Montreal and being exposed to the Circus Arts
I was always close to the action, and ever since I was a child I
would go see each new Cirque du Soleil show as it premiered.
Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION AND/OR TRAINING AND/OR
WORKSHOP?
My audition was specifically for the role of Azalaa. It was a
little weird for me because many of my friends were rehearsing
for Corteoin the gym where my audition was taking place.
Q. HOW DID YOUR INTEGRATION GO IN MONTREAL AND IN THE SHOW?
My integration went by quite quickly. However, because I was
finishing a prior engagement with another company at the same
time, the workload was particularly great. Once I arrived on
tour, I had a further 2 weeks of rehearsals to get fully
integrated into the show.
Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL?
I like traveling and being on stage. Cirque allows me to do
both.
Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR
CURRENT CIRQUE CAREER?
Because I was already a circus performer before joining Cirque
du Soleil, my transition was very natural.
Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE?
Cirque offers an excellent working environment for artists with
an incredible support staff; the trainers, physiotherapists,
tour services and artistic team are all second to none.
Q. HOW IS LIFE ON TOUR?
I decided to get into the circus arts because I wanted a job
where I would travel. Life on tour demands a lot from you, but
it is also an exhilarating experience.
* * *
DENISE STEFANIE GONZALEZ
United States | Singing
Q. WHAT WAS YOUR BIGGEST ARTISTIC ACHIEVEMENT PRIOR TO JOINING CIRQUE
DU SOLEIL?
I began recording professionally at age 8 and recorded my first
Jazz album when I was 12. My first touring experience was
playing the main character in the Broadway Musical, Selena
Forever. I have performed in front of 45,000 people at a
televised music awards show and for an audience of 650,000
people at Fiesta Broadway, the largest Latin music festival in
Los Angeles!
Q. TELL US ABOUT YOUR ARTISTIC BACKGROUND BEFORE JOINING CIRQUE.
I started my formal voice training at Mt. San Jacinto College at
8. I also attended El Conservatorio De Las Rosas in Morelia,
Mexico, the oldest music conservatory in North America. When I
was 12 I began studying Jazz and classical voice at Idyllwild
Arts Academy on a full scholarship, but my stay was brief
because I joined Quidam. After performing in Quidam for a year
and a half, I returned to my studies and attended Pepperdine
University in Malibu, CA. where I majored in Music.
Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL?
I joined in 2002, when I was 13.
Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION? WHAT WAS THE
CONTEXT?
My agent contacted Cirque du Soleil and, soon after recording
some demos from Quidam, I was invited to an audition in Los
Angeles.
Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION AND/OR TRAINING AND/OR
WORKSHOP?
I was surprised how relaxed the feel was for this audition;
everyone was so friendly and made me feel so comfortable, it was
like I was singing to my friends! After my audition someone from
casting came with me to meet my family and chat. Best audition
experience EVER!
Q. HOW DID YOUR INTEGRATION GO IN MONTREAL AND IN THE SHOW?
I arrived in Montreal at the beginning of January, so it was
COLD! But I loved the city, and my time at the studio. I was in
the 8th grade at the time so I had school in the morning
followed by voice classes, jeu class and a movement class. I
left for Quidam at the beginning of March.
Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS
YOURSELF IN YOUR DISCIPLINE?
As a singer, to be able to perform at your best it is important
to find yourself internally; both mentally and emotionally
and
you need to do it on a daily basis. It takes a lot of focus,
consistency and knowing oneself extremely well. Once this is
mastered you can really enjoy making every show your best show.
Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL?
What I love most about being a part of Cirque du Soleil is
traveling, performing, the wonderful energy from the audience
and being surrounded by so much talent. And as if that werent
enough, I feel like I have a family on tour.
Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR
CURRENT CIRQUE CAREER?
I believe I was lucky to have started working with Cirque du
Soleil at such a young age because I quickly adapted and had my
mom accompanying me! However, now that I travel alone, I find
transitions easier to make.
Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE?
It is an opportunity to make a career out of what you love to
do. Not to mention the excitement of exploring new cities and
the diverse cultures, languages, and people you work with. Also,
there is always something new to learn
I began a singer and now
I practice aerial acrobatics!
Q. HOW IS LIFE ON TOUR?
Life on tour is definitely different. Learning to live out of a
couple suitcases is always challenging, especially if you love
shoes like me! It is great though, and arriving in a new city is
always exciting because there are so many things to see and
explore! Life on tour is NEVERboring.
Q. ANYTHING ELSE YOU WOULD LIKE TO SHARE WITH US?
My experience with Cirque du Soleil has been one of great
excitement. I began to work with the company at age 13 and
traveled all through North America and even Japan. I left Quidam
to finish high school and go to the University and, after
completing one year at college, I am now back on tour with
Cirque du Soleil working on Corteo. I am so honored and I
anticipate working for Cirque du Soleil in the future!
* * *
ERIC SCRIBNER
United States | Drummer
Q. WHAT WAS YOUR BIGGEST ARTISTIC ACHIEVEMENT PRIOR TO JOINING CIRQUE
DU SOLEIL?
Worked for major Las Vegas production shows.
Q. PLEASE TELL US ABOUT YOUR ARTISTIC BACKGROUND BEFORE JOINING
CIRQUE.
I began drumming at age 3. I moved to Las Vegas when I was 19
and began freelancing with various bands.
Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL?
I was hired as a replacement artist at ZUMANITY in January 2004
and at O" in 2005, and in 2006 I was hired permanently at KÀ.
Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION? WHAT WAS THE
CONTEXT?
A friend invited me to an informal and mostly informational
meeting of local musicians organized by a representative from
Cirque casting.
Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION AND/OR TRAINING AND/OR
WORKSHOP?
My audition as a replacement artist revolved around four pieces
of music from ZUMANITY and I got to audition in the showroom
with the full orchestra. It was a blast.
Q. HOW DID YOUR INTEGRATION GO IN THE SHOW?
I was very fortunate because I was given six weeks to learn the
show, so my transition went very smoothly.
Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS
YOURSELF IN YOUR DISCIPLINE?
At Cirque, artists are encouraged to contribute ideas
so this
environment allows me to be creative every night.
Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL?
What I like most about Cirque are the people. There is such an
amazing, energetic and positive vibe here.
Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR
CURRENT CIRQUE CAREER?
Ive always been a musician, so it wasnt so much a career
change. However, I now have insurance benefits and scheduled
vacations.
Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE?
Great people who ask you to be creative and want you to evolve
as an artist.
Q. HOW IS LIFE IN LAS VEGAS?
Life in Vegas is a great community with schools, libraries and
outdoor recreation
you just happen to be near the best
nightlife anywhere.
Q. ANYTHING ELSE YOU WOULD LIKE TO SHARE WITH US?
Working at Cirque has been a dream come true!
* * *
EVE CASTELO BRANCO
Canada | Dance
Q. WHAT WAS YOUR BIGGEST ARTISTIC ACHIEVEMENT PRIOR TO JOINING CIRQUE
DU SOLEIL?
Ive been dancing various styles of dance since I was 8. My
artistic background is mostly based on movements, improvisations
and interpretations of modern dance. As a teenager I
participated in some Drum Corps International Championships
which gave me the opportunity to perform in front of thousands
of spectators and to travel.
Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL?
I joined Cirque in 2005 right after graduating from Les
Ateliers de Danse Moderne de Montréal Inc. during the creation
of DELIRIUM.
Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION? WHAT WAS THE
CONTEXT?
In May 2005, Gillian Ferrabee saw me perform at the LADMMI
graduates performance and invited me to audition for LOVE. Soon
after, Cirque approached me for a role
but it was for DELIRIUM!
Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION AND/OR TRAINING AND/OR
WORKSHOP?
In my audition I played characters, did some improvisation and
danced and danced. Like all auditions, it was exhausting, but it
was an exceptional experience that I will never forget.
Q. HOW DID YOUR INTEGRATION GO (EITHER IN MONTREAL OR IN A SHOW)?
My integration was fantastic. It was like diving head first into
a universe where dreams mix with extraordinary ideas, all the
while meeting incredible artists from all over the world. And
because the show was being created in my Montreal I was able to
live at home, surrounded by my family and friends.
Q. HOW DOES BEING PART OF A CIRQUE DU SOLEILSHOW ALLOW YOU TO EXPRESS
YOURSELF IN YOUR DISCIPLINE?
DELIRIUM is a show that gives its dancers an incredible
opportunity for improvisation and exploration, which I just
love. I get to dance in nearly all the acts, which means dancing
in many styles; from urban dance, to African and even the tango.
In 2007 I began an aerial act after learning Aerial Silks with
Émilie Therrien. So now, on top of dancing, I get to have fun
with something new.
Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL?
I love traveling, seeing new places and meeting people from
around the world. DELIRIUM changes town every two weeks which
allows for ample time to see the towns we visit! Another thing I
love is being able to perform night after night in front of
thousands of people. Its incredible!
Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR
CURRENT CIRQUE CAREER?
Because I started with Cirque right out of school, I would have
to say that my transition was quick and easy.
Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE?
Being a Cirque artist allows you to meet incredible people from
all over the world and you get to travel and experience
incredible things. On top of it all, we get to do what we love
to do the most! What could be better!
Q. HOW IS LIFE ON TOUR?
Life on tour can sometimes be difficult, we change city so often
without ever fully unpacking our bags. Having said that, I must
say that touring is a unique experience that I truly enjoy.
# # #
Stay tuned for more pieces of this series coming soon! In Part Two,
well hear from Hassan El Hajjami (Hip-hop & Breakdance), Jean-
François Houle (Bandleaders), Jeanne Dioman Gbou (Ethnic & Traditional
dance), Julia Lopatkina (Acrobatic gymnastics), and Kristin Allen
(Acrobatic gymnastics). In Part Three: Lionel Hamel (Stringed
instruments), Lisa Skinner (Artistic gymnastics), Marco De Santi
(Extreme sports), Melissa Urbano (Martial arts), and Michael Joseph
Hachey (Stringed instruments). In Part Four: Miho Kono (Synchronized
swimming), Miro Lacasse (Physical Actors), Noriko Takahashi (Diverse
abilities), Odmaa Bayartsogt (Other disciplines), and Oleksandr
Pylypenko (Athletes). In Part Five: Paulo Lorador (Balancing), PJ
Bogart (Diving), Raphaël Sanchez (Keyboard instruments), Ross Gibson
(Tumbling), and Sabú Alegría (Wheels). And in the final installment:
Suo Liu (Martial arts), Tumelo Michael" Moloi (Other dance styles),
Vanessa Convery (Jazz & Tap dance), Zara Tellander (Female vocals),
and Zeng jiao JIAN (Martial arts).
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 16, Number 9 (Issue #152) - September 2016
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2016 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.
{ Sep.xx.2016 }
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