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Fascination Issue 161
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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 17, NUMBER 6 June 2017 ISSUE #161
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
* * OYEZ! OYEZ! * * *
There've been a number of new developments and announcements since
our last issue. Here's a quick round-up:
CIRQUE AND MÖTLEY CRÜE??? -- Right at press time, Robin Leach through
his "niche division" of the Las Vegas Review-Journal heard a couple
of "rock related" whispers... "Are Cirque du Soleil execs taking a
hard look at staging a new Las Vegas show centered on the antics and
adventures of the legendary heavy metal group Motley Crue?" he asked.
"The rockers singer and Las Vegas resident Vince Neil, drummer
Tommy Lee, bass guitarist Nikki Sixx and lead guitarist Mick Mars
formed in January 1981 and officially retired last year." Robin is
usually on top of things with regards to Vegas entertainment, so we'll
have to wait for more details, and of course, an official announcement.
VAREKAI TO CLOSE DECEMBER 23, 2017! -- That's right... after 15
years of touring around the globe in over 200 cities and 43 countries,
Cirque du Soleil's Varekai will take its final bow on December 23,
2017, in Sugar Land, Texas, following a few brief stops in North
America. Launched in Montreal in 2002, the show has had an exceptional
run, touring 11 years under the Big Top and 4 years in arenas. The
colorful world of Varekai, with its enchanted forest and energetic
performances, has already won over more than 11 million spectators. By
the end of its run, the show will have been performed over 5,200
times. I pay tribute to this wonderful show and salute all the
artists, technicians and employees who have made Varekai one of the
brightest jewels of Cirque du Soleil explained Jean-François
Bouchard, Chief Creative Officer. The cast of Varekai comprises 50
artists from 12 different nationalities. Varekai continues its
European tour until October and will be presented in North America
until the end of December. Tickets can be purchased online for the
European performances at www.cirquedusoleil.com/varekai. Tickets for
the North American performances will go on sale shortly.
ZUMANITY CELEBRATES 6,500TH PERFORMANCE -- The title kind of says it
all. On May 23, 2017 at 9:00pm, Zumanity officially celebrated its
6,500th performance. Congratulations!
WHAT'S NEXT FOR JAPAN? -- TOTEM, which just wrapped up its year-and-a-
half-long tour of Japan in Sendai (visiting Tokyo, Osaka, Nagoya, and
Fukuoka as well), will be followed up in the land of the rising sun
with KURIOS - CABINET OF CURIOSITIES beginning February 2018! As of
press time the full tour has not been announced, but expect the show
to visit the same cities TOTEM did. In the meantime, check out the
Japanese tour site < http://www.kurios.jp > for a little teaser of
what's to come! What about other shows you might ask? While the
ITINERAIRE section is where you'll note the majority of tour stop
changes, we're also happy to announce that our friends down under will
be blessed with TORUK-THE FIRST FLIGHT very soon. Enjoy!
VOLTA CD/DVD TO BE RECORDED SOON! -- According to Darius Harper,
VOLTA's male singer, via his Instagram account, both the CD and DVD
for the show will be recorded shortly. This is good news! We can't
wait to have the musical album or to see the show on our TV screens!
Although this begs the question: when might we see these released? For
the album I am uncertain, but for the DVD, we're looking at - at least
five to six months until the product comes to shelves. Luzia was
filmed in May/June 2016 and released mid-November. Toruk was filmed at
its December gala premiere and its DVD was released in July 2016.
Kurios was filmed December 2016 in Miami and was just released at the
beginning of May. So... about five to six months for editing and such.
Stay tuned!
CIRQUE AT SEA SHOWS UNVEILED -- MSC Crusies revealed the names and
concepts for the two exclusive Cirque du Soleil at SEA shows that will
be performed on board the MSC Meraviglia, which came into service on
June 4th. The two very different, contrasting shows - Viaggio and
Sonor - each lasting 40 minutes will be performed twice a night for
six nights in the ship's Carousel Lounge high-tech theater. Check out
the two articles within our news section this month for more
information.
CASTING CALL FOR HANGZHOU 2018 SHOW -- In addition to the
aforementioned "The Empress" and "The King" characters / singers in a
previous issue, Cirque Casting is looking for 4 new roles to fill for
Hangzhou 2018: A physical comedian or a clown to play the role of
Khino, the Harlequin-style character; a middle-aged physical actor to
play the role of the Old Blind Man; a middle-aged physical actor to
play the role of the Counselor; and physical actor or actress of Asian
heritage with acrobatic skills to play the role of Hou, a playful
Monkey King character type.
AMERICAN DREAM in 2019? -- American Dream, the long-stalled retail,
dining and entertainment destination in New Jersey, has a new opening
dateand some badly needed new funding. Triple Five Group of
Companies, owners and operators of Mall of America and West Edmonton
Mall, announced that it has closed on $1.67 billion private
construction financing for American Dream. The project, located in
East Rutherford, New Jersey, and close to Manhattan, is now slated to
open in March 2019. What makes this of interest to Cirque fans is this
statement: "The developer has signed up an impressive list of
entertainment attractions for the project, including DreamWorks Water
Park, Nickelodeon Universe Theme Park, Big Snow Indoor Ski &
Snowboard Park, a 1,350-seat live-performance Cirque Du Soleil
theater, Sea Life Aquarium, Legoland Discovery Center, Kidzania, an
18-hole miniature golf course, and an NHL-size ice rink. The project
will also feature an expensive lineup of department stores and
specialty retailers, ranging from Saks Fifth Avenue to Hermès, along
with an assortment of restaurants."
NFL EXPERIENCE TIMES SQUARE SNEAK PEEK! -- NFL Experience Times Square
on Wednesday, May 3rd revealed the first detailed look inside the
state-of-the-art interactive attraction that promises to bring
football fans closer to the game than ever before. Opening this
November, the NFL Experience Times Square offers fans a chance to step
into the shoes of an NFL player using a 4D cinematic experience,
physical challenges, augmented reality, and various immersive elements
to give fans the ability to step into the huddle. NFL Experience
Times Square is the next level of entertainment for new and life-long
football fans alike, says Danny Boockvar, President of NFL Experience
Times Square. This must-see attraction will allow residents and
tourists to experience the game like never before. Take a peek inside
the NFL Experience - Times Square in the news section within.
* * * CIRQUE DU SOLEIL CRYSTAL IS ANNOUNCED! * * *
Over the last few weeks-to-months, the Cirque du Soleil rumor mill has
been in a stir over just one word QUARTZ. Its something we here at
Fascination touched briefly on in our February 2017 issue (as we were
sworn to secrecy)... but now Cirque du Soleil has made that
announcement!
Cirque du Soleil is thrilled to venture into uncharted territory with
its brand new creation, Cirque du Soleil Crystal, exploring the
artistic attributes of ice for the very first time. The state-of-the-
art production will create a fresh innovative experience, pushing the
boundaries once again by combining outstanding skating and sliding,
remarkable aesthetics and acrobatic feats that defy the imagination.
Here's the story thus far: A young woman shatters through reality to
reach the surreal world of possibility. Beyond the surface, she
pursues the life that has been glistening beneath. Sometimes, we must
first leave solid ground to find our true footing. Let reality slip
away as Cirque du Soleil Crystal glides above a most unusual
reflection.
We are excited to create a unique entertainment experience on ice for
all spectators to enjoy. Its a wonderful opportunity for Cirque du
Soleil as ice provides us with an entirely new field of play which
also comes with a set of creative challenges. Our goal is to
continuously surprise audiences by showcasing all the incredible
possibilities on ice explained Yasmine Khalil, Executive Producer of
Crystal.
Specifically created for arenas, Crystal will tour the world starting
in Lafayette, Louisiana on October 5, 2017. The show will be presented
in a few cities in the United States before visiting Quebec City and
Montreal later this year. (Check out our ITINERAIRE section for tour
information). Discover Cirque du Soleil Crystal A breakthrough ice
experience. Skate on the edge of reality! In the meantime, check out
the teaser video: < https://youtu.be/EMsgKf20XsM >
* * * CIRQUE IN DUBAI... AGAIN * * *
If you've been following Fascination for years, news of Cirque du
Soleil planning to reside within the borders of the United Arab
Emirates shouldn't come as a shock. We've been hearing about Cirque in
Dubai off-and-on for years. The first, you may recall, back in May
2007 when Arabian Business Online confirmed rumors that Cirque du
Soleil signed a multi-million dollar, 15-year deal for a show at the
heart of the Palm Jumeirah following the smashing success of Quidam in
Dubai earlier that year. This new show was expected to open by first
quarter 2010, with an official premiere to occur in December of that
year, but... what should also come as no surprise... the show was
delayed. And then it was delayed again. By March 2009, as the business
world became gripped by the global economic crisis, the show was
pushed off yet again. Brett Judd, Head of Entertainment and Leisure
for Nakheel, said: "As with any other company, [the financial crisis]
has made us reassess our projects, but the show is going ahead [for
2012]."
By June 2011, it was clear this show would not go on. There is no
plan for a Cirque du Soleil permanent base in Dubai at all right now.
This project has been set aside, companys then Corporate PR Manager
Chantal Côté said. Asked if Cirque was in talks with any other
companies in the UAE to host a permanent show, Côté said: We are not
speaking to any other party in the UAE. Confirmation that Cirque du
Soleil would not pursue the Dubai show did not come as a surprise, as
news about the show had been scarce. (The only thing we'd learned
about the show was that in an interview with Fascination (which you
can read here: http://www.cirquefascination.com/?p=1593), Martin Lord
Ferguson and Ella Allaire eluded that they had written demo songs for
the show.
And that's the way things remained until mid-2015, when rumors
whispers really - began to surface about Cirque in Dubai once again.
This concept, we were told, would be a much smaller effort though - a
boutique show in a black-box theater (a simple, somewhat unadorned
performance space, usually a large square room with black walls and a
flat floor). But if the current announcements are to be believed, and
I have no reason not to, that concept has been thrown out the door.
On May 14, 2017, Dubai Holdings announced Marsa Al Arab, a mega-
project spread over a 4 million sq ft area comprising two islands on
both sides of Burj Al Arab Jumeirah to be developed at a cost of Dh6.3
billion ($1.71 billion). Adding 2.2 km of beach frontage, the
comprehensive tourist destination aims to elevate the family tourism
proposition in Dubai, provide supporting foundations to host Expo 2020
Dubai, as well as reinforce Jumeirah Groups leading position locally
and globally as one of the driving forces behind the growth and
prosperity of the tourism sector. The project will break ground in
June this year and will be completed by late 2020. Marsa Al Arab
comprises two islands on both sides of Burj Al Arab Jumeirah. One will
be dedicated to entertainment and family tourism, while the other
comprises an exclusive luxury resort. And one of the offerings the new
family destination will offer is a dedicated theater with a capacity
of 1,700 seats, which will become home to the world-renowned show
Cirque du Soleil for the first time in the Middle East.
Daniel Lamarre, the president and CEO of Cirque du Soleil, said:
"Dubais unique geographical position between East and West, along
with its regionally unparalleled infrastructure and sophisticated
hospitality offering means that demand is strong for a beloved and
enduring institution such as Cirque du Soleil, and we look forward to
raising the curtain for new fans in this new facility with new shows
designed specifically for Dubai. Cirque du Soleil already enjoys great
patronage from residents and visitors alike and we are pleased to now
have a permanent base in the new epicenter of global tourism."
Cirque seems really serious this time so check out the full release in
the news section within for a few more details.
* * * WHAT YOU'LL FIND WITHIN * * *
On April 28, 2017, Cirque du Soleil presented in Montreal the world
premiere of its latest production, VOLTA. Last issue I remarked that
normally I'd be walking down the cobblestone-lined pathways of the
Jacques Cartier Pier in the Vieux Port of Montreal with a couple-
thousand Québécois in celebration of this feat. But not this year. It
just wasn't in the cards (or the budget). Although I was unable to
attend the premiere of VOLTA with fellow fans and friends of Cirque du
Soleil as I normally did, thanks a dear friend I was able to get a
little more insight into the show through the texts printed in the
show's programme book. Since sharing that text with you last time,
Cirque du Soleil released the full PRESS KIT for VOLTA, which has a
lot more information about the show's scenography, costumes, and, of
course, acts within it. So check out "VOLTA: FREEDOM IS THE ULTIMATE
RUSH" within.
Two months ago we kicked-off our newest feature series - "We're Off
and Running - A Series of Classic Critiques" - that dives into the
archives to examine the first reviews, peeks, and evaluations of
Cirque du Soleil's "classic" touring shows as they took their first
steps across North America. The impetus: How did the press see Le
Cirque du Soleil in 2002, 1998, 1994, 1990, 1987? What I found
extraordinary, and more than I expected. And I'm sharing these
discoveries here in Fascination through a series of collections,
beginning with the 1987 tournée of Le Cirque du Soleil (better known
today as Le Cirque Réinventé), and continuing on from there. Last
issue was Part 1 of 16: Le Cirque Réinventé, Part 1 (1987); this month
we continue looking at 1988's reviews of Le Cirque Réinventé.
And last, but certainly not least, a review of Cirque du Soleil's
newest DVD release - KURIOS: CABINET OF CURIOSITIES. At present
there's only two places you can get your hands on it: under the big
top at KURIOS and at La Nouba's Cirque du Soleil Boutique. (Although
there are plans to re-vamp the Online Boutique and have the DVD
available there... we're just not sure when!).
Okay, so let's go!
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
| |
| At CirqueCast: |
| < http://www.cirquecast.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 & Highlights
* Q&A - Quick Chats & Press Interviews
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* "Kurios About: The Kurios DVD - A Review"
By: Ricky Russo - Atlanta, Georgia (USA)
* "VOLTA: FREEDOM IS THE ULTIMATE RUSH"
Texts from the Press Kit & More
Edited By: Ricky Russo - Atlanta, Georgia (USA)
* "We're Off and Running - A Series of Classic Critiques"
Part 2 of 16: Le Cirque Réinventé, Part 2 (1988)
By: Ricky Russo - Atlanta, Georgia (USA)
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
***************************************************************
LA PRESSE -- General News & Highlights
***************************************************************
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ICYMI: Tony Nominations Paramour Snubbed...
{May.02.2017}
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The Tony nominators spread the joy to 25 of 37 eligible shows this
morning, giving multiple nods to box office smashes that included the
shoo-ins Bette Midler in Hello, Dolly!, check. Ben Platt in Dear
Evan Hansen, check. Patti LuPone and Christine Ebersole in War Paint,
check. while still managing to cause some pain in several quarters,
including those occupied by a few of the seasons biggest audience
pleasers.
(And dont forget that three of the most acclaimed performances of the
season werent even in the running: Glenn Close, reprising as Norma
Desmond in Sunset Boulevard, already won for her original Norma
Desmond; Jake Gyllenhaal and Annaleigh Ashford, the stars of Sunday In
The Park With George, were out of the running because the producers
pulled the revival from awards consideration.)
It was no surprise that the nominators ignored the mostly reviled
Paramour, which marked Cirque du Soleils first made-for-Broadway
venture. Also shut out among the new musicals: Charlie and the
Chocolate Factory, Amélie (along with its star, Phillipa Soo, who left
Hamilton for the adaptation of the hit indie film) and A Bronx Tale,
which has been a high-grossing musical despite critics indifference.
In the musical revival category, both of Andrew Lloyd Webbers entries
Cats and Sunset Boulevard went away empty-handed.
{ SOURCE: Deadline | https://goo.gl/lmKw9W }
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NFL Experience Times Square Unveils Sneak Peek!
{May.03.2017}
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From the ground floor lobby located on 44th Street at 7th Avenue,
visitors take the elevator up to the fourth floor where they are
transported into the rituals of game day. Passing a Wall of Fame
with personalized messages from NFL legends, visitors are invited to
explore the rich history of Americas game through videos playing on
jumbotrons. Participants can test their favorite team knowledge with
more than 20 interactive touchscreen stations representing all 32 NFL
teams. As they make their way towards the theater, fans pass displays
of iconic items such as the Terrible Towel in Pittsburgh and the
Cheesehead from Green Bay.
STEP INTO THE GAME
Visitors then take their seats inside the 4D theater for Gameday, an
immersive film with exclusive content from NFL Films. The 185-seat
theater is designed to evoke the feeling of being in a packed football
stadium, boasting wall-to-wall high-tech screens, cutting-edge motion
seats and temperature controlled elements for a highly sensory
experience that transforms viewers from fans into players.
The multi-media film follows the players pursuit of the football
throughout the season and tracks the emotions of the NFL season: the
exhilaration of September, the trials of October, the thrill of
November and the achievement of making the Playoffs in December. The
audience feels a surge of adrenaline as they become the wide receiver
running down the field while the defense rushes towards them, feeling
the cool air as fall turns to winter. This view of the game will show
it in a way never experienced before: the speed, the intimate nature
of the field, the closeness of the stands and the sidelines.
PLAY LIKE A PRO
The audience exits the 4D theater on the third floor having won the
Conference Championship game and enters the Locker Room to the sound
of cheers and real post-game speeches from NFL coaches. Now in the
inner sanctum of the players, fans move through a Training Facility,
tasked to prepare for the upcoming Super Bowl. Designed to replicate
an authentic NFL team workout facility, fans can Measure Up to the
pros with a series of interactive challenges including a vertical
leap test and blocking obstacles that compare guests abilities with
the best on the offensive and defensive lines.
Using a combination of enhanced visual effects and Kinect technology,
fans can then Suit Up as part of their favorite NFL team. Once the
system digitally builds the body armor and uniform on their live
image, fans can see their physical prowess in the team uniform of
their choice.
Moving from training the body to sharpening the football mind, fans in
the Game Plan are then given one-on-one instruction from a hologram
of a NFL legendary coach. Just like NFL quarterbacks, fans prepare for
their upcoming opponent by learning a new play in a space that
replicates a coachs classroom, complete with a large digital
whiteboard that comes to life with the games Xs and Os.
In Huddle Up, visitors step into the middle of the huddle as their
teams quarterback. With fame and glory on the line, fans must take
command of the huddle and lead their team to execute the new play.
Call the play, read the defense and get the play off in time, all
while the coach is watching from the sidelines.
Now the fan is ready to enter the biggest game The Super Bowl
where they can test their skills by throwing a real football to their
favorite receiver, feeling the thrill of a Super Bowl victory by
completing the game-winning pass. The Quarterback Challenge tracks
the footballs speed, accuracy and completion percentage and compares
it against fans favorite world-class quarterbacks.
CHAMPIONS CELEBRATION
Transformed from players to champions, visitors descend to the second
floor where they are enveloped in the swelling sound of cheering fans
surrounded by their teammates. Integrated LED lights simulate a
lightning storm of camera flashes and capture the excitement of the
players arrival on the NFLs biggest stage.
Now in the middle of the worlds biggest victory celebration, the
field comes to life with augmented reality immersing visitors in the
pomp and circumstance of a Super Bowl win through the eyes of a pro.
Fans celebrate with their heroes feeling the joy of conquering every
opponent to reach the pinnacle of the sport. Fans can be interviewed
by a reporter to tell them how it feels to have trained physically and
mentally to win the Super Bowl.
As a champion, fans have earned the right to share the stage with the
Vince Lombardi Trophy and experience the iconic trophy up-close just
like a Super Bowl victor.
Fans then move to an installation showcasing the NFLs most personal
prize the Super Bowl ring. The rings design is the most intimate
expression of the teams season and the guiding principle that got
them to the top.
Fans exit through the tunnel of champions, where they are immersed in
video showing highlights of their heroes greatest on-field moments.
By the end of the tunnel, fans see their own highlights and maybe even
their on-field Super Bowl interview.
Fans can celebrate by doing their own Touchdown Dance, which could
even be televised in Times Square.
* * *
NFL Experience Times Square will be a first-of-its-kind interactive
and immersive attraction located in the heart of New York City that
will bring fans closer than ever to the National Football League and
their favorite team. Combining immersive content, interactive
displays, a state-of-the-art 4-D cinema and other multimedia effects,
the experience will take visitors from the stands onto the field,
transporting them from Kickoff through Playoffs, and ultimately, the
Super Bowl.
Created by Cirque du Soleil in partnership with the National Football
League, NFL Experience Times Square will open in November 2017 in New
York City.
Tickets for this brand new NFL-themed attraction are on sale starting
today. Tickets are available exclusively at
https://www.nflexperience.com/ beginning at $39.00.
For more information about NFL Experience Times Square, please visit
www.nflexperience.com. Follow @NFLExperience and tag #NFLX on
Facebook, Twitter and Instagram.
And check out our site for images that accompany this article
< (http://www.cirquefascination.com/?p=10110 >
{ SOURCE: CNW, Cirque du Soleil }
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D-BOX Technologies Powers NFL Experience Times Square
{May.05.2017}
-------------------------------------------------------
The state-of-the-art sports-themed attraction has been created by
Cirque du Soleil in partnership with the National Football League.
NFL Experience Times Square will feature a leading-edge immersive
theater with high-definition projectors and 185 seats powered by the
motion of D-BOX Technology.
Football fans of all ages will be able to immerse themselves in the
adrenaline, passion and thrills of the game in a whole new experience.
The multimedia show, which showcases exclusive creative content from
NFL Films, turns fans into players. Viewers will see the world through
the eyes of a player on the field and in the locker room. Finally,
they will transform into a champion as they are immersed in the
thrills and spectacle of the Super Bowl.
Embarking on such a creative and innovative adventure was a natural
fit for us, comments Claude McMaster, President and CEO of D-BOX
Technologies. By combining our unmatched, immersive motion technology
with NFL Experiences unique vision, weve created an amazing, one-of-
a-kind experience that takes the attraction to a whole new place.
The first-of-its-kind attraction features a larger-than-life film with
exclusive footage that propels fans from the stand to the field.
Features include interactive displays that get to the heart of the NFL
training regime and game plan, physical challenges that allow guests
to test their skills against the pros, as well as championship
memorabilia.
To have our innovative technology recognized and utilized by two
respected institutions like the NFL and Cirque du Soleil is extremely
rewarding, adds Yannick Gemme, Vice President, Sales, Simulation &
Training and Entertainment at D-BOX Technologies. This high-
visibility project has created an attraction that will amaze fans and
become one of New York Citys must-see attractions.
{ SOURCE: BlooLoop | https://goo.gl/JrtQ7E }
-------------------------------------------------------
Is Britains Got Talent fixed?
{May.08.2017}
-------------------------------------------------------
Britains Got Talent has received fresh accusations of being fixed
after it was revealed that one act which blew the viewing audience
away are professionals that have performed in prestigious acrobatics
show Cirque du Soleil.
The four-piece group, Angara Contortion, from Buryatia, Russia, wowed
the judging panel including Simon Cowell and the excitable crowd on
Saturday nights (6 May) with an immaculate, highly-skilled
performance that led to a standing ovation.
After sailing through to the next round without any qualms and being
by far the most professional act of the night, viewers flooded social
media to praise them.
One individual tweeted: The Russian contortion group is should of
getting that gold buzzer best act from a mile fareplay #BGT as
another wrote: How did Angara Contortion not get the golden buzzer?
They are 1000× better than the dance act who did the other week.
A third added: That contortion group was amazing, and their make up
was stunning too.
And the judges couldnt have agreed more, with David Walliams telling
the ladies: That was one of the most stunning things Ive ever seen
on this show.
But the group comprised of four females named Bayarma, 29, Imin, 28,
Ayagma, 27 and Serchmaa, 20 are no strangers to pleasing a crowd.
Before auditioning, the girls claimed that they had travelled to the
UK especially for the show, flying six hours to Moscow and then a
further three hours to touch down in Britain in a bid to have land a
spot at the Royal Variety Performance.
The group described being on Britains Got Talent as like a dream.
The Mirror claims that the self-proclaimed amateurs actually live in
the US. They have also starred in the critically-acclaimed and world
famous Cirque du Soleil and featured in its Kurios show that has
staged more than 1,100 events across the globe since 2014.
Angara Contortion have also performed on The Late Late Show hosted by
Britains very own James Corden.
Responding to the news of Angara Contortionists professionalism, one
BGT viewer tweeted: Any show thats run by @SimonCowell is fixed! You
only have to audition to see for yourself! #BGT.
* * *
Before the group made their appearance, the episode opened by quoting
gushing social media posts from viewers about the show including a
tweet from a fan called Sarah Schofield saying: Cant wait for BGT
tonight! #BGT
It was sent at 5.59pm on Saturday, two hours before the episode aired
and too close to broadcast to be added in.
Sarah lists herself as a boss at a PR firm which boosts brands on
social media. A TV insider said: All signs point to BGT recruiting
someone to post a fake tweet.
But a show source said she was a fan as well as a pal of the producer
who was told in advance what her tweet would be. They added: Its
perfectly innocent. Even so, bosses reminded the producer of his
responsibilities.
A show spokeswoman said of the contortionists: Anyone can apply
whether pro or amateur.
Despite the quartet appearing to mislead viewers, a BGT spokesperson
claimed that the group had every right to audition, stating: Anyone
can apply whether pro or amateur.
{ SOURCE: IB Times, The Sun }
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Cirques thrilling VOLTA is Crippled by its Story
{May.10.2017}
-------------------------------------------------------
Cirque du Soleil is sometimes credited with bringing storytelling into
circus, but the company wasnt the first to do that even in Montreal.
In the late 18th century, John Bill Ricketts built a greystone circus
theatre in the city, where he presented equestrian stunts and
acrobatics along with pantomime versions of Robinson Crusoe and
Harlequin in Montreal.
We cant know how good Rickettss acrobats were, but his Robinson
Crusoe at least had a good tale to work with. One cant say the same
about Volta, the new Cirque production currently playing under a big
top not far from where Rickettss theatre once stood.
As always in a Cirque production, there are plenty of feats to amaze,
and some that approach the outer edge of the possible. I had never
before seen what acrobats call a hair hang, which consists of doing
difficult things while suspended by your hair. The finesse and control
shown by Danila Bim while writhing, spinning and being hauled up by
the hair to the tents peak was perhaps equal to the horrified tension
I felt watching her, fearing that her scalp might detach at any
moment.
I had also not seen anyone do memorable things with a light fixture,
but Pawel Walczewskis acrobatic number with a hanging lamp was
smoother and more elegant than some ballet solos. He made it look easy
and serene, even while he glided in a horizontal pose while gripping
the swinging fixture by one hand behind his back.
Bicycles were among the stars of the show, including the unicycle that
Philippe Bélanger pedalled while Marie-Lee Guibert did an athletic
routine in his arms, finishing by standing upright on his head while
he balanced on the wheel. The show closed with a spectacular BMX
routine for five cyclists doing simultaneous stunts on transparent
ramps.
Between these highs, however, there were numerous dull patches, most
of them having to do with the story, written by director Bastien
Alexandre. The hero, Waz (dancer Joey Arrigo), couldnt enjoy his
prominence as the golden overlord of a TV talent show because people
had mocked him when he was a kid. He pondered the hollowness of making
entertainments for the Greys, who paraded their conformity by marching
in step, eyes glued to cellphones and dressed in outfits that looked
as though they were made from old newspapers.
Wazs sulking ended after he was taken up by a group of brightly
costumed Free Spirits, who showed him that true happiness lies in
excelling at street sports. Most of the Free Spirits were male, and
they strutted and urged each other on in their stunts like the bros
they were.
The pat resolution to Wazs distress was forecast within the first 20
minutes. But the real problem with building the story on him was that
the character had almost nothing to do till his ah-ha moment, when he
did a brief and vigorous contemporary dance routine. With that final
narrative chore completed, the show moved quickly to the much more
exciting BMX finale, which sent the crowd out buzzing.
Maybe narrative has become a crutch that Cirque du Soleil should think
about discarding. It might not matter either way for this particular
show, because Volta has enough stunts to please, and may make its
biggest pitch not through story, but through nostalgia. I saw the show
with a fan of the Netflix series Stranger Things, who remarked that
Volta presses the same 1980s-nostalgia buttons as the series. Stranger
Things is popular among millennials, a group that has money to spend
and may not yet be as Cirque-aware as their parents. From that angle,
Volta looks and sounds like a straight-up marketing pitch to a desired
demographic.
Cirque should definitely reconsider its continuing flirtation with
what could be called Red Indianism. Zaldy Gocos costumes for the Free
Spirits sported a number of references to indigeneity that were
pointed but tribally non-specific, including braids, face paint,
fringes and even a headdress that wasnt made of feathers but might as
well have been. Fie on all that.
Volta continues in the Old Port of Montreal through July 23, then runs
in Gatineau from Aug. 3 to 27 and at Torontos Port Lands from Sept. 7
to Oct. 29 (cirquedusoleil.com).
{ SOURCE: The Globe and Mail | https://goo.gl/ho1ufS }
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Cirque will use HoloLens to Design Sets and Plan Shows
{May.11.2017}
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Cirque du Soleil has partnered with Microsoft to develop a way for the
acrobatic entertainment company to test out stage setups and
choreography in augmented reality using HoloLens. A working version of
the technology was shown onstage today during Microsofts Build
conference for developers.
Chantal Tremblay, the director of creation for Cirque du Soleil,
explained that it takes the company about 18 to 24 months to go from
choosing a theme for a show to releasing it to the public. Much of
that time is spent building the shows sets at Cirques studios in
Montreal. But with HoloLens, Cirque scenic designer Carl Fillion said,
the company will be able to visualize the same stage and all the
equipment into the same studios at real scale months before
construction. We are closer than ever to a perfect creation tool, he
said.
During a demo, Tremblay, Fillion, and one of their Cirque co-workers
each tossed on a HoloLens headset and started collaborating on a new
set using primitive geometric shapes. They were also able to bring a
co-worker into the scene using a virtual avatar, similar to the kinds
of VR collaboration efforts weve seen from Facebook. By the end of
the presentation, they were looking at a life-sized version of a
potential Cirque du Soleil set, complete with dancers moving
throughout it.
To be able to see that so early in the process is amazing and totally
new, Tremblay said. Usually we have to wait until we finalize our
casting and the artists come to Montreal, but now by looking at it we
could even make changes to the performance, or even change the
casting call based on those real-time design choices, she said.
The demo was reminiscent of the NASA one from two years ago, where
scientists showed how they could use HoloLens to explore the surface
of Mars. This was a glimpse at what Cirque du Soleil hopes to do with
HoloLens, because the collaboration is apparently still in its early
stages. HoloLens is also still limited in a few ways for instance,
the headsets field of view is much more limited than onstage
presentations like these make it seem.
What you just saw was a custom solution done in collaboration with an
incredible partner, Microsofts Alex Kipman said. And while he said
the goal is for Cirque du Soleil to use these tools in future live
shows, the demo was also clearly meant as a pitch for the developers
in the audience. Imagine the transformative power if these are
applications created by you, he said.
It allows them, in the creation process, to visualize what the set
will look like much sooner, Bernard Fouche, general manager of
innovation at C-Lab for Cirque du Soleil, told The Hollywood Reporter.
They can walk through the stage and see whats planned before its
been created.
CHECK OUT THE IMAGES THAT ACCOMPANY THIS ARTICLE HERE:
< http://www.cirquefascination.com/?p=10156 >
{ SOURCE: The Verge, Hollywood Reporter, C-NET }
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Cirque in Dubai... Again!
{May.14.2017}
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Dubai Holding has launched Marsa Al Arab, a mega-project spread over a
4 million sq ft area comprising two islands on both sides of Burj Al
Arab Jumeirah to be developed at a cost of Dh6.3 billion ($1.71
billion).
The project, which will be the newest addition to Dubais long-
standing track record of world-class tourist facilities, was unveiled
by HH Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime
Minister of the UAE and Ruler of Dubai in the presence of senior
officials.
Adding 2.2 km of beach frontage, the comprehensive tourist destination
aims to elevate the family tourism proposition in Dubai, provide
supporting foundations to host Expo 2020 Dubai, as well as reinforce
Jumeirah Groups leading position locally and globally as one of the
driving forces behind the growth and prosperity of the tourism sector,
said the statement from Dubai Holding.
The project will break ground in June this year and will completed by
late 2020.
Marsa Al Arab comprises two islands on both sides of Burj Al Arab
Jumeirah. One will be dedicated to entertainment and family tourism,
while the other comprises an exclusive luxury resort.
Commenting on the project, Abdulla Al Habbai, the chairman of Dubai
Holding said: The launch of this new and ambitious project is in line
with the directives of the visionary leadership to provide the finest
and rewarding tourist experiences for visitors to Dubai, as well as
enhance Dubais position as a global tourist destination.
We are proud of the vital role that Dubai Holding plays in this
sector through supporting innovation and contributing to the economic
diversification of Dubai, stated Al Habbai.
Dubai, he stated, has achieved a global reputation for unique
offerings and unprecedented achievements. This was feasible through
proper planning and accurate execution of such projects, complemented
by in-depth knowledge of the local markets needs and capabilities.
As part of strengthening local capabilities, Marsa Al Arab will
support Emiratisation in the tourism sector by providing new job
opportunities and encouraging UAE Nationals to commit their innovative
and creative ideas to this vital sector, he added.
Through this resort, Jumeirah Group will introduce new leisure
concepts and services to complement its existing family entertainment
offer, which includes its portfolio of: Burj Al Arab Jumeirah,
Jumeirah Beach Hotel, Jumeirah Al Naseem, Jumeirah Mina ASalam,
Jumeirah Al Qasr and Jumeirah Dar Al Masyaf.
This will be achieved through the construction of a new family-
oriented hotel. To boost guest experience at this new resort, Wild
Wadi Waterpark, which has seen great success as one of the most
significant recreational destinations in the UAE since its opening,
will be relocated closer to the beach.
The new location will grow the Wild Wadis size by more than twice of
its existing size. With new thrills, family rides and record breaking
attractions Wild Wadi will boost its position as a popular water park
globally, stated Al Habbai.
According to him, Dubai Holding will also develop Marine Park, a
first-of-its-kind marine life edutainment centre in the Middle East,
providing a rich learning and entertainment experience for the entire
family.
With a live theatre of a 1,000-seat capacity, the park will attract
world-class shows that showcase various elements of marine life
allowing its visitors to interact with exotic aquatic animals and
fish.
Together, the enhanced Wild Wadi and Marine Park will sprawl over an
area of 2.5 million sq. ft. The new family destination will house a
dedicated theatre with a capacity of 1,700 seats, which will become
home to the world-renowned show Cirque du Soleil for the first time in
the Middle East.
Daniel Lamarre, the president and CEO of Cirque du Soleil, said:
Dubais unique geographical position between East and West, along
with its regionally unparalleled infrastructure and sophisticated
hospitality offering means that demand is strong for a beloved and
enduring institution such as Cirque du Soleil, and we look forward to
raising the curtain for new fans in this new facility with new shows
designed specifically for Dubai.
Cirque du Soleil already enjoys great patronage from residents and
visitors alike and we are pleased to now have a permanent base in the
new epicenter of global tourism, noted Lamarre.
In addition, Dubai Holding will launch the Dubai Pearl Museum to
showcase a historical collection of rare and ancient pearls from the
region and worldwide, sad the company in a statement.
The Dubai Pearl Museum aims to shed light on the lives of the divers
as well as the tools they used to find the precious jewels, reflecting
the UAE heritage, culture and national pride.
The museum will include a functional pearl farm in the adjoining sea,
cultivating quality pearls. To complement this experience, Dubai
Holding will create a pearl-inspired boutique hotel with unique
facilities, services and specialist retail outlets that introduce its
visitors to the rich past of the UAE and the Gulf region as a whole.
Marsa Al Arab will include a private yacht marina and a yacht club, in
addition to recreational attractions, such as diverse food and
beverage offerings, making it a globally attractive tourist
destination. Amongst the features of this unique development is a
helipad to accommodate the needs of the discerning guests, it stated.
Dubai Holding also plans to establish a mixed-use convention centre
fully equipped to host large international conferences and festivals
at the mega development.
The convention centre will be supported by a new hotel, offering a
selection of services for businessmen and corporates, it stated.
The project will also include a large retail space stretching across
20,000 sq. m, which will replace the current Wild Wadi Water Park area.
The shopping centre will consist of international high-end brands, as
well as a selection of restaurants and coffee shops to meet the needs
of its luxurious shoppers. Marsa Al Arab will also offer 300 sea-front
residential apartments in the heart of the development.
A major highlight of the project is an exclusive private island.
As part of Marsa Al Arab, Dubai Holding will develop luxury villas
on a private island, which will offer its residents complete privacy
in a sophisticated environment including a private marina for its
residents.
Located on the left of Burj Al Arab Jumeirah, the luxury villas will
be operated by Jumeirah Group. The island will also host a boutique
hotel equipped with world-class facilities that reflect Marsa Al
Arabs status as an attractive destination for elite travellers.
Marsa Al Arab will offer a total of 140 luxury villas, overlooking the
pristine waters Arabian Gulf and characterised by the highest levels
of privacy and luxury.
Overall, Dubai Holding will add 2,400 hotel rooms to Jumeirah Groups
portfolio, bringing its total offering to 8,428 rooms. There will be
400 new F&B (food and beverages) outlets throughout the destination.
The existing hotels in the vicinity will be transformed into a unified
and vibrant tourist destination, anticipated to attract 20 million
visitors. With over 20 years of experience in the tourism and
hospitality sector, Jumeirah Group will manage the family oriented
tourist destination, while expanding its portfolio of luxury hotels,
resorts and residential complexes.
The development boasts pedestrian pathways, a jogging track, large
swimming pool and a cycling course, allowing its residents to practice
a diverse selection of physical activities.
Jumeirah Group will offer 10,000 additional parking spaces to
accommodate the anticipated influx of visitors, as well as work
closely with various government entities and other relevant companies
to provide a GRT network to interconnect the resorts and entertainment
destinations, facilitating fast and easy movement throughout Marsa Al
Arab.
{ SOURCE: Trade Arabia | https://goo.gl/B7oLlX }
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MSC Cruises reveals its two new Cirque Shows
{May.18.2017}
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MSC Cruises revealed the names and concepts for the two exclusive
Cirque du Soleil at Sea shows that will be performed on board MSC
Meraviglia, coming into service on June 4.
The two very different, contrasting shows Viaggio and Sonor each
lasting 40 minutes will be performed twice a night for six nights in
the ships £20m Carousel Lounge high-tech theatre.
The long-term partnership between MSC Cruises and Cirque du Soleil
will set new standards in live entertainment at sea and will see the
worlds leader in artistic entertainment create a total of eight
original shows that will be exclusively available on MSC Cruises
Meraviglia generation ships, coming into service between June 4, 2017
with MSC Meraviglia and autumn 2020.
Gianni Onorato, MSC Cruises Chief Executive Officer, commented: We
are committed to creating unique experiences that elevate the guest
experience to new heights and, for this, we work with innovative,
world-class leaders in their sector. It was thus only natural that,
when it comes to entertainment, we would look to partner with Cirque
du Soleil.
Mr Onorato continued: Today we are delighted to reveal the concepts
and inspiration behind the Cirque du Soleil at Sea shows that will
soon premiere on our new flagship MSC Meraviglia. By creating two
different shows for each of the four Meraviglia and Meraviglia-plus
generation ships, we will make available exclusively to our guests
something new and exciting with each ships launch. Moreover, these
shows will be a true first at sea.
Yasmine Khalil, President 45 DEGREES, Cirque du Soleils Events and
Special Projects Company, stated: After years of hard work, our team
is very excited to unveil the names and visuals of the two first
productions of our partnership with MSC; two concepts very different
from one another, both showcasing Cirque du Soleils savoir-faire.
Guests of MSC Meraviglia are definitely in for a treat!
TWO ORIGINAL SHOWS
Cirque du Soleil sat out to create two very different, contrasting
shows, each with a different concept, ambiance, storyline, costumes
and make-up. The shows will be performed twice a night for six nights
so that guests can take the opportunity to see both shows.
VIAGGIO, the first of the two shows, is the story of a passionate and
eccentric artist who hears the call of his Faceless Muse. Mysterious
and seductive, she beckons him into the vivid world of his unbridled
imagination to complete his masterpiece. With each stroke of his
paintbrush, the Painter reveals the details of his grandiose tableau.
Electrifying colours fill the space with intriguing motifs and rich
textures. Majestic acts transform the theatre into a living canvas.
Before our very eyes, a masterpiece comes to life.
With sound at its heart, SONOR the second show takes guests on an
auditory adventure with dancers, acrobats and characters, all moving
to the rhythm. It conjures a world of unique sensations, astonishing
sounds, bold music and immersive projections and culminates in a grand
finale for the senses.
A UNIQUE COCKTAIL OR DINING EXPERIENCE
Mr Onorato concluded, We wanted to elevate the experience even
further for our guests and for this we have worked hand in hand with
the creative team from Cirque du Soleil to create the first Dinner &
Show experience on our fleet.
The dinner experience will be a gastronomic delight, where every
detail from the table settings, the costumes, the music and visual
effects through to the menus have been specially designed to
complement each pre-show experience.
The dining experience will start one hour before the show performance
begins and will be a treat for the senses with surprise animation from
performers, live music, stylish table settings topped off with a table
dhôte three-course menu of eclectic creative dishes.
The dining experience to complement SONOR guests will be invited into
a parallel world where culinary creations will not only trick the eye
but the senses, whilst VIAGGIO will immerse guests in a universe of
colour, testing the imagination of guests from beginning to end.
Other guests will be able enjoy a Cocktail & Show experience that will
begin 30 minutes before the performance starts and will include a
specially designed signature cocktail and tempting treats.
Cirque du Soleil at Sea needs to be pre-booked by guests either before
the cruise or once on board. Places in the theatre are limited to 413
seats so it is important for guests to book early to make sure to have
a chance to live the experience.
THE 20 MILLION CAROUSEL LOUNGE
MSC Meraviglia will become the first cruise ship ever to feature an
entertainment lounge designed to be able to meet the unique needs of
Cirque du Soleil also whilst at sea. The Carousel Lounge was designed
by MSC Cruises together with the Architect Marco De Jorio to meet
these very specific needs.
Equipped with the most cutting-edge technology and special rigging,
the Carousel Lounge will enable Cirque du Soleil performers to deliver
sublime performances for the exclusive enjoyment of MSC guests. The
Carousel Lounge is a very intimate space, hosting up to 413 guests for
each performance, one of the smallest venues for Cirque du Soleil,
making the interaction between the guests and performers even more
special.
The name carousel was chosen to convey the combined spirit of MSC
Cruises offering unforgettable experiences and of Cirque du Soleils
unique performances, conjuring up festive and magical emotions. A
carousel is associated with childhood memories of festive outdoor
fairs. There is something inherently captivating about a carousel.
Music, colours, lights, movement all combine in a unique, breath-
taking experience.
{ SOURCE: World of Cruising | https://goo.gl/s5kuTg }
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La Noubas Silva Poirier Speaks Recovery
{May.25.2017}
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Cirque du Soleil aerial performer who fell 30 feet and fractured her
skull and face says she feels lucky to be able to talk and hold her
son as doctors hail her amazing recovery
o) Karina Silva Poirer was injured after she fell 30 feet during a
rehearsal in October
o) The Cirque du Soleil aerial performer slipped and fractured her
skull and face
o) She slipped in and out of a coma three times and underwent
several surgeries
o) Doctors say the 39-year-old has made tremendous strides and is
expected to walk again
o) But they dont know if shell ever have the strength to perform
on aerial silks
Seven months ago, Karina Silva Poirier, an aerial performer with
Cirque du Soleils La Nouba in Orlando, Florida, fell during a
rehearsal. The 30-foot drop resulted in her skull and face being
fractured, and she slipped in and out of a coma three times. But after
several surgeries and months of rehabilitation, Silva Poirier is
speaking out about her incredible recovery.
Silva Poirier, 39, comes from six generations of circus performers.
Her husband, David Poirier, was also in La Nouba as an aerial
performer. Just six months before the accident, their son, Kyle, was
born.
According to 911 calls, Silva Poirier fell around 10:15pm on October
20, 2016 as she was rehearsing an aerial silk act. She was flown to
Osceola Regional Medical Center, in Kissimmee, where a trauma team
worked to save her life.
A YouCaring page was set up to cover medical expenses and help support
Daniel and Kyle surpassing the $25,000 goal. When I saw her she was
in coma like three times during the hospitalization. I did three
surgeries on her, and every time she came back, Dr Pedro Ramirez,
Silva Poiriers neurosurgeon, told News 6.
Doctors say that they are amazed by her recovery. I have this
opportunity to talk to you and to have the opportunity to hold my son,
and see him grow and see my husband, and be with my family, Silva
Poirier said. Im very happy to be here today, She said her now one-
year-old son was her reason for fighting.
Dr Ramirez says Silva Poiriers strength to fly on aerial silks may
never return, but that her progress is astonishing. She is speaking
all five languages she knew before the accident and doctors expect her
to walk again.
An investigation carried out by the Occupational Safety and Health
Administration found no major safety violations in the accident.
{ SOURCE: Daily Mail UK, News 6 Orlando }
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Cirque du Soleils C2 event on its way to Melbourne!
{May.26.2017}
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After six editions of its flagship event in Montreal, C2 International
will bring its two-day immersive conference to Melbourne. In
collaboration with MCI, world leader in meeting and event management
services, and with the support of the Victorian State Government and
Melbourne Convention Bureau, C2 will bring the event to Melbourne,
Australia, on 30 November, 2017.
Imagined by created services firm Sid Lee in collaboration with
founding partner Cirque du Soleil, it is designed to provoke
collisions and spark new ideas. It combines talks, workshops,
experimental brainstorming sessions, meet-ups, performances,
braindates, labs and festivities.
Melbournes C2 will be the first major one outside of Canada.
The keynote speaker to kick off the line-up for C2 Melbourne is Uschi
Schreiber, Chair of Global Accounts Committee & Vice chair of Global
Markets at EY, with more inspiring leaders to be announced in the
coming weeks.
I am excited to be part of the first C2 conference in Asia Pacific.
Melbourne is a great place for this as it is associated with
innovation and creativity! Today we live in a world that is in
transition from a model of business, political participation and
society that we are familiar with to one that is still largely unknown
and needs our shaping, said Uschi Schreiber.
As the team at C2 was imagining where wemay go for the first ever
large-scale C2 outside of Canada, we sought cities with a rich
culture, an intoxicating energy and a readiness to work together to
set the stage that will reset imagination and unleash new ideas for
business leaders, innovators and creatives from around the world,
says C2 president Richard St-Pierre.
C2 events target executives from a wide variety of industries and
provide the perfect backdrop to explore trends, opportunities,
disruptions and major shifts on the horizon. C2 Montreal conference
alone attracts over 6,000 executives every year, with participants
coming from over 50 countries and 24 industries. For C2 Melbourne
2017, the theme will be Ecosystems and programming will explore
fields like technology, arts and design, marketing, impact and
leadership.
Melbourne is the ideas capital of Australia and the perfect host city
for an event that is all about how creativity and new ideas can drive
new business opportunities, says Victorian Government minister for
small business, innovation and trade Philip Dalidakis. The Victorian
Government is investing heavily in innovation because we know it is
the key to the business ideas that will drive our economy in the
future, he says.
Melbourne Convention Bureau, Australias leading convention bureau
played a key role in securing C2 Melbourne.
Karen Bolinger, Melbourne Convention Bureau Chief Executive Officer,
said that with Melbourne being an innovator in the events sector, it
made perfect sense to bring such a pioneering event to the city.
Melbourne has always been Australias pacesetter in the events space,
and we have a mandate to continue to be a world leader by bringing the
best events to our city. With C2 Montreal named the number one
innovative business conference for two consecutive years, we knew this
was an event of our citys calibre, Ms Bolinger said.
Visit c2melbourne.com for news and updates about the 2017 edition of
C2 Melbourne.
{ SOURCE: Australian Business Review, Marketing Magazine AU }
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Guy Laliberté & Alexandre Amancio Form REFLECTOR
{May.28.2017}
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Guy Laliberté and Alexandre Amancio have launched Reflector
Entertainment, a Lune Rouge company. Cirque du Soleil creator
Laliberté and video game developer, producer, writer and director
Amancio, are co-founders for Reflector, a multiplatform business that
will develop intellectual property with a view to distributing next-
generation content internationally.
Reflectors unique library of content will include films, television
series, video games, novels and comic strips. The new banner will be a
division of Lune Rouge, a holiding and investment company also founded
by Laliberté that rallies skilled entrepreneurs to capitalize on
unique creative talents and stimulate entrepreneurial innovation.
The duo is working on a number of multiplatform ideas and concepts,
which are expected to be announced shortly.
What makes Reflector unique is our creation of original content
across a wealth of tandem and complimentary platforms, under the
guidance of a creative brain trust, said Amancio. Several agreements
have already been signed with major industry players and we will be
unveiling a number of new story worlds in the near future.
Laliberté added: Reflector Entertainment is the embodiment of
creativity. Our partnership aligns with the mission of Lune Rouge,
which aims to support the next generation of entrepreneurs. We have
unique resources and are developing worlds intended for an
international market.
Reflector has also entered into a partnership with Unity Technologies,
developers of the high-performance game engine, and is currently
developing a project with Entertainment One.
Creative entrepreneur and philanthropist Laliberté spearheaded Cirque
du Soleil to become one of the most recognized entertainment brands in
the world. Amancio is one of the creatives behind gaming franchises
Assassins Creed and Far Cry 2.
{ SOURCE: Deadline | https://goo.gl/0XQSRl }
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Cirque takes its act to Sea
{May.31.2017}
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When the MSC Meraviglia is christened June 3 in Le Havre, France
receiving a blessing from Italian actress Sophia Loren, no less a
group of 15 performers will have already spent more than a month on
the docked ship flying through the air, juggling, perfecting
acrobatics and, just as important, getting their sea legs. As Cirque
du Soleil takes its act to sea through a new partnership with MSC
Cruises, theres no use rehearsing on solid land.
The maiden trip leaves June 4 from Marseille to Genoa, Naples and
Messina in Italy; Valletta, Malta; and Barcelona. Fares start at
$589.50. The seven-day cruise will be a two-ring circus of sorts: The
5,700-passenger ship will be the first to host not one but two
distinct Cirque du Soleil shows six nights a week in a $22 million
theater called the Carousel Lounge, which was designed specifically
for aerial feats. Viaggio is the first show; Sonor will not begin
until June 18. While the entertainment company has performed on
cruises before, these are the first original Cirque du Soleil
productions at sea, in the first such venue built specifically for the
needs of circus performers.
Over the next three years, six more Cirque du Soleil at Sea shows will
launch in custom-designed theaters on three sister ships of the
Meraviglia, thanks to a long-term partnership between the Montreal-
based performing company and MSC Cruises, which is based in Geneva.
Creating a cruise show brings up some unconventional theatrical
considerations.
You have to keep that high level that Cirque offers of acrobatic
performance, but youre not on flat unmovable land, said Susan
Gaudreau, show director of Cirque du Soleil at Sea. It upped the
level for us a little bit.
Plus, space on a cruise ship is limited. The intimate Carousel Lounge
can accommodate 413 spectators, a fraction of the big-top settings
that can seat up to 2,500. The setting called for added creativity.
The trapeze wouldnt work because the ceiling is a lower height than
what a big top is, Gaudreau said. They had to find other ways to move
performers through the air, such as using aerial tracks and creating a
carousel that transports them.
That wasnt the only challenge. Gaudreau and Marie-Hélène Delage,
creative director of Cirque du Soleil at Sea, knew that they were
limited to one theater, one cast and one crew, but they needed to
create two unique shows with their own costumes and concepts.
We wanted them to be as different as possible, Delage said. Not
only in aesthetics but also in the acrobatic performance.
That meant they needed to find a range of abilities in anyone they
hired, so that they could call on a particular circus talent in the
first show say, juggling and then another in the next show say,
aerial work to keep the productions distinct and audiences enthralled.
If you came to both shows you would not even recognize the same
artists; you wouldnt even know it was the same team of designers that
created the two shows, Gaudreau said.
She said that the shape and size of the venue helped her dream up each
show. Viaggio is the tale of a painter following his muse and
discovering a world of color and imagination, and Gaudreau was
inspired to use the Carousel Lounges expansive LED screen as a blank
canvas to paint his masterpiece.
The story of Sonor was inspired by the theaters immersive sound
system, and the narrative about a hunter pursuing his prey is driven
by rhythm and music.
The sound system was so amazing I was like, Wow, Ive got to do
something with sound. That was my main trigger, Gaudreau said.
The Carousel Lounge isnt just the stage for the show. By day, the
space will be open to passengers, who can drink coffee and gaze out
the lounge windows that give way to 180 degrees of horizon views. In
the afternoon, the lounge will close so that artists and crew members
can rehearse before each 40-minute production. The show packages, for
which passengers will pay a surcharge, include either a three-course-
meal (at roughly $39 to $43) or cocktail (at about $16 to $19) and are
tailored to each production.
While audiences shouldnt expect any heavy nautical themes at the
shows, Gaudreau says they should look for a wink to the unique
setting: We call it a little kudos to life at sea.?
{ SOURCE: Washington Post | https://goo.gl/u3dnZK }
-------------------------------------------------------
Body Electric: Cirque Powers Up For Expo 2017
{Special}
-------------------------------------------------------
Wind turbines may immediately spring to mind. But body-charged
energy, in the form of movement, can also power us into the future
both through technological advances and sheer human inspiration.
Canadian theatrical entertainment group Cirque du Soleil is
spotlighting the latter form of kinetic fuel in Reflekt its
exclusive production for Astana Expo 2017, taking place from 16 June
through 9 September (with approximately 70 shows in all). Beneath a
2,000-person capacity tent, 38 artists are bringing the Future
Energy theme to life in what Reflekt director Fernand Rainville dubs
a show that is very strong acrobatically. Rather than address the
expos green theme in a clinical, scientific way, he has embraced
something central to all Cirque du Soleil productions: movement. I
brought everything down to human energy, trying to build on what the
future can be the energy of youth and the energy of physical
performance, he says. In one high-voltage number, a crew of nine
young dancers perform with Segways (motorized skateboards). Future
energy is also how we take care of our kids, he adds.
In Reflekt, the audience is ushered down the symbolic rabbit hole by
the comedic lead character, Arman, a head-in-the-clouds archeologist.
He explores seven elements of Kazakhstani culture joy, wisdom,
success, well-being, height and growth, speed and divine protection
as he navigates the Central Asian republics past, present and
future. Kazakhstani cultural contributions from yurts to
domesticated horses are a driving force behind this one hour and 15
minute spectacle, which includes aerial work, contortionists, a
trampoline wall, and a wheel of death (an adrenalin-pumping act which
Cirque fans may recall from the show Kooza).
He was also passionate about the countrys distinction of being the
first to domesticate horses, thousands of years ago. While animals
are famously not part of the troupes fresh and modern take on the
circus tradition, Rainville found a way to include this important
piece of Kazakh Steppe history and to marry this with the future
energy theme. I thought: what are the horses of today? he asks
rhetorically. His answer: horse power. Im incorporating something
weve never had at Cirque yet: an electric motor bike, says
Rainville of the vehicle, which has been modified for tricks and
stunt riding. Beyond electric motorcycles, he and his talented team
also found a way to highlight solar photovoltaic energy while
retaining the creative spirit of the colorful production. In Reflekt,
Helia, the sun itself an element of the Kazakhstan flag emits
rays on stage via patterns and imagery fashioned by lighting
designer Nicolas Brion. Another graphic on the national flag, Samruk
the eagle-like bird of Kazakh legend which lays its egg in the tree
of life appropriately features in the shows aerial acts. One of
the symbols of Kazakhstan after the independence is the so-called
Golden Man, discovered in 1969 by archeologists in the Almaty region
dressed richly in red and gold. Rainville explains that while the
production sheds light on such cultural influences, in true Cirque
style, it does not do so with the goal of accurate reproduction. Our
inspiration is traditional but we havent redone on stage the
traditional costumes, he says of the some 300 wardrobe pieces made
of custom-printed materials, designed by James Lavoie.
The Eurasian countrys historical imprint on Reflekt is miles away
from being something you would see in a museum, or a documentary-
style showcase, he stresses. In one example, Rainville cites a pair
of Mongolian contortionists whose hair is adorned with a unique take
on classic braiding. Its very hard to describe. It all of the
sudden becomes like a sculpture. Likewise, the productions
sprawling soundtrack performed by five live musicians and a singer
features indigenous instruments like the two-string dombra, while
updating ancient sounds and arrangements. It feels very much today.
Then, at times, it goes into a very lyrical and epic feel, where the
music takes you to the Kazakhstani Steppe on horseback, he notes.
In terms of setting the scene, one particular feature of Reflekt is a
Cirque first: a bi-frontal runway stage. This design conveys the
feeling of movement through travel a signature of the nomadic
Kazakh people. Thats going to be very exciting because it brings a
lot of intimacy into a room where you have the spectators placed on
both sides, says the director, That makes them very close to the
act. Architecture on a grander scale also figures in the theatrical
tableau. Rainville sees such building design as emblematic of the
capital city today and accordingly mentions the Pyramid of Peace by
Norman Foster. Theres some very monumental about architecture in
Astana. I wanted to refer to that in the way we start the show off.
Ultimately, the performance is a reflection of Kazakhstans past,
present and future identity, as implied by the title Reflekt. Part of
the creative process, according to the director, was to let go of
preconceived ideas about Kazakhstani culture and to reintroduce it in
the 21st century. Rainville concludes: I hope that the Kazakh people
feel that weve done something specifically that references who they
are and that they feel that we are opening them up towards the
future.
{ SOURCE: CNN | https://goo.gl/kP59Hn }
***************************************************************
Q&A - Quick Chats & Press Interviews
***************************************************************
-------------------------------------------------------
Three Cirque Performers Share Workout Routines
{May.07.2017}
-------------------------------------------------------
When you think of a circus workout, you probably envision bendy yoga
poses, or plopping into the splits. But thats not what the stars of
Cirque du Soleils O, a show in Las Vegas thats performed in and
above water, swear by for their lean, toned, and hella strong
physiques. These badass ladies fly above the crowd, get tossed around
by colleagues for stunts, and perform fully-choreographed routines
while submerged in water, which means that they need near superhero
strength to nail their routines.
Cirque du Soleil is a Montreal-based troupe that came from humble
beginnings, starting with street performances in a small town near
Quebec City in the early 1980s. Now the company has permanent
installations and traveling shows across the world that attract some
insane talent. We got three of their most powerful female performers
to share the workouts that keep them focused, fit, and flying high for
every performance.
JENNA RANDALL THE OLYMPIC SYNCHRONIZED SWIMMER FROM GREAT BRITAIN
O, the aquatic show in Las Vegas, has more Olympic athletes
performing in it than any other Cirque show, and Jenna is one of them.
She competed in synchronized swimming during the Beijing games in 2008
and in London in 2012.
Since she needs strength to propel herself out of the water, Jenna,
who has been with Cirque du Soleil for three years, is intensely
focused on having a powerful lower body.
For the synchronized swimmers in our show, we use our legs a lot in
what we call an egg beater action to keep our bodies out of the
water, she says. So I have to have strong legs. I do a lot of
weighted barbell squats and a lot of lunges. She says shell do any
kind of exercise that strengthens and protects her hips, too, because
theyre used so much during each performance.
But core work is also important. I like to do sit-ups with extra
resistance, Jenna says. I hold a weight on my chest or out in front
of my face while doing it. Another exercise she describes are called
push-pulls, where she uses a cable machine to push down with one hand,
and pull up a dumbbell in her other hand. That really gets the
rotational muscles working, Jenna says. It works all across the
abdominals beyond just the six-pack.
While Jenna admits how she looks is one factor in her fitness program,
its far from the only one. The focus is to make sure Im conditioned
enough to be able to perform every night without getting major
injuries, she says.
ABIGAIL SCHMIDT THE AMERICAN ACROBAT AND NEW MOM
Abigail has been with Cirque du Soleil for four years. She began
touring with Corteo in South America and joined O two-and-a-half
years ago. (And she has a nursing nine-month-old baby, too!). She has
a background in artistic gymnastics, having competed for the
University of Maryland for four years before retiring from the sport
to get her masters degree.
She performs in two main acts in O, one of which is on a flying
boat, where she does some flying herself. I have large men throwing
me around and catching me again, she says. The other act is more
endurance, but on the boat, its more acrobatic and strength-based.
Having upper body strength and a strong core is very important.
She also needs to be careful about her weight, but not for the reasons
most people step on a scale. As a flyer we get regularly weighed,
she says. I have to sit at a certain weight that is comfortable for
my catcher, but also isnt unrealistic for my everyday life, because I
hope to be doing this for a long time.
My workout regimen tends to be a lot of bodyweight lifting, she
says. Abigail does engage in some weight lifting, but more to focus
on smaller muscles in her shoulders to protect herself from any
injuries.
She also does monster walks, which involve using a thick Theraband
around both ankles to strengthen and sculpt the hips. We do a series
of four directions, she said. Keeping the legs apart with tension on
the band, we walk side to side each way, and forwards and backwards.
Despite having such an athletic career, Abigail relished the time off
after the birth of her daughter.
For eight weeks I did absolutely nothing, she says. Id pushed
myself my whole life, and something changed when my daughter was born
that just told me I needed a break so I focused on her. (The Slim,
Sexy, Strong Workout DVD is the fast, flexible workout youve been
waiting for!)
MISA SUGIYAMA THE SYNCHRONIZED SWIMMER FROM JAPAN
Misa has been a pool performer with Cirque du Soleil for two-and-a-
half years, but hopes to one day switch over to becoming an aerialist
who spends most of her time flying through the air. With all the
twisting and turning involved in both aerials and swimming, its
important to keep her abs super strong.
I do a lot of core stuff, she says. Plenty of people dont enjoy
doing planks, but Misa doesnt mind, and she makes them more creative
by trying plank variations with added weight to increase the challenge
and enhance her strength.
She also likes the way her legs look when shes this strong.
Before I did synchronized swimming, I was doing ballet, Misa says.
We would train all the muscles in the legseven the small onesto
create lines and make them look nice. And for Misa, thats
accomplished via a variety of squats and lunges, sometimes with added
weight, and sometimes just using her own body weight.
But shes also spending time working on upper body in her quest to
become an aerialist. Im doing a lot of rows and lat pulldowns to
strengthen my back, she says.
{ SOURCE: Womens Health | https://goo.gl/9l21q7 }
-------------------------------------------------------
Q&A w/Mike Newnum Luzias Technical Director
{May.22.2017}
-------------------------------------------------------
Cirque du Soleil puts on a good show. Flowers blossom from elaborate
costumes; performers plummet from fifty feet up in the air. Even the
shows technical director, Mike Newnum, says he catches his breathe
when he watches what the team does.
The troupes latest performance, Luzia, a Mexico-inspired dreamscape,
has had a challenging run. While the performances are carefully
orchestrated, with each piece of equipment tested and routines
practiced daily, mistakes happen. And sometimes theyre fatal.
Cirque du Soleil co-founder Gilles Ste-Croixs son, Olivier Rochette,
was killed when a telescopic lift swung into him backstage, while he
was setting up for Luzia in San Francisco in November 2016. Days
before, Lisa Skinner, an acrobat, crashed to the ground during a live
performance and fractured a vertebrae. In 2013, Sarah Guyard-Guillot,
a mother of two, was high in the air when she dropped to her death
during the troupes performance of Ka.
But for Cirque du Soleil, the show must go on.
It was difficult times for the team members each coping with their
grief, Newnum says, but we decided as a group to keep going and
strive to put on the best show possible every night. We were extremely
well supported by our headquarters in Montreal and welcomed extra
staff members for a certain period of time to allow people who needed
to take time to get back on their feet.
Westword caught up with Newnum in Seattle, where the troupe was
wrapping up a production before taking a break and then heading to
Denver for a June 1 through July 9 run. For Newnum, it will be a
return home, which he talks about in the following interview.
# # #
Q. So youre from Denver. Is that right?
Denvers been home for over twenty years.
Q. How long is your run here?
Six weeks.
Q. So youll get to spend time with friends and whoever else is here?
Yeah. And sleep in my own bed. It will be pretty sweet. Im looking
forward to it. I havent been able to spend six weeks in my own bed in
many years.
Q. Congratulations. Obviously, what you all are doing is spectacular
and looks incredibly dangerous. Im curious how you ascended into
this role that has a lot of responsibility?
Years of practice. What brought me to Denver originally: I ended up
touring with Up With People for six years. Theyre based in Denver now
and have been since the 90s. Its a nonprofit touring show. We did
community service. We stayed with host families, and we did the show.
As soon as we started doing it, I became very involved with the show
on a technical side. I just really loved it. It kind of became my
university, if you will, my hands on university. We were traveling in
mainly Europe, the U.S. and Canada. That was kind of how I gained my
experience. I decided I needed a little break, and so I stayed in
Denver for three years working for different production companies. And
then I got the job with Cirque, and I started as an entry-level
technician, and eventually, over the next decade, I worked my way up
to technical director.
Q. It seems like a terrifying job. Is it?
As the technical director, no. Its a good question; I havent had
that one. I wouldnt call it terrifying, because its all calculated.
We know how the equipment works, and if were not sure how something
works, well make sure to test something with a dummy bag or something
like that. Well swing it around or what not. Were super, super-
careful making sure that with the things were doing with the show,
weve checked all of our balances. Plus, we have a whole team in
Montreal that helps us do risk assessment and all that. We work really
hard to make sure that we cross our Ts and dot our is.
Q. So how much risk is acceptable?
I dont know that I could answer that. Youre asking some questions
Ive never had asked before.
Q. Its terrifying to look at what you all do.
Because Im the technical director, I manage all the technical
operations. None of my guys are necessarily hanging stuff from straps
or swinging from swing to swing or what not. I dont think theres one
final answer for all acts that we have. I think theres definitely
regulations that weve created within our own company, depending on
particular acts, but a swing-to-swing scene, which is our finale, its
pretty crazy. Every day, its practicing on stage for an hour and a
half. And well still do one or two shows every day. And when were
practicing, we have harnesses. Its a safety line, basically. Even
though weve done 400 shows now as of Sunday, every day were
practicing with the safety line during the training.
The artists push themselves, and try to do crazier tricks. If you ask
me, Im not going to swing off a swing and try to do a flip and a
twist. But for them, thats totally acceptable. I dont think theres
one kind of blanket thing. Because its so unique, and we come up with
and create different acts, they have different skill levels or
different levels of what is considered crazy or what not. Theres
definitely a team of people who are evaluating and questioning and
doing research and what not, to make sure we are doing our due
diligence as best we can.
Q. Talk about the show thats going to be performed in Denver, Luzia?
Its a pretty amazing and beautiful show. Ive been with the company
for over twelve years now. When I watch it, it still takes my breathe
away, at moments. And I dont mean that lightly. Based on what Ive
seen over the years, its pretty amazing, and I mean that
respectfully, you know. This one is not just another show. Theres a
contortionist, who can contort himself. Some of the swing acts are
pretty crazy. We also have beautiful moments that people will see, and
the music itself. Its a pretty cool, fresh Cirque du Soleil show,
beautiful with imagery. We always talk about the acts and what not,
and all of these different things help support them to make that even
more special and unique.
Q. In terms of your role in that, youre making sure everything goes
off without hitch, as much as you can? Are you involved in the
design of that?
They hire a whole design team and they do the creation. That starts
eighteen months or two years before the show exists. They hire that,
and then that creation teams hands it over to the touring show, and
then we take the high five, the torch, if you will, and take it on
from there.
Q. Having seen a lot of theater, often things go awry. How smooth are
things? On any given evening, are there things that arent working?
Or is it a smooth process?
I think the best thing I can maybe relate it to is a car. Everything
is totally fine. Then one day you hear a noise. When you think about
it, our car is custom-made, and there is only one of them. So whether
its our custom-made stage or our swing-to-swings or its our
treadmills or its a water system that we have, what I want to make
sure is that each head of the departments and their teams have all the
tools they need so we can have every show the same, as much as we can.
Of course, things do go awry. But we try within our best to make sure
that every single show has the exact same thing every time. Thats
pretty important to us.
{ SOURCE: Westword | https://goo.gl/UZk3fP }
-------------------------------------------------------
Meet Brandon Livanos (Again) Now in VOLTA!
{May.27.2017}
-------------------------------------------------------
Many kids grow up dreaming of running away and joining the circus and
it was the same for Brandon Livanos.
Its a dream as a child to always be like I ran away and joined the
circus, Livanos said.
And he actually did.
The 31-year-old South African first caught the eye of circus
recruiters in 2008 during a diving meet.
I was a high diver, Livanos said. That was my sport. I competed for
South Africa.
After he was scouted, it took four years for Livanos to get a callback
from the circus.
He spent those years working as a stunt double and acting in Hollywood
productions.
Now Livanos is a performer with Cirque du Soleils new high-energy
show, Volta, with shows running under the Big Top in Montreals Old
Port until July 23.
Livanos described the show as a marrying of the circus with extreme
sports.
Its beautiful, he said.
But that magic doesnt happen by itself Livanos said theres a lot
of hard work involved.
Its a full-time job for sure, he said.
We actually have six days when we perform and every day, well
basically have training to tweak things
to integrate new artists into
new acts
theres a lot of training that goes on.
Keeping fit is only one of many challenges performers face.
For Livanos, the biggest challenge was the transition from athlete to
performer.
Maintaining 300 plus shows a year
keeping that energy level up for
the audience you dont learn that as an athlete, he said explaining
that athletes usually prepare for one, or a few big competitions per
year, not 300.
You have to hone your craft, he said, adding that the troupe is
constantly doing workshops to help bring performances to the next
level.
Livanos admitted that live performances, often come with the
possibility of making mistakes.
It happens all the time, he said.
The question just becomes: Are we good enough to cover it that no one
can see it happen?
Regardless, Livanos isnt one to dwell on mistakes.
I dont think there is failure, just opportunities to try again, he
said, adding that it (failure) crafts us to be who we are destined to
be.
For Livanos that destiny has led him to the circus.
I think I have found my niche in life and I dont see myself leaving
the circus, he said explaining its possible for performers who reach
the end of their career to branch out into other avenues within the
circus such as choreographer, or director, to name a few.
Livanos doesnt seem to be in any hurry.
I have performed with some guys who are 40, 45 and theyre still
doing incredible, he said. Id like to just let the ball continue
rolling and see where it goes.
{ SOURCE: Global News | https://goo.gl/Pw8oBZ }
-------------------------------------------------------
Meet Brynn Coseru Synchronized Swimmer at O
{May.29.2017}
-------------------------------------------------------
You cant help but wonder about what happens to them once theyre too
old to do what they do the awesome acrobatics that take your breath
away, the incredible contortions that seemingly take superhuman
flexibility, the synchronized swimming so amazing its been called
dancing while drowning.
While our neighbors men and women arguably the best in the world at
what they do are a critical part of Cirque du Soleil shows that
entertain millions and make millions, the vast majority of performers
are not making the kind of money that allows them to retire to a
Caribbean island once their artistic athletic careers end.
In fact, Payscale.com puts the median salary of Cirque employees at
$56,000 a year.
Brynn Coseru, a mother of two young children whos been a synchronized
swimmer in Cirques aquatic classic O for 11 years, is attending
Touro University for her career when her body can no longer take the
wear and tear shes going to be an occupational therapist.
What that essentially means is that shell help establish, advance,
maintain or restore independence to any person who has an illness,
injury, psychological dysfunction or disability.
As part of fulfilling her masters degree, the all-A student was
inside a gym at the Henderson university recently displaying an
invention she created to help people whose hands wont allow them to
swim correctly.
In effect, what Coseru has done is develop fins for hands.
I think theyd work well for people with rheumatoid arthritis,
Coseru said.
Other students at the Assistive Technology Fair showed off devices
that ranged from an elevated gardening bed for a wheelchair patient to
a basketball return for a child in a wheelchair.
For the last 10 months Coseru has been rehabbing what she calls wear
and tear hip and leg injuries she suffered in O.
m about ready to go back, she said. Ive really missed performing.
The daughter of accomplished gymnasts her mother was a national
collegiate champion while at Southern Illinois University and her
father was an alternate on a U.S. Olympic Team Coseru took up
synchronized swimming when it became evident that she wouldnt follow
in her parents footsteps.
I was not good at gymnastics, she said. I took up synchronized
swimming and loved it.
At the age of 14, she became part of a California synchronized
swimming team that won a national title. In 2000, two years before she
got her bachelors degree from Santa Clara University, her team made
it to the U.S. Olympic trials.
In 2004 Coseru learned that there was a position open for a mermaid
who would swim in a tank at the Silverton. She auditioned and got the
job. When a position came open at O two years later, she became part
of the Cirque family.
Ive really loved Las Vegas, she said.
She met her husband, an acrobat from Romania, in O.
Most of the show came to the wedding, she recalled. They gave me a
baby shower. My kids godfather works at the show. Its a real family
atmosphere.
As much as she loves swimming in O she often holds her breath for
30 seconds on some routines and uses scuba gear for others she knows
it cant go on forever.
Im going to school to prepare for the future.
{ SOURCE: Las Vegas Review-Journal | https://goo.gl/0Ne0BY }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia, Totem & Volta}
o) ARENA - In Stadium-like venues
{Varekai, TORUK, OVO, Séptimo Día, & Crystal}
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:
Rome, IT -- Apr 30, 2017 to May 28, 2017
Asuncion, PY -- Jul 26, 2017 to Aug 6, 2017
Montevido, UY -- Aug 30, 2017 to Sep 10, 2017
São Paulo, BR -- Oct 5, 2017 to Dec 17, 2017
Rio de Janeiro, BR -- Dec 28, 2017 to Jan 17, 2018
Koozå:
Perth, AU -- Apr 13, 2017 to Jun 11, 2017
Singapore, SG -- Jul 12, 2017 to Aug 13, 2017
Shanghai, CN -- Oct 1, 2017 to TBA
China City #2 -- TBA
China City #3 -- TBA
China City #4 -- TBA
China City #5 -- TBA
Kurios:
Winnipeg, MB Jun 2, 2017 to Jul 9, 2017
Edmonton, AB -- Jul 20, 2017 to Aug 13, 2017
Portland, OR -- Aug 24, 2017 to Oct 8, 2017
Vancouver, BC -- Oct 19, 2017 to Dec 3, 2017
Tokyo, JP -- February 2018
Osaka, JP -- 2018
Nagoya, JP -- 2018
&Fukuoka, JP -- 2018/2019
Sendai, JP -- 2019
Luzia:
Denver, CO -- Jun 1, 2017 to Jul 9, 2017
Chicago, IL -- Jul 21, 2017 to Sep 3, 2017
Atlanta, GA -- Sep 14, 2017 to Nov 19, 2017
Los Angeles, CA -- Dec 7, 2017 to Feb 11, 2017
Costa Mesa, CA -- Feb 21, 2018 to Mar 25, 2018
Boston, MA -- TBA 2018
Washington, DC -- April 2018
Monterrey, MX -- TBA 2018
Guadalajara, MX -- TBA 2018
Mexico City, MX -- TBA 2018
Totem:
Sochi, RU -- Jul 1, 2017 to Jul 30, 2017
Brussels, BE -- Aug 31, 2017 to Oct 29, 2017
Madrid, ES -- Nov 10, 2017 to Jan 14, 2018
Seville, ES -- Jan 25, 2018 to Mar 11, 2018
Barcelona, ES -- Mar 23, 2018 to Apr 15, 2018
Munich, DE -- TBA 2018
Port Aventura, ES -- TBA 2018
VOLTA:
Montreal, QC -- Apr 20, 2017 to Jul 23, 2017
Gatineau, QC (Ottawa, ON) -- Aug 3, 2017 to Aug 27, 2017
Toronto, ON -- Sep 7, 2017 to Nov 26, 2017
Miami, FL -- Dec 15, 2017 to Feb 4, 2018
Tampa, FL -- Feb 15, 2018 to Mar 25, 2018
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Varekai:
Ljubljana, SL -- Jun 2, 2017 to Jun 4, 2017
Vilnius, LT -- Jun 8, 2017 to Jun 10, 2017
Tarragona, ES -- Jul 6, 2017 to Aug 13, 2017
Oslo, NO -- Sep 1, 2017 to Sep 3, 2017
Malmo, SE -- Sep 6, 2017 to Sep 10, 2017
Tallin, EE -- Sep 14, 2017 to Sep 17, 2017
Riga, LV -- Sep 20, 2017 to Sep 24, 2017
Minsk, BY -- Sep 28, 2017 to Oct 1, 2017
Helsinki, FI -- Oct 5, 2017 to Oct 8, 2017
Stockholm, SE -- Oct 11, 2017 to Oct 15, 2017
Sioux City, IA -- TBA 2017
Springfield, MO -- TBA 2017
Biloxi, MS -- TBA 2017
Lake Charles, LA -- TBA 2017
Hidalgo, TX -- TBA 2017
Sugar Lands, TX Dec 20 to Dec 23, 2017 (FINAL SHOW)
TORUK - The First Flight:
Manila, PH -- Jun 23, 2017 to Jul 2, 2017
Taiwan -- Jul 6, 2017 to Jul 18, 2017
Christchurch, NZ -- Sep 1, 2017 to Sep 10, 2017
Auckland, NZ -- Sep 15, 2017 to Sep 24, 2017
Brisbane, AU -- Oct 5, 2017 to Oct 15, 2017
Sydney, AU -- Oct 19, 2017 to Oct 29, 2017
Melbourne, AU -- Nov 2, 2017 to Nov 12, 2017
Adelaide, AU -- Nov 16, 2017 to Nov 19, 2017
Bangkok, TH -- TBA 2017
Japan -- TBA 2017
China -- TBA 2018
OVO:
Toledo, OH -- May 31, 2017 to Jun 4, 2017
Hamilton, ON -- Jun 7, 2017 to Jun 11, 2017
London, ON -- Jun 14, 2017 to Jun 18, 2017
Brooklyn, NY -- Jul 5, 2017 to Jul 9, 2017
Sunrise, FL -- Jul 13, 2017 to Jul 23, 2017
Miami, FL -- Jul 28, 2017 to Jul 30, 2017
Jacksonville, FL -- Aug 2, 2017 to Aug 6, 2017
North Charleston, NC -- Aug 9, 2017 to Aug 6, 2017
Fairfax, VA -- Aug 16, 2017 to Aug 20, 2017
Baltimore, MD -- Aug 23, 2017 to Aug 27, 2017
Uniondale, NY -- Aug 30, 2017 to Sep 3, 2017
Boston, MA -- Sep 6, 2017 to Sep 10, 2017
Laval, QC -- Sep 13, 2017 to Sep 17, 2017
Zurich, CH -- Oct 5, 2017 to Oct 8, 2017
Geneva, CH -- Oct 11, 2017 to Oct 15, 2017
Salzburg, AU -- Oct 18, 2017 to Oct 22, 2017
Leipzig, DE -- Oct 25, 2017 to Oct 29, 2017
Hamburg, DE -- Nov 1, 2017 to Nov 5, 2017
Berlin, DE -- Nov 8, 2017 to Nov 12, 2017
Mannheim, DE -- Nov 15, 2017 to Nov 19, 2017
Cologne, DE -- Nov 22, 2017 to Nov 26, 2017
Stuttgart, DE -- Nov 29, 2017 to Dec 3, 2017
Nuremberg, DE -- Dec 6, 2017 to Dec 10, 2017
Munich, DE -- Dec 13, 2017 to Dec 17, 2017
London, UK -- Jan 7, 2018 to Feb 11, 2018
Hanover, DE -- Mar 14, 2018 to Mar 18, 2018
Oberhausen, DE -- Apr 5, 2018 to Apr 8, 2018
SÉPTIMO DÍA NO DESCANSARÉ:
Lima, PE -- Jun 17, 2017 to Jun 25, 2017
Santiago, CL -- Jul 19, 2017 to Aug 6, 2017
Bogota, CO -- Sep 3, 2017 to Sep 23, 2017
Monterrey, MX -- Oct 19, 2017 to Oct 29, 2017
Guadalajara, MX -- Nov 8, 2017 to Nov 18, 2017
Mexico City, MX -- Nov 28, 2017 to Dec 22, 2017
Select US Cities -- 2018
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Lafayette, LA -- Oct 5, 2017 to Oct 8, 2017 (PREVIEWS)
San Antonio, TX -- Oct 13, 2017 to Oct 15, 2017
Pensacola, FL -- Oct 19, 2017 to Oct 22, 2017
North Little Rock, AR -- Oct 26, 2017 to Oct 29, 2017
St. Charles, MO -- Nov 2, 2017 to Nov 5, 2017
Minneapolis, MN -- Nov 9, 2017 to Nov 12, 2017
Worchester, MA -- Dec 7, 2017 to Dec 10, 2017
Quebec City, QC -- TBA 2017
Montreal, QC -- TBA 2017 (GALA PREMIERE)
---------------------------------
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
2017 Dark Dates:
o July 12
o September 9 - 13
o November 8
Special Performance Dates:
o Thu, Aug 17, 2017
o Fri, Nov 24, 2017
o Fri, Dec 29, 2017
o Sun, Dec 31, 2017 | 4:30pm & 7:00pm
2017 Single Performance Dates:
o Sat, Jun 17 | 7:00 pm
o Sun, Aug 13 | 7:00 pm
o Sun, Oct 01 | 7:00 pm
o Fri, Oct 20 | 7:00 pm
o Sun, Oct 22 | 7:00 pm
o Fri, Dec 08 | 7:00 pm
"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)
2017 Dark Dates:
o June 11
o August 2 - 6
o October 8
o November 29 - December 12
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
*** CLOSING DECEMBER 31, 2017 ***
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
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) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
WEBSERIES: Official Online Featurettes
---------------------------------------------------
*) LUZIASELF - THE WEBSERIES
LUZIAself is a collection of portraits highlighting the unique
stories, passion and dedication of some LUZIA artists.
o) EPISODE 10: RUSSIAN SWINGS
April 26, 2017
In this final episode episode of the series, LUZIAself with
the LUZIA family. Get to know who inspires who in this
waking dream of Mexico.
LINK /// < https://youtu.be/I7k4CRFLM7w >
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
*) CIRQUECAST
CirqueCast is a Vodcast (thats 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 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.
o) EPISODE 18 - Sep7imo Dia Discussion & Interview
May 14, 2017
On this episode of CirqueCast we discuss Sep7imo Dia - No
Descansare, the Cirque du Soleil show inspired by the music
of the Argentinian rock band Soda Stereo. Plus, we
interviewed Sep7imo Dia pole artist Saulo Sarmiento! Watch
to learn more about the show and Saulo!
LINK /// < https://youtu.be/TUgMCnvjB3Q >
o) EPISODE 19 - VOLTA Discussion
May 29, 2017
On this episode of CirqueCast, we discuss VOLTA - Cirque du
Soleil's newest big top production inspired by the world of
extreme sports. VOLTA world premiered on April 27, 2017 in
Montreal. Learn more about the show, and find out what we
each think of Cirque's latest production.
LINK /// < https://youtu.be/iPl12hZ-EGU >
*) OTHERS...
o) TOTEM Makeup | Spectacular Hand Balancing Performer
May 1, 2017
In this step-by-step makeup application video, watch Cirque
du Soleil artist Sascha Bachmann from the show TOTEM get
transformed into the hand-balancing performer.
LINK < https://youtu.be/TxliIFIMWz4 >
o) Amazing Cirque Moments for Mother's Day
May 11, 2017
LINK < https://youtu.be/Y_KC8PxwPNQ >
o) TORUK Na'Vi Artist Makeup Transformation
May 15, 2017
In this step-by-step makeup application video, watch Cirque
du Soleil artist Gabrielle Martin from the show TORUK - The
First Flight, inspired by James Cameron's AVATAR, get
transformed into her Na'Vi character.
LINK < https://youtu.be/rC_TCvWO0G8 >
o) Makeup Artist Challenge! | Mystical Sea Creature Makeup
May 19, 2017
LINK < https://youtu.be/IGV-nrNjeoQ >
o) EVERYBODY get your #NosesOn for RED NOSE DAY
May 25, 2017
LINK < https://youtu.be/QQDPI21SYuQ >
o) Inside the Box of KURIOS | 360° Virtual Reality Trailer
May 26, 2017
LINK < https://youtu.be/lRiBUA4T1t4 >
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "Kurios About: The Kurios DVD - A Review"
By: Ricky Russo - Atlanta, Georgia (USA)
o) "VOLTA: FREEDOM IS THE ULTIMATE RUSH"
Texts from the Press Kit & More
Edited By: Ricky Russo - Atlanta, Georgia (USA)
o) "We're Off and Running - A Series of Classic Critiques"
Part 2 of 16: Le Cirque Réinventé, Part 2 (1988)
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
"Kurios About: The Kurios DVD - A Review"
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
UPC - 4-00005-23931-1
Catalog 523931
Video 1.78:1 Wide screen
Audio English 2.0
Run Time - 96 minutes (1 hour 36 minutes)
Region - 0/All
Its been a long and winding road, but we finally have a filmed
version of Cirque du Soleils smash-hit show KURIOS in our hot little
hands and its awesome!
A BIT OF HISTORY
----------------
We first began traversing this path all the way back in December 2014,
when our friends at TheChaptieau had the opportunity to speak to
Amelie Robitaille, KURIOSs publicist, who was kind enough to answer
one of the fans most pressing questions: whether or not KURIOS would
follow Amalunas steps and see a DVD released in the near future.
(Amaluna was filmed in Toronto in 2012 and released onto DVD in
December 2013). We will, in the future, Amelie said then. I cant
guarantee when. All I know so far is we are not filming the DVD in San
Francisco as we are too busy. So yes, there will be a DVD release
eventually. Because we are such a popular show right now, we are a
victim of our success, so we have 10 shows per week. We are so busy
that we dont have time to actually get involved in the filming of the
DVD, but it will be happening soon.
So we waited
patiently
for any word of filming. But then we heard
some disparaging news: due to costs in producing the show, and its
popularity, Cirque du Soleil decided not film the show. Ever. Wait,
what?
And that, as they say, was that. Or so we thought.
Then out of nowhere on December 14, 2016, an Instagram post from
Christa Mercey (Bella Donna in KURIOS), surprised many fans: Make up
ready for the DVD shoot. Lets do this! And if that didnt convince
anyone that KURIOS being filmed, another Instagram post by Kurios
General Stage Manager pretty much confirmed it: it was a picture of a
FILMING NOTICE sign alerting spectators that the event they were
participating in that night was being recorded, and by walking into
the big top they gave their consent to being filmed and photographed.
It was really happening! KURIOS was being filmed in Miami!
And on May 2, 2017, the DVD was available for purchase by fans during
the Houston premiere of KURIOSs tour. And thats to a generous run by
friend and fellow fan Jose Perez, we received a copy in the mail just
a few days later.
So what do we think about it?
A KURIOS REVIEW
---------------
Unlike most fans, I find most of the filmed versions of these shows to
be decent representations of their subject matter. While most fans
decried the Quidam, Alegria, La Nouba, and Amaluna DVD
representations, I did not. Sure, I found something to nit-pick on
each of them (La Noubas especially), but for the most part everything
one enjoys about the show is there. (We wont even get into
Saltimbancos recording, okay?). Prior to the release of KURIOS,
Cirque du Soleil actually filmed and released two other shows: TORUK-
The First Flight and Luzia. And while I would have some major issues
with both of these - from the lack of HD releases to the way the
scenes were cut and stitched back together it was nice to have these
for home consumption. For KURIOS though, I found the DVD to be very
well put together and edited. I was also happy to find that virtually
everything you see in the show again with some exceptions is there
in some form. And that there werent too many camera tricks slow
motion, spinning, and too many quick cuts like weve seen in
previous show recordings.
Heres what I liked about KURIOS on DVD:
1) I didn't feel the cuts in the action were too obtrusive, as Ive
(and many fans) have complained about in previous recordings. It
all felt good and solid; a well edited together show. I dont
recall any slow-motion effects (which were used more than necessary
in previous DVDs), or spinning camera tricks. The folks doing this
seem to love KURIOS, and it shows.
2) The video quality also looked better than TORUK and LUZIA, so
that's a plus. I didn't notice aliasing effects in this one, unlike
for TORUK, which was really, really noticeable. KURIOSs
presentation looked clean, crisp, and clear and for a DVD in this
day and age thats saying something.
3) The Go-Pro camera angles were a nifty touch, but I'm glad they were
used sparingly.
4) I really liked the split screen effect to show Nico's puppetry act.
That way we get to see both up activities up close.
5) The inclusion of the web-series Kurios About as a bonus feature,
was nice to see. Running 26 minutes (although my DVD player said 23
minutes and 5 seconds), follow the cast and crew of KURIOS on tour,
and find out what hides in their Cabinet of Curiosities. From the
Big Top to Costumes, Make-up, Food and much more, the 12 episode
KURIOS About: The Webseries gives fans a behind-the-scenes peek
at the Cirque du Soleils 35th creation! Explore Cirques universe
and reality from the eyes of an insider; see the artists and the
staff work with devotion to make the show happen every day.
That being said I do have some nitpicks, however:
1) I found the constantly moving camera very distracting in the
beginning, to the point where it was ruining the opening number
(CHAOS SYNCHRO). Naturally there's a lot going on in this act, but,
it's really not necessary to constantly track around the action.
Hold the camera still and let the action happen around it. It's
like they wanted to show off they had the camera on dollies and
cranes.
2) Sometimes the music playing did not match up with the action on
screen. I only found this distracting one time, and this was in the
opening number. [SPOILER] The crescendo that occurs as the juggler
ascends into the air during the live show did NOT occur during the
filmed version. Only after he came down did that point in the song
occur. I'm sorry, but that kind of ruined the excitement of it all.
3) Speaking of the opening. [SPOILER] The artist train run that chugs
along from one side of the stage to the other in the prologue is
not in the recording. Although I can see why they didn't include
it, it's really one of the best parts of the opening. It's so
quirky, and so KURIOS. It also helps give context to the arriving
train in the Chaos Synchro opening number, but without it you don't
have that context. I did say it was a nitpick ;)
4) That damn light. Okay, how many times must you show that big-ass
light in the rafters of the big top? I think we all get it by now
that it's a steampunk-themed show. The light is cool... the first
couple of times... but c'mon now. Move the camera away from that
light and follow the action, mmmkay?
5) The DVD artwork. Why is Microcosmos pictured on the cover?
Microcosmos is a fascinating, and beloved character from the show
yes, but why him over any other character? What was wrong with
using the poster as the cover art for the DVD? After using the
fantastic new colorful artwork for LUZIAs DVD cover, the cover for
KURIOS DVD just seems
bland.
THE CONCLUSION
--------------
Although everyones tastes are different, the KURIOS DVD is probably
one of the most solid recordings of a show Ive seen recently. As a
fan of Cirque du Soleil and of KURIOS specifically, Im very happy
with it. The only action a recommendation really I would like
Cirque du Soleil Images to consider is to begin releasing these in HD
either on Blu-Ray or digitally. TORUK, with its dazzling array of
colorful scenes, would have greatly benefited from an HD release, and
I have no doubt that LUZIA and KURIOS would as well. And, of course,
while were at it, how about HD/Digital releases for all previously
recorded shows!
At present time the KURIOS DVD - $25.00 USD can only be found in two
places: under the Grand Chapiteau at KURIOS, and at the Cirque du
Soleil Boutique at La Nouba.
------------------------------------------------------------
"VOLTA: FREEDOM IS THE ULTIMATE RUSH"
Texts from the Press Kit & More
Edited By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
On April 28, 2017, Cirque du Soleil presented in Montreal the world
premiere of its latest production, VOLTA. Last issue I remarked that
normally I'd be walking down the cobblestone-lined pathways of the
Jacques Cartier Pier in the Vieux Port of Montreal with a couple-
thousand Québécois in celebration of this feat. But not this year. It
just wasn't in the cards (or the budget). Although I was unable to
attend the premiere of VOLTA with fellow fans and friends of Cirque du
Soleil as I normally did, thanks a dear friend I was able to get a
little more insight into the show through the texts printed in the
show's programme book. Since sharing that text with you last time,
Cirque du Soleil released the full PRESS KIT for VOLTA, which has a
lot more information about the show's scenography, costumes, and, of
course, acts within it.
Here's what we know now...
THE CONCEPT
-----------
In poetry, the volta, or turn, is a rhetorical shift or dramatic
change in thought and/or emotion, and with this latest creation,
Cirque du Soleil is pushing the boundaries of circus arts by
integrating several action sports disciplines, presented for the first
time on its stages, including BMX acts, Parkour and BMX Flatland.
Inspiration for VOLTA was drawn from the spirit of adventure that
pervades the world of action sports. Whether they are on a bike,
hopping from rooftop to rooftop, or barreling down a mountain, action
sports enthusiasts constantly challenge themselves and defy
convention.
VOLTA tells a spellbinding story about the freedom to choose and the
thrill of blazing your own trail. Inspired in part by the adventurous
spirit that fuels the culture of action sports, the show weaves
acrobatics into a visually striking world driven by a stirring melodic
score. VOLTA is a story of transformation. It is about being true to
oneself, fulfilling ones true potential, and the power of the group
to make that possible. It celebrates freedom as a movement. VOLTA also
explores the themes of self-realization and alienation in a world
where technology often isolates people from one another rather than
freeing them. Using the rise of the celebrity culture and reality TV
as a subtext, VOLTA is an allegory on the flip side of fame and the
search for authenticity.
WAZ, a popular gameshow host, has lost touch with his inner self in
the pursuit of fame, pulling others in the trap of instant glory. But
as doubt sets in, WAZ is enlightened by childhood memories as he
encounters 'free spirits' who open doors to his inner soul he has long
kept shut. On his high-voltage search for meaning, will WAZ find the
courage to relinquish his fame, reconnect with his true self, and
shine bright?
THEMES AND INSPIRATIONS
-----------------------
Action sports and the spirit of adventure The creators of VOLTA drew
inspiration from the spirit of adventure that pervades the world of
action sports. Whether they are on a bike,hopping from rooftop to
rooftop, or barreling down a mountain, action sports enthusiasts
constantly challenge themselves and defy convention.
Authenticity as an antidote to superficiality VOLTA explores the
themes of self-realization and alienation in a world where technology
often isolates people from one another rather than freeing them. Using
the rise of the celebrity culture and reality TV as a subtext, VOLTA
is an allegory on the flip side of fame and the search for
authenticity.
Quid Pro Quo WAZ is the host of Quid Pro Quo (QPQ), the most popular
gameshow on TV in the world of VOLTA. Every week, everyone tunes in to
watch contestants scramble for a chance to become instant celebrities.
In order to be transformed into ELITES, 2 contestants must first
compete against one another in a trial of skill. When the 1,000th
episode of QPQ begins, WAZs life is about to take a sharp turn.
SET & STAGE - A BREATHING, PULSATING WORLD
------------------------------------------
Stone, light, mechanics, and the human element are the bedrock of
VOLTA's story. And VOLTA's stage (which affords the audience a 240-
degree view of the action), has a pulse and life all its own. In a
heartbeat, it can turn from a dark, stone-dead quarry into a cathedral
of light! From the dynamic acrobatic Parkour act to the high energy
BMX, Trial and Flatland numbers to the Highline and Wingsuit
evocations, the performances in VOLTA require a complex array of
state-of-the-art, meticulously designed acrobatic equipment and
rigging.
THE LANDSCAPE a granite quarry looks like it was mined out of a
gigantic rock. It is a manmade, geometrically variable environment,
constantly changing and adapting to the storyline. The light breaking
through the background and the stage floor and emanating from WAZs
Cube makes the stage breathe. When the characters of VOLTA invade this
seemingly cold environment, the set literally comes to life.
THE OUTER RING of the circular stage is a revolving plate with
footlights that illuminate the performances. It is used to generate
kinetic energy on stage as well as move props and artists. Three slim,
articulated hydraulic lifts emerge from the stage floor to populate
the space above the stage. Higher up, the bridge that spans two of the
Big Tops four masts can move gracefully up and down to modulate the
audiences focus and serve as a second stage, despite weighing 2,268
kilograms. All of the mechanics on stage provide a showcase for the
story that is about to unfold. As, for example, in the Parkour act,
artists execute a cavalcade of moves and jumps in a fluid and poetic
choreography, leaping from freestanding structures spread out on the
stage onto three hydraulic lifts, and then onto the bridge and back.
The route the acrobats take is meticulously mapped out, taking into
account a series of biomechanical parameters.
THE CUBE, WAZs refuge where he keeps treasured childhood mementos,
represents the duality of the main character. It is a 5,900 kg, highly
versatile mechanical device one of the iconic symbols in the world
of VOLTA. The Cube can pivot and move upstage and downstage. Two of
its movable panels are used for delivering video content. But beyond
the stagecraft and the mechanics, the Cube is a pivotal element in the
VOLTA narrative. A theatre décor in its own right, it is the refuge
where WAZ can conjure up memories from his childhood in private and
out of sight. From WAZS dressing room, the Cube turns into WAZs
childhood bedroom. Inside, WAZ rummages through a treasure chest of
cherished mementos. At one point, the Cube metaphorically turns into a
time capsule when WAZ plays family movies depicting his happy life at
home; the two LED panels unfold from the sides of the Cube to deliver
the cinematic content for all the audience to see. Past and present
collide in this miniature world where big things happen. (The
electrical components of the Cube, such as the rotating motor and the
LED panels, are powered by a 200-amp electrical source like the one
used in an average home. The wallpaper on the back wall of WAZs Cube
is perforated with tiny holes to let air through and cool down the two
LED panels on its flanks.)
THE ROULODROME For the breathtaking BMX act, a full-fledged
roulodrome (skate park) is mounted on stage in front of the audience's
very eyes. Because of the limited space under the Big Top (the VOLTA
stage is exceptionally deep) the six massive ramps used in the
breathtaking BMX act are of increasing size and slip one inside
another, like Russian dolls, when stowed away. The ramps are made of
thick, heavy-duty polycarbonate a material used to make bulletproof
glass and are fully transparent so as not to block the view of
spectators sitting in the front rows, who see riders through the ramp
come at them at more than 30 km/h. And the material must be strong and
resistant, because a rider landing on a ramp generates a force of 12
Gs: twelve times his weight!
VIDEO CONTENT REVEALING THE LIGHT WITHIN
------------------------------------------
VOLTA is a luminous world chock-full of LED-clad objects. The Cube is
equipped with two panels made of 4-mm LED tiles that deliver film
quality video content. The stage is ringed with LED lights and is
lined with a forest of movable lampposts that focus the audiences
attention on the performance.
The video content is divided into four sections: WAZs childhood
memories, filmed in warm, cinematic fashion; the superficial,
computer-generated world of QPQ, which has a colder, slicker look and
feel; the calculated city world and its grid-like patterns; and the
realm of the Free Spirits, with its natural and earthy atmospheres. To
create a sense of cohesion, these four palettes were tied in together
through an overall photorealistic approach.
The productions video control system is 100% interactive and can be
triggered by the simple kick of a drum or the sound of a voice. Three
cameras capture the action on stage as well as audience reactions, and
the images are played back on the screens in real time. There is even
a camera mounted on WAZs microphone during the QPQ sequences.
The short "family movies" played on the two LED panels that flank the
Cube on both sides and transport the audience into WAZs past, evoke
the main characters simple, happy childhood out in the country. To
give the impression that the observer is privy to the characters
innermost secrets and to create the warm, timeless look, the films
were shot in a portrait-style vertical format using special vintage
equipment. An ultramodern digital Alexa XT camera was paired with
German-made Zeiss Vintage lenses from the 1960s like the ones used by
legendary director Stanley Kubrick to create the soft, film-based
textures of the movies. When light enters into these lenses, it leaves
a distinct signature that creates that classic vintage look.
MUSIC A STREAM OF GRIPPING LANDSCAPES
---------------------------------------
VOLTA is propelled by a series of atmospheric, epic and poetic musical
landscapes. The vast palette glides from synth-pop to more melodic
lines, from ambient shoegazing to waves of symphonic and orchestral
sounds to which stirring choirs, brass and string textures were added.
Written by composer Anthony Gonzalez (M83), the highly cinematic music
of VOLTA evokes a complex array of emotions and moods that ebb and
flow majestically like the tide, always in sync with the acrobatic
performances on stage. It is a narrative tool in its own right,
echoing the different arcs in the storyline and expressing the
distinct personalities of the worlds of VOLTA the GREYS, the ELITES,
and the FREE SPIRITS.
COSTUMES - THE FABRIC OF VOLTA
------------------------------
More than 1,200 costume elements were produced for VOLTA by the
artisans in the costume workshop at Cirque du Soleils international
headquarters in Montreal. The stunning costumes echo the themes of
alienation and self-realization, and embody the fatuity and
overindulgence of self-realization that have gone awry. They also
reflect the DIY (Do It Yourself) mentality of those who strive to
"find their free".
In his Quid Pro Quo outfit, Waz is the ultimate Super Elite: solid
gold through and through. Gold colored dragon scales make up his hard,
exterior shell. This armor is wearing Waz more than he is wearing it.
It increasingly becomes a burden as the show progresses. When he sheds
the cloak, he appears as a Grey on the verge of becoming a Free
Spirit. When he is among the Greys without his Quid Pro Quo cloak, he
walks around unnoticed, literally blending in with the crowd. (The
laser coat Waz wears as the host of Quid Pro Quo contains 168 lasers,
contains 90 meters of wiring, and has a capacity of 115 different
laser beam combinations. His distinctive headdress has approximately
1,500 blue feathers.)
In the world of VOLTA, the Greys represent the everyman. In multiple
shades of grey, the prints and patchwork-type patterns and textures of
their outfits mimic the bleakness of the landscape and blend with the
stage. The Grey's costumes are held together with belting from head to
toe. Some of the Greys are in a transitional state to becoming Free
Spirits; when they remove their coats, the backs of their shirts have
colorful patterns showing their individuality.
The Elites' costumes are as big as their egos. Clad in metallic gold
and black, the Elites are wannabe royals, "blinged" up beyond
ridicule. Metallic glitter gives their flamboyant neo-Baroque costumes
a hard shine that underscores their self-importance. The shiny gold
textures are created with laser-cut metallic and glitter transfer.
Free Spirits are open-minded, life-loving travelers who wont hesitate
a moment to veer off course for the sheer sake of adventure. On their
travels, they collect meaningful objects and trinkets, which they
attach to their costumes. The fabrics and prints call to mind
extensive travel and encounters with many cultures of the world. The
Free Spirits' complex, richly colored outfits evoke handmade
techniques such as macramé and crochet. (The make-up designs for the
life-loving Free Spirits are inspired by vibrant Hindu colors such as
oranges and aqua blues. The colors on the characters bodies are
applied with sponges full of holes or, in the case of the Swiss rings
performers, using various paint splattering techniques.)
The Memories emerge during the dreamlike, cinematic sequences that
portray Waz as happy child full of promise. Printed with delicate
forest and tree motifs, the Memories' costumes have a mystical,
ethereal feel and convey transparency, sheerness and flow.
CHARACTERS
----------
WAZ -- Once a young boy full of dreams and aspirations, Waz lost his
way a long time ago. Growing up as a child, he was mocked for being
different: he has blue feathers instead of hair. He uses his fame as
the host of QPQ as an armor under which he keeps his secret carefully
hidden. As he hosts the 1,000th episode of QPQ, something is eating up
at him, and his tightly wound world is fast unspooling. When Waz
retreats to the "Cube" in turn his dressing room and his refuge he
is lulled by memories of his youth. As doubts begin to creep in, he
starts to realize that who he once was and what he has become are
poles apart. His façade starts to flake away. Waz finally realizes he
can show his true face and shine once again.
THE GREYS -- The Greys are the everyman, city dwellers who have
accumulated the dust of inertia over time. Like the Elites they aspire
to become, the Greys are out of sync with their true selves. Lost in
the fog of misguided hopes, they have a tendency to look for happiness
in the wrong places. They live their lives permanently glued to their
cell phones and screens. Mostly cut off from one another, they settle
for their everyday routine, the tedium of repetition. Greys come to
the Quid Pro Quo TV show for a chance to bathe in instant celebrity.
If they win, they are transformed into Elites. But what they don't
realize is that they're merely switching from one false promise to
another. Like Waz, the Greys have faded over time, letting fear get
the best of them.
THE ELITES -- The Elites are bloated, self-important royalty wannabes.
Fitting in is all they aspire to. Instant stardom is the name of the
game! Self-knowledge, awareness of others, open mindedness, and
curiosity are the least of their concerns. They are conformists who
look down on the Greys - even though they were once Greys themselves
and they utterly despise and fear the Free Spirits, because they find
their freedom deeply unsettling. They are slaves to judgment. They are
power hungry and ruled by fear. Another thing Elites have in common:
they idolize Waz, for Waz is their king and savior, which makes them
nothing more than brave little soldiers.
THE FREE SPIRITS -- The Free Spirits personify the glorious rejection
of "good enough." They are not bound by rules or expectations - not
because they are lawless, but because they are free. They are driven
by impulses and dreams: freedom is a movement. For them, there are no
walls or barriers. They are benevolent, life-loving individuals who
see beyond their own nose and care deeply about others. They travel
the world, collecting and sharing experiences. They are real and
genuine, always seeking to fulfill their potential and that of others.
The Free Spirits and the Elites are polar opposites. To a Free Spirit,
originality is strength. Waz's encounter with the Free Spirits
particularly Ela will inspire him to embrace his true self.
THE MEMORIES -- Memories are the embodiment of Waz's childhood dreams,
at a time when everything was still possible, when he still held his
destiny in his own hands. A time when fear and not yet taken root in
his gut. Memories are the rays of light in his dark world, lifelines
to his true self. They reveal the blue feathers under his armor in all
their cerulean splendor.
SHOOD KOOD WOOD -- This character is Waz's sidekick. He warms up the
QPQ audience and emcees the contestant trials. An Elite wannabe, Shod
Kood Wood represents the fear of change. His entire world hinges on
WAZ continuing on as the king of QPQ.
YOUNGER WAZ -- Younger Waz is the main characters alter ego. In the
world of VOLTA, he is visible only to Waz. This younger version of
himself represents his childhood hopes, dreams and aspirations. He is
Waz's guardian angel.
ELA -- Ela is the archetypal Free Spirit. She sees the untapped
potential in others and tries to rouse them from their apathy. She is
there at the right moment to help Waz set out on his journey.
ACTS & ACROBATIC PERFORMANCE
----------------------------
QUID PRO QUO 1,000TH - Rope Skipping
When the 1,000th episode of Quid Pro Quo begins in a frenzy of
hysterical excitement, rope skipping is selected as the first
challenge. After the ecstatic contestants compete in the winner-takes-
all challenges, the victor is transformed into an ELITE. In this act,
rope skipping takes on a new dimension with a heightened level of
acrobatic prowess. Artists perform single rope and double Dutch
sequences (two ropes turning in opposite directions). With an urban,
hip hop attitude, they tumble, flip, and perform handstand hops
through the spinning ropes. When the act culminates in a breathtaking
speed pass at full throttle, the two spinning ropes are just a blur.
MEETING ELA - Precision Walk, Roller Skates & Batons
ELA appears on roller skates with other FREE SPIRITS and performs for
WAZ, who is totally captivated. ELA is his connection to the real
world a spot of color in his bleak reality. Playfully intrigued, she
approaches to touch his blue feathers, but he pulls back. The GREYS
execute a striking group choreography, changing directions in rhythmic
unison, their eyes glued to their cellphones compasses leading
nowhere. They are all the same: withdrawn, strait-jacketed into their
daily routines. ELA playfully joins in the performance of a fellow
FREE SPIRIT. Combining dance and gymnastics, the artist twirls her
batons as if they are an extension of her body. Demonstrating
exceptional control, she spins one, two, and then three batons around
her neck, arms, and legs, tossing them high into the air and catching
them after performing a series of acrobatic figures.
GUARDIAN ANGEL IN THE CITY Acro Lamp
WAZ pulls out mementos from his treasure chest, finding pleasure in
reconstructing his long-forgotten past. He encounters younger WAZ who
tries to shed some light on his predicament. In a moment of calm
introspection, younger WAZ grabs onto a suspended red lamp just like
the one in WAZs Cube and flies majestically above the stage in long
sweeping arcs. Hanging on with his hands or feet, he swings and spins
gracefully above WAZ using the light to metaphorically illuminate the
journey ahead.
RISE & SHINE Parkour
As the GREYS wake up and begin their daily routines, the playful and
mischievous FREE SPIRITS invade the city and transform the space into
a playground. In a tribute to the discipline and artistry of free
running, the FREE SPIRITS execute a series of high-level moves and
jumps in a fluid and poetic choreography, leaping from freestanding
structures spread out on the stage onto the three hydraulic lifts,
then onto the bridge and back, crisscrossing in midair. This act
explores the themes of synchronicity, musicality, partnering and
individuality.
URBAN JUNGLE Shape Diving
Following the invasion of the city by the FREE SPIRITS, some GREYS are
inspired to let their inner free spirit come to life, straddling both
worlds. In an electric, urban atmosphere, five artists tumble and jump
through shapes, sometimes feet first, sometimes backwards, sometimes
bent in half, even adding breakdancing and hip-hop-style moves into
the mix.
DAYDREAMING BMX Flatland & Ballet Duo
In his Cube, WAZ turns on a home video projector and watches 8mm
movies of his childhood days, reliving fond memories of riding his
beloved red bicycle and playing in the backyard with his mother. A
world champion BMX flatland rider performs a riveting routine on his
bike and engages in a pas de deux with a ballet dancer as WAZ looks
on. Coming from disciplines that seem worlds apart, the two artists
create mirror-like images in a mesmerizing synchronized choreography.
INTERVENTION Swiss Rings/Bungee
In all their glory, the FREE SPIRITS storm in to encourage WAZ to
pursue his quest. He experiences sensations that he hasnt felt since
he was a child. Suspended from the bridge, eight top-level gymnasts on
four sets of Swiss-style rings twist, swivel, and sway to and from on
their apparatus in a high-energy celebration of WAZs departure from
the gameshow. They are busy showing their tricks when two artists
suddenly fall from the sky on bungee cords and interact with the
gymnasts below in alternating patterns.
*** INTERMISSION ***
LEAVING THE CITY Acrobatic Ladders
WAZ has shed his QPQ persona and is now wandering in the city as an
ordinary citizen. As he looks for a way out, he wanders through an
alleyway and encounters GREYS who, like him, have evolved and aspire
to genuineness and authenticity. Two articulated ladders attached to
the edge of the stage on pivot points are the towering symbols of
WAZs escape from the artificial world of QPQ. Artists climb, spin and
execute acrobatic and artistic figures on the ladders in synchronized
and alternating patterns. At certain points, the ladders swing out
majestically over the audience.
STARLIGHT Tight Wire
The FREE SPIRITS arrive on stage carrying lanterns that mark the path
through this newly discovered world. WAZ finds himself amid a group of
nomadic FREE SPIRITS, and for the first time in a long time, he has
his sights set on the future HIS future. The FREE SPIRITS appear on
stage carrying luminous stones while an artist performs a fluid tight
wire act. Using quick footwork, he hops, sits, rolls and executes
somersaults effortlessly, occupying both the space above and under the
wire.
GLOBETROTTERS Charivari
The FREE SPIRITS celebrate the splendors of their boundless world and
their adventurous lifestyle as ELA looks on. While an artist holding
onto a ring executes acrobatic figures and spins at an astonishing
speed, a rider shows his skills at trial bike riding, a discipline in
which the rider attempts to scale obstacles without setting foot on
the ground. A highline artist walks a tight rope while ELA interacts
with the trial riders performance.
MIRAGE Hair Suspension
A spellbinding artist suspended only by her hair levitates slowly from
a cushion underneath her, barely touching the ground. This mysterious,
slithering character then rises up above the stage, swinging back and
forth or spinning like a top, all the while exercising her hypnotic
power over all.
HALL OF EQUALS Hand to Hand on Unicycle
This act is WAZs rite of passage into the new world. ELA invites him
to partake in a ritual celebration with the FREE SPIRITS. At the end
of the act, WAZ is ready to show his true face to the world as the
FREE SPIRITS cheer him on. A percussionist performs a thunderous tenor
drum solo and is soon joined by four other percussionists suspended
above the stage who continue the dramatic, pulsating beat in unison.
The FREE SPIRITS watch on as two artists perform a hand to hand act on
a unicycle. Suddenly, 24 ropes fall dramatically from the sky. As the
artists turn on the rotating stage, they use the ropes to create the
structure of a tent in a majestic swirling motion.
BREAKTHROUGH Contemporary Dance
The real WAZ emerges. He comes face to face with his younger self, and
they both look one another in the eye. WAZ has proven that he has
remained true to his inner self a fearless, free and innocent young
boy full of big dreams. As his true identity has been locked away
until now, so was his hidden talent. Now he is ready to shine. When
his inspirational dance comes to an end, SHOOD KOOD WOOD greets his
old friend. After witnessing their idols breathtaking performance,
the GREYS, the ELITES, the FREE SPIRITS and SHOOD KOOD WOOD are
awestruck. WAZs dance is the physical manifestation of his
liberation, building up from simple, understated arm movements, and
exploding into dramatic grand jetés. The choreography, which reveals
not a dancer, but a free man, expresses WAZs humanity, vulnerability
and courage.
MOMENTUM BMX
WAZ is now in control of his life and has been admitted into this
community of life-loving FREE SPIRITS. In a contagious spirit of
celebration, they let it all out and show their mettle. A full-blown
BMX park is mounted on stage in front of the audiences very eyes for
the breathtaking BMX finale as five riders invade the stage to deliver
a jaw-dropping, fast and furious performance of nonstop acrobatics on
wheels. The riders go up the jump boxes and perform air tricks before
landing and leaping off the ramps again, crisscrossing and spinning
their bikes in midair in a spirit of brotherhood.
Some of the tricks you'll see are...
o) SUPERMAN: The rider extends both feet outwards to resemble
Superman in flight.
o) FLAIR: The rider does a backflip with his bike combined with a
180-degree spin before landing on the ramp.
o) DOUBLE TAIL WHIP: The rider throws the bike out to one side
while still holding onto the handle bars so that the frame goes
360 degrees around the steering tube twice; the rider then
catches the frame again and stands back on the pedals.
o) FLIP WHIP: While doing a backward flip with his bike, the rider
performs a tail whip: he throws the bike out to one side while
still holding onto the handle bars so that the frame goes 360
degrees around the steering tube; he then catches the frame
again and stands back on the pedals.
o) 720: The rider does two 360-degree spins in a single jump.
* * *
"VOLTA is a show about the thirst for freedom and the path to self-
realization for the good of the many, in a world where the cult of
celebrity sometimes consorts with technology to isolate us from one
another. It is also a dazzling ode to the courage it takes to blaze
one's own path.
"VOLTA was born out of a desire to create an utterly modern and
contemporary show. We wanted to take our devoted fans into new,
uncharted territories and touch the hearts of new followers without
ever losing track of the Cirque du Soleil DNA. Up-and-coming creators
from Quebec combined their talents with those of other renowned
creators from around the world to explore new vocabularies -
particularly that of action sports - to pay tribute to 'free spirits'
who live their wildest dreams to the fullest in a spirit of
brotherhood." - Jean-Francois Bouchard
Bon spectacle!
------------------------------------------------------------
"We're Off and Running - A Series of Classic Critiques"
Part 2 of 16: Le Cirque Réinventé, Part 2 (1988)
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
A few weeks ago, as I was flipping through a few classic Cirque du
Soleil programme books (as is my wont), I was happily caught off-guard
by a brief history of the company that it had written about itself in
Saltimbancos original European Tour programme, published sometime in
1996. Not because the historia was in English, French, and Spanish,
but rather I found the wording a bit more colorful
haughty
than what
youd find from the company today. Something about its whimsical and
heady nature spoke to the way Cirque du Soleil saw itself then,
containing a youthful verve and arrogance that is simply no longer
present. When did Cirque lose this dynamic sense of self, this
liveliness, and vivacity about its past, present, and future?
Unfortunately, not long after. Thereafter the speak becomes less joie
de vivre and more lié aux affaires, and Cirque du Soleil turns from a
rag-tag band of street performers into a bona fide corporate entity
right before our very eyes. This is not a new revelation far from
it in fact but this re-discovery struck a chord of curiosity within
How did others see Cirque du Soleil during this period?
Think about it: as Cirques multitude of shows travel around the globe
in either arenas or under the big top, at each stop, in each city,
there is a write-up in the local press. Sometimes the coverage is just
a brief blurb about the show and its theme, occasionally theres a
short interview with a performer, a stage hand, or creation director,
and other times its an assessment of the show itself, evaluating its
technical and acrobatic merits with what had come through before. But
the reviews we see today are too current, discussing these shows
through a contemporary lens; shows that have/had 15 to 20 years
touring the globe, shows we would refer to as classic or
signature. What Id become interested in knowing was what some of
the first reviews, peeks, and evaluations of these shows were as they
took their first steps across North America. How did the press see Le
Cirque du Soleil in 1998, 1994, 1990, 1987?
It was time to peck through the archives.
What I found was extraordinary, and more than I expected. And I'm
sharing these discoveries here in Fascination through a series of
collections, beginning with the 1987 tournée of Le Cirque du Soleil
(better known today as Le Cirque Réinventé), and continuing on from
there. Last issue was Part 1 of 16: Le Cirque Réinventé, Part 1
(1987); this month we continue looking at 1988's reviews of Le Cirque
Réinventé.
# # #
WHERE MAGIC IS PURE AND FANTASY REAL
By: Anna Kisselgoff | New York Times
May 17, 1988
Everything comes together beautifully in Le Cirque du Soleil, an
enchanting circus troupe from Montreal that lives up to its name as a
circus of the sun. More than a little poetic sunlight filled the night
air Wednesday evening at Battery Park City, where a blue and yellow
tent had been pitched just off West Street at Battery Place for the
circus's New York debut.
To say, as everyone does, that Cirque du Soleil has no animals is akin
to saying that Shakespeare has no prose in his plays. There is, in
fact, a touch of the Bard in the concept behind this wonderfully witty
and theatrical show. Like Bottom in "A Midsummer Night's Dream," the
rustics who open the performance enter a temporary dream-world in
which they are transformed.
Children will understand this fantasy sphere immediately and adults
will appreciate the several levels of artistry through which this
connective thread of a narrative is always maintained. From hip comedy
and art rock music to ancient Chinese acrobatics, Cirque du Soleil's
totally choreographed theatrical production has something for
everyone.
The basic message is that fantasies can be fulfilled, if only in the
imagination. A fuddy-duddy is transformed into the circus's master of
ceremonies and a gaggle of folk in loud shirts and dresses turn into
graceful aerialists and acrobats.
The line between cliches and universals, however, is magnificently
understood by the circus's creators. You will find traditional circus
acts here, but also a comment and twist on these acts. The veneer is
refined and innocent, often transmitted through the glowing face of a
child performer.
The two-hour show, scheduled through June 5, is a synthesis of easily
recognizable art forms pioneered by others and yet the final result is
deeply original. There are echoes of Montreal's avant-garde dance
troupes and comedy routines from the new vaudeville. Chinese acrobats
have left their influence in the acts with balancing chairs,
contortionists and bicycle riding tricks.
The point is that it all comes up looking like nothing else. On this
occasion, the evening was opened by Guy Laliberte, Soleil's founder
and president, and Governor Cuomo, on behalf of a benefit for two
organizations concerned with the homeless, HELP and the Coalition for
the Homeless.
The tone of the evening is set immediately by the irreverent clowns
amid the audience, but its component of magic, real and simulated,
comes clear only when four young genies in exotic robes act as our
guides. A clump of fugitives from Samuel Beckett enter amid an
enveloping mist; Michel Barette is transformed into the ringmaster and
introduces the chair-balancing act.
Here as elsewhere, the accent is not on the death-defying risk, but on
beauty of design. Bravura mixes with art. There is no tension. What a
relief.
Thus, some of the youngsters doing handstands on the tower of tilted
chairs are attached to wires - a touch of Peter Pan. And when Antoine
Rigot flies down from a high wire and leaves his raincoat in the air,
the surreal imagery is apt. His duet on a tightrope with Agathe
Olivier, who bourrees along the wire on toe, recalls Picasso's
acrobats as do the witty acrobats from Paris who add a flick of
flamenco - the petite Amelie Demay and Eric Verelas.
Fairground history has its echoes with Daniel Le Bateleur, whose
juggling is sheerly artistic, especially when he makes a rope tie
itself into knots. The faceless tumblers who trot out with attache
cases comment on rat races and use teeterboards as metaphors. Benny Le
Grand's disappearing act is too good to give away, but Daniel
Lacombe's pie in his own face clowning and his second solo is too good
not to reveal. Mr. Lacombe's mad conductor, tilting forward from his
ski boots as he conducts the 1812 Overture (on a walkman) with a thigh
bone while throwing batons into the air is Walter Mitty gone berserk
also hilarious.
For poetic relief, there is Andrew Watson and Jackie Williams in a
trapeze act that has a fantastic touch, as Ms. Williams flies out
toward the audience when least expected. Angela Laurier was the
smiling contortionist.
Guy Caron and Mr. Laliberte created this magical show, with Debra
Brown as choreographer.
* * * * *
ART UNDER THE (LITTLE) BIG TOP
By: Andrew Pollack | New York Times
May 25, 1988
Two dancers are flirting. He plays the oboe as she pirouettes toward
him. Then he advances toward her, leaping and doing a somersault, only
to be pushed away. It could be ballet or modern dance - but it's a
tightrope act.
Later, a young couple is doing a steamy tango. Suddenly, she is
standing on her head in the palm of his hand. She remains there as he
drops to the ground, rolls over and stands up again, all to the Latin
rhythm.
Such combinations of dance and acrobatics exemplify Le Cirque du
Soleil, a circus from Quebec that has been drawing standing ovations
in Canada and California for performances that are part circus, part
theater. The four-year-old troupe, whose name means Circus of the Sun,
will make its East Coast debut in Battery Park City in Manhattan on
Wednesday.
ADDING ART TO THE SPECTACLE
Le Cirque du Soleil is one of a handful of so-called new-wave circuses
that try to present the circus as art, not merely spectacle.
Participants perform in one ring to specially composed music, and try
to establish an intimacy with the audience often lacking in the three-
ring extravaganza that has become customary in the United States.
Other such circuses include New York's Big Apple Circus, San
Francisco's Pickle Family Circus and Australia's Circus Oz. But among
them, Cirque du Soleil is the least traditional and the most
theatrical, producing a brightly polished high-tech show that aims its
appeal as much to adults as to children.
Many of its acts are the same as those found in traditional circuses
or Chinese acrobatic shows. Thirteen people ride one bicycle. Three
men and two women balance on a tower of chairs. And a contortionist
folds her body into shapes that are impossible to describe, let alone
do. One big departure, however, is that there are no animal acts.
FROM TOURISTS TO STARS
Technically, the acts are no more proficient than those found in other
circuses. What really sets Cirque du Soleil apart is how the acts are
packaged. There is no loud ringmaster here, warbling "La-a-adies and
ge-entlemen," no drum roll before each stunt. Instead of being
composed of isolated acts, the circus flows from one act to another,
and all the acts are loosely united by a common theme: A group of
frumpy tourists wanders by mistake into a circus. The Queen of the
Night appears in a cloud of smoke and transforms the motley visitors
into circus performers wearing dazzling costumes, allowing each to act
out his or her fantasies.
Almost all the acts are choreographed to pulsating new-age music
composed by the circus's musical director, Rene Dupere, and played
live by a five-piece band. The music is so coordinated with the
performance that each juggle seems to have its own special note.
Like much of what is now called the new vaudeville movement, this
circus had its origins in street performing. Guy Laliberte, the
troupe's founder and president, abandoned his plans to study nuclear
engineering in his late teens and began traveling around the world
learning such skills as fire breathing and stilt walking.
SUPPORT FROM GOVERNMENTS
In 1984, the provincial Government of Quebec gave Mr. Laliberte, then
23 years old, a grant to organize a troupe of street performers as
part of the celebration marking the 450th anniversary of the discovery
of Quebec by Jacques Cartier. Le Cirque du Soleil has grown ever
since, with backing from both the Canadian and Quebec Governments and
several corporations.
The 28 performers of the troupe are mainly in their 20's and not bound
by old approaches. In a reversal of the usual roles, women
occasionally lift up the men in the acrobatic numbers. And audience
rapport is helped by the fact that the troupe's blue-and-gold tent
seats only 1,750 people.
This circus makes little use of conventional clown stunts and at times
seems to mock that tradition. "We hate circuses the way they're done
right now," said Denis Lacombe, who is the troupe's leading clown. Mr.
Lacombe, who prefers to call himself a "visual comedian," presents one
of the shows most crowd-pleasing acts: a portrayal of a symphony
conductor who gets carried away by Tchaikovsky's "1812 Overture,"
swaying so hard that his body is parallel to the floor. Mr. Lacombe
performed the same act last year with the Big Apple Circus.
Fred D. Pfening 3d, president of the Circus Historical Society, an
organization of circus enthusiasts in Columbus, Ohio, said he believed
that by appealing to adults, Le Cirque du Soleil attracts new
audiences to the circus. "It was almost like watching a Broadway
production about a circus," he said. "They've brought the yuppies back
to the big top."
* * * * *
MINIMALIST CIRCUS LOADED WITH MAXIMUM PUNCH
By: Mel Gussow | New York Times
June 5, 1988
The Cirque du Soleil is not only a captivating entertainment, it also
provides a cautionary lesson in a theatrical time when musicals are
becoming more elaborate and more expensive. With Cirque du Soleil, the
French-Canadian one-ring circus scheduled to conclude its brief run in
Battery Park City next Sunday, less is, legitimately, more.
Take, for example, the climactic sequence, "Tower on Wheels." In
related circumstances in a three-ring circus, this might be an
extravaganza with gymnasts jumping back and forth on motorcyles or on
the backs of prancing horses while above adjoining rings high flyers
switched trapezes in mid-air. Here the act is performed with one
bicycle, whose rider is joined by three friends, then by three more,
and so on, until, before we know it, 13 people are perched on a
bicycle built for one. The cycle is so layered with passengers that it
is almost invisible as it glides smoothly around the ring. To
emphasize the fact that a single cyclist can be the equivalent of a
one-man band, Luc Tremblay rides a bicycle into the arena and takes no
passengers. He flips, turns, spins on one wheel, rides backwards and
treats the vehicle as an extension of his own anatomy.
At such moments as this the Cirque du Soleil is imaginative in the
extreme (and certainly indebted to Chinese acrobats, some of whom act
as trainers). Not only has the company banished all animals from its
acts, it offers no large-scale production numbers and has severely
limited its use of mechanical equipment. Though we are sitting in a
big tent, with, at capacity, some 1,700 other patrons, this is an
intimate backyard circus, the lower-case garden variety, and its
considerable pleasures are enhanced by being so close to the action.
We do not have to strain our eyes or our necks to catch a distant flip
in the sky. Despite all the pre-opening fanfare that made it sound as
if the Cirque du Soleil were unique, the troupe has to be considered
within a context. This is not the first small circus to make a large
impression. One-ring circuses tour throughout Europe. The Big Apple
Circus is a New York favorite and the Pickle Family Circus is an
equally admired company in San Francisco. Among other migrant troupes,
there has also been Le Cirque Imaginaire, the fanciful, two-man, toy
circus, invented by Victoria Chaplin and her husband, Jean Baptiste
Thierree, and in several locations in New York it has been possible to
see Huck Snyder's vest-pocket play entitled "Circus," in which actors
portray animals. Though it is on a grander scale, in common with Ms.
Chaplin's and Mr. Snyder's companies, the Cirque du Soleil is an
adjunct to performance art.
Following tradition, the Big Apple Circus is a series of acts, some
more appealing than others, only glancingly linked by an annual motif.
The Cirque du Soleil is a cirque with a difference. It offers a
cohesive theater piece - conceptual art in perpetual motion. The
individual acts flow into one another, unified by music, movement and
point of view. The principal idea, which sounds simpler than it
actually is, is that anybody can do anything, that the most ordinary
person can be transformed into an equilibrist - with, of course, a
maximum of practice and determination. One does not have to train with
a flying fraternity of Wallendas or Gaonas in order to win circus
wings. In fact, many of the members of the resourceful company have a
double or triple expertise and all are marked by their youthful
vitality.
As Agatha Olivier and Antoine Rigot dance and change places on a low
wire, sometimes to the tune of Mr. Rigot's oboe, the two are like
incarnations of Bo Widerberg's Elvira Madigan, practicing in a
secluded country garden. They are experts in slow motion. On the other
hand, there are Jacqueline Williams and Andrew Watson, spinning each
other at a high speed on a high trapeze (without benefit of a safety
net). They twirl so quickly they become a blur.
Slow or fast, these performers are perfectionists, including Angela
Laurier who, using her body as her instrument, raises contortionism to
an art. Twisting her apparently boneless frame into awesomely
intricate positions, she seems to have grown additional limbs - whose
legs are those around her head? As is also true of her fellow
performers, she makes the effortful look easy.
Although there is humor in some of the acts, such as the teeterboard
ensemble, whose shower-capped members look like refugees from Woody
Allen's futuristic "Sleeper," the Cirque du Soleil is weakest in the
clown department (a weakness shared by the Big Apple Circus, whose
funniest performers are elephants). Denis Lacombe's slapstick stunts,
especially his conducting of an imaginary orchestra while his feet are
strapped in "lean shoes" on a trampoline, has a manic fervor. But Mr.
Lacombe is not to humor what the artful Eric Varelas and Amelie Demay
are to balancing acts (each takes a turn in balancing the other upside
down on his head). Also, there were too many forced attempts at
involving reluctant members of the audience in routines.
Watching these clowns go through their moves, one wishes for one of
the Olympian gymnasts of New Vaudeville comedy to enter the ring. Many
of them polished their techniques with the Pickle Family and other
circuses, and are throwbacks to the clowns of silent movies. One might
suggest that the Cirque du Soleil performing artists are themselves
throwbacks to the saltimbanques, the circus performers recorded in
paintings by Picasso. The Cirque du Soleil shares that saltimbanque
feeling of spontaneity, of theater being created as we watch it. As
such, the company is in stunning contrast to the computerized,
overamplified world of Broadway show business.
* * * * *
CIRQUE DU SOLEIL
By Herbert H. Denton | Washington Post
September 4, 1988
In the dreamy, opening scene of the performance of Cirque du Soleil,
the sassy and poetic, avant-garde French-Canadian circus that debuts
Friday in Washington, a ragtag collection of backwoodsy Quebecer types
totters into the ring, the men in their loud, mismatched plaids, the
plain-jane women in kerchiefs and aprons, and they are magically
transformed one by one into dazzling circus performers.
What is truly amazing about that little fairy tale routine is that
something like it actually happened in real life. In the true story, a
bunch of vagabond Quebec buskers, street performers in their twenties
and early thirties who shared the outrageous fantasy that they could
create a new kind of circus without freaks or animals, a hip one-ring
circus that would be wildly cheered across North America, joined
forces four years ago and, with a lot of pluck and a lot of help from
the government, surprised nearly everyone, most of all their parents,
and succeeded beyond all expectations.
Performing under the bright, blue-and-yellow striped big top of Cirque
du Soleil -- literally, the "Circus of the Sun" -- are trapeze
artists, jugglers, acrobats, contortionists and clowns, and an act in
which 13 performers climb onto one bicycle and wheel around the ring.
But forget about the musty old Barnum & Bailey-style circus. Think
about the musical "Cats." This is a fluid, modern circus with music,
lighting and circus feats seamlessly interwoven. The troupe worries as
much about the artistry of its stunts as it does about technique.
There are lots of high-tech special effects; the performers segue from
one act to another with choreographed dirty dancing to the rhythms of
sensual tangos and syncopated reggae beats. The humor is fresh, set in
the year 1988. It is a circus that lives up to its feminist ideals by
having a standing, sylphlike young woman performer balance her male
partner atop her head.
The playful performers and creators of Cirque say one of their aims is
to surprise and unsettle spectators. Nobody does that better than the
pugnacious clown with the stage name of Benny le Grand who wanders
through the crowd before the show begins, hectoring ticket holders as
they search for their seats. Sometimes he snatches women's pocketbooks
and examines the contents. On occasion, he will mischievously spray
perfume from a stolen purse on others in the crowd. "Whatsa matter?"
le Grand shrieked at some somber customers who came to see the troupe
perform in Lower Manhattan's Battery Park City this past spring.
"Didja get into a bad batch of Valium?"
Before they ran off to the streets to begin inventing the nouveau
circus, the founding members of Cirque had led fairly ordinary lives.
Gilles Ste.-Croix, now 38, studied architecture before deciding to
chuck it all and found happiness performing on stilts in the streets.
"I was brought up to be a very serious guy," he says now.
Technical director Richard Bouthillier, 35, worked as a railway diesel
mechanic, which he says was good training for the circus. "Doing the
job of technical director is doing a lot of pipe fitting. Everything
is custom-made." Cirque's "Queen of the Night," contortionist Angela
Laurier, 26, whose insectlike inverted-body bends are among the hits
of the show, used to worry her father when as a child growing up in
Montreal she not only would twist her body in weird shapes and bring
her legs backwards over her head for fun but also persisted in trying
to teach neighborhood children how to do that. "Now he's happy," she
says, "but he still asks me what I'm going to do with my future."
Guy Laliberte', 29, the cocksure president and driving force of
Cirque, had been in a post-high school course preparing to study
nuclear engineering when he decided to drop out and play an accordion
on the streets. Later, he learned how to juggle and then to breathe
fire. Although his parents were anguished by his decision to quit
school, they were probably not all that surprised. Earlier, at the
wise old age of 14, he had left home, leaving behind a note that,
among other justifications for his bold act, quoted the cult
philosopher Kahlil Gibran: "Your children are not your children. They
are the sons and daughters of life's call to life." He is so proud of
that youthful wisdom that he now describes the incident in his
autobiographical blurb in Cirque's souvenir program.
The roughly $10 million-a-year operation the founding trio built got
rave reviews when it first appeared in the United States last year at
the Los Angeles Festival, or as Quebec newspapers put it at the time,
went south of the border for the "conquest of California." It also won
effusive praise from New York critics this spring. In a breathless
paean of a review, The New York Times' Anna Kisselgoff gushed, "To
say, as everyone does, that Cirque du Soleil has no animals is akin to
saying that Shakespeare has no prose in his plays."
At their home base in Montreal, Cirque is extolled almost as much for
its financial success as for its creative invention. Year by year
since 1984, the troupe has increased the number of shows it performs
and at the same time weaned itself from dependence on government
funding. According to spokesmen, more than 90 percent of the funding
comes from the box office. Although the circus itself is still a
nonprofit organization, Laliberte' and two partners have spun off the
concessions as profit-making operations.
The enterprise reflects the confidence of a new generation of
Quebecers who are less fixated with politics than were their inward-
looking '60s-generation brothers and sisters who toyed for a decade
with the idea of having the province secede from Canada, before
finally rejecting it in a referendum. After the long years of wearying
political conflict, Quebecers have become less self-conscious, less
introspective, more secure in the belief that their Gallic culture
will endure as the distinct exception that it is in English-speaking
North America. They are more confident, like the founders of Cirque,
that they have something to show off to the rest of the world.
Although government grants from the regime of separatist Quebec
Premier Rene Levesque gave Cirque the money to turn the dream into
reality, Laliberte' says he and most of the other street performers
involved in its creation had not been very political. Instead they had
for the most part favored Quebec's now-defunct satirical Rhinoceros
Party, which intended among other things to sell patronage jobs for
$15 a post.
Out of the politics of the absurd, there has emerged, mystifyingly, a
new civil religion in Quebec, the gospel according to Adam Smith. It
is an ethos that has prompted long lines to get into business schools
and a mind set that has helped to spawn a whole new class of French-
Canadian yuppies with BMWs and gentrified homes. The partners in
Cirque are very much a part of that trend. Laliberte', for one, likes
to refer to himself as a marchand de bonheur, a "happiness merchant."
"We're action people and I think that is the big difference in our
generation," he said in an interview just before the group finished
playing for a month this summer to adoring, packed houses on Toronto's
lakefront.
"We have that Latin blood in us and we realized that in North America
we could turn that to our advantage," he went on exuberantly,
punctuating his comments with frenzied gesturing. "We do believe in
our creativity."
Although Canada has no indigenous circus tradition, there had long
been the dream of starting one, especially among the legions of street
performers and government cultural officials. In 1980, the government
established a Circus School in Montreal that has become something of a
prep school for Cirque.
Cirque did not get started until 1984 when Laliberte' and company
persuaded somewhat skeptical government officials that they could put
on a touring circus as part of the celebration of the 450th
anniversary of explorer Jacques Cartier's discovery of Canada and were
awarded a $1.6 million grant. The core group had previously put on a
provincial festival of Quebec's street performers, but in truth, the
organizers did not know very much about putting on a circus, and, most
critical of all, none of them knew how to pitch a tent. And neither
did the man they hired to do it. Just after the alleged tent master
put it up, there was a heavy downpour that blew it to the ground. But
the show had to go on and for its first efforts, Cirque performed
outdoors or in local arenas of Quebec while the damaged big top was
being repaired.
But the show, even staged unexpectedly alfresco, proved to be a big
hit from the beginning, and the troupe traveled the province
constantly experimenting and altering its acts. They were avid
students when circuses from Europe and China came to Canada, and began
traveling abroad both to recruit performers and borrow techniques.
Acrobat Ame'lie Demay, 19, and her partner came from Paris, where both
had attended circus school. She says she enjoys being in the troupe
because people are so open to new ideas about acts. "I think they have
a very different way of thinking," she says of the Quebecers. "They
are French but we are in the continent of North America. In Paris,
someone once said to me that in America you can be at the top of the
world in a month, {in Paris} it will take you a lifetime."
Debra Brown, a dance choreographer and gymnast coach, was so excited
when she saw Cirque perform in Vancouver two years ago that she went
backstage after the show and volunteered her services, explaining some
of her ideas for bringing more style and coherence to the performance.
She was hired.
"Our goal was to get the circus back to where it was at the beginning
of the century when it was a recognized art, just like opera was,"
says artistic director Ste.-Croix. "So in that sense, we are really
reinventing the circus. We're a young group and we think that if you
live in the 1980s, you ought to have that in your show as well."
In their salad days, the core group of performers who created Cirque
traveled around Quebec in a beat-up old school bus that served both as
sleeping quarters and a storage facility for props. But, the long
caravan of 52 trucks, trailers and semis that will roll into
Washington and set up on the Mall across from the Air and Space Museum
is considerably more elaborate.
About half the touring group of 85, roughly 28 of whom are performers,
will live onsite, as they do whenever they travel. The operation is
virtually self-sustaining, bringing in its own power generators and a
traveling French restaurant that serves 300 elaborate meals each day
to members of the company. There is a laundry and shower trailer and a
classroom for young performers and the dozen or so school-age children
who travel with their parents and are instructed by two teachers in
the entourage. Among other facilities, there is a massage trailer, a
welding shop and dressing and makeup rooms.
But as the operation itself has gotten more elaborate, the organizers
have strived to maintain the intimacy of the show itself. The tent is
only 140 feet in diameter and seats 1,700 people, so that no one in
the audience is more than 15 rows from the ring. "The intimacy is very
important to the show," said Cirque's chief publicist Jean He'on. "We
want you to see the expressions on the performers' faces. We want you
to see them sweat."
The Washington tour is scheduled for only two weeks, which is standard
for Cirque. But in other cities runs have been extended by popular
demand.
"My dream is to bring all the people of different opinions under one
big top," says the frenetic president Laliberte'. "You know, I think
people should take more time to laugh."
* * * * *
LE BIG TOP ON THE MALL
By Martha Sherrill Dailey | Washington Post
September 8, 1988
Five stories up in the air, on top of a rising circus tent, a couple
of guys slide around. Another hangs from all fours on a taut wire
rigging. They've pulled off their black T-shirts. They've wrapped them
on their heads, turban-style. They all wear Ray-Bans, not eye patches.
And still, they look like pirates.
"Hey, bay-beeee," says one, leering from the rippling Big Top's top.
And from way up there, you can hear his Quebecois accent. Another guy
claps.
Acrobatics, oui, but this isn't the wire act. The real performers
haven't arrived. It's just some of the Cirque du Soleil production
crew of 25. Along with some local muscle, they are setting up their
tent on the Mall. The French Canadian circus, which has landed next to
the Air and Space Museum, opens tomorrow night.
"It's easy today," says Richard Bouthillier, technical director and
vice president of the Cirque, under the bluest sky and whitest clouds
in months. This athletic-looking man is in charge of the tent, and the
460 tons of stuff it takes to conjure up a one-ring circus. "No rain.
No heat. No wind."
Below the grinning pirates is the Cirque encampment. It takes up
140,000 square feet of Mall and looks very organized. There's a
careful circle of azure trailer cars and glossy red pickups that
announce Cirque du Soleil in gourmet typeface and tiny gold stars. The
name, the stars, the colors -- everything looks as imported as Evian
water.
Even the crew. They aren't your seedy circus types. They hang out with
real attitude. They are French, after all. Style prevails. There are
lots of faded black jeans and good haircuts. (The average age is 28.)
You don't wonder if the clown's an alcoholic and how the animals are
being treated. There are no animals. There isn't even sawdust. It's a
feel-good, hip circus. Maybe it's not the Greatest Show on Earth, but
it's the cleanest. It's a young, wholesome group -- they smile a lot
and touch your arm when they say good-bye.
Even the tent has style. But, then, what tent doesn't? There isn't a
hokey phrase, exactly, for "under the Big Top" in French. They say
"sous un chapiteau," which means "under the capital." It's somewhat
classy, you have to admit. But a tent is a tent, and the Cirque tent
is a bright blue and gold -- fat stripes -- that screams CIRCUS! in a
fairly inelegant way. At first sight of it you can almost hear
charging band music, or smell the popcorn -- but that's about all
you'd smell, since the only animal in sight is a black Scottie.
The tent is new, purchased four months ago from Bourdin Enterprises in
France. It cost $300,000, red poles, cupole, cornices, chains and pegs
not included. It's made of shiny PVC, not canvas. "After three years
of touring, the old one was getting worn out," says Bouthillier. "And
it was leaking a lot. We have a wood circus ring and bicycle acts. We
had to be careful they didn't slip and hurt themselves."
It holds 1,734 people -- 400 chairs, and grandstands with cushions for
the rest. It's big enough to hold the wooden ring, the moody purple
theater lights, the five-piece band with synthesizers, the clowns and
trapeze. Big enough to hold the standing ovations that Cirque du
Soleil has gotten in Santa Monica, San Francisco, New York and
Toronto. But there's a lot of talk about intimacy.
"The front row could put their feet on the circus ring -- but they are
not allowed to," says Bouthillier, wholesome as the rest of the
Cirques. He has been with the show for eight years -- since before it
was officially a circus -- and lives on the road with his whole
family. His8-year-old daughter Annie performs in the bicycle act
13 people on one bike (they must have needed someone little). His wife
Marie works in the ticket office, and his 4-year-old son Jean-Cimon
grows and plays all day.
And he knows everything about tents. Bouthillier is a "tentmaster," as
they say. His idol, the tentmaster of tentmasters, is nearby -- an
aged, wiry fellow from Switzerland named Marcel Rosseel. Rosseel
stands in the cool, dark shadow sous un chapiteau. Bouthillier doesn't
want to bother him. "He worked with the Circus Knie," he explains. "He
has put up tents all over the world for 40 years. Now he's retired.
He's on pension. He's just visiting Washington. He's the greatest
tentmaster in the world."
Putting up the tent isn't everything. The crew doubles up on jobs. The
tent guys become welders, ushers, sound and light technicians,
drivers.
"Everything fits like gears," says Danny Pelchad, the preproduction
director. He's interrupted constantly with questions from the crew.
("Comment? Comment?" he jokes with them.) Pelchad has been in
Washington a month -- getting sewer permits, water permits, that kind
of thing. But once the circus vans arrive at the site, 28 hours is all
it takes to make camp. The pegs go down. The tent masts -- the main
supports -- go up. The electrical system, phone system, water system
and kitchen are set up. And then the tent, the bleachers, the stage
ring, the lights.
Very last, a wooden sidewalk is laid over the grass, around the tent's
edge. "It's the only circus that when you walk," says Pelchad, "it's
not in the mud."
Jean He'on takes off his sunglasses and relaxes over coffee on the
terrace of the portable kitchen. He is used to talking about the
Cirque. He's the press attache'; he should be in a Campari ad. "The
kitchen is the main room," says He'on. "It's the soul of the company.
It's where we all hang out."
The we are the 85 Cirque members on the road. Half of them have taken
over a local Holiday Inn -- probably in a big way. The other half live
on site, mostly in the kitchen, where there is cafe' creme and
cappuccino all day. There, He'on is joined by a sudden herd of crew
members -- some of them Washington free-lance technicians. There are
wraparound Polaroids on top of heads. More black T-shirts. Orange
leggings. Shaggy hair.
"I can unicycle and I can juggle," says Julie Howard, 24, a student at
George Washington University. After reading about Cirque du Soleil in
the newspapers, Howard looked into helping out. A wee thing from
Liverpool, England, she's been lifting and hammering with all the big
guys. "Oh, they are really fun," she says of the troupe. "Yesterday it
was the best. We were hanging out and someone shouted: Everyone to the
Big Top! We gathered together and helped roll down the sides. It was
like a scene from a movie."
"Yeah, like a Fellini movie," says Lorraine Dozer, 24, who describes
herself as a "roadie from Ithaca." She's used to following rock bands
around, setting up the sound equipment. "I came down from New York for
four days to help put up the circus," she says. "I have a 6-year-old
daughter back there, in her first week of school. I can't wait to go
back and tell her about being here. It's such a romantic thing."
"Yeah," says Howard, scowling. She isn't all that thrilled about going
back to school, ever. "I feel like I've run away. I'd stay if they'd
have me."
* * * * *
THE CONFECTIONS OF CIRQUE
By David Richards | Washington Post
September 12, 1988
A round-faced, flaxen-haired French Canadian, Guy Laliberte', is
credited with founding Cirque du Soleil. But I can't help wondering if
somehow Lewis Carroll, Federico Fellini and Louis XIV didn't also have
their say in the way things turned out -- which is remarkably, indeed.
Forget your preconceptions about the circus -- and your prejudices,
too. Circus of the Sun, as it is all too mundanely translated, is a
creation unto itself.
You can watch it for the audacity of the youthful performers, who lend
themselves joyfully to the tightrope and the teeterboard, climb in
impossible numbers onto a single bicycle and do perilous handstands on
a stack of wooden chairs.
You can watch it for the constant shimmer and swirl of color -- an
effect that might otherwise be achieved by dynamiting a ragpicker's
bag and then filming the explosion in slow motion.
Or you can watch it as a foray into the wonderland of the
subconscious, where logic is suspended, fantasies prevail and our
lumpen selves soar through the air. In the end, that may be this
lovely show's deepest appeal. It has both the terrible clarity and the
sweet evanescence of our dreams.
Operating out of a yellow and blue tent on the Mall, Cirque du Soleil
opened its flaps this past weekend on a run that has already been
extended until Sept. 25. At that, the engagement is ludicrously short,
considering the throngs that will be laying siege to the ticket booth.
Condescending to no one, this outing truly qualifies as entertainment
for the whole family.
Cirque du Soleil is the antithesis of everything we've been raised to
think a circus extravaganza should be. There isn't a wild beast in
sight, if you discount Benny Le Grand, a clown given to amusingly
aggressive behavior. The band is made up of five musicians, playing a
fluid rock-jazz score that wraps around the performers like a charmed
snake. No ringmaster blows a shrill whistle to direct eyes to this or
that corner of the big top. The spectacle has been so adroitly staged
and choreographed that there's never the slightest question where you
should be looking.
To an endeavor usually marked by excess and a brawling vulgarity,
Cirque du Soleil brings an artist's sensibility and a decorator's
taste. If Barnum & Bailey is the K mart of circuses, then this is the
designer boutique. The display counts as much as the merchandise. Even
the logistics of setting up an act or changing the scene have been
inventively incorporated into the flow.
It all begins when a group of ragged peasants, as round of cheek as
they are wide of eye, stumbles into the darkened ring. As it dawns on
them where they are, they make a few awkward stabs at entertaining an
imaginary crowd. Silly, potato-like creatures they are, until the
mists, magically gathering at their feet, envelop them, and the Queen
of the Night (Angela Laurier) transforms them into the supple
creatures who will beguile us for a couple of hours.
The bill features its share of astonishing acts. Laurier herself is a
first-rate contortionist, whose spidery delicacy prompts comparisons
to a daddy-longlegs even as her flashing phosphorescent eyes suggest a
dangerous black widow. To the pulsating beat of a tango, Eric Varelas
and Ame'lie Demay engage in the rigorous art of hand balancing. That
generally means that she is upside down, her head in his raised hand,
unless it is the other way around. Sometimes, however, she does her
headstand on his head. That the two are mere slips of things further
beggars the imagination.
On the tightrope, Agathe Olivier and Antoine Rigot conduct themselves
like woodland sprites, gamboling and leaping about with no awareness,
apparently, that they do not have a grassy knoll underfoot. He turns
flips; she crosses the wire on point. Later, meeting midway, they
simply slip past one another without so much as a jostle or an "excuse
me." Don't ask me how.
As for Andrew Watson and Jacqueline Williams, they work from a bar at
the very top of the tent. Joined only at the wrist, they perform some
dazzling aerial twirls and twists. Turnabout being fair play -- or,
perhaps, this just being an age of sexual equality -- she gets her
chance to dangle him in space. The climax comes with one of them -- I
won't say which -- taking a startling leap into the void.
Heart-stopping as such moments can be, it would be folly to pretend
other circuses don't boast as much. Plucked out of context, in fact,
some of the acts in Cirque du Soleil are downright pedestrian. The
juggler (Daniel Le Bateleur) relies more on optical illusion than
dexterity to achieve his effects, which are limited. By the same
token, while it may be surprising to see a dozen or so bodies squeezed
on a bicycle, as feats go, it's really not that far removed from the
1950s fraternity fad for packing telephone booths. Using the
teeterboard for leverage, the troupe manages to construct a human
tower three persons tall. But I've seen five elsewhere.
The difference, I daresay, is the packaging. Take, for example, those
teeterboard acrobats. They have been costumed like new age penguins
with yellow face masks, black derbies and fuzzy briefcases at their
waddling sides -- and between tricks they scurry about as if they were
headed off to work on Wall Street. The precision choreography does a
lot to dress up the number, and provide it with resonance beyond the
actual stunts.
Another factor also enters into play. Wherever you sit under the tent,
you will have a close-up view of the performers. And frankly, when
it's all but performed in your lap, a simple flip off a teeterboard is
more impressive than a triple somersault undertaken by a performer so
far away he could be an ant. Here you actually see the sweat, the
concentration, the spontaneous smiles of accomplishment.
The Barnum & Bailey approach has always been to confront the spectator
with three sets of trapeze artists, a dog act and a jalopy spewing
forth clowns, all at the same time. Underlying such profligacy is the
cynical notion that the only way to astonish the jaded public is to
lard it on. Not so. Cirque du Soleil astonishes by restoring a human
dimension to the proceedings.
No one benefits as much as the clowns, probably because the clown, if
he is to be more than just a sight gag, counts on his rapport with the
spectators. From the start, Benny Le Grand makes it clear that he is
no respecter of audiences and that misbehavers can expect his wrath.
If not his wrath, then a healthy squirt of water. Or even a bucket
over the head. He's all around the tent -- his bulbous red nose
leading the way, his flyaway hair catching up the rear -- the self-
appointed principal in the anarchic school of life.
Denis Lacombe is the other zany, although he himself tends to be the
victim of his rampages. As a mechanical wind-up doll, he comes across
a trunk full of cream pies, emits a shriek of delight and then
proceeds to hit himself repeatedly in the puss with the splattering
pastries. Later, he returns as a disheveled maestro, who conducts the
"1812" Overture with such vigor that his swooping body very nearly
touches the floor. It's done with trick shoes, but Lacombe has you
believing the music has carried him away.
And yet whatever is happening, one of the round-faced peasants is
never far away -- gaping, as we are, at the miracles or trying with
sweet clumsiness to duplicate them. They are our surrogates at the
fete, until the pastel clouds start billowing into the ring once again
and the performers vanish from view.
From dust to dust, the Bible says. From colored mists to colored
mists, counters Cirque du Soleil.
# # #
That's all for in this issue, but there's plenty more to come!
o) Issue #162, JUL 2017 Le Cirque Réinventé, Part 3 (1989)
o) Issue #163, AUG 2017 - Nouvelle Expérience, Part 1 (1990)
o) Issue #164, SEP 2017 - Nouvelle Expérience, Part 2 (1991)
o) Issue #165, OCT 2017 - Saltimbanco, Part 1 (1992)
o) Issue #166, NOV 2017 - Saltimbanco, Part 2 (1993)
o) Issue #167, DEC 2017 - Alegría, Part 1 (1994)
o) Issue #168, JAN 2018 - Alegría, Part 2 (1995)
o) Issue #169, FEB 2018 - Quidam, Part 1 (1996-1997)
o) Issue #170, MAR 2018 - Quidam, Part 2 (1998)
o) Issue #171, APR 2018 Dralion, Part 1 (1999-2001)
o) Issue #172, MAY 2018 Dralion, Part 2 (2001-2003)
o) Issue #173, JUN 2018 Varekai, Part 1 (2002)
o) Issue #174, JUL 2018 Varekai, Part 2 (2003-2004)
o) Issue #175, AUG 2018 Varekai, Part 3 (2005)
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COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 17, Number 6 (Issue #161) - June 2017
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2017 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.
{ Jun.09.2017 }
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