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Fascination Issue 147
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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 4 April 2016 ISSUE #147
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
One Hundred and Forty issues ago, the Fascination! Newsletter made its
first trek to the old quays of Montréal to witness a new Cirque du
Soleil show take its first tentative steps. That premiere was such a
fantastic experience I knew I'd do anything to return for the next!
Those of you whove met me know I am a champion for experiencing the
premiere of a new Cirque du Soleil show amongst the hometown crowd.
There's absolutely no substitute for being in the stands of the Grand
Chapiteau with a couple-thousand Québécois, clapping and stomping to
the show's beat, having a marvelous time celebrating the birth of a
new show together. Its a magical, enlightening sentiment you cant
get anywhere else - except in Cirques hometown.
Traveling to Montréal for premiere weekend has provided many indelible
memories for me. My inaugural experience with this brand of euphoria
came with witnessing Varekais birth in 2002. I knew from the moment I
stepped foot on the cobblestoned streets of the venerable old port
that this was how you celebrated a new Cirque du Soleil show, and I
wanted to be a part of it from then on. I repeated the experienced
with about a hundred other fans by co-organizing (and attending)
CirqueCon 2005 for Corteo's premiere, met friends here again for
2007's Koozå, 2009's OVO, 2010's Totem (for CirqueCon 2010), and
2012's premiere of Amaluna. But now with "LUZIA: A Waking Dream of
Mexico" set to make its mark later this month... for the first time
since Fascination! began publishing I will not be there to experience
this new euphoria.
WHAT?! WHY?! DON'T YOU LIKE THE SHOW?! DON'T YOU LIKE MEXICAN CULTURE?
Of course I do; I have new priorities just now...
On April 1, 2016, I became a father for the first time! So my new baby
boy will keep me home for a little while. :) While I may not have any
opportunity to see Luzia premiere on April 22nd, plans are afoot to
travel up in late May for a Paramour-Luzia double-whammy, so we'll see
how that goes. We'll get there. In the meantime, I'm definitely
enjoying the pictures and videos from Thursday, April 7th's press
conference (check out the link to videos posted to Instagram in the
special LUZIA section this month) and look forward to many more pieces
of information about the show that are due to be released in the
coming days/weeks.
Meanwhile, way back in November Cirque du Soleil teased us that the
"world of OVO was buzzing with action again" and to stay tuned for
details about the show's upcoming return. Since then we've seen a list
of about a dozen cities the show will visit (Lake Charles, Louisiana
being the first, on April 8th), but very little about in what form the
show would return... until most recently. Rumors swirled - and
pictures proved - that OVO's stage was changing. "A completely new
stage and acrobatic structure have been fabricated for OVO arena
tour," they said. And it was round. Furthermore, the backdrop looked
mysteriously like Dralion's set piece and it meant that many other
changes were abound. On March 14th fans were treated to a little sneak
peek at just a few of the changes:
- An Aerial Straps Duo is replacing the Spanish Web pair
- The Flying Act is being replaced by a Paradise-like act
(from Corteo)
- And the all-female Acrosport team is being replaced by an
acro-trio (two males and one female)
And on Friday, March 17th, press conference at the Lake Charles City
Hall was held to introduce southwest Louisiana to Cirque du Soleil. In
these pictures it appears that many of the cast is back with us, ready
to launch another era for OVO! And we wish them all the luck in the
world. Now, it is no secret that OVO is not my favorite Cirque du
Soleil show, but I don't hate it either. It took some time for me to
warm up to it and I can safely say I enjoy it for what it is meant to
be. I'm actually quite interested in seeing all the new changes...
what about you?
[Check out the following video on these new changes
(https://youtu.be/tDF9EdwjN5M) and don't forget to check the
ITINERAIRE section for OVO's tour!]
We talked a little bit about OVO's return in the second episode of
CirqueCast. What is CirqueCast? CirqueCast is a Vodcast (that's video
podcast) for Cirque fans by Cirque fans featuring artist interviews,
Cirque headlines, and the inside scoop to your favorite Cirque du
Soleil shows. Join your hosts José Pérez (TheChapiteau), Richard
"Richasi" Russo (Fascination!), Ian Twitch Rents (Hardcore Cirque
Fans), and Dario Shame (a Big ol Fan) as we bring you a behind-the-
scenes look into Cirque du Soleil, complete with discussions and the
latest Cirque news. In our second episode, we talked about changes to
the Las Vegas shows, One Night for One Drop, the scoop on what's going
on with Luzia, and a look at OVO returning. And for our feature this
month, Jose visits Cirque's IHQ in Montreal. All this and more so
check our our second episode here: https://youtu.be/5ShwO5YZzQw
In other news, Criss Angel BELIEVE will close on April 17th to be
replaced by "Mindfreak Live" on May 11th, which will move Cirque into
a production role rather than a creative one - learn more about that
inside this month. Cirque du Soleil execs have hired lawyers to sue
pop superstar Justin Timberlake over his song "Don't Hold the Wall"
from his album "20/20 Experience" claiming the Grammy-winning singer
sampled one of its original performance songs, "Steel Dream," in its
show "Quidam." Cirque wants $800,000 in a New York federal court for
copyright infringement. [Check out the news article within for a link
to the song in question.] PARAMOUR also had a moment in the spotlight
this month with the press debut of the show's Western Scene (featuring
Russian Bar and Korean Plank: https://goo.gl/UStg9W). While it's going
to be interesting to see how much of this show has been re-imagined
from its IRIS roots, I'm not much of a fan of the cowboy bit! And
don't forget ZARKANA closes this month as well; it's final show will
be April 30th, so if you're interested in seeing it... you better go
now!
Theres plenty more to read about Cirque in this months issue too:
with the debut of the new E-boutique we thought it was time to have a
talk with Cirque about merchandise, so Keith reached out to Ann
Paladie, Las Vegas PR Director. Last month he began the conversation
about merchandise with Audrey Tillman, Director of Merchandising and
Operations, Resident Shows Division, Cirque du Soleil (Las Vegas) by
talking about the recently-debuted redesign of the Cirque eBoutique
< www.cirquestore.com > and several Las Vegas show boutiques, which
have recently come under direct Cirque management. In our second (and
final) installment, we go into the various categories of merchandise
how they're categorized, created, designed, and priced. Plus, we find
a Seattle connection! And we finish up exploring Guy Lalibertes
Poetic Social Mission with "Back on Earth - Mission Success!". And
more!
So, let's get started!
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
| |
| Realy Simple Syndication (RSS) Feed (News Only): |
| < http://www.cirquefascination.com/?feed=rss2 > |
| |
\----------------------------------------------------/
- Ricky "Richasi" Russo
===========
CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News for the Month
* Q&A - Quick Chats & Press Interviews
* Special Engagement - More In-depth Articles
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Fotos -- Images From Cirque & Other Photographs
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* "Extending the Experience: A Conversation about
Cirque Merchandise" (Part 2 of 2)
By: Keith Johnson - Seattle, Washington (USA)
* "One Night for One Drop 4: One Hell of a Night!"
A Special Collection of Articles from the Press
* "LUZIA: A Waking Dream of Mexico - Press Conference"
A Special Collection from the Cirque Press Room
* LOOK BACK: Guy Laliberte's Poetic Social Mission
PART 8 of 8: "Back on Earth - Mission Success!"
By: Ricky Russo - Atlanta, Georgia (USA)
o) Subscription Information
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
---------------------------------------------------
LA PRESSE General News for the Month
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Mystère Rehearsals Open to the Public!
{Mar.04.2016}
-------------------------------------------------------
Cirque du Soleil is inviting fans to get a behind-the-scenes
look at the production of Mystère by opening up their weekend
rehearsals. Beginning on Saturday, March 5, guests will be able
to see the acrobats work through their astounding stunts. Those
who visit during the rehearsals will also be offered two tickets
for just $99. Open rehearsal will take place every Saturday from
3 3:45 p.m. and Sunday from 5 5:30 p.m. There are no open
rehearsals during the weekdays. For more information about the
free rehearsals, please call the box office at 702-894-7722.
{ SOURCE: Cirque du Soleil }
La Nouba Coming Soon to Google Earth!
{Mar.05.2016}
-------------------------------------------------------
According to some La Nouba cast members via their Instagram
accounts, they were filming for Google Earth in the La Nouba
theater today. "Look out for it in about 3-4 months, you get to
see inside the theater and what we're up to from the comfort of
your own couch!"
{ SOURCE: Instagram }
SPARKED Wins at 2016 NYC Drone Film Festival
{Mar.07.2016}
-------------------------------------------------------
Back in January we ran a story promoting Cirque du Soleil's
SPARKED: A Live Interaction Between Humans and Quadcopters was
nominated for an award at the 2016 NYC Drone Film Festival to be
held at the beginning of March. We're pleased to announce that
SPARKED: A Live Interaction Between Humans and Quadcopters won
the 2016 New York City Drone Film Festival (NYCDFF) Featuring
Drones category!
NYCDFF is the world's first event exclusively dedicated to
celebrating the art of drone cinematography. The festival offers
an international platform for filmmakers from every corner of
the globe to exhibit their work in front of industry
professionals and the drone cinema fan community.
FILM /// < https://youtu.be/6C8OJsHfmpI >
Cirque du Soleil, ETH Zurich, and ETH spinoff Verity Studios
partnered to develop the short film that features 10 quadcopters
in a flying dance performance. The collaboration resulted in a
unique, interactive choreography where humans and drones move in
sync. Precise computer control allows for a large performance
and movement vocabulary of the quadcopters and opens the door to
many more applications in the future.
MAKING OF /// < https://youtu.be/7YqUocVcyrE >
{ SOURCE: RoboHub | http://goo.gl/r6BU6r }
Cirque du Soleil and Cirque Éloize Part Ways
{Mar.10.2016}
-------------------------------------------------------
(Translated from French using Google Translate)
"This partnership no longer fit the business strategy of Cirque
du Soleil, confirmed the spokesperson of the circus, Renée-
Claude Ménard. We are no longer in the diversification of our
business, it no longer matches our business reality. We want to
focus on our own shows and not be distracted in other
companies."
The contribution of the Circus was essentially to share his
contact book Éloize and help in organizing international tours.
From 2010 Éloize said taking advantage of "business expertise"
of Cirque du Soleil. This was done in the wake of the creation
of his show iD.
"It was a partnership that aimed to create synergies, says René-
Claude Ménard. Éloize was always regarded as a little brother.
They even accommodated them at home while they are remodeling
Dalhousie Station. We put them in contact with our network of
promoters, we helped them in terms of business and marketing."
Cirque Éloize, which has 35 permanent employees, the news was
not well received, quite the contrary.
"After more than five years, he [the general and artistic
director Jeannot Painchaud] wanted to take full control of the
Circus, although artistically, it has always been independent,
there were more or fewer projects that came to the Cirque Éloize
"says Maxime Charbonneau, Director of business development and
communications Cirque Éloize.
Still, Maxime Charbonneau positively evaluates Cirque's
participation, which has enabled to Éloize, he said, to "put in
place a functioning system for booking , finance, accounting."
"By being the responsibility of Cirque du Soleil, we could
establish best practices in the management of our company."
Specifically, Éloize has first and foremost had access to the
Cirque contact. "It is thanks to them we were able to organize
our tour of 98 performances in Russia the largest ever by a
Western company says Maxime Charbonneau. There was also a six-
week tour in Japan led by producer Fuji, partner of Cirque."
Does the withdrawal of the Cirque du Soleil mean a shortfall for
Éloize?
The business development and communications manager of Éloize
does not believe so. "Cirque has never injected funds in the
operation of Éloize, he said. He helped us, for example, to
provide loans for the purchase of equipment. Today, there are
lots of very promising projects, especially for special events."
Éloize, which announced just a few days touring China, now looks
to the future with optimism. Their two touring shows, iD and
Cirkopolis, are always popular. So much so that two new teams iD
and Cirkopolis will be established in the coming months. A new
creation also will be launched this year in August.
The choice of Cirque du Soleil
Cirque du Soleil's new sales manager chaired by businessman
Mitch Garber as a result of the sale of Cirque du Soleil to the
consortium led by US investment firm TPG Capital seeks to undo
all activities of Cirque that are not related to the live shows.
For example, the project Heart, created with the Catalan chefs
Albert and Ferran Adrià in the Spanish island of Ibiza, was
taken over by Guy Laliberté (and his company Red Moon). All
investment projects in bars as the Las Vegas Light were also
abandoned. Cirque's participation in Sid Lee had also been
removed.
Despite the withdrawal of Cirque with some community
organizations Saint-Michel as the popular Carrefour, Renee-
Claude Menard said Cirque continues to contribute in the
neighborhood, but differently.
"We no longer create Circus sites in the world. Today, we
support social circus instructors, but we do more selling."
It also gives the example of nomadic Arts, established in the
schools of St. Michael 10 years ago.
"This is a project that we initiated. It was developed, it works
well and has been supported by the school system. We continue to
support financially, but not in the same way. My restaurant
Saint-Michel, Vivre Saint-Michel in health are also
organizations that help, but we do not invest in the same way it
was 30 years, for sure. "
{ SOURCE: La Presse | http://goo.gl/6Pzxom }
45 Degrees Presents Tout écartillé, 2nd "Homage" Show
{Mar.15.2016}
-------------------------------------------------------
45 Degrees today presented the official poster and the title of
the second performance of Cirque du Soleil's "Homage Series"
series Tout écartillé this year inspired by the musical work
of Robert Charlebois!
About the Show
Under the creative direction of Daniel Fortin, this show of 75
minutes, created exclusively for the Amphitheatre Cogeco, will
bring together 25 artists in a staging by Jean-Guy Legault and
musical direction of Jean-Phi Goncalves.
On the trail of Lindberg, a retro-futuristic aviator in search
of perpetual travel, spectators will be treated to a
breathtaking plunge into an eclectic universe, ruffled, poetic
and tinged with daring all carried by the unbridled imagination
of Charlebois, where the journey is always more important than
the destination.
Creative Team
o Daniel Fortin Director of Creation
o Jean-Guy Legault Director
o Jean-Phi Gonçalvez Musical Director
o Geneviève Lizotte Set Designer
o Alain Jenkins Props Designer
o Marilène Bastien Costume Designer
o Florence Cornet Makeup Designer
o Etienne Boucher Lighting Designer
o David Girard Acrobatic Designer
o Lydia Bouchard Choreographer
Tickets for the 20 performances of the Tribute Series at the
Cogeco Amphitheatre in Trois-Rivières are for sale here:
http://bit.ly/cirquecharlebois
Check out the image of the show here:
http://www.cirquefascination.com/?p=7706
{ SOURCE: 45 Degrees }
"Bal en Blanc" to become a benefit event for One Drop
{Mar.18.2016}
-------------------------------------------------------
Produkt is proud to announce that it's teaming up as an official
cause partner with One Drop, the Montreal-based international
non-profit organization whose mission is to provide access to
safe water in communities worldwide. Along with the
participation of 45 DEGREES, Cirque du Soleil's Events and
Special Projects company, they are turning the world-renowned
Bal en Blanc festival into a benefit event to help make safe
water available to all. On Sunday March 27, Bal en Blanc will
feature a One Drop Moment created by 45 DEGREES, to showcase
this collaboration and provide attendees with a taste of what's
to come. This short introduction to One Drop sets the stage for
a larger partnership with Bal en Blanc in 2017 with plans to
export this concept around the world.
The Desire to Make a Difference
The electronic music scene brings together thousands of people
with a shared passion for music, generating an incredible wave
of universal energy powerful enough to transform the world. The
electronic dance music community is a long-time supporter of
social causes, both through individual DJs and high-profile
events worldwide, which makes this partnership a perfect fit.
"One Drop believes in the importance of engaging young people,
who make up the majority of Bal en Blanc attendees, in a
meaningful way because they truly understand the urgency with
which we need to move-time is running out for hundreds of
millions of us. Pairing One Drop with Bal en Blanc's young,
inspired and socially aware audience, has the potential to turn
the event into a major mobilizing, fundraising experience for
the cause of water." Catherine B. Bachand, CEO of One Drop.
"As new producers, we wanted to take Bal en Blanc up to a whole
new level and create an experience beyond all expectations. This
powerful partnership gives us an opportunity to do something
that makes a genuine and measurable difference. We strongly
believe that this partnership with One Drop is a turning point
for Blanc en Blanc, which is set to transcend borders. We are
proud to share a common goal of worldwide change." Alex K,
President, Produkt.
"Through this moment, we aim to create a memorable experience
for the Bal en Blanc audience. We are honoured to contribute 45
DEGREES' unique know-how to support One Drop and the cause of
water for all." Yasmine Khalil, President 45 DEGREES.
The 22nd Edition of Bal en Blanc
Since its launch over 20 years ago, Bal en Blanc has become a
staple of Montreal's music and cultural scene. Welcoming more
than 15,000 people every year, it has grown into the largest
indoor festival in Canada. The theme for the 22nd edition, which
will be held at Palais des Congrès on March 27, is Hippie chic,
a nod to the original source of inspiration for the industrial
dance events known as "Warehouse Parties". DJs and producers
from all over the world will be performing at Bal en Blanc,
including Grammy award winner Afrojack, Deorro, DJ Sneak, Kshmr,
Mark Knight, Shaun Frank, Sultan + Shepard, and many more. Arts
and culture will also be an important part of this year's event,
with the participation of four well-known Montreal urban
artists: Stikki Peaches, Jason Wasserman, Whatisadam and Xray.
The local art community has also been asked to submit public art
installations concepts, from which ten will be selected and
exhibited at the event. This edition is destined to become the
most impressive of all.
{ SOURCE: CNW }
Cirque @ The Adobe Summit 2016
{Mar.24.2016}
-------------------------------------------------------
At the heart of digital marketing is creativity and boldness.
Without an emotional connection with consumers, data is
absolutely meaningless. While data can amplify or direct a sense
of storytelling, ultimately a human approach is what counts.
Stories evoke emotions and emotions drive change. But changing
mere numbers to tell a story at scale is not easy. Despite
having cutting edge technology to spot trends and topics, data
can still be hugely overwhelming for many.
In fact, a quick survey of the 10,000 attendees of the summit
showed that 27% still felt that they were rookies with digital
marketing skills and only 30% felt they were great at it.
Approximately 43% of people felt they had some skills and their
organizations were slow and steady when it came to adopting new
digital tech. So how do you refrain from getting data-paralysis?
No matter where your digital capabilities are, you just get down
to business and get personal with the customer.
Getting personal isn't always about getting the consumer to open
up. Sometimes, it is about opening up first. One example of a
company which was ready to do so was Cirque du Soleil. Creating
an extravagant experience has always been at the heart of the
company, but with the strips in Las Vegas getting more and more
crowded and shows constantly drumming up noise for footfall,
Cique du Soleil felt that it would benefit more by turning the
volume down. The brand decided to get more intimate with its
consumer. "Our product doesn't translate [visually] onto other
mediums easily," said Alma Derricks, CMO of the company.
One way the show decided to get more intimate with its consumers
was by inviting them in back stage to get to know its designers
and musicians and telling their stories as well. Just 10 days
ago, Cirque du Soleil launched its first ever half day Master
Class, teaching dance to the public. Derricks added that the
plan for Cirque du Soleil is to grow this into regular master
classes to invite more of the public to get closer to the brand.
"It is a completely different way of engaging our customers from
the past."
{ SOURCE: Marketing-Interactive | http://goo.gl/U5tN5w }
Photo /// Luzia's "Papel picado"
{Mar.24.2016}
-------------------------------------------------------
What is a Papel picado?
According to Wikipedia, a Papel picado ("perforated paper,
literally peckered paper") is a decorative craft made out of
paper cut into elaborate designs. It is considered a Mexican
folk art. The designs are commonly cut from tissue paper using a
guide and small chisels, creating as many as forty banners at a
time. Papel picado can also be made by folding tissue paper and
using small, sharp scissors. Common themes include birds, floral
designs, and skeletons. They are commonly displayed for both
secular and religious occasions, such as Easter, Christmas, the
Day of the Dead, as well as during weddings, quinceañeras,
baptisms, and christenings. In Mexico, papel picado is
especially incorporated into altars during the Day of the Dead.
And in LUZIA, Cirque du Soleil has turned this into a beautiful
curtain: http://www.cirquefascination.com/?p=7883
{ SOURCE: Cirque du Soleil }
La Nouba Prepares for Rare Acrobatic Feat!
{Mar.30.2016}
-------------------------------------------------------
During a live show on Thursday, March 31st, Cirque du Soleil's
La Nouba, in partnership with Experience Kissimmee, will live
stream via Facebook Live and Periscope as the energetic Trapeze
troupe attempts two rarely performed tricks that only a handful
of Trapeze artists have accomplished.
The Double & 1/2 Layout to the Legs is an extremely skillful
maneuver that includes a 2 1/2 backward layout with a twist, all
performed within seconds before the artists is caught by his
legs. The second trick will be a Quadruple layout, which is
rumored to be completed less than 20 times in the 150 year
history of Trapeze.
"We are delighted to partner with Experience Kissimmee as we
bring this rare performance to life via Facebook Live," said
Neil Boyd, Company Manager for La Nouba. "This collaboration
between Cirque du Soleil and Experience Kissimmee allows for a
new, emerging way to engage fans during our attempt at feats
that are not common to the show."
To see the live broadcasts from behind the scenes and the
trapeze act, visit Experience Kissimmee's official Facebook page
at Facebook.com/ExperienceKissimmee during the 6 p.m. EDT
performance of La Nouba on Thursday, March 31. Experience
Kissimmee will also broadcast via Periscope. Follow @Kissimmee
on Twitter for updates. Fans can check the hashtag #CirqueLIVE
on Facebook, Twitter and Instagram to find sneak peeks and
broadcasts for the event.
UPDATE: Although the La Nouba trapeze team did not achieve this
amazing feat during the first show of the evening, they nailed
both skills during the second show, which you can see here:
https://www.facebook.com/LaNouba/videos/10153848858209902/
{ SOURCE: Laughing Place, Cirque du Soleil | http://goo.gl/YOpcxw }
Justin Timberlake Sued by Cirque du Soleil
Over His Song Don't Hold the Wall'
{Mar.31.2016}
-------------------------------------------------------
Cirque du Soleil has sued the Grammy-winning singer, accusing
him of sampling a part of one of the performance company's
original songs in his track "Don't Hold the Wall," a cut from
his 2013 album "The 20/20 Experience," without permission.
The lawsuit claims that Timberlake borrowed from "Steel Dream,"
a song that originally appeared in "Quidam," Cirque's ninth
stage production, and later on a 1997 album of the same name.
The suit, filed Thursday in a New York federal court, is seeking
$800,000 in copyright infringement damages.
(Check out the song here https://goo.gl/9y2aR4 and listen
around the 4-minute mark)
Timbaland, J-Roc and James Fauntleroy, "Don't Hold the Wall's"
co-writers, along with Sony Entertainment, Universal Music and
WB Music Corp were also named as defendants in Cirque's suit.
No stranger to copyright infringement-related accusations,
Timberlake was sued by the 1970s rhythm and blues band Sly,
Slick and Wicked earlier this year over his song "Suit & Tie,"
claiming that it borrowed elements from their song "Sho' Nuff."
This incident was followed by a similar claim in February, which
alleged that his Will.I.Am collaboration "Damn Girl" samples
from Perry Kibble's "A New Day Is Here at Last."
{ SOURCE: Variety | http://goo.gl/mlEVUj }
Dean Leaves Paramour Over "Creative Differences"
{Apr.02.2016}
-------------------------------------------------------
Things have gotten much more complicated for the upcoming high-
octane Cirque du Soleil show on Broadway: One of the leading
actors has left only 16 days until previews begin.
Producers for "Paramour," the first Cirque production created
specifically for Broadway, said Friday that Bradley Dean had
departed over "creative differences." He will be replaced by
Jeremy Kushnier.
The move came a day after a somewhat underwhelming press
presentation of a few of the musical's numbers and an
introduction to the performers at Lyric Theater. The change will
not push back the beginning of previews or the May 25 opening.
The show, which includes classic Cirque touches like aerial acts
and acrobats on teeterboards, has chosen somewhat puzzlingly
for Cirque's maiden voyage to Broadway to celebrate classic
Hollywood.
The plot centers on a romantic triangle that includes a
beautiful actress, celebrated movie director and young composer.
The trio goes from movie set to movie set, allowing acrobats to
spice up the musical numbers. Dean was to play the director
opposite Ruby Lewis as the actress and Ryan Vona as the
composer.
Lewis starred in "For the Record: Baz" at Light in Mandalay Bay
and Human Nature's Christmas show at the Venetian and was
plucked by Cirque officials for its and her Broadway debut.
Dean is a Broadway veteran with such credits as "Doctor Zhivago"
"The Last Ship" and the 2012 revival of "Evita." The
overwhelming majority of the cast is making their Broadway
debuts.
Losing a key performer so close to the beginning of previews is
not unprecedented, but it is usually due to an injury, not
internal differences in a show that has been developed for many
months like "Paramour." The show is directed by French stage
director and choreographer Philippe Decouflé.
{ SOURCE: Mark Kennedy, Associated Press | http://goo.gl/HuZUCj }
Luzia Soundtrack to be Released April 22nd!
{Apr.03.2016}
-------------------------------------------------------
The Luzia Soundtrack will be Released April 22nd - the same day
the show premieres!
01. Así Es La Vida .......... (4:49)
02. Tiembla La Tierra ....... (4:55)
03. Flores En El Desierto ... (4:29)
04. Pambolero ............... (4:51)
05. Pez Volador ............. (4:44)
06. Los Mosquitos ........... (4:37)
07. Alebrijes ............... (3:40)
08. Tlaloc .................. (3:48)
09. Cierra Los Ojos ......... (3:51)
10. Fiesta Finale ........... (4:32)
Total Run Time: 44:17
Pre-order the soundtrack from Amazon (MP3-$9.49, CD-$14.98) and
iTunes ($9.99) today!
AMAZON < https://www.amazon.com/gp/product/B01DC160T8 >
ITUNES < https://itunes.apple.com/us/album/luzia/id1096857369 >
---------------------------------------------------
Q&A - Quick Chats & Press Interviews
---------------------------------------------------
Out Magazine Goes Behind the Scenes with PARAMOUR
{Mar.17.2016}
-------------------------------------------------------
Having dazzled audiences world-wide, Cirque du Soleil now has
its sights set on Broadway. The company will make their Broadway
debut with Paramour, a new musical that begins previews at The
Lyric Theatre (213 West 42nd Street) on April 16. In
anticipation of the spectacle in store, Out Magazine caught up
with ensemble member Broadway veteran, former Survivor
competitor, and devoted fiancé Reed Kelly to get the inside
scoop on the show and how he balances work and his relationship.
Q. Out: We've all hear about how hard it is to be an openly out
actor in Hollywood. Do you find that being an out actor on
Broadway is difficult in any way?
Reed Kelly: I have to say that I've never encountered any sort
of prejudices, or anything like that, in the casting processes
that I've been involved in. But, I think that there is a few
people, still to this day, who might not be considered for
specific roles because people can't see past their sexuality.
Q. How did you come to be involved with Paramour?
I got a call from my agents saying that they were auditioning
for an untitled Cirque du Soleil project. Then, I kind of moved
forward from there. We went through the audition process, which
was really grueling. They saw a ton of people here in the city.
It kind of kept continuing on. You'd get callbacks, and they'd
make cuts throughout the day. We did all sorts of stuff. We
showed all of our tricks, like contortion, our singing, and
dancing. They just kept whittling it down and whittling it down
until they decided to make me an offer.
Q. I bet it would be challenging because being a triple threat
probably isn't enough for Cirque du Soleil.
Well, being a triple threat these days isn't enough on Broadway.
Everyone now has to be able to sing, dance, and act because gone
are the days when they would hire twenty dancers and twenty
singers, and you just come out and do your dance thing while
people sing behind you. Producers are looking for people that
can do more than one thing because they don't want to take the
risk of hiring so many people. So, being a triple threat is kind
of necessary at best at this point.
Q. Right now, your fiancé Josh is cast in the upcoming Broadway
production of Natasha, Pierre and the Great Comet of 1812.
How do you guys keep your relationship going?
Luckily, it worked out that Josh's show was just finishing up at
ART in Boston as rehearsals kicked off for Paramour. When one of
us is in rehearsals, the other one manages the home front. So, I
am lucky that Josh gets up in the morning with me and we have
breakfast together. Then, I go and rehearse during the day. When
I come home, he has dinner on the table, waiting, and the house
is nice and clean. It's great, and it is something that I was
able to do for him when he was doing Doctor Zhivago, in
rehearsals, and all of that. But finding moments of quality time
when you are so busy is so important, and it is something that
we make sure we do.
Q. You guys definitely have one of those romances that everyone
looks up to.
I am just so grateful because I feel like after all of these
years, especially being out here and being gay in New York City,
sometimes that can take a toll on your optimism for love. And
I've always been a hopeless romantic. I guess, after you spend a
long enough time out here in New York City, you can get a
little, pessimistic. I would think, Gosh, am I ever going to
find someone that I am going to want to spend the rest of my
life with? Then, entered Josh. It just goes to show you that you
have to keep up the hope.
Q. Without giving too much away, what is Paramour about?
Paramour is the story of a girl, who is plucked from obscurity,
and then has to choose between the love of one man and the love
of millions. It's really a story-driven show that brings
together the best of Broadway and the best of Cirque. So, that
means that you have a linear story. You are following this
girl's journey through her rise to fame, and through that you
get to experience high flying acrobatics, you get dance numbers,
and you will hear beautiful songs. It's the best of everything
all wrapped up in this glamorous package that is Paramour.
Q. You're doing some contortion work for Paramour. Did you get
into Cirque stuff prior to Broadway, or is that something
that you just added on later in your career?
I've always kind of dabbled, I'd say, in circus arts because
I've been in aerial. Also, growing up in dance competitions, one
of the things I excelled at was tricks, acro, and some
contortion stuff. I think all of those things sort of lend
themselves to working in a circus environment. When we
auditioned for the show they really wanted to see what we could
do because they wanted to use everyone's strengths. They were
looking for people who weren't really just musical theatre
dancers or singers, but people who had some extra abilities or
things that they could bring to the table. Mine has always been
tricks and my kind of extreme-flexibility.
Q. After rehearsing out on Long Island, what has it been like
getting into The Lyric Theatre?
It's super exciting because I was previously at The Lyric for
Spider-Man: Turn Off the Dark. That was back when it was called
The Foxwoods. It is really fun to be back at my old stomping
grounds, where I got to play Spider-Man. We're really excited to
be at this point where we have a show. We have a great structure
and we have a sense of what we are doing. Now we are ready to
really get it up on its feet.
Q. Why do you think audiences should be excited for Paramour?
I mean, why wouldn't they be excited for it? That's my stance
because Cirque du Soleil is incredible in everything that they
do. On a daily basis, I look around and there are people just
doing inhuman things in rehearsals. It's going to classic Cirque
combined with a Broadway story and songs. I can't stop singing
the songs that have been created for this show. Probably to
Josh's annoyance. I just keep singing these songs every day.
And, it's not because I am practicing, it's because I can't get
them out of my head. There is so much to look forward to. Not to
mention these epic sets and this glamorous hype.
{ SOURCE: Out Magazine | http://goo.gl/g34vUw }
Meet: Joe Darke TORUK Puppeteer
{Mar.23.2016}
-------------------------------------------------------
The first thing the cast members of the Cirque du Soleil
production "Toruk: The First Flight" were given were tails.
"When we started, the first that happened was someone coming up
to you and saying, Here's your tail,'" said Joe Darke. "We were
told, Wear it and get used to wearing it because it's going to
be with you for a long time.'"
"Toruk: The First Flight" is based on the James Cameron film
"Avatar," set on a distant planet called Pandora whose
inhabitants, called the Na'vi, are blue-skinned humanoids with
prehensile tails. Darke, however, is one of six members of the
cast who don't have to wear blue. Darke and his colleagues are
the production's puppeteers, in charge of bringing to life a
menagerie of alien creatures. "We're dressed completely in black
when we're on stage, but we still had to have the tails," Darke
said. "It's to show that, even though we aren't seen by the
other characters, we're still a part of the Na'vi world."
The creatures Darke and his fellow puppeteers embody range from
a slow-moving tortoise-like fellow called a turtapede to six-
legged direhorses and viperwolves. "I made sure I was the front
half of the horse," Darke said, laughing. "I operate the head
and mouth, and my legs are the front legs. The bloke in the back
is the horse's back legs, and he also operates the middle two
legs. My favorite characters are the viperwolves," he said.
"It's this six-legged wolf that also has some lizardy qualities
to it. They're surly beasts and fun to play."
Darke has been acting since the age of 10 and later studied at
the East 15 Acting School. He was the musical director and one
of the actors in the award-winning play "Bound," presented by
Bear Trap Theatre Company that was a hit of the 2010 Edinburgh
Fringe Festival, and got his start in puppetry in the United
Kingdom and South African productions of "War Horse."
"War Horse" was Darke's first major puppeteering job, but it
didn't quite prepare him for what the creations for "Toruk: The
First Flight" required. "Cirque du Soleil is always trying to do
things bigger and better," he said. "In this show, every puppet
is different, and they are trying things that have never been
done before."
The Toruk itself is an example. A dragon-like creature with a
40-foot wingspan that takes six people to control, it is created
to be a "reverse marionette" instead of the operators
manipulating the puppet from above, Darke and his colleagues are
on the ground. "One guy controls the head, two work the
shoulders, two manipulate the wings and I have the tail," Darke
said. The puppeteers were involved in the creative process from
the start, Darke said.
"Basically, it was the designer (Patrick Martel) and the six of
us in a room saying, Let's try this' and Here, do that,'" he
said. "We had three months of creation and rehearsal, and they
gave us an incredible amount of freedom to help realize these
things. For example, the original designer of the viperwolves
had this huge harness we were supposed to wear," Darke said. "We
finally realized that it would be more efficient and more
effective if we just wore the things. It also helps that each
puppet was made specifically to your needs. If the least little
thing is out of kilter, you know it."
{ SOURCE: Tulsa World | http://goo.gl/xZ0WvU }
Q&A w/Alma Derricks, VP of Sales and Marketing
{Mar.30.2016}
-------------------------------------------------------
The most radical thing Cirque du Soleil can do when it comes to
digitizing the consumer experience of its brand is to become
more intimate, its marketing leader claims.
Alma Derricks took over as the circus organization's VP of sales
and marketing for its resident shows division in Las Vegas last
July, just after the business transferred to new owners, TPG.
Since then, and in the same vein as the wider transformation
being experienced by the group, she has set out to look at every
aspect of its approach to consumer engagement in order to tell
the Cirque story better.
"For me, it's an inflexion point when you have new ownership
and change, it's an opportunity to re-ask all the questions as
everything is back on the table," she said during a presentation
at the Adobe Digital Marketing Summit.
"For example, our brand is incredibly strong on stage. Where we
are challenged is what happens beyond the footlights how do we
talk to you and come down literally from the heights and
interact with you."
According to Derricks, leading with customer experience doesn't
just mean experiencing what's on stage, it's about bringing
audiences closer by taking them behind the curtain to understand
the bigger story behind the show.
"What we're hearing from fans and audiences is that they want to
know more about the person behind the grease paint," she said.
"We are turning the volume down, having small conversations and
telling new stories. This is new territory for us, as we've
never presented ourselves that way before."
To bring people closer, Derricks is turning to both digital and
mobile channels as well as analogue experiences. One recent
physical offering led by marketing is Cirqueshops', or
workshops that break down and teach elements of the shows, from
music to design, dance, wardrobe and makeup. Another initiative
is Spark sessions, which allow corporate teams to participate in
the physical experience of Cirque du Soleil.
"All of this is about inviting audiences in and accessing us in
a different way," Derricks said.
Derricks spoke exclusively to CMO about her wider marketing
strategy and what she's doing to ensure Cirque is a customer
experience-led organization.
Q. What was the brief and remit for you coming into the role?
One of the first things was about the culture of the team,
unifying the team and getting them back.
The very first thing I said to the team was this is not a glass
half empty situation. This brand is incredibly resilient, and
what you deliver is remarkable. I don't want any of you to take
TPG or my questions wrong in any way, we're just trying to take
this to the next level and ask questions we put on the shelf.
For example, in Las Vegas, there's a set canon of marketing
techniques you use videos at the airport, baggage claim, taxi
toppers and building wraps. I want to ask the question: How much
of that still matters? If we didn't have taxi toppers and
redirected that money to digital, could we do that? Or is this
canon immutable?
Q. Cirque is unconventional in terms of its content. How you
balance the conventional with the unconventional in your
marketing strategy?
It's not that we're changing or doing something devastatingly
different with our marketing techniques in fact we're playing
catchup a lot on the digital side as we weren't first party to a
lot of that and that checklist will look pretty conventional
to most marketers.
Where I think the innovation will come is in finding new ways to
get people closer to our property. I won't necessarily deliver
the most innovative ad, but there is certainly a high bar and
expectation that our app can't just be any old app. We just had
a conversation about our next app as we're relaunching that, and
it spanned from utility and basic things like looking for the
tent or where to park, all the way out to the most delightful
thing you can imagine.
For example, if we know you're there, we can geotarget you and
our clowns can come find you, or we can sprinkle you with dust.
There is this span of capabilities. What's important is we can't
give one up for the other. We also put a dimension of time in
it, so there's a heat moment just leading up to the show, during
the show and then after. But what about the two years before you
experience our live show again? What's that relationship like?
My instinct is we can do some fun things with notifications,
pop-ups and so on. Our fans like us we are not the worst email
to receive in the world. But we have to live up to the idea of
the show and remind you of that delightful moment. How do we do
that and evoke that without annoying you for those two years?
That's where the innovative piece has less to do with a new
banner campaign, and more about all those ways we can have a
conversation with you.
Q. How do you define digital at Cirque?
On the one hand, there is the infrastructure, enterprise stuff
that would be recognizable to any company. For us, the need to
have more advanced ticketing infrastructure is also important.
That's the kind of work that supports marketing. Even just
gathering our data in one place is part of the process for this
data warehouse process. It's the first time we have had to do
that really and it's a monster of a project.
The part of digital that excites me is the storytelling
opportunities and the chance to have conversations, and dissect
these beautiful shows we do that are enormous in scale and
larger than life. Digital is the place where we can get
granular. I want to connect our make-up specialists, who are
artists in their own right, granularly with that community of
people for whom that is their passion. I want to connect our
dancers and costume designers and those micro conversations to
happen.
We're primed for it. Our performers are largely digital natives,
they push us and have performers with Instagram followings that
are 10 times that of Cirque's. We have visual stories to tell,
so all this media is great for them and they're pushing us into
that space.
Historically, Cirque was more concerned about not having one
star. Everyone was part of the whole spectacle. There was
resistance in the early days of the Internet and pre-social
media, and there was a conscious effort to not unmask people or
that a show was starring a particular person. So much has
changed since then. What's interesting is the artists are ready
for it. So Cirque is catching up with it and there is no
resistance anymore.
Q. How do you prepare your people for those conversations and
activities?
Our artists often have very short performing careers and for
them, there's a need to figure out what the next thing is.
Traditionally, it could be becoming an artistic director,
choreographing, director, but it happens in a short window of
time.
We're discovering people through this process. One is Emily
Tiernan, who came to us with this notion about creating our
Cirque workshops in different categories. She is a business
major, already considering the end of the dance career, and she
thought this could be an interesting internship opportunity with
the marketing crew. Next thing she knew she was leading this
initiative.
Not only did we create an organic program, led by someone who
knows this community in the most intimate way
she's now saying
this is what she wants to do long-term. The message that sends
back to the company is fantastic. There are so many ways it
becomes valuable in helping our artists to develop.
The other thing is that sales and marketing are one unit at
Cirque. We have specialists on both sides of the ledger, but
what's fascinating is how verbal people are everywhere about
sales, as we're driven by ticket and gate.
In my first sales and marketing retreat, I asked them about
lunch and learns, and what topics and reports we should do. My
group collectively all said they wanted to understand the
financials, of how pricing and discounting works. Standing on
stage, they see the result of what I do every night, and whether
it's a half house or full house, it matters to them. It's
fascinating that a circus organically found a way to bring all
that into one conversation. The passion on top of that is an
intense commitment to what we do every day fuels that further.
Q. What are some ways you're looking to drive intimacy through
your digital marketing strategy?
The balance with traditional analogue and digital is still about
70-30. Within that, Facebook has been tremendously important for
us. It's a place where we can eavesdrop on conversations and
know more about our customers. That and our paid social network
are the core of our 30 per cent digital spend. Then there is the
social content strategy that augments that and where a lot of
our effort goes.
We have campaigns that go out geographically, and we're really
starting to emphasis our feeder' markets, such as Los Angeles,
which has the highest visitation to Las Vegas. So we're rolling
out outdoor, radio and digital.
We are still largely dependent on analogue things brand
ambassadors, star appearances. It comes down to using a standard
list of categories all the way to things as basic as texting on
arrival to welcome you to a show.
Through all this, mobile is incredibly important for us,
especially in a leisure town, and that's where it becomes
important for us to build our own data strengths and assets, and
have an ability to communicate to that army of fans directly.
{ SOURCE: CMO | http://goo.gl/ao1zjN }
Meet Thomas Duchaine, TORUK Production Manager
{Mar.31.2016}
-------------------------------------------------------
Toruk is one of Cirque du Soleil's most high-tech shows and
features the largest set. The show requires a team of 100 to
make it possible, and the Kansas City Business Journal talked to
Production Manager Thomas Duchaine to learn exactly what it
takes to pull off the show.
Toruk's story draws inspiration from James Cameron's film,
"Avatar," and brings the scenes to life with the aid of 40
projectors. The entire set was scanned in 3-D to create a
digital 3-D model that's projected onto the set, walls and
ceiling to create various depths and textures. For example, a
piece of foam can transform from a rock in one scene to a flower
in the next with the help of projectors. At one point, lava will
appear to be oozing from the floor, thanks to video, smoke and
other "secret elements," Duchaine said. Then, there's the
beacons that are attached to the set and performers to track
their movement in real-time, allowing the projectors to
correctly line up video and other lighting elements.
"People often say, Cirque Du Soleil they have money, and
that's why they succeed on doing things.' I would strongly
disagree on that," he said. "The money never made a good show.
Passion and planning in everything that's what makes a good
show. We're 100 people on tour, and without the presence of one
of those, everything becomes harder. So we need everybody
working together; I think that's what the secret is and what
makes it work so well."
There's the production crew, the performers, the medical staff,
the engineers. The list continues. At each venue, the team must
modify its setup to fit the venue's space and consider the sight
lines for the audience. The production also needs a ceiling
height that exceeds 57 feet, and the crew consults with
engineers for each venue.
"Having a show that is 120,000 pounds not every roof can take.
So we have to be able to have an engineering process where we
are certain the roof we are going to hook onto will be able to
sustain it. Sometimes it's not just the sheer weight of the
things hanging, but the way we need to hang them on. Is the roof
going to take the angle of the bridle? There's a lot of
specifics the engineers are looking at," he said. "The other
challenge, once you're in the venue, is to be able to cope with
every problem that comes to you, and that's the normal life.
Nothing is perfect, and the only thing that can be is the way
you react to problems and try to make it as best as you can."
For instance, there might be a permanent speaker at a venue that
the crew previously didn't know about and will have to work
around. At one of Cirque du Soleil's Quidam shows, an earthquake
hit near the venue and the crew had to do a full roof inspection
to ensure that the show could go on.
"It's safety first," he said.
A "By the Numbers" breakdown of Toruk:
o) 27 trucks to transport equipment, sets, merchandise and
catering
o) 100 booked hotel rooms in Kansas City
o) 38 performers
o) 5 main characters
o) 16 puppets
o) 157 people hired locally to help the Toruk team unload
equipment
o) 130 people hired locally to help the Toruk team pack up
equipment
o) 5 hours to tear down and load the set and equipment
o) 40 beacons
o) 40 projectors that can create a surface five times the
size of a standard IMAX screen
o) 145 anchor points for hanging equipment
And some Pics:
http://www.cirquefascination.com/?p=7925
{ SOURCE: Kansas City Business Journal | http://goo.gl/sZh8vS }
---------------------------------------------------
SPECIAL ENGAGEMENT - More In-depth Articles
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BELIEVE Ends April 17th, Replaced by "Mindfreak Live"
{Mar.17.2016}
-------------------------------------------------------
Following the celebration of BeLIEve's 7th anniversary as the
number one best-selling magic production in Las Vegas, superstar
magician, Criss Angel will unleash the future this spring at
Luxor Hotel & Casino with his brand new creation MINDFREAK
LIVE!. The new immersive spectacle based on the wildly
successful touring version, which performed to sell-out houses
across the country and was hailed as the "Magic Experience of a
Lifetime" will replace the critically acclaimed CRISS ANGEL
BeLIEve.
"Thank you to all the Loyal fans who have made BeLIEve the best-
selling magic show in Las Vegas since its opening in 2008," said
Criss Angel. "It was an amazing 7-plus years, and I am so
excited to bring MINDFREAK LIVE! to my home at Luxor."
Based on Angel's breakout hit TV show, MINDFREAK, which smashed
records and counted an audience of more than 100 million viewers
in each of its six seasons on A&E, MINDFREAK LIVE! will showcase
90-minutes of the most spectacular, original and revolutionary
illusions ever performed on stage.
Nik Rytterstrom, general manager of Luxor, said, "For the past
seven years Criss has been entertaining millions of fans with
BeLIEve at Luxor. We look forward to unveiling his new
groundbreaking show to our guests this summer." With a cast that
includes some of the world's most talented specialty artists,
Angel will bring his vision to life with a blend of heart-
stopping original illusions, state-of-the-art animated LED
lighting and RGB laser explosions, LED virtual worlds, 3-D
immersive effects, pyrotechnic landscapes, live musicians/DJ,
and much more.
"Criss is a pioneering and visionary artist and together we
created BeLIEve, a first-of-its-kind magic stage phenomenon, of
which we are all tremendously proud," said Jerry Nadal, senior
vice president, Cirque du Soleil. "When we first saw Criss' new
production MINDFREAK® LIVE! on tour, werealized how much he has
continued to push the envelope, and the show's unlimited
potential for Criss' fan base and Las Vegas' international
audience. We are very enthusiastic to continue our partnership
with the biggest name in magic as Criss brings his latest
unparalleled vision to life at Luxor."
# # #
"I believe it will be my greatest work to date," Angel said by
telephone Thursday. "It gives me a license to create what I've
always wanted to do, things I've been working on for many, many
years."
Cirque du Soleil will continue as producer in the new effort,
which stems from a show Angel has performed outside the market.
Angel will carry the title of executive producer and director.
"I have no handcuffs on me at all," he said. Angel said two and
a half years still remain on his original 10-year contract with
Cirque.
The original version of "Believe" was widely considered a
misstep when it opened in October 2008; it was more of a Cirque
du Soleil production show with the magician disconnected from
the persona he had created on TV. Angel gradually reconfigured
"Believe" into more of a straightforward illusion show,
stripping away the choreography and narrative. But even when he
got the show streamlined into more of what fans expected, "I had
to play in a sandbox that was already constructed. I wasn't
really able to go outside that box," Angel said, in terms of
spending more money on sets and costumes beyond those in the
original show.
"With this show, I'm able to start from scratch and not have to
re-purpose things and work within the parameters of Cirque du
Soleil," he said. "I have the freedom to start from the ground
up and really see through what my vision really is. And it's an
ambitious vision, but one that is incredibly different (from
Believe')."
Angel said the new show will use new 3-D immersion effects,
cutting-edge video walls and a new levitation technique. It will
be connected with an autobiographical thread. "The show
essentially is the evolution of Criss Angel," he says. "For
people who don't know me, they'll get to understand who I am,
and understand the genesis of my career and how I got to where
I'm at."
"It's very theatrical," he adds, with less of him talking to the
audience than in the current show. "I'm going back to things
I've done and performing them in the form that I did them years
ago. People will really get to understand and see my career and
what affects me in my personal life."
# # #
MINDFREAK LIVE! will begin in preview performances on May 11 and
officially opens June 23. Tickets are on sale now and available
by calling 702-262-4400 or visit cirquedusoleil.com/las-vegas.
Criss Angel MINDFREAK LIVE! was Created and Directed by Criss
Angel and Executive Produced by APWI and Cirque du Soleil.
MINDFREAK LIVE! will perform Wednesday through Sunday at 7:00pm
and 9:30pm. Tickets start at $59.
CRISS ANGEL BeLIEve from Cirque du Soleil will end its run on
April 17 after more than 3000 performances, thrilling more than
4 million guests since opening in October 2008.
{ SOURCE: Las Vegas Review-Journal, Criss Angel |
http://goo.gl/1b6XFK, https://goo.gl/WwYTHQ }
Chloe Crawford to co-star in Mindfreak Live!' at Luxor
{Mar.22.2016}
-------------------------------------------------------
Criss Angel has made official what has been apparent since last
fall: He plans to make Chloe Crawford a star in his magic
universe.
Crawford is to be a co-star in Angel's "Mindfreak Live!" opening
at the Luxor on May 11. A partnership with Cirque du Soleil, the
show replaces "Believe," which closes April 17 after a 7 1/2-
year run at the hotel.
"Mindfreak Live!" is to feature Angel with a cast of performers
who bring such skills as acrobatics, "tricking" and body
balancing. The production charts Angel's life and career path as
a young magician to the Las Vegas stage.
Crawford became well known in Las Vegas as a cast member of
"Fantasy" at the Luxor and as an assistant in her then-husband
Murray Sawchuck's afternoon comedy-magic show, first at Laugh
Factory at Tropicana and later Sin City Theater at Planet
Hollywood. Last year, she earned a spot on "Britain's Got
Talent," reaching the show's finals while impressing judge Simon
Cowell with her disappearing motorcycle act. Upon return,
Crawford left Sawchuck's stage show and, by October, the couple
had announced their divorce.
Angel was swiftly introducing Crawford from his audiences at the
Luxor, as he's promised, "You'll be hearing big things from her
very soon." Crawford has frequently been at his side in public,
including during Friday night's "One Night for One Drop" Cirque
charity production at the Smith Center.
Before this morning's announcement, Angel has resisted
specifically naming Crawford as a featured performer in what
would become "Mindfreak Live!" But today's announcement
represents the big reveal in Angel's highly anticipated new
production.
"I'm going to be in a show that is revolutionary in the world of
magic that nobody else has the ability or technology to do
onstage," Crawford said in a phone conversation this morning. "I
am still new to magic, of course, but we will be adding and
progressing, and I'll be learning more and more as we develop
this show."
"I am very excited to sign the hottest, most talented female
magician who moves like magic," Angel said today in a news
release announcing Crawford's role in the new show. "She will be
a force to be reckoned with, as she has already surpassed most
of the male magicians playing Las Vegas. I anticipate even
greater things for her and am honored to be working with her and
Krystyn Lambert (long a member of "The Supernaturalists" touring
show), two of the best female magicians on the planet."
Crawford also had been featured in Angel's touring production of
"The Supernaturalists" in the winter, leading to further
speculation and expectation that she would be a prominent
performer in Angel's show on the Strip.
In "The Supernaturalists," Crawford performed a series of
illusions in which she swallowed a strand of razor blades,
escaped from a strait jacket while suspended upside down and
"metamorphosis," in which Angel and she swap positions after she
is locked in a chained trunk onstage. In "Mindfreak," expect
more acts to be added to what Crawford has already learned in
her development as a magician. Her image, too, is evolving.
Notice the employment of hard black leather and silver-spiked
studs in her promotional photos.
"I've been through a lot of change in my life, and we came up
with a new look and it's great," Crawford said. "It's a lot less
pink and polka dots and a lot more rock 'n' roll."
Crawford also has been "working out like crazy" to keep pace
with other members of the cast and meet the physical demands of
the show, which is to run though October 2018.
"Criss has 2 1/2 more years on his contract, and we'll see what
happens then," Crawford said. "I just want to keep building on
what we've already accomplished. I would love to do more TV at
some point, but right now I'm just trying to improve.
Criss
has seen that I have potential to be the best, and I'm grateful
for that."
When asked if she would want a show of her own under the Criss
Angel brand, the budding magician said, "I would love that,
absolutely. Who wouldn't want that?"
{ SOURCE: John Katsilometes, Las Vegas News Sun |
http://goo.gl/39jzBp }
Criss Angel sets Mindfreak Live!' cast
{Mar.31.2016}
-------------------------------------------------------
The magic in Criss Angel's new show on the Strip is to arrive
from two performers: Angel himself and Chloe Crawford. This is
the overarching message from the casting of Angel's "Mindfreak
Live!" at Luxor opening May 11. The new show supplants
"Believe," which is closing April 17. "Mindfreak Live!" is
designed to carry Angel through the remainder of his contract
with Cirque du Soleil at the hotel, which runs through October
2018. In the announcement of the show, Angel has elevated
Crawford to the role of co-star, and it is clear that these two
will deliver the magic. But there is a large ensemble in this
production, too.
Making up that crew: Comic actor Mateo Amieva (Maestro from
"Believe"), Penny Wiggins (who long portrayed Psychic Tanya, the
daffy sidekick of The Amazing Johnathan), "tricking" artist
Chase Jarvis, dancer/acrobat Daniel Torres, dancer Michelle
DiTerlizzi (late of "Peepshow," "Vegas! The Show" and Holly
Madison's 1923 Bourbon & Burlesque at Mandalay Bay), acrobat
Tatiana Mayarov, dancer Daymara Sibat, hand balancer/acrobat
Denys Tolstov, acrobat Josh Spencer, dancer Maila Aberg and
musicians/video jockeys DJeff and Del Cheetah.
That lineup is charged with helping Angel convey the
autobiographical story from his days as a kid in New York to the
"Mindfreak" TV show through to the Las Vegas stage. Angel is
ramping up the production with all variety of advanced video,
stage technology and new acts, with Crawford and he performing
amid a series of dancers and acrobatic artists.
{ SOURCE: The Las Vegas Sun | http://goo.gl/xz24WU }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia & Totem}
o) ARENA - In Stadium-like venues
{Varekai, TORUK & OVO}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
MJ ONE & JOYÀ}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
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:
Amsterdam, NL -- Mar 17, 2016 to May 1, 2016
Frankfurt, DE -- May 11, 2016 to Jun 12, 2016
Knokke-Heist, BE -- Jul 14, 2016 to Aug 7, 2016
Manchester, UK -- Sep 7, 2016 to Oct 2, 2016
London, UK -- Jan 12, 2017 to Feb 4, 2017
Vienna, AT -- Mar 9, 2017 to Apr 2, 2017
Koozå:
Buenos Aires, AR -- Apr 21, 2016 to May 8, 2016
Santiago, CL -- Jul 19, 2016, 2016 to Jul 31, 2016
Sydney, AU -- Aug 25, 2016 to Nov 13, 2016
Brisbane, AU -- Nov 24, 2016 to Jan 8, 2017
Melbourne, AU -- Jan 20, 2017 to Mar 26, 2017
Perth, AU -- TBA
Kurios:
Atlanta, GA -- Mar 3, 2016 to May 8, 2016
Boston, MA -- May 26, 2016 to Jul 10, 2016
Washington, DC -- Jul 21, 2016 to Sep 18, 2016
New York City, NY -- Sep 29, 2016 to Nov 27, 2016
Miami, FL -- TBA
Luzia:
Montreal, QC -- Apr 21, 2016 to Jul 3, 2016
Toronto, ON -- Jul 28, 2016 to Oct 2, 2016
San Francisco, CA -- Nov 10, 2016 to Jan 22, 2017
Seattle, WA -- Feb 2, 2017 to Mar 26, 2017
Calgary, AB -- Apr 6, 2017 to May 21, 2017
Totem:
Tokyo, JP Feb 03, 2016 to Jun 26, 2016
Osaka, JP - Jul 14, 2016 to Oct 12, 2016
Nagoya, JP - Nov 10, 2016 to Jan 15, 2017
Fukuoka, JP - Feb 2017 to TBA
Sendai, JP - Apr 2017 to TBA
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Varekai:
Moscow, RU -- Apr 14, 2016 to Apr 24, 2016
St Petersburg, RU -- Apr 27, 2016 to May 8, 2016
Kazan, RU -- May 11, 2016 to May 15, 2016
Chelyabinsk, RU -- May 18, 2016 to May 22, 2016
Tolyatti, RU -- May 25, 2016 to May 29, 2016
Sochi, RU -- Jun 2, 2016 to Jun 5, 2016
Zaragoza, ES -- Jun 29, 2016 to Jul 3, 2016
Santander, ES -- Jul 6, 2016 to Jul 10, 2016
Granada, ES -- Jul 13, 2016 to Jul 17, 2016
Murcia, ES -- Jul 20, 2016 to Jul 24, 2016
Dubai, UAE -- Sep 16, 2016 to Sep 24, 2016
Milan, IT -- Oct 20 2016 to Oct 23, 2016
Florence, IT -- Oct 27, 2016 to Oct 30, 2016
Bologna, IT -- Nov 04, 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
TORUK - The First Flight:
Kansas City, MO -- Mar 30, 2016 to Apr 3, 2016
Oklahoma City, OK -- Apr 6, 2016 to Apr 10, 2016
Louisville, KY -- Apr 28, 2016 to May 1, 2016
Cincinnati, OH -- May 4, 2016 to May 8, 2016
Columbus, OH -- May 11, 2016 to May 15, 2016
Hamilton, ON -- May 20, 2016 to May 22, 2016
London, ON -- May 25, 2016 to May 29, 2016
Providence, RI -- Jun 1, 2016 to Jun 5, 2016
Baltimore, MD -- Jun 8, 2016 to Jun 12, 2016
Duluth, GA -- Jun 15, 2016 to Jun 19, 2016
Raleigh, NC -- Jun 22, 2016 to Jun 26, 2016
Ottawa, ON -- Jun 30, 2016 to Jul 3, 2016
Denver, CO -- Jul 21, 2016 to Jul 24, 2016
Lincoln, NE -- Jul 27, 2016 to Jul 31, 2016
Chicago, IL -- Aug 3, 2016 to Aug 7, 2016
Indianapolis, IN -- Aug 10, 2016 to Aug 14, 2016
Brooklyn, NY -- Sep 7, 2016 to Sep 11, 2016
Newark, NJ -- Sep 14, 2016 to Sep 18, 2016
OVO:
Lake Charles, LA -- Apr 8, 2016 to Apr 10, 2016
Baton Rouge, LA -- Apr 14, 2016 to Apr 17, 2016
Greensboro, NC -- Apr 20, 2016 to Apr 24, 2016
Cleveland, OH -- Apr 27, 2016 to May 1, 2016
Syracuse, NY -- May 4, 2016 to May 8, 2016
Philadelphia, PA -- May 11, 2016 to May 15, 2016
Bangor, ME -- Jun 2, 2016 to Jun 5, 2016
Bridgeport, CT -- Jun 8, 2016 to Jun 12, 2016
Hartford, CT -- Jun 15, 2016 to Jun 19, 2016
Atlantic City, NJ -- Jun 22, 2016 to Jun 26, 2016
Windsor, ON -- Jun 29, 2016 to Jul 3, 2016
Charlotte, NC -- Jul 6, 2016 to Jul 10, 2016
Greenville, SC -- Jul 13, 2016 to Jul 17, 2016
Huntsville, AL -- Jul 27, 2016 to Jul 31, 2016
St. Louis, MO -- Aug 3, 2016 to Aug 7, 2016
Manchester, NH -- Aug 25, 2016 to Aug 28, 2016
Hershey, PA -- Aug 31, 2016 to Sep 4, 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
---------------------------------
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 May 7 11
o July 6
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 April 11-19
o June 12-24
o July 2-5
o August 1-9
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 May 5 - 13
o July 13
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)
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) WEBSERIES -- Official Online Featurettes
o) FOTOS -- Images From Cirque & Other Photographs
o) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
WEBSERIES: Official Online Featurettes
---------------------------------------------------
*) LUZIA: THE STORY OF AN ENCOUNTER
The Story of an Encounter is a web series that explores
inspiring love affairs between Cirque du Soleil and Mexico.
It shines a spotlight on some of the creators of LUZIA,
revealing their longstanding or budding love affair with
Mexico and its people. The series also explores the
protagonists' individual roles and respective approaches in
the creation of Cirque du Soleil's LUZIA, which kicks off
its world tour in Montreal in April 2016.
o) EPISODE 1: EUGENIO CABALLERO, SET DESIGNER
March 22, 2016
LUZIA Set and Props Designer Eugenio Caballero, a world-
renowned production designer who won an Oscar for the
design of Guillermo del Toro's Pan's Labyrinth, talks
about how he fuses his experiences in the very different
worlds of cinema and theatre. Follow Eugenio in his home
and in the studio as he explains why he opted for a
realistic approach to evoke nature in LUZIA.
LINK /// < https://youtu.be/t7vwszx_i70 >
o) EPISODE 2: SIMON CARPENTIER, COMPOSER
March 29, 2016
LUZIA Composer Simon Carpentier reveals his fondness for
Mexico and its people, and shares how his approach to the
show's musical score is grounded in this newly discovered
emotional bond. When he is composing, Simon always keeps
in mind the artists on stage. The composer also reveals
one of his secrets for testing whether or not a song is
good: his children!
LINK /// < https://youtu.be/1GzxkG4Dj8Y >
And check out a couple more teaser videos here:
http://www.cirquefascination.com/?p=7889
*) KURIOS ABOUT...
o) EPISODE 10: CHARACTERS
March 1, 2016
In this episode of KURIOS About, discover the magical
personality of some KURIOS characters on stage and in
life!
LINK /// < https://youtu.be/cq0UtAU2sqI >
o) EPISODE 11: THE MUSIC
March 15, 2016
In this episode of KURIOS About, get into the KURIOS
groove and learn all about the music!
LINK /// < https://youtu.be/oywYUTobtSw >
o) EPISODE 12: THE HYPE
March 29, 2016
In this episode of KURIOS About, learn about the
promo machine behind the show!
LINK /// < https://youtu.be/B1TOrXjAyV4 >
Check out all the other episodes of this great web series
here: http://www.cirquefascination.com/?page_id=6868
---------------------------------------------------
FOTOS: Images From Cirque & Other Photo Links
---------------------------------------------------
AMALUNA -- https://goo.gl/l8IUp7 -- Goodbye London
AMALUNA -- https://goo.gl/9Ipn8M -- Goodbye Viktor & Pasha #1
AMALUNA -- https://goo.gl/0v0mlV -- Goodbye Viktor & Pasha #2
AMALUNA -- https://goo.gl/AL5apt -- Goodbye Viktor & Pasha #3
JOYA -- https://goo.gl/oWr0k6 -- Scenography
KOOZA -- https://goo.gl/yX9jt4 -- Rainbow Welcome
KOOZA -- https://goo.gl/QY58Yu -- Premiere in Uruguay
KOOZA -- https://goo.gl/vLNysL -- Celebrating 3,000th Performance
LA NOUBA -- https://goo.gl/pf8RRO -- Makeup
LUZIA -- https://goo.gl/iHGIOe -- Hummingbird Character
LUZIA -- https://goo.gl/DYmyfT -- Papel picado
LUZIA -- https://goo.gl/M26Nyv -- Colorful Box Office
OVO -- https://goo.gl/kcbVAh -- We're baaaaaack!
OVO -- https://goo.gl/8cGzYm -- Easter Egg Hunt #1
OVO -- https://goo.gl/l07vyz -- Easter Egg Hunt #2
OVO -- https://goo.gl/AN2GT6 -- Easter Egg Hunt #3
PARAMOUR -- https://goo.gl/NFrXAP -- Egyptian Scene
PARAMOUR -- https://goo.gl/go4WQX -- Cafe Scene
PARAMOUR -- https://goo.gl/MtBm8N -- Rooftop Chase Scene
PARAMOUR -- http://goo.gl/RO7T9R -- Theater Mania First Look
TORUK -- https://goo.gl/m0efZm -- Behind the Scenes
TORUK -- https://goo.gl/JJ9Cna -- About to take the Stage for #100
TORUK -- https://goo.gl/LbUu8C -- Congratulations on #100
TORUK -- https://goo.gl/lCXPaZ -- Na'Vi in Kansas City
TOTEM -- https://goo.gl/SsYgLR -- Valentino has a Secret Admirer
TOTEM -- https://goo.gl/H377wz -- Totem's 2,000th Performance #1
TOTEM -- https://goo.gl/IQFMcR -- Totem's 2,000th Performance #2
TOTEM -- https://goo.gl/Oq8wnM -- Totem's 2,000th Performance #3
TOTEM -- https://goo.gl/BcennE -- Taking a Break
VAREKAI -- http://goo.gl/473E46 -- In Antwerp
VAREKAI -- https://goo.gl/2ds7tW -- Goodbye Antwerp
VAREKAI -- https://goo.gl/h9Ovw4 -- Good Morning Nice!
VAREKAI -- https://goo.gl/ki8tLp -- Thank You Bordeaux
VAREKAI -- https://goo.gl/WOc0XE -- We're All Smiles!
VAREKAI -- https://goo.gl/tYo5xa -- Off on a Little Vacation!
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
AMALUNA -- https://goo.gl/ud5Mzd -- Amaluna in Amsterdam
AMALUNA -- https://goo.gl/gO8w8w -- Returning to Royal Albert Hall
AMALUNA -- https://goo.gl/0GQ8xG -- Backstage in Amsterdam
AMALUNA -- https://goo.gl/K4QEcb -- Photo Shoot in JAM Magazine
CIRQUE -- https://goo.gl/tKmM21 -- One Night for One Drop
CIRQUE -- https://goo.gl/ooOqQT -- In the Grid at IHQ
CIRQUE -- https://goo.gl/3Ayb92 -- Run Away with Cirque 5K
CIRQUE -- https://goo.gl/y3z16o -- Andrii Bondarenko Makes Dinner?
JOYA -- https://goo.gl/YVB2WQ -- The Costumes of JOYA!
KOOZA -- https://goo.gl/6TVVB3 -- Teeterboard Training
KOOZA -- https://goo.gl/1kILyq -- 10 More Days in Montevideo
LA NOUBA -- https://goo.gl/DBECh1 -- In Under 30 Seconds
LA NOUBA -- https://goo.gl/qRm7lb -- Aerial Bamboo Act
LA NOUBA -- https://goo.gl/ZwZr77 -- Trapeze Tricks Attempt
LUZIA -- https://goo.gl/wfZanJ -- Big Top Raising
LUZIA -- https://goo.gl/34UuR2 -- 360 Degree Video
LUZIA -- https://goo.gl/XEXw28 -- Meet Dominic, daring Hoop Diver
LUZIA -- https://goo.gl/Xfr6q5 -- Meet Rudolf, amazing Juggler
LUZIA -- https://goo.gl/LCT3J8 -- Meet Yuri, Russian Swing Artist
LUZIA -- https://goo.gl/Rp5PTT -- Meet Manuel, amazing Puppeteer
LUZIA -- https://goo.gl/eNrf2l -- How Tarahumaras Inspired Us
LUZIA -- https://goo.gl/Vvtafq -- Luzia Rehearsals
LUZIA -- https://goo.gl/jQ9EmB -- Red Bull TV Training
LUZIA -- https://goo.gl/FG9lE7 -- Luzia at Complexe Desjardins
OVO -- https://goo.gl/g7apX5 -- What's new in OVO?
OVO -- https://goo.gl/5izDmG -- Band Plays Accoustically
OVO -- https://goo.gl/OtA12k -- OVO Ants Hunt Easter Eggs
PARAMOUR -- https://goo.gl/lz9tnm -- Cirque Preps Paramour (WSJ)
PARAMOUR -- https://goo.gl/kkrd9M -- Paramour at the Today Show
PARAMOUR -- https://goo.gl/UStg9W -- Western Scene Media Day
PARAMOUR -- http://goo.gl/gGLtvi -- Personal Look at Rehearsals
PARAMOUR -- https://goo.gl/kO9qdN -- Cafe Scene Rehearsal
PARAMOUR -- https://goo.gl/poVGkS -- Happy Easter from Paramour
PARAMOUR -- https://goo.gl/uyvn0j -- Rehearsal Clip #1
PARAMOUR -- https://goo.gl/yVVRDx -- Rehearsal Clip #2
PARAMOUR -- https://goo.gl/xz3Yrn -- Theater Mania Preview
SODA -- https://goo.gl/NKgKbk -- Surprise for Fans
SODA -- https://goo.gl/EMd0R4 -- Creation Process
TORUK -- https://goo.gl/AO4L3w -- 5@5 w/Artist Michelle Wuthrich
TORUK -- https://goo.gl/8P65a0 -- 5@5 w/Meet Puppeteer Rob Laqui
TORUK -- https://goo.gl/a2s4vD -- How the TORUK App Works!
TORUK -- https://goo.gl/7Dd29R -- 5@5 w/Head Coach Michael Ocampo
TORUK -- https://goo.gl/QQfzmp- - DHL: The Great is in the Detail
TORUK -- https://goo.gl/NTg6NB -- 5@5 w/Gabriel Christo (Ralu)
TORUK -- https://goo.gl/9hzFrA -- Na'vi Loose in Kansas City
TOTEM -- https://goo.gl/3gXhkP -- Meet Elizabeth from Rings Trio
TOTEM -- https://goo.gl/4f3cpU -- Caoliang Wang Tries New Trick
TOTEM -- https://goo.gl/1YDNdv -- Creation of Escalade
VAREKAI -- https://goo.gl/NPnOgp -- Opening Night in Antwerp
ZARKANA -- https://goo.gl/0kOZ82 -- This is Juggling
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "Extending the Experience: A Conversation about
Cirque Merchandise" (Part 2 of 2)
By: Keith Johnson - Seattle, Washington (USA)
o) "One Night for One Drop 4: One Hell of a Night!"
A Special Collection of Articles from the Press
o) LOOK BACK: Guy Laliberte's Poetic Social Mission
PART 8 of 8: "Back on Earth - Mission Success!"
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
"Extending the Experience: A Conversation about
Cirque Merchandise" (Part 2 of 2)
By: Keith Johnson - Seattle, Washington (USA)
-----------------------------------------------------------
Last month we began our conversation about merchandise with Audrey
Tillman, Director of Merchandising and Operations, Resident Shows
Division, Cirque du Soleil (Las Vegas) by talking about the recently-
debuted redesign of the Cirque eBoutique < www.cirquestore.com > and
several Las Vegas show boutiques, which have recently come under
direct Cirque management. Here we go into the various categories of
merchandise how they're categorized, created, designed, and priced.
Plus, we find a Seattle connection!
GET YA PROGRAMS!
----------------
The Merchandising department purview also extends to show programs,
which will go through an evolution as new editions are created. "We
took over the responsibility of the programs about two years ago. My
philosophy on the resident side is to provide more of a book than a
program. So soon you'll see the new La Nouba program on the boutique,
and it will have a lot more content as opposed to just graphical
content. There will be a lot of new content about the show, about the
characters, and we think this will bring added value to our guests. We
did that with the new Kurios program."
The first iteration of the Kurios program was mocked up to
representthe Scientist's Journal, where smaller booklets were enclosed
inside a larger "journal." That version has been replaced with an
oversized, heavier hardcover program with much more behind-the-scenes
information on the creation of the show and the characters that
inhabit it. A new development for the programs this is welcome, since
much of the detailed "backstage" and "conceptual" show information is
now harder to find or missing from the Cirque website. "It's something
that we hear from our customers, that they want to understand what's
behind the scenes. They want to know what went into that costume. We
have our costume book from our 25th anniversary (Cirque du Soleil: 25
Years of Costumes, 2009, Cirque du Soleil 978-2980349348), and we have
the new backstage book that came out (Backstage Cirque du Soleil,
photography by Veronique Vial, 2014, Assouline 978-1614282976). We
really wanted to provide that insider information. I think people have
a hunger for that and I think the program is a great vehicle."
SOMETHING, BUT NOT EVERYTHING, FOR EVERYONE
-------------------------------------------
The considered thought process taken to programs is also applied to
merchandise in general. "We really want all of our merchandise to
reflect what is being done on stage and the show experience that you
have in our theaters, in our big tops, or at our arena shows. I think
the objective is to have the product reflect that."
"So we're constantly looking for opportunities and things that really
register. My philosophy is that the key is to have very unique items
that you wouldn't find in other places, and that register with our
guests emotionally or go directly back to how they felt about the
show. So it's not a T-shirt to just be a T-shirt, the T-shirt reminds
you of the experience. So I think the objective is to have different
items that really reflect who Cirque is and what's on stage."
With many fans being somewhat larger than the average svelte
performer, we suggested that something fans might want on the website
(and for Cirque apparel in general) could be summed up in three
letters: X X L. "We want to offer something for everyone, and our
apparel sizes range from x-small to 2X in all of my resident
boutiques.We have the luxury in a resident show to have more floor
space for a lot of different style offerings. We want to ensure that
there is something for everyone."
So, clothing for larger sizes check. What about clothing for colder
climates, sweatshirts perhaps? "We feature jackets, hoodies and fleece
pieces in our resident show boutiques, because we have guests from
around the world and guests are often cold from the air conditioning
in the Vegas hotels. It's an important part of making sure that you
have an offering for everyone. Because not everyone's from Las Vegas,
they go home to Michigan, they go home to Scotland, and a sweatshirt
is what they need when they get home."
It would be a herculean task to catalog all of the amazing merchandise
that has been branded with Cirque content over the years. Something
that Ms. Tillman has taken time to research. "I have been here five
years and I have definitely done research back into the past of
Cirque, and looked at its origination and some of the items that
haven't been here for a little while, that I would like to inject and
bring back in a new way."
TYPE IT UP
----------
With such a wide variety of merchandise covering so many shows,
categorizing the merchandise is a must. In rough order of popularity,
Cirque breaks their merchandise down into the following categories:
* Apparel, clothing
"Apparel is very strong across-the-board including show
merchandise as well as Cirque-branded. Apparel is our top-
selling category."
* Accessories - handbags, wallets, messenger bags, jewelry.
"For our Cirque-branded non-show merchandise, I would say our
accessories are really, really popular. Over the years Cirque
has developed quite a great quirky style in our accessories that
people really gravitate to, or really remind them of the Cirque
brand. So our accessories are always [amongst] our top sellers
of our non-show branded merchandise."
* Programs and Media (CDs, DVDs and books)
"Programs area very strong category, it's always one of our top
sellers, whether a resident show or arena or big top. CDs and
DVDs as well, although we are seeing diminishing returns,
particularly in the category of CDs."
* Home and Gift - which includes mugs and things like that as well as
some of what you would consider souvenir items.
* Artisan and Handmade small quantity hand-made items, such as masks.
"The masks are a very successful category for us; it's always
been a strong category. People associate the masks with Cirque's
exquisite costumes and design. The masks are handmade by
artisans around the world and are really unique, beautiful,
handmade items that represent the shows."
* Toys and Games gotta have something for the kids!
THE POWER OF CREATION
---------------------
Selling a product, processing an order, packaging it, shipping it
that's the practical side of merchandise. But what about the creative
side? Product just doesn't pop into existence; it has to be created
first. How does Cirque go about bringing a new product into the world?
"CDs and DVDs are done through our production side. On the Resident
division side we develop all categories of goods. We work with the
artists, and we have the Artisan collection and the Handmade
collection (handmade by an artist or artisan such as the masks). We
develop the apparel, we develop the souvenirs. We work with companies
to do the juggling toys, the kid's items."
"Basically we work with the show. First we see the show, talk with
people about the show, gather information. We talk to Marketing about
their campaign, what their promotion is, and the big visuals that
they're looking to drive forward in the market. And then we put
together a style guide. We have a style guide for every one of our
shows that features acts in the show, close-ups of the costumes,
close-ups of different faces and makeup, also all the big acts. We
also include all the marketing information, the logo, the trade-
marking, and all of that. And we take the style guide and work with
our supplier partnerships in the design and development of the goods."
"In most cases and in the Cirque collection we are designing from
scratch. We're cutting and sewing most of the garments and creating
garments exclusively for the line. So it's a combination of two
things; what's the right body style or the right item, whether that be
a keychain or handbag? And what do we want to have? This is where we
make sure we have something for everyone so we're not too heavy in one
category or too light in another category. We run down the categories
and create an assortment plan, then we go out to our suppliers and
begin the development."
"We find our greatest inspiration on the stages of our shows and the
incredible creativity, talent, and artistry within. We do everything
else from creating the style guide to creating the assortment plan**.
And we go out to the market on a regular basis; we see what's out on
the market, what's being sold. We competitively shop other
entertainment brands to see what's happening in our industry. We watch
runway shows in Europe and elsewhere, to look at style and color
trends."
"All of that we do in-house. So we create the style guide, and we
[decide] what we want to have in our market. And then we try and find
the right partners to do that with. So if we decide that we really
need to develop a jewelry collection, we decide whether we want to
create a collection that's commercial that we develop and produce, or
do we want it to be an artisan item and find the right artist to
create a handmade collection for us with the perspective that we're
looking for. So it's really collaborative, we drive what we're looking
for and then we look for the right person to help us create it."
Once the right company or artist has been found, the design process
begins. "Typically we choose a supplier for an item. We go through the
style guide and say, in "O" there is the Comet and that's what we're
focusing on, what we want to feature. Here are all the pictures of the
Comet; this is what we'd like to see on this item, can you please
provide the CAD drawings? And then they submit versions of those CAD
drawings to us and we change them or revise them as needed. And we
proceed to [produce a] sample once we are comfortable with [the
design]."
The initial-idea to actual-product time can be lengthy, but not
always. "It's a varying amount of time based on where you develop. If
you develop overseas, or you have items that are built from scratch,
sometimes that timeline can be up to six months. Typically I work six
to nine months in advance, so the spring collection that will land in
March was created [the prior] October. We started looking at other
shows in the market and competitive trends between June and September.
In September and October we start to align them with the suppliers and
partners or artists that we are looking for. In October and November
we need to quickly finalize for spring because of Chinese New Year and
other considerations."
"However I will say this; there are times whenwe can produce something
very quickly, like in two weeks. This is a great thing about taking
over the boutiques; we can react quickly to opportunities. There are
some items that are [produced domestically] that you can turn around
quickly. Say there's a sponsored event for marketing, something we can
quickly capitalize on. I'll do what I can to have something that's
exactly for that event or client, if it's long enough for us to be
able to produce merchandise."
** What is an "assortment plan?" We looked to www.answers.com for a
good definition. It's a process that, "breaks (merchandise) into
components (product attributes, price, styles, colors and Stock
Keeping Units) that enable the planner to address customer preference
and need.
The properly assorted presentation ensures enough
selection without overstocking and strikes the right balance between
breadth (e.g. number of styles) and depth (quantity of each style)."
MAKE IT "CIRQU-EY"
------------------
Each piece of product is, naturally, imbued with Cirque imagery (and
sometimes music). Images and characters we instantly recognize. But
there's also an almost undefinable quirky quality. How do they find
that right balance of imagery with design to come up with product that
bears the distinctive mark and look of Cirque du Soleil?
"We try very hard to make a product Cirque-ey. From my perspective the
brand is a premium brand that needs to be very unique. Everything that
we do on stage is unique, and I think the merchandise needs to reflect
that. Whether it be a surprise print in the pocket, whether it be a
quirky asymmetrical seam or collar you've never seen before. I think
uniqueness and a kind of quirkiness are key elements to making it
Cirque-ey.We have certain patterns of shirts that are very, I would
say, artisan-like, asymmetrical, the cuffs are very different, you
don't see them in the market, they are very unique to Cirque."
"The other thing is to make sure that it's injected with the essence
of the show. The customer can look at it and feel the direct line back
to their experience.And I think from a color palette perspective they
really need to reflect the individual show. If you go to KÀ, its reds
and darker and almost has a little bit of an Asian feel to it. And if
you go to "O" it's very blue and kind of royal. The connection always
needs to be back to the show."
A company with 30-plus years of history has lots of information on
what kinds of merchandise will sell to their audience and what won't.
What kind of items might they not consider? "I think there is less of
what we would not want to expand into and more of what is missing. We
recently introduced plush at La Nouba which is a new category. Maybe a
plush isn't unique [on its own] but an actual [Cirque] character
coming to life in [a plush] item [is unique]. Online you can see the
glass ornament of the Green Bird from La Nouba. [And now] there's also
a plush that looks like it.And the (brown glass-blown delicate)
character-shaped ornaments are an extension that's happened in recent
years. And these items are very character driven."
Pricing is another important consideration. You could have the
coolest, most unique item in the universe, but it it's priced too high
few will be interested. As Cirque considers itself an upscale brand
with a unique design aesthetic, their apparel is priced more in line
with designer clothes. But there are other factors at play, as well.
"Price is determined by what we believe the item is valued, and costs
associated with developing it. It's a combination of a bunch of
different things. In the assortment we create we have a target retail
price. We are looking at our competition, and the different markets we
operate in.There are a lot of different factors."
A SEATTLE CONNECTION!
---------------------
Being based in Seattle, it's always a treat when Yours Truly finds a
Pacific Northwest connection in the rarified air of Cirque du Soleil.
In Ms. Tillman we found one! After we off-handedly mentioned we were
based in Seattle, she exclaimed, "I'm from Seattle! I'm a U.W.
(University of Washington) grad. I'm spending Christmas in Seattle;
it's my favorite city in the world!I grew up there; I went to Auburn
High School. I was born in Guam, then came to Seattle [where I grew
up].My family lived there for a long time, my brother and his wife and
kids are still there. I lived in San Francisco for five years and then
came to Vegas."
"And I definitely miss Seattle every day. The trees, the rain, the
water. It's a magnificent city, and the people there are really just
down-to-earth kind of people. And every summer in Vegas I think I
should move to Seattle. (Laughs)"
As the new E-boutique spreads its wings, we at Fascination! will try
to keep an eye on it and alert our readers (and their credit cards) to
new additions to the site. And with Ms. Tillman's encouragement, we
might make a suggestion or two. "That would be fantastic. I am always
open to suggestions if you're hearing what people are asking for and
we're not featuring it, I am always open to that."
My sincere thanks go to:
Audrey Tillman, Director of Merchandising and Operations, Resident
Shows Division, (Las Vegas). Ann Paladie, Director of Public
Relations, Resident Shows Division, (Las Vegas). Marie-Josee Couture,
Director of Retail Sales and Operations, Touring Shows Division,
(Montréal). Chantal Côte, Corporate PR Manager(Montréal) (good luck in
your new endeavor!) And my patient wife LouAnna (Seattle), who puts up
with my sometimes obsessive hobby.
------------------------------------------------------------
"One Night for One Drop 4: 'One Hell of a Night!'"
A Special Collection of Articles from the Press
------------------------------------------------------------
On Friday, March 18, some of the biggest names in entertainment came
out to support AMANZI A Quest for Water, the fourth One Night for
One Drop imagined by Cirque du Soleil event in Las Vegas, joining
GRAMMY-nominated singer-songwriter Leona Lewis and TV star Miles "Baby
Boogaloo" Brown as they raised funds and awareness for critical water
issues worldwide. Presented by MGM Resorts International, McLaren
Automotive and Zappos.com, the star-studded benefit generated $6.5
million for ONE DROP's global water initiatives, with all proceeds
supporting water access and conservation programs across the globe.
The dazzling, one-night-only experience reflected the personal story
of artistic director Hassan El Hajjami, who realized the importance of
water after traveling with his grandmother every day to retrieve it.
Inspired by their struggle, the performance was held for the first
time at The Smith Center for the Performing Arts where more than 100
Cirque du Soleil artists came together to support the cause. Lewis
captivated the audience with an unforgettable, extremely powerful
rendition of her smash hit single "Bleeding Love," concluding the show
with a standing ovation as she performed one of her latest chart-
topping hits "Thunder."
****************************************************************
* Check out these amazing images from the show from Erik Kabik *
* (ErikKabik.com): http://www.cirquefascination.com/?p=7762 *
****************************************************************
And, of course, read all about the event below. We've collected the
most relevant pieces from the Las Vegas Sun, the Las Vegas Review-
Journal, and Vegas Seven here.
SEVEN QUESTIONS FOR HASSAN EL HAJJAMI
-------------------------------------
Q. You originated the character of the Walrus and performed in The
Beatles LOVE for many years. Then you were the artistic and
creative director for Light nightclub when it was partnered with
Cirque du Soleil. When did you find out you were going to direct
One Night for One Drop?
I left [Light], and I went to [One Drop's] after-party last year. I
didn't have a wristband, so I pretended to be one of the working
artists. I saw Jerry Nadal [senior vice president, Resident Shows
Division, Cirque du Soleil], and told him about an idea that I was
working on. A week later, I made a presentation for a show about my
life when I was a young boy visiting my grandmother in Morocco. I was
shocked that she didn't have water at home. Jerry told me that we had
to meet Russ Petroni, producer of One Night for One Drop. I heard they
had 20 different artistic directors they were considering. I [went
back to] France because my contract was finished at Light, but they
called me in July and said, "Congratulations, we like the concept and
story."
Q. What stood out to you on those visits to Morocco?
My grandmother walked every day to a well. One day I said, "I will go
with you." I was shocked. As a kid, I didn't understand: How come you
don't have water at home? To take a shower, she had to get water and
put it in the oven to heat it up. When I first saw One Drop 2014, in
the Michael Jackson Theatre, as I was watching the show, I said, "I
would like to put my story onstage."
Q. Will all of the scenes relate to your personal story?
It's about a little boy falling into a waterhole. And the little boy
is going to visit this world and he will have this talisman for the
characters onstage. You're going to see some of my story inside it,
and he may or may not return to his family.
Q. Why did you decide to include non-Cirque du Soleil performers into
the show this year?
Fifty percent of our performers [work with] Cirque du Soleil. Then we
have performers from other shows [such as] Jubilee!, [singer] Leona
Lewis and my dear friend Miles "Baby Boogaloo" Brown [who stars in
ABC's Black-ish]. I met him six years ago on America's Got Talent when
he was 4. We did that show, and we kept in touch. We train together,
we travel together, we compete together and we did a music video
together. I was teaching him some [moves], how to dance, how to react.
When I did [the concept for One Drop], I wanted to have a little boy
playing me. I called his father. I was scared because he had become
very popular and he was on a hit show and I didn't think he was able
to do it. His mother was crying. She was surprised, "The artistic
director has called us to ask our son to play the lead role!" It was
intense for them.
Q. This is the first time One Drop is not happening at a Cirque du
Soleil theater. What challenges does The Smith Center present?
We are accustomed to working on Cirque du Soleil stages. It's like we
have to do a Cirque show in a blackbox. It's a big challenge because
we have only two days to put it together [once we move into the
theater]. We [rehearse] on the Zarkana stage. We have to rehearse the
show in sections. It is a work in progress. [It requires] a lot of
time, [there is] pressure and stressfrom the props and choreography.
It is very complicated.
Q. What is one thing you are hoping audience members will take away
from the show?
I hope I change [their] lives. [We are sharing a dire situation that
millions of people] don't have access to water and don't have water to
drink. This is my opportunity to make a change. That's why I put all
my heart and energy into this concept.
Q. What are you going to do after One Drop?
Go back to France, relax and wait for the next opportunity to create a
show and dance. I cannot live without dancing. It would be like
cutting off my arm. I'm an artistic director, a conceptual director,
but I am also an artist. Even when I was a director, I was onstage
dancing. A lot of choreographers don't do that because they are
scared, but I'm not scared. I just let go and don't take it seriously.
I love to put a smile on your face and do whatever it takes to make
you happy. My life is like that.
ONE NIGHT FOR ONE DROP MEANS ONE COMMUNITY
------------------------------------------
The "One Night for One Drop" charity show Friday marks the first time
Cirque du Soleil has staged a full production in Las Vegas outside one
of its resident theaters. The fourth installment benefiting Cirque's
nonprofit, water-conservation organization One Drop Foundation is set
for 7:30 p.m. at Smith Center's Reynolds Hall.
As a result of this temporary move to the Smith Center, Cirque
official Jerry Nadal says, "Myron is nervous." He is referring to
Smith Center President Myron Martin, whose facility has hosted only
individual scenes from Cirque shows during such events as the "Nevada
Sesquicentennial All-Star Concert" two years ago at Reynolds Hall.
But "One Night" is a fully realized show, and Nadal promises, "We're
bringing all of our resources to their venue and using it to its full
capacity." So, look out for aerialists.
"One Night" is drawing again from all of Cirque's Las Vegas
productions and is directed by Cirque artist and dancer Hassan El
Hajjami. Recording artist Leona Lewis and "Blackish" star Miles "Baby
Boogaloo" Brown are guests performers this year.
The Smith Center was sought for this show for its status as a neutral
venue. The Cirque theaters are suited for the show, of course, as they
are tailored for their respective productions. But there is a
universal appeal to Reynolds Hall.
"We are looking for wide appeal, and the Smith Center makes One
Night' more community based than it's been in the past," said Nadal,
who is VP of Cirque's resident shows and heads up the "One Night" team
every year. "We're getting people coming to One Night' specifically
because it's at the Smith Center."
The monetary goal this year is $7 million, including the charity
auction, ticket sales and donations from ticket revenues from all of
Cirque's shows on the Strip this week. Over the past three years,
Cirque has raised $17.6 million to aid in water conservation and
preservation in impoverished regions.
It's become a worldwide need, as Lewis noted during the show's
rehearsals at Aria's Zarkana Theater in January. "This is all about
using art to inform and inspire people through the arts to act on this
problem," she said.
"Safe and clean water is a basic human right that we don't think of
much in the West, but the idea of being able to turn on a tap and use
clean water is foreign to many people around the world. That's what
makes this show and this organization so important."
"IT'S THE BIGGEST CHALLENGE OF MY LIFE"
---------------------------------------
Cirque du Soleil director Hassan El Hajjami, formerly of "The Beatles
Love" at the Mirage, is running on all cylinders, pots of coffee and
likely zero sleep as he plans curtain up on Friday's "One Night for
One Drop" benefit performance at Reynolds Hall in the Smith Center.
Hassan's guest stars, British singer-songwriter Leona Lewis and
adorable Miles "Baby Boogaloo" Brown of ABC's hit comedy "Black-ish,"
have arrived here and join 100 other performers. The entire cast and
crew of volunteers today received their first look moving into the
Smith Center stage for the show directed by Hassan.
Their schedule is so tight that Thursday's onstage rehearsal for
friends and family will be done in street clothes. Friday will be the
only chance for a full dress rehearsal of the running order just hours
before the actual performance.
The story for this year's show is based on Hassan's experience of
going with his grandmother for daily 2-mile walks to bring home water
for her Moroccan village home. Miles plays Hassan as a youngster who
falls into a water hole and meets different characters.
Hassan said: "There is overwhelming pressure and stress. It's the
biggest challenge of my life and very complicated." A Cirque executive
added: "It couldn't be any tighter if they tried. They will literally
be wrapping their one and only rehearsal just as celebrity guests are
arriving for the blue carpet festivities.
"But they are all true Cirque professionals, so it will all go well.
If there are any hiccups, nobody will ever see them." Preparations and
run-throughs have been rehearsed in recent weeks at Cirque's "Zarkana"
theater in Aria.
As is now tradition, Cirque founder Guy Laliberte will not see
anything in advance only when he's in the audience at the theater.
When VIP guests arrive for the pre-show reception at this fourth
edition of "One Night," they will have an opportunity to bid on items
and once-in-a-lifetime experiences valued at $1,000 to $400,000 in a
live and silent auction.
Items included:
o) A McLaren 675LT Coupe customized for One Drop by presenting sponsor
McLaren Automotive valued at $400,000. Th 675LT Coupe was created
in conjunction with Formula One world champion Jenson Button and
features an autograph by Jenson on the carbon fiber sill panel.
o) A weeklong aquatic adventure in Southeast Asia onboard the 175-
foot luxury yacht Tiara.
o) A stunning prototype titanium timepiece from Richard Mille of
Switzerland ahead of its fall release.
o) Contemporary artist Takashi Murakami's original Arhat artwork
valued at $400,000.
o) Rio headliner magician Penn Jillette will officiate a wedding.
o) Celebrity chef Jet Tila will host a dinner party in your home.
o) Country star Trace Adkins will invite you to spend a day on tour
with him.
o) A walk-on role in "Fifty Shades Darker" filming in May.
o) Jennifer Lopez and Lionel Richie have donated meet-and-greet VIP
ticket packages at their upcoming Planet Hollywood shows.
o) Prime seat tickets to the 2016 Victoria's Secret Fashion show and
VIP after-party.
o) One-week backstage tour experience to every Cirque show on the
Strip.
The full list and bidding is at CharityBuzz.com/support/onedrop. All
proceeds benefit One Drop Foundation's global initiatives along with
educational programming in Nevada through a partnership with our
Springs Preserve.
ONE DROP MAKES A SPLASH
-----------------------
Cirque du Soleil's decision to move its "One Night for One Drop"
charity show to an off-Strip venue was a hit with fans and donors.
Jerry Nadal, senior vice president for Cirque's resident shows
division, and Myron Martin, president and CEO of The Smith Center for
the Performing Arts, were chatting after Friday's fourth edition of
the benefit. "Jerry said the great thing (about moving to the Smith
Center) was that it was like Switzerland," said Martin. "It was being
done in a neutral and community place. It meant more donors."
The first three were held at "O" Theatre at Bellagio, "Michael Jackson
One" Theatre at Mandalay Bay and the "Love" Theatre at The Mirage last
year. Nadal said the show "came off better than anything we could have
hoped for. Everyone was all in."
A pre-reception was held at the Keep Memory Alive Event Center and the
Alice in Wonderland-themed after-party was held in a parking lot tent
that accommodated more than 2,000. About 120 performers from Cirque's
eight Las Vegas shows put on a two-hour show in Reynolds Hall that
drew rave reviews as "the best one yet." British singer Leona Lewis
and Miles "Baby Boogaloo" Brown of the ABC show "Black-ish" were
featured performers.
The global philanthropy event, a showcase for One Drop's water-access
initiative, raised $6.5 million for a four-year total of $24.2 million.
"THAT KICKED ASS"
-----------------
Often the most apt assessment of an experience is what you said just
as it finished. Such as, "That kicked ass."
Those are three words to mark the fourth "One Night For One Drop" on
Friday night at the Smith Center for the Performing Arts. The annual
Cirque du Soleil all-star show, which draws from all eight of its
Strip residency productions, was soaring in every regard. Cirque
director Hassan El Hajjami and his army of volunteer performers and
support staffers clearly made the best use of the three-month prep
period for this show.
"We always wonder if Cirque is going to be able to top itself," said
Cirque du Soleil Vice President of Resident Shows Jerry Nadal, who
heads up the "One Drop" event. "I think, tonight, we did."
Cirque made effective use of Reynolds Hall for its first full-scale
production in Las Vegas that was not staged in one of its resident
theaters. A team of aerialists bounded high above the stage, and
artists employed long wands with illuminated silks to reflect an
oceanic setting similar to the "Octopus's Garden" number in "Love."
The video at the back of the stage, showing images of drought-stricken
regions and the need for clean water, was particularly impressive.
Astute Cirque fans quickly recognized the use of rabbit costumes in a
scene midway through the show, a long-gone effect of the original
version of Criss Angel's "Believe" at the Luxor. Leona Lewis, in fine
voice and glittering gowns,performed two numbers in her guest
appearance: "Bleeding Love" and "Thunder." Miles "Baby Boogaloo" Brown
of "Black-ish" was featured in a scene in which he tumbled into an
open water hole ("Baby Boog" was later spotted playing croquet at the
"Alice in Wonderland"-themed post-party).
Most important, the night generated $6.5 million for the One Drop
Foundation, founded by Cirque creator Guy Laliberte to establish
systems in regions across the globe that need access to sanitary and
safe water. That sum, boosted by a live auction headed up by Christian
Kolberg (where a Richard Mille RM 67-01 watch went for $90,000 and a
McLaren 675LT Coupe went for $400,000), has topped $24 million in just
four "One Drop" events in Las Vegas.
As always, the Cirque experience was not confined to the theater and
spilled well into the early morning hours. More from the scene at the
Smith Center:
- Cirque President Daniel Lamarre, who wears the blue-tinted glasses
even when not attending the blue-themed "One Drop" production, said
"Love" at the Mirage is due for one more major number and set piece
before the show celebrates its 10th anniversary. That event is to be
marked mid-July as the entire the Beatles hierarchy, including Paul
McCartney and Ringo Starr, return to Las Vegas for the revamped show.
- Cirque Theatrical President Scott Zeiger said the company is fired
up about "Paramour," which opens at the Lyric Theater on April 16. The
first Cirque production to play Broadway stars Ruby Lewis, who shone
in her role as Daisy in "For the Record: Baz" at Light at Mandalay Bay
last summer. Lewis has been the focus of the production's advance
marketing campaign and is already becoming a prominent performer in
New York before the show even launches.
- Bedecked in black leather and smiling through the night, Criss Angel
arrived with Chloe Crawford as his +1, which only intensifies
speculation about if or how she will be featured in his show
"Mindfreak Live!," under development at the Luxor. Officially, Angel
is not revealing anything about the cast of that autobiographical
production to replace "Believe," which closes April 17. "Mindfreak
Live!," which follows Angel's life and career through a series of
highly advanced illusions, opens May 17.
- Many attendees who have seen every one of the four "One Drop"
performances over the years said Friday's was the favorite simply
because of its neutral-site venue. Smith Center's Reynolds Hall and
Cirque matches the best of the best in the city, a point on which
Smith Center President Myron Martin (as expected) agreed. "We are
Switzerland," Martin said, "and that helped make this a great
community event."
- Characteristically extravagant, Cirque's post-show party was staged
in a tent in the surface parking lot to the northeast of the Smith
Center. Multicolored mushrooms, costumed characters (The Mad Hatter,
White Rabbit and the like) filled the venue. Entertainment was
highlighted by a set from Natasha Bedingfield, who took in the balance
of the show at Reynolds Hall (and was warned about shooting video of
the production). Chris Phillips followed with a hybrid Zowie Bowie
lineup (with his ex Lydia Ansel back onstage playing violin alongside
Phillips and singer Nieve Malandra). Phillips called up an unannounced
guest, Hazel Payne of Taste of Honey, for the disco classic "Boogie
Oogie Oogie," and Team Fantasy also hit the stage in full "Alice"
costumes, a great effect that I fully endorse for the topless revue at
the Luxor.
Late in the night, a team of dancers from the show clambered onstage
to perform a lengthy freestyle set. As they grooved to "Wanna Be
Startin' Somethin'" by Michael Jackson, I found myself standing next
to my buddy Mukhtar Omar Sharif Mukhtar, the former "One Night For One
Drop" director for the shows at MJ One Theater at Mandalay Bay two
years ago and Love Theater at Mirage in 2015.
"Let's go up there, you and I, and floor the place," I said to
Mukhtar, a terrific dancer and choreographer who was in the original
cast of "Love." "If we do that, this crowd will forget everything they
saw tonight."
"Oh, no chance," Mukhtar said, laughing and nodding toward the stage.
"This is their night. This is their year."
SUCCESS BOOSTS 2017 PLANS FOR "BIG TOP" ON THE STRIP?
-----------------------------------------------------
Last-minute mechanical problems with his private jet grounded Cirque
du Soleil founder Guy Laliberte in Thailand, and as a result he missed
Friday night's fourth-annual "One Night for One Drop" benefit
performance. But it went on as planned for the first time off Strip at
the Smith Center for the Performing Arts and raised $6.5 million for
the global water-conservation campaign. That puts the four one-night
fundraisers here just shy of $25 million to assist in the fight for
fresh running water worldwide.
Cirque's new San Francisco investment banker owners from equity firm
TPG Growth they also own Caesars Entertainment in Las Vegas
attended. They were so impressed with the Smith Center spectacular
that they've given the go ahead for the annual charitable project to
continue, and plans for next year's production already have a green
light. "It will probably be under a special big top' circus tent
right on the Strip. We're seriously looking to do it at either Las
Vegas Festival Grounds opposite SLS Las Vegas or Las Vegas Resorts
Village opposite the Luxor."
* * *
Genius director Hassan El Hajjami, who performed more than 1,400 shows
as the walrus in "The Beatles Love" at the Mirage, won raves and
praise for his masterful production. The dazzling, one-night-only
experience reflected his story of the importance of water after
walking 2 miles daily with his grandmother in their Moroccan desert
village to retrieve it.
But he told me that he couldn't handle another "One Drop" under
similar circumstances a second year.
"I lost 15 pounds and didn't sleep the last month," he explained.
"This has been six months working with 200 volunteers. It turned out
to be so amazing and magical, I cried throughout the show, as I
couldn't believe we had such a success. I am going to sleep now right
through the weekend!
"It was the biggest challenge of my life putting on a show in a non-
Cirque theater, and for Cirque to do it with only two days of load-in
and rehearsal at the Smith Center. I couldn't do that again too
dangerous for my heart. It's like going inside a black box you've
never been in before.
"We had no time to rehearse in the place we performed. It's a
beautiful building, but we needed more time, which was impossible to
have in between their other shows. There were incredible challenges.
It was a breathtaking, nerve-wracking, down-to-the-wire adventure.
"I'd do it again why not? just not with those limitations. But I
think they already have a new director for next year, so I wait a
while."
* * *
Hassan masterminded an impressive, all-volunteer cast and crew: More
than 100 performers, 11 orchestra musicians, five pre-recorded
musicians, eight onstage musicians, 70 on the creation team backstage
and more than 100 technicians.
Las Vegas magician Nathan Burton's sister Emily was general stage
manager calling the show's flow, and Celine Dion's brilliant lighting
director Yves Aucoin volunteered to handle lighting and video-control
design. Cirque's Russ Petroni served as producer for the mind-blowing
spectacle, which we previewed Friday. The video effects were
staggering and cutting edge, never-before-seen in Las Vegas.
Big names in entertainment turned out to support "One Drop," which was
filmed and will be shown worldwide in theaters this year. Singer-
songwriter Leona Lewis and TV star Miles "Baby Boogaloo" Brown
headlined the star-studded benefit, with proceeds supporting global
water-access and conservation programs.
The night began with an auction where guests battled up to $400,000 to
purchase a prototype McLaren automobile and $80,000 for a Richard
Mille watch. Two people fought, then shelled out $175,000 a piece to
travel on Guy's luxury yacht through South Asian seas after Cirque's
senior VP Jerry Nadal said he'd persuade the boss to donate the
vacation twice. Cirque officials even said that Hassan's production
was so great, "We'll have to find a way to incorporate segments into
our shows. This is some of the best work Cirque performers have ever
done."
Kudos to "Wheel of Life" stars Alyssa and David Gray, who performed
without safeguards 30 feet in the air skipping on the outside of a
revolving cylinder; 8-year-old twins Valerya and Veronika Tomanmova,
who performed on aerial straps in an "underwater" sequence; and
Fremont Street contortionist Drew Arce.
Guests enjoyed taste treats from restaurateur chefs Elizabeth Blau and
Kim Canteenwalla and the restaurants Wolfgang Puck, Milos, STK, PBR
Rock Bar, Border Grill, Ethel M, Hexx, Spin Spun, Espresso Amore and
more.
For the after-party theme of Alice in Wonderland's Through the Looking
Glass, Cirque set up a tent in the parking lot with dozens of magical
characters. Natasha, Zowie Bowie with Lydia and a surprise knockout
performance by Hazel Payne of A Taste of Honey provided more
entertainment. "Fantasy" dancers dressed as Alice performed a routine.
Catherine Bachand, CEO of the One Drop Foundation, summed up: "So much
has happened since Guy and I first sat down with the Cirque du Soleil
team here in Las Vegas in the summer of 2012 to see how they could
best contribute to fighting the global water crisis. Ever since, One
Night for One Drop' has inspired change on an unprecedented global
level now raising $24 million in support of water for all.
"While we are all here enjoying the show, the One Drop team is working
around and against the clock to save lives in more than 10 countries
on three continents. We feel grateful that the Las Vegas community has
embraced us in such a meaningful way, and even more so that they have
made local and global water access a cause for which they, too,
dedicate countless hours year after years.
"As Guy constantly reminds, by 2030 two-thirds of the world's
population will face water scarcity. Since we all drink from the same
well, this is a critical issue for all of us to tackle."
SOURCES:
1. Melinda Sheckells, VegasSeven.com | http://goo.gl/oxC5NO
2. John Katsilometes, Las Vegas Sun | http://goo.gl/EYylSc
3. Robin Leach, Las Vegas Sun | http://goo.gl/p9omey
4. Norm Clarke, Las Vegas Review-Journal | http://goo.gl/xXl2Ep
5. John Katsilometes, The Las Vegas Sun | http://goo.gl/2b2wpu
6. Robin Leach, Las Vegas Sun | http://goo.gl/I3UEpX
------------------------------------------------------------
"LUZIA: A Waking Dream of Mexico - Press Conference"
A Special Collection from the Cirque Press Room
------------------------------------------------------------
On Thursday, April 7th, Cirque du Soleil held a press conference for
LUZIA: A Waking Dream of Mexico - directed by Daniele Finzi Pasca and
presented under the Big Top in Montréals Old Port starting April
21st. Where rain predicts the future and light reveals the truth, the
name LUZIA (loo-zee-ah) fuses the sound of "luz" (light in Spanish)
and "lluvia" (rain), two elements at the core of the shows creation.
And previously we'd learned that LUZIA's creative team comprised 16
creators under the artistic guidance of Guy Laliberté (Guide) and
Jean-François Bouchard (Creative Guide):
o) Daniele Finzi Pasca -- Co-writer and director
o) Patricia Ruel -- Director of Creation
o) Julie Hamelin Finzi -- Co-writer
o) Eugenio Caballero -- Set and Props Designer
o) Giovanna Buzzi -- Costume Designer
o) Simon Carpentier -- Composer and Musical Director
o) Edesia Moreno Barata -- Acrobatic Choreographer
o) Debra Brown v Acrobatic Choreographer
o) Sylvia Gertrúdix González -- Acrobatic Choreographer
o) Max Humphries -- Puppet Designer
o) Martin Labrecque -- Lighting Designer
o) Johnny Ranger -- Projection Designer
o) Jacques Boucher -- Sound Designer
o) Philippe Aubertin -- Acrobatic Performance Designer
o) Danny Zen -- Acrobatic Equipment and Rigging Designer
o) Maryse Gosselin -- Makeup Designer
Let's learn more, shall we?
COSTUMES
--------
When Costume Designer Giovanna Buzzi sat down with the co-authors of
LUZIA to imagine the costumes, they decided to steer clear of the
folkloric aspects of Mexico and Mexican culture and to avoid potential
clichés, especially when it comes to the color palette.
Assigning specific colors to each scene It is natural to associate
Mexico with a mosaic of bright colors. But in order to avoid the
pitfalls of turning the stage into a potpourri of colors, the creators
chose to build a story in which each scene would have its own distinct
color or combination of colors, like the subtle strokes of an artists
paintbrush. In the Adagio tableau, for instance, a flying woman dons a
beautiful pink dress in an otherwise monochromatic environment, while
the artists in the Cyr Wheel/Trapeze tableau are clad in yellow hues.
The nods to Mexican hues are deliberately subtle. Overall, the show
proves to be highly colorful, but iconic colors such as cobalt blue
and Mexican pink are not found in their usual contexts.
A noble menagerie Animals play a prominent role in Mexican lore and
mythology, a tradition that carries over into daily life. In LUZIAs
imaginary Mexico, it is no big deal to come across a man with the head
of an armadillo, swordfish or iguana, or a crocodile playing the
Marimba, or a woman with a hummingbirds head and wings. At the top of
the show, a group of hoop divers are dressed as a flock of colorful
hummingbirds. Later on, the Adagio scene unfolds in a strange bar in
which a female character is wrapped in an iguana shawl, an ode to the
Mexican surrealist movement.
Technology in the service of art Some of LUZIAs striking costumes
are the result of innovative research and development. A case in point
is the dress that magically turns from white to red. In order to
turn this vision into reality, the people at C:LAB (the creative
laboratory of Cirque du Soleil) came up with a clever solution: the
dress was fitted with 98 white, individually programmed flowers, each
one equipped with a small motor. When the flowers open their petals,
they reveal their red interior, thus triggering the metamorphosis. The
dress weighs a whopping 9 kg!
Costume close-ups:
o) Tradition and modernity collide in the costumes of LUZIA,
which mix contemporary patterns, techniques and designs with
folkloric inspirations.
o) The high level of detail in the LUZIA costumes, such as the
intricate patterns in the Singers shawl, pays tribute to the
artistry of traditional Mexican craftspeople.
o) Because some artists perform in the water, new types of soles
had to be designed for shoes, while a system to dry costumes
between shows had to be developed.
o) The Running Woman spreads her butterfly wings in an tribute
to the annual migratory journey of the monarch butterfly from
southern Canada to central Mexico for the winter. Each wing
is 6 m long, is made of silk and requires 40 m of material.
o) The hoop divers are dressed as hummingbirds, complete with
head, beak and wings. They are in costume when they leap
through hoops a mere 75 cm in diameter!
o) The puppeteers and prop manipulators all wear Guayabera
shirts the traditional mens wedding shirt in Mexico
instead of the usual black bodysuit.
o) Each performance requires 140 pairs of shoes.
o) The artisans in the costume workshop developed 6 crocodile
heads, 1 iguana shawl, 1 cockroach, 1 grasshopper, 1
armadillo, 1 snake, 5 swordfish heads and 3 tuna heads. Some
of the body parts are manipulated like puppets so that the
creatures look alive.
o) In all, 1,115 different costume elements were created.
SET DESIGN
----------
Set Designer Eugenio Caballero had three overriding objectives when he
envisioned the LUZIA set. First, he wanted to convey the idea of
monumentality and of grandeur commonly associated with Mexico. Second,
he wanted to make sure that each spectator would have a great view of
all of the acts, regardless of where they are sitting under the Big
Top. And third, he set out to create an environment where location and
timeline changes would be quick and seamless.
The creative team decided to bring the element of water into the
overall set design a first for a Cirque du Soleil Big Top show.
Hence the idea of a cenote, a naturally occurring sinkhole or cistern
the Mayan believed was a sacred gateway to the afterlife. The cenote
is a powerful symbol at the heart of Mexican lore and geology.
The disk, a symbol of the grandeur of Mexican architecture The great
disk towering above the LUZIA stage, which represents in turn the sun,
the moon and the Aztec calendar, pays tribute to some of the most
colossal manmade structures in the world. The Teotihuacan
archaeological site located 50 km northeast of Mexico City features
some of the most architecturally significant Mesoamerican pyramids in
the pre-Columbian Americas, built around 100 C.E.
Eugenio Caballero approached historical-based inspirations in a highly
contemporary fashion. The metallic color and texture of the disk is a
tribute to the search of pure lines that characterizes contemporary
art in Mexico as well as the work of architect Luis Barragán and
sculptor Mathias Goeritz.
The huge disk, which rotates horizontally and moves forwards and
backwards, undergoes various transformations during the show. The
massive object is equipped with a giant light box that turns the disk
into the sun or the moon.
A journey inside a Blue Box Its impossible to talk about one
Mexico, hence the idea of a journey literally and figuratively
speaking through the multiple places and faces of LUZIAs imaginary
Mexico. This was the starting point for the overall concept of the
show: the spectator is taken from an old movie set to the ocean to the
semi-desert to an undersea world to a cenote to the jungle to a city
alleyway to a dance salon passing smoothly from an urban setting to
the natural world, past to present, tradition to modernity.
To make the idea of a journey through various geographic locations
possible, Eugenio needed to create a neutral stage inside the Big Top.
He came up with a variation on the black box theatre concept (a
simple, somewhat unadorned performance space), which he dubbed the
Blue Box. The purpose of the blue in the backdrop and on the floor
is to enhance the various elements that appear on stage.
Rain In Mexico, rain has been a topic of conversation since pre-
Hispanic times. It is present in popular culture but also among the
Mayans who named two gods in its honor. Apart from providing the water
element as a form of artistic expression, the rain curtain in LUZIA is
a nod to architect Pedro Ramirez Vazquezs circular fountain in Mexico
City in honor of Tlaloc, the Aztec god of rain.
Integrating the element of water inside the Big Top represented a huge
technical challenge on several fronts. All electrical and mechanical
systems have to be waterproof. In addition, the water must be
recycled, disinfected, and kept at a constant 28oC for the comfort of
the artists.
A field of cempasuchil LUZIA starts with a field of cempasuchil in
bloom. These flowers aka the Mexican marigold or the Aztec marigold
are the main element of Day of the Dead altars. Their scent, orange
color and appearance are part of deepest memories of the Mexican
people. Their use in religious and pagan rituals dates back to pre-
Hispanic times.
The cempasuchil field in LUZIA is not there for purely esthetic
reasons; it reflects a desire to share a profoundly meaningful ritual
rooted in emotion.
The Papel Picado curtain The keen-eyed observer will notice that the
images on the huge Papel Picado lantern-like structure that descends
on the LUZIA stage represent various narrative elements and characters
in the show a horse, a field of flowers, a flock of hummingbirds, a
plaza, a cenote, a cave, an underwater world, raindrops, a storm, the
sun, a city, and desert cacti.
Set design and props close-ups:
o) With its two revolving rings and central platter, the stage
floor has 94,657 holes through which the water drains into a
3,500-litre basin hidden underneath.
o) The disk is 6.9 m in diameter and weighs about 2,000 kg. It
is supported by a giant bracket, called the Cobra, that
functions like a crane. The disk can move over a distance of
5.5 m and can rotate horizontally 360 degrees in both
directions.
o) Mounted on a cylinder, the Papel Picado curtain is 11 m high
by 30 m wide. Set Designer Eugenio Caballero worked with
Javier Martínez Pedro, an artist from a small town in
Guerrero, to create the images that were all drawn by hand.
The imagery was created by punching more than 13,000 holes
into the surface of the curtain.
o) The opening scene begins in a field of 5,000 cempasuchil
flowers.
o) The two treadmills weigh 3,630 kg apiece and are powered
independently by 28 automobile-type batteries.
o) Made out of water, the images and patterns that appear in the
rainfall are generated electronically by a graphical water
display screen. The images interact with the artists and
support the story and mood of the show. There are Otomi
patterns, rain drops, flowers as well as various animal
figures that are nods to the strange, warm and whimsical
creatures of Mexican painter Francisco Toledo.
MUSIC
-----
Music is part of the Mexican soul. The music of LUZIA takes the
audience on an incandescent journey to the heart of the shows
imaginary Mexico. The score whisks spectators away on a voyage of
exploration that takes them from a traditional village to a desert by
way of a tropical jungle, to the seaside and all the way to an
alleyway in a bustling metropolis.
For LUZIA, Composer Simon Carpentier wrote a hot, lively score with
distinctive Latin American flavors. A little like the Running Woman
one of the emblematic characters in the show , the music jumps
playfully from style to style, from one rhythm to the next, from
emotion to emotion, striding across landscapes as joyfully as across
musical boundaries.
Music of a thousand faces Beyond clichés and stereotypes, the
audience hears the buoyant rhythms of cumbia, a music genre close to
salsa dominated by guitars, accordions and percussions, as well as the
lively rhythms of bandas, the traditional music of traveling brass
bands. Simon also drew inspiration from the rich, tonic rhythms of
norteño, a popular genre in Northern Mexico, as well as from huapango,
a flamenco-based music style from the La Huasteca region along the
Gulf of Mexico coast.
Music came to Mexico by sea via the neighboring islands, but also from
Europe. It is a collage of miscellaneous styles, genres and cultures.
Rhythms of the Spanish-speaking Caribbean and Latin America blend with
tribal sounds that dig the roots all the way to the Mayas and the
Aztecs.
The music of LUZIA is steeped in this rich mixture an amalgam of
ancient and modern sounds infused with the brassy notes of tubas and
trumpets and the suave melodies of the Spanish guitar, all driven
forward by the relentless percussion and drums.
Voice recognition In the realm of Latin American music, the voice
is a powerful instrument a vector of emotion, flavors and rhythms
boltered by a lively, expressive language. In LUZIA, the vocal parts
blend tradition with modernity, with hints of opera, to spread the
strong Latin American vibe.
VISUALS
-------
Check out a number of videos posted to Instagram during the Press
Conference here: http://www.cirquefascination.com/?p=7975
Check out Cirque's official Instagram post about the Conference
here: https://www.instagram.com/p/BD6ZvkHRI2l/
Check out Cirque's official picture album about the Conference
here: https://goo.gl/VVmExv
More to come!
------------------------------------------------------------
LOOK BACK: Guy Laliberte's Poetic Social Mission
PART 8 of 8: "Back on Earth - Mission Success!"
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
Six years ago, on September 30, 2009, a civilian became a spaceflight
participant aboard Soyuz TMA-16, a manned flight from the Baikonur
Cosmodrome in Kazakhstan to and from the International Space Station
(ISS). Joining two members of the Expedition 21 crew Russian
cosmonaut Maksim Surayev (Commander, from the Russian Federal Space
Agency, FSA) and NASA Astronaut Jeffery Williams (Flight Engineer)
was Guy Laliberté, who paid approximately $35 million USD for his seat
through the American firm Space Adventures, becoming the first
Canadian space tourist in the process. Besides fulfilling a life-long
dream, Laliberté's spaceflight was dedicated to raising awareness on
water issues facing humankind on planet Earth, making his spaceflight
the first in his words "poetic social mission" in space. And much
of this experience was captured on film and recently spun into a
feature-length documentary entitled TOUCH THE SKY. While the
documentary is a compelling visual look into the experience, the
adventure was also captured by Laliberté himself in the form of an
online journal.
At the time these events were originally taking place, we here at
Fascination were more concerned with the happenings here on Earth
with BELIEVE, ZAIA, ZED, OVO, VIVA ELVIS, and BANANA SHPEEL so we
didn't give much thought to this endeavor. However, thanks to the
recently discovered documentary (the aforementioned TOUCH THE SKY), we
recently re-discovered a text-copy of this journal in our archives,
which allows us to explore this extraordinary time in Cirque du
Soleil's history in more detail. Thus in this series we'll be taking a
look back at Guy's Poetic Social Mission through his eyes, from the
journal, in monthly installments, taking you through the initial steps
Guy undertook all the way through to the launch and landing. In Part
1, "The Countdown Begins" we listened as Guy took us through his first
steps. In Part 2, "Training Kicks Up a Notch", Guy got settled in, and
passed a few essential tests. In Part 3, "Getting My Hands Dirty", Guy
gets down into the nuts and bolts of his training. In Part 4, "From
Training to Reality", Guy gets a bit more hands on with the actual
equipment he'll be flying in. In Part 5, "T-30 Days and Counting", Guy
rushes to complete his training with only a few precious days
remaining until lift-off. In Part 6, "Departure for Baikonur", we
finished out September's logs with Guy's departure to the Baikonur
Cosmodrome, Russia's launch facilities located in the desert steppe of
Kazakhstan, and the day before his launch into space. In Part 7,
"Moving Stars and Earth for Water" we looked at the event itself and
the meaning behind Guy's Poetic Social Mission to space. And now in
the final installment - "Back on Earth - Mission Success!", we'll
experience space through the eyes of Guy Laliberte himself.
# # #
POST 92 | DAY 187 - SEPTEMBER 30, 2009
IT'S D-DAY
I've been back on Earth for three days now and my quarantine period is
already ending tomorrow (Thursday, October 15). I have both feet
firmly on the ground but half of my head is still in the stars. And
so, I used my last day in Star City to write my blog, something I
wanted to do while I was in space but which turned out quite
impossible because of my schedule and technical reasons. I'm really
sorry for this delay but I'll try to tell you all about my adventures
since the last time I wrote.
On Wednesday, September 30, after a restful sleep (I have to say, this
surprised me a bit), I got up at 4:00 a.m., all ready for this great
day that started, however, with a not very pleasant medical
consultation. Without going into detail, let's just say that the
purpose of this consultation was to make sure that we weren't going
into space with too much solid matter, since we would be jammed for 2
days in a very small module
Gee, the things we put up with to go into
space!
I then took a shower and a doctor disinfected me with alcohol. He even
disinfected my head, which gave me a little alcohol buzz as a bonus!
We then put on our training suits and headed for breakfast. I wasn't
really hungry so I didn't eat very much, but Max and Jeff ate like
bears!
After breakfast, we went back to our rooms to pack up the remaining
personal items to take on our trip. I have never packed my bags with
such concentration! Once our bags were ready, we got together with our
spouses and a few officers to raise a glass of champagne to the
mission's success. After this ritual, we each signed the door of our
room and an Orthodox priest sprinkled us with water. A sort of space
baptism ceremony perhaps?
We left what had been our home in the last months to get on the bus
that would take us to the preparation site and
to my kids and all my
gang, all wearing a clown nose! What a wonderful surprise! This added
a splash of colour to the environment, since the sun wasn't even up
yet...However, we witnessed a magnificent sunrise on our way to the
site. According to traditiononce againwe were shown a short video
prepared by our friends and/or our family for each one of us. It was a
very moving, sweet momentand funny too!
When we arrived on the site, we had to remove our clothes and put on
what I guess we could call a medical bra (!) along with our flight
suit. We then did our leak check in front of the media and our friends
and family who watched behind a glass panel. We talked with them for a
moment, said our last goodbyes and, once again, stood before the
officers. Emotions were running high. We returned to the small living
room, raised another glass (we just dipped our lips) and said our
official goodbyes facing the officials. Happily, all my gang was
wearing a clown nose so I was able to quickly spot them in the crowd!
Everything went by so fast
We got on the bus, headed for the
spacecraft
It was all very moving.
As we got closer to the spacecraft, it seemed to grow in front of our
very eyes. We made one last stop for the final "terrestrial pee" in
the spot where Gagarin started this tradition. Jeff and Max went but I
had taken care of this, so to speak, just before putting my flight
suit on so I didn't really need to go
which meant that it took a bit
longer for me, but I didn't want to miss out on this ritual! Then, in
quick succession, we hopped on the bus, arrived at the site, embraced
our doctors and climbed up the stairs of the spacecraft's scaffolding,
singing what had become our training song: Mammy Blue. We waved to
everyone one last time, nervous, excited and very emotional.
A tiny elevator took us up (luckily, there wasn't a fourth astronaut
with us!) and we were helped into our capsule. We then settled
ourselves into our seats and started a series of preliminary checkout
activities including computer and leak checks, etc.
To prepare ourselves mentally, we listened to some 45 minutes of music
we had chosen and almost drifted into a meditative state! And so, we
"meditated" right up until the countdown: 5
4
3
2
1 minute
then
seconds, then LIFTOFF! We felt the motors vibrating and heard the
rumble but the cabin is tightly closed so it was more like a dull
noise. I had witnessed a liftoff before, so I can safely say that,
from the inside, you hear almost nothing.
We felt ourselves being lifted into the air but it was all very
smooth. For 9 ½ minutes, we experienced the various separation stages.
Thanks to his experience, Jeff was able to guide us well. What was
amusing was that each time he said such and such a step would take
place in 10 seconds, it happened 5 seconds earlier!
If I had to describe to you how I felt as the spacecraft went upward,
I would have to say that the feelings were more emotional and
spiritual than physical.
During the last separation stage, we distinctly heard the
disconnection and, quite unexpectedly, our little stuffed animal began
to fly! Our limbs felt light all of a suddenwe were weightless! We
looked at each other and did a high-five! :) I quickly looked out the
window and saw a marvellous and very round ball: WOW, what a
magnificent site! The sky is not the limit.
After a few minutes, I saw the Earth and an almost full Moon, and we
began our orbit. We stayed in our seats for a few more hours then
moved over to our cabin on the other side. We removed our flight suits
and, at that moment, I lived my first period of adaptationthe hardest
one for me up until thenand threw up what I had eaten and drank. This
lasted a few seconds then I felt different, and everything went well
after that.
During these two days in orbit, we slept, ate (we had quite a lot of
fun with the food!) and prepared ourselves to increase our altitude in
order to dock to the ISS. Whenever I could, I looked out the window.
* * *
POST 93 | DAY 189 - OCTOBER 02, 2009
DOCKING
We docked on Friday, October 2. During the operation, we were in radio
communication with the teams aboard the ISS and the docking manoeuvres
were successful. Once the docking was completed, a depressurization
operation was carried out to make sure the hatch was well sealed. When
we opened it, the odour was unlike anything I had smelled before. Jeff
told me that it was "the smell of space!" It was really special for my
sense of smell to make such a discovery.
We were warmly greeted by everyone as we entered the ISS. We were all
so very happy to have reached our target! Not long after our arrival,
we held a videoconference with the Mission Control Center and were
able to talk to our families. It was a brief but reassuring
conversation - even more so for our families, I imagine!
This beautiful little moment was followed by a presentation on
security measures, our sleeping quarters, the Russian and American
laundry rooms, etc. In short, we were handed such an abundance of
information and introduced so quickly to our new friends that it felt
like we had arrived only a few minutes ago, but it was already time
for lunch!
Even though everything was going fast, I felt zen-like. I went over to
the window to be by myself and stayed there for 2 or 3 hours, even
treating myself to a little nap, as a bonus!
Then it was time for me to start adapting myself to life aboard the
ISS. I walked around, met people, obtained more detailed explanations,
started taking pictures. It was all so beautiful? I had to stop myself
from taking pictures every second!
We prepared dinner and went to sleep. Actually, I didn't sleep much
but was rested enough to start the big job that would keep me busy for
the next four days: the last details of the Moving Stars and Earth for
Water event, including downlinks, recordings, pictures and press
conferences. The event is aptly named: I've seen stars, I've seen the
Earth and I've prepared myself extensively concerning the cause of
water since I hope to touch as many people as possible.
* * *
POST 94 | DAY 190 - OCTOBER 03, 2009
FROM SPACE
Great news! ONE DROP received a video from Guy on board the
International Space Station and he wishes to share them with you. Guy
wanted us to let you know that he is doing fabulously and that he's
enjoying his experience immensely. He also wished to remind you to
tune in to ONEDROP.org on October 9 to watch Moving Stars and Earth
for Water online. See you then!
* * *
POST 95 | DAY 193 - OCTOBER 06, 2009
LIFE IN THE ISS
On the ISS, the days are very full and the schedules, extremely tight.
Like me, everyone is busy going about their business.
I didn't want to become the accident-prone comic-strip character
Gaston Lagaffe, so I was very, very careful at first and tried not to
bump into anything. I was like someone taking his very first
intergalactic driving lesson! Despite my best intentions, I managed to
hit my head on various surfaces and feared that it would look like the
blue planet upon my return! Of course, everyone had a good laugh
With
time, I became better at avoiding things, but I also became a bit more
bold (a bit too much sometimes!). :-p
I used every free second to look out the window to live my experience
to the fullest. Several people asked me how it felt to see the Earth
from up above. The contact was actually an emotional one, almost like
watching a fleeting work of art. It was moving, intense and peaceful
all at the same time.
Nicole, Gennady, Mike, Franck, Bob, Roman
All those I met on the ISS
were very nice. I appreciated their generosity, their support, their
knowledge, their sense of humour
They were all curious to learn what
my Poetic Social Mission was all about and, once I gave them the
details, they all got on board and even accepted to wear a clown nose
during an official photo session! One more mission accomplished! Most
of all, I was very moved by such a show of support.
I felt like a fish in water up there. My only concern during those
days in space was the success of the October 9th event. I looked
forward to the event and was anxious at the same timein fact, this is
exactly how I feel before the premiere of a Cirque du Soleil show.
Eight days is not a very long time and I know I would have enjoyed the
environment more if I hadn't had this concern. But I'm not saying this
because I have regrets. On the contrary, I'm happy and proud of the
Mission and I did it for a cause that is very dear to me.
* * *
POST 96 | DAY 196 - OCTOBER 09, 2009
THE EVENT
On October 9, we were lucky to get an uplink to see the event live.
I'm not sure that this was a good thing after all since the
transmission was interrupted three times because of the satellite
coverage. The image was jerky and not very clear, so I wasn't able to
tell if the real show was being well transmitted. As soon as the event
was over, I called Montréal to find out and was relieved to hear the
team say they were very satisfied with the result since there had been
only a few minor distortions. I was happy!
Even though I was eager to see the comments on how the show had been
received, I was already proud of my friends who had taken part in the
event and my Cirque du Soleil gang, and was grateful to all of them.
I didn't sleep much during my stay in space and told myself I would
able to catch up once I was back on Earth! I always ended up dozing
off as I was admiring the view outside the window. I could see 16
sunrises and sunsets all in one day: sheer heaven!
The food aboard the ISS came from many countries, and I was very
surprised by its variety. I missed eating fresh fruit but that was
about all.
Of course, everything is a bit more complicated in space, but one
adapts
We develop techniques and hold on tightly to handles! The
equipment and floating laboratory were very impressive. Everything is
precisely coordinated and everyone has a lot to do. Weightlessness may
give the impression that we're static but there's a lot of activity
going on!
On a physical level, blood rushes to our head so we become swollen.
Our entire body adapts to weightlessness: the organs position
themselves a bit differently while the muscles hardly work at all
It's also very dry; the water vapours are recycledeven urine! Yep, I
drank urine water and found that it tasted almost as good as spring
water!
I was also very impressed by the number of experiments carried out
aboard the ISS, for health and environment purposes
for the benefit
of human beings and their planet.
I lived a countless number of amazing moments during this adventure
but the most memorable ones are those during which I watched the
Earth. Each time my eyes spotted something beautiful, something even
more stunning came along. Don't ask me to describe to you all the
emotions I felt, it's an impossible task. All I can say is that it's a
unique and profound feeling. Apart from the birth of my children and
intense moments shared with those I love, these days in space were the
most wonderful moments of my life and I'm so grateful to have lived
them.
Seeing our planet's immense beauty also makes us realize its great
fragility. Surrounded by darkness, with very distant neighbours, it
strikes us as small and vulnerable
and magnificently proud. If there
is such a thing as paradise, we're already living in it. Now, I'm
deeply convinced of this.
* * *
POST 97 | DAY 198 - OCTOBER 11, 2009
BACK ON EARTH
Not long after the Poetic Social Mission event, it was already time to
prepare our return. More hugs, a few tears, wishes, goodbyes
and a
heavy heart when the door of the Soyuz closed behind us. We checked
our equipment and the return trip to Earth was over in no time. We did
two orbits and, when we were above Africa, a manoeuvre was carried out
to precisely position our spacecraft for re-entry into the Earth's
atmosphere.
Once this manoeuvre is accomplished, there's only direction to go:
down! Undocking from the ISS and reentry are the most critical
operations. It's a physical experience of adrenaline and movement.
When the modules separated, we noticed that we were entering the ozone
layer, which is blue, and saw sparks as well, since the temperature
increases to 1600°C outside! We experienced maximum 4G acceleration
for several minutes. Needless to say, I felt quite small during this
very intense moment!
We then arrived in the Earth's atmosphere and its gravity, which means
that everything that's not well attached in the Soyouz falls. As for
us, we feel quite heavy!
The first parachute opened up at an altitude of 10 km to allow all
parachutes to deploy. The purpose of the second parachute is to slow
down the spacecraft's descent, and this creates a lot of turbulence in
our little capsule! I had forgotten the 3rd parachute, which creates
even more turbulence. We pivot, it's noisy
This is more than rock n'
roll, it's "rocket roll"!
We then made contact with ground security (the survival team) and
prepared for impact. It's like a car accident, but our seats, custom-
made to precisely fit our bodies, cushion the blow. We felt that we
were rolling on ourselves but, in fact, we were simply being pulled by
the parachute.
Our descent went so well that, only after one or two minutes, someone
was knocking at my window! They rolled the Soyuz to open the hatch,
and the captain, the engineer and myself were taken out. When you
exit, you don't feel balanced at all: your head is spinning, your
muscles are soft
It's an odd feeling, like a total lack of control.
First pleasant sensation: the smell of Earth. My, it smelled good!
We took some time to breathe a bit then were taken to the medical tent
where our spacesuits were removed and where we underwent a series of
check-ups. When our condition was confirmed stable, we took a 2-hour
helicopter ride to our first press conference after landing. I wasn't
as affected as my two team mates since my stay in space had been a
short one. For them, however, it was more difficult. They couldn't
even turn their heads.
After the press conference, we took a plane to Star City and ate and
rested a bit during the flight. When we arrived in Star City, the
welcome committee and the doctors were there to greet us, and the
buses were waiting. It was quarantine time once again!
The spouses of Gennady and Mike were there. We all headed toward our
"home," Old Prophy, where a brass band greeted us. There was also a
surprise waiting for me: Claudia, my love, had come to Star City to
see me! I was overjoyed! It was so nice to finally kiss without the
doctors to stop us!
We underwent another series of tests, more thorough this time: joints,
blood tests
here we go again!
I took a good shower (heavenly!) and shaved
By the way, I did try
letting my hair grow when I was on the ISS but I had to face reality:
there's not much hope for me there! ;-)
Claudia prepared a chicken and rice soup just the way I like it, then
we watched a movie and, very quickly, Guy fell asleep. I woke up
several times and felt that I was floating
And so we took advantage
of these moments to talk!
* * *
POST 98 | DAY 200 - OCTOBER 13, 2009
END OF STAR CITY ADVENTURE
Monday, October 12, was a statutory holiday in Montréal but a medical
day for me! This didn't really put me in the best of moods since the
idea of being examined by doctors once again didn't please me a whole
lot. I would much rather have continued sleeping!
In the afternoon, we went for a relaxing sauna and massage, and I felt
fine after that. Then, I watched more films with Claudia and we talked
for a long time. It's so nice to spend time with the one you love! She
left at around 4:00 in the morning for her 7:00 flight.
Tuesday, October 13, was a relatively quiet day, with a brief 30-
minute press conference and some time to myself for filing, sorting
out pictures, etc. I hadn't wanted to touch any of this while Claudia
was with me, but now, I had to get to work!
This whole experience in space was still very much a part of me and I
didn't want to get back to reality too fast. I did a few laps in the
pool and, since I'm recovering quite rapidly, the doctors have given
me permission to leave as early as tomorrow. Yippee! I therefore
rolled up my sleeves and took on the task of putting some order in my
paperwork, had my first meeting with Daniel Lamarre, my CEO, updated
my mission log, recorded the video for the mission log
Welcome back
to Earth, Guy!
And so, I'm leaving tomorrow for Moscow. My adventure in Star City
ends here but I intend to be back when Max and Jeff land, in March
2010.
* * *
POST 99 | DAY 201 - OCTOBER 14, 2009
THANK YOU
I can now truly say "mission accomplished": I have succeeded in
fulfilling a personal dream of mine. For this, I am extremely
grateful: To Cirque du Soleil, for their great creative work
To the
extraordinary group of people with whom I lived with for 5 months, and
who have deepened my knowledge and enriched my life in so many ways
For living this experience in space, while taking precious time to
watch the Earth and the stars
For the Poetic Social Mission, that
succeeded in calling attention to the ONE DROP Foundation and the
situation of water around the world
The messages we received after the October 9th event were extremely
positive. In the coming weeks, we will need to analyze the outcome,
but the signs are very encouraging so far.I hope that all this has
succeeded in endowing ONE DROP with a personality, since its
"foundation" DNA was definitely encoded after this trip. More than
ever, ONE DROP believes that the arts remain the best vehicle to touch
people, enlighten and obtain support. This adventure will inspire it
to continue working creatively to ensure its future.
In closing, I would like to thank the agencies that supported me
throughout this project: the Canadian Space Agency, NASA, the European
Space Agency, Roscosmos, Space Adventures
My trainers, instructors,
interpreters and doctors, who did their utmost to properly prepare me
for this adventure
Max and Jeff: it was an honour for me to fly with
them
My Cirque du Soleil, ONE DROP and Poetic Social Mission teams,
for their support and hard work. We succeeded once again in
accomplishing a tremendous project under tight deadlines and
conditions that were not always easy! Those who accompanied me and
gave me their support every day: Valerie, my personal assistant,
Geneviève, my coordinator, André, my I.T. technician, and Adrian,
Sylvain, Alain and Anya, my documentary film crew
All those who,
directly or indirectly, helped accomplish the Poetic Social Mission
My family (my parents, my children, my love Claudia, my brother, my
relatives), for their unconditional love and support
The cosmonauts
and astronauts, who generously guided me along the way
My friends,
who encouraged me with their text messages, calls, e-mails and gifts
And to all of you out there, who inspire me to continue working
towards a better world, in my own way, using my own dreams as a lever
Together, let's keep hoping that one day, thanks to our efforts and
determination, we will live on a planet where everyone will have
access to drinking water.
With love,
Guy
ROCKET MAN!
-----------
"Mission accomplished," a relaxed and smiling Laliberte, a former
street performer now worth an estimated $2.5 billion, told a news
conference at Russia's space training center outside Moscow. "That was
the ride of my lifetime."
For all intents and purposes, Guy Laliberté's POETIC SOCIAL MISSION
and "Moving Stars and Earth for Water" broadcast event from the
International Space Station (and 14 cities around the world) was a
resounding success.
Following the broadcast Laliberté strengthened his resolve promoting
ONE DROP, photos from his journey were used as projections in Cirque
du Soliel's 2010 production TOTEM, and in June 2011, Laliberte
published a book entitled Gaia (Assouline Publishing), containing
photos of Earth from his 2009 trip (proceeds from the book benefitting
the One Drop Foundation, of course.)
"I never denied this was a moment to create awareness toward the
situation of water in the world, toward foundation One Drop," said
Laliberte."I don't have 25 years; the world doesn't have 25 years to
address the situation of water, so I think this was a great
opportunity to combine a personal dream also, and having a greater
benefit than just coming in space."
The ascent to the International Space Station (ISS) was more of "an
emotional and spiritual" encounter with something new, he said. "But
coming back was really a ride!" Laliberte returned to Earth aboard the
Soyuz TMA-14 spacecraft (left at the ISS as an emergency vehicle
during that previous flight) with Russian Gennady Padalka and U.S.
astronaut Michael Barratt both of whom had spent almost seven months
at the outpost.
He said he had tried to entertain the station's crew, though he
confessed there was strict discipline on board which limited his
clowning."For a person like me, who goes into such a busy environment,
the last thing you want to do is to hit and damage some kind of
equipment there," he said."So my first steps there were very careful
and actually day after day I was able to be in a more playful
environment."
Following his trip into space, Laliberté recalled the journey as an
amazing ride. "Everything was an amazing ride and I would go back up
there right now to do it again," Laliberte told reporters at a press
conference outside Moscow. Laliberte, 50 at the time, spent about $35
million USD to reserve his spot on the Soyuz. He said the price of
admission was "worth every penny and more," because he was able to
raise awareness of his cause aimed at highlighting the situation of
water on earth through the foundation One Drop.He also told reporters
that the return trip from space to earth was the ride of his
lifetime."You are going down and you are going through these blue
layers and ... you start to see the sparks, and it's an amazing
spectacle. For me as an entertainer, this was an amazing show. I'd go
up there right away to just do it again, because it was such a great
physical and adrenaline kick for me."
FIN
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 16, Number 4 (Issue #147) - April 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.
{ Apr.07.2016 }
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