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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 16, NUMBER 8 August 2016 ISSUE #151
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
You've heard the old adage "never say never", right? They, whomever
"they" happen to be, suggest that nothing is impossible, anything can
(and probably will) happen, and you should never totally dismiss
options on the table, no matter how "blue sky" they may appear to be.
And you know what? They're right! After all, hasn't Cirque themselves
said impossible is only a word? So, just when I thought I had Cirque
figured out (business wise), they went and threw a curve ball (or is
that flea-flicker? #NFL). It's a bit of news we've had to sit on - as
advised - for a little while now, but, since the company has listed
job postings to begin this process, the cat's out of the bag: CORTEO
IS BEING REMOUNTED AS AN ARENA TOUR. Yes, you heard me correctly. The
show many hardcore fans (including myself) said would never / could
never be converted due to the many logistical nightmares in doing so...
is going to tour in arenas. Go figure! Never say never indeed. There
hasn't been any news on whether the remount will be adapted to a
thrust stage or retain its original and unique half-in-half structure,
so stay tuned there. But that being said, I'd look for CORTEO to begin
touring throughout North America again in mid-to-late 2017.
But for those in South America, you're up for a tour of a different
kind. On July 30th, after a six-day "countdown", Cirque du Soleil
and Soda Stereo announced the name and some basic details about the
upcoming musical collaboration known thus far only as #SodaCirque.
"Séptimo Día - No Descansaré" (Seventh Day - I Will Not Rest) is the
official title of the Soda Stereo-inspired spectacle, which is set
to debut on Marhc 9, 2017 in Buenos Aires, Argentina - the band's
home turf. "The name of the show has to do with creation, Soda's Zeta
Bosio said in an interview with La Nación. That was the concept that
inspired Michel Laprise (Cirque du Soleil director). The best title we
could come up with for that was Séptimo Día." (In the Christian faith,
according to the Book of Genesis, by the seventh day of creation, God
had finished the work he had been doing, and so on that day he rested
from all his work...)
The story and music of the 1980s Argentine rock band - whose frontman,
Gustavo Cerati, died in 2014 after lapsing into a coma - is the
inspiration behind the new production: after gaining popularity with
their fresh pop-rock sound in 1980s Argentina, Soda went on to enormous
success throughout Latin America and, eventually, the Latin U.S. The
band broke up in 1997 and staged a come-back tour a decade later,
attended by millions of fans. Modeled on Cirque du Soleil productions
The Beatles LOVE and Michael Jackson THE IMMORTAL World Tour, which
draw their inspiration from the life and work of musical icons, the
concept of the show is a little out of this world: "Basically, the
concept will be a science fiction story where there is this planet,
which is basically Soda, where things are inspired by our songs and
how people who live on that planet are inspired by our lyrics," said
bassist Bosio. Cirque is creating the show along with Argentine music
promoter PopArt, and Triple, Sodas production company. Other details
include:
o) The show will last 90 minutes without an intermission.
o) The story revolves around a fifteen year old adolescent
who discovers his or her love for a band - in this case
Soda Stereo - which will become his/her favorite for the
rest of his/her life.
o) Audiences will be asked to jump up and dance in the same
way they would in a live performance.
o) The show's message: music is stronger than death.
I have to be honest with you here, as a fan of Cirque du Soleil, I'm
perplexed when it comes to this creation. Michael Jackson, Elvis, and
The Beatles transcended music and were global phenoms. Soda Stereo by
comparison is not. Sure, Soda Stereo has topped the all-time lists in
their native land, becoming one of the best-selling Argentinian bands
of all time, and setting landmarks in record sales and attendances for
their concerts, but is their stature and music worthy of a Cirque du
Soleil level show in the same light as The Beatles, Elvis, or Michael
Jackson? I had not heard of them a year ago, confessed Gabriel
Pinkstone, Cirques Senior Director of Special Projects. Its very
exciting. People love them because they are a soundtrack to their
lives, but theres also an inspirational quality about their success
that people find very touching. In an interview with Billboard,
Pinkstone talked about Sodas enduring legacy: "It's only when we
organized a focus group with some of our Latino employees that we
started to understand really how huge they were. We got together a
group of our employees who come from South American countries and
Mexico, and [Cirque Director of Creation] Jean-Francois Bouchard said
to them, Im not going to tell you anything else, Im just going to
tell you two words, and I want to hear your reaction. And when he
said Soda Stereo they screamed, somebody cried, they were like,
oh my god were going to do a show with Soda Stereo. It was the
first hint we had of how huge they were. They are so beloved. Its
a very visceral thing. They are very, very loved as a band."
I hadn't heard of Soda Stereo until this collaboration was announced,
and though I have since given the band a try (they sound very, very
one-hit wonder 1980's), I personally don't understand the hype, but
then again as I am constantly being reminded: I am not the target
audience for this show... they weren't the soundtrack of my life.
So, that being said, while I don't understand the Soda Stereo mania
I do wish the creators and cast all the success in the world with
this creation. After its debut in Argentina, Producers have already
confirmed the show will tour with OCESA in Mexico and Colombia and
Lotus FiveMusic in Chile and Peru. (See the ITINÉRAIRE section for
tour details). And if you're looking to get tickets for this show,
do it now! More than 150,000 tickets were sold in the first couple of
days of general ticket sales (according to Argentine press reports),
with lines stretching beyond the horizon. Twenty-two of the shows are
totally sold out now. Additional performances have been added to
accommodate, which premieres at Luna Park in Buenos Aires, Argentina
on March 9, 2017 and will run through April 16th. Each of the over
three dozen performances will be attended by an audience of about
5000 people. Ticket prices, set in Argentine pesos, range between
about 45 and 244 U.S. dollars. Do the math!
With Séptimo Día set to debut in March, the as-yet-unnamed new touring
show in April, CORTEO Arena in mid-to-late 2017, and the Broadway
revival of "The Wiz" sometime in late 2017 as well, next year is
turning out to be very busy indeed. And we're hearing there's even
more coming... but, yes, we can't talk about it yet. What we can talk
about is earnings. We're still tracking PARAMOUR's week-to-week
grosses and they continue to look... well, okay...
Week This Week Potential Difference Seats % Cap
Ending Gross Grosses in Dollars Sold
------------------------------------------------------------------
17-Apr $190,773.60 $191,599.00 $0.00 1,897 100.05%
24-Apr $1,018,941.65 $1,149,594.00 $828,165.05 10,623 93.38%
01-May $1,065,771.30 $1,172,274.00 $46,829.65 11,043 97.07%
08-May $1,074,995.70 $1,367,653.00 $9,224.00 11,443 86.22%
15-May $464,021.20 $781,516.00 -$610,975.50 6,197 81.34%
22-May $907,800.25 $976,895.00 $443,779.05 9,213 97.18%
29-May $1,126,943.25 $1,805,456.00 $219,143.00 13,731 90.53%
05-Jun $1,024,449.62 $1,805,456.00 $102,493.63 12,000 79.11%
12-Jun $1,093,610.45 $1,805,456.00 $69,160.83 11,279 74.36%
19-Jun $971.039.25 $1,805,456.00 -$122,571.20 10,251 67.58%
26-Jun $1,000,730.25 $1,805,456.00 $29,691.00 10,756 70.91%
03-Jul $1,000,312.40 $1,805,456.00 -$417.85 11,748 77.45%
10-Jul $859,152.10 $1,805,456.00 -$141,160.30 9,176 60.50%
17-Jul $897,710.10 $1,805,456.00 $38,558.00 10,088 66.51%
24-Jul $980,483.20 $1,805,456.00 $82,773.10 10,681 70.42%
31-Jul $981,468.10 $1,805,456.00 $984.90 10,808 71.26%
07-Aug $910,341.70 $1,805,456.00 -$71,126.40 10,245 67.54%
But Pollstar's 2016 Mid-Year gross figures are also out, and they're
a bit more exciting. The concert business is off to a record start
in what is shaping up to be another great year for the industry. The
Top 100 Tours hit a record $1.48 billion in combined grosses. That
is up $45 million or 3.1% over last years record pace. Even better
news is that it was achieved by the Top 100 acts selling one million
more tickets than at the same point in 2015. How did Cirque fare?
Rank Gross Title AVG Tix AVG Tix Total AVG Cities
in Mil Price Sold Tix Sold Gross / Shows
--------------------------------------------------------------------
11 $47.4 Amaluna $83.15 18,391 570,128 $1,529,280 31/260
16 $32.9 Toruk $69.83 22,413 407,688 $1,565,047 21/128
21 $28.8 Varekai $55.19 29,014 522,245 $1,601,333 18/149
61 $12.3 Quidam $74.42 33,147 165,734 $2,466,945 5/61
95 $7.4 Kurios $99.82 1,683 74,030 $167,942 1/44
** $6.2 Ovo $67.02 11,571 92,571 $775,505 8/50
--------------------------------------------------------------------
135.0 Million Gross 1,832,396 Tickets Sold
Not bad! Of course you'll notice that TOTEM is not on the list, and
that's because it's touring Japan - and earnings are not reported in
that market.
* * *
In other news, a new LUZIA programme book made its debut along with
the show in Toronto on July 27th. At present it is only available at
the grand chapiteau, but look for it to appear on the Web Store soon.
(As the pre-programme book that was on sale in Montreal is no longer
available on the Online Boutique.) But you can get the new PARAMOUR
programme book (which is not much more than the press fotos we've
seen published about recently) through the Online Boutique if you're
interested in completing your collection. The original TORUK book
is also still available (the new one, which made its debut in
Duluth, Georgia a couple of weeks ago is NOT available online yet,
but as with Luzia's new book, I'd look for it to arrive there soon.
Don't forget, the PARAMOUR cast album, which was recorded at the end
of June and has spent the last few weeks going through post-production,
is now off to mastering. Look for the album to be released digitally
(via iTunes and others) on Monday, August 22nd, and then physically
on Friday, September 16th. The album will showcase all 10 signature
songs, including "Hollywood Wiz, "The Honeymoon Days of Fame", and
"Everything (The Lover's Theme.)
And speaking of album mastering - Episode 6 of CirqueCast is out! In
this episode, Jose and I interview Alain Vinet, Cirque du Soleil's
Musical Director. Alain was nice enough to invite us to his studio at
Cirque IHQ where we asked him questions about the process of producing
the show soundtracks, live albums and concept albums, how the 30th
Anniversary Concert came about (interesting story!), and he also talks
to us about his role at Cirque, and much more! Alain has been with the
company for many years, so naturally, he's full of Cirque knowledge.
Don't miss our video interview! A must for all Cirque music lovers!"
Check it out here: < https://youtu.be/ZY2HiNVLOkA >.
Alain Vinet has been a busy man these last few weeks, appearing not
only on CirqueCast, but on Cirque du Soleil's social media videos as
well. (Here he is discussing the making of the PARAMOUR Cast Album
with Cirque du Soleil Social Media: < https://goo.gl/fsWqjO >). He
also took time out to have a phone conversation with Keith and I
for Fascination, where he not only discusses what he was thinking
behind the selections for the 30th Anniversary Concert, but quite a
bit on what he's been up to lately, which you can find in this month's
FEATURE section. And more!
I leave you now with this...
"Circus particularly the work of Cirque du Soleil," wrote the Toronto
Star, "is all about surpassing boundaries. We go wanting to see things
weve never seen before: the deftest juggler, the most daring hand-
balancing act, the most gravity-defying of aerialists." And when those
expectations are not met, we kvetch. With the unveiling of Luzia in
Toronto Cirque du Soleil says it is refocusing on live shows while also
moving forward on its ambitious menu of expansion projects worldwide.
"Cirque du Soleil remains first and foremost a live show organization
and it will remain forever our bread and butter," according to Cirque
CEO Daniel Lamarre. But might the company's global expansion plans be
spreading its creative juices a little thin? "That's a valid concern
we have," Lamarre said, but "we'll never go in the direction that our
fans will disagree with."
What do you think?
/----------------------------------------------------\
| |
| 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 > |
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\----------------------------------------------------/
- Ricky "Richasi" Russo
===========
CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
* Q&A - Quick Chats & Press Interviews
* CirqueTech - The Technical Side of Cirque
* Special Engagement - More In-depth Articles
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Fotos -- Images From Cirque & Other Photographs
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* "ALAIN VINET: Secrets of the Gods" (Part 1 of 2)
Interview by: Keith Johnson & Ricky Russo
* High Flyer Daniel Lamarre: A Tour de Force
By: Lynn Gauker | Fifty-Five Plus Magazine
* "From Street Performer to Boho Billionaire...
Meet Guy Laliberté" By: Diane Solway | W Magazine
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
---------------------------------------------------
LA PRESSE -- General News & Highlights
---------------------------------------------------
New Criss Angel Show Packed with Magic and Mood Swings
{Jul.05.2016}
-------------------------------------------------------
Because they share a lot of the same tricks, most magic shows
depend upon the personality of the magician. But what if its a
split personality?
Criss Angel has always been both his own brand and his own
barrier to entry. Instead of being synonymous with magic hes
been synonymous with himself: the 90s goth-rock leather and
bare sculpted pecs werent easily confused with any of your
tuxedoed or spangly jacket illusionists. If you knew him for his
Mindfreak TV show, then you came to his live show to see that
guy. If you were browsing for a magic show, you probably
picked David Copperfield or something cheaper, less loud and
less leathery. So now comes a reboot of Angels Luxor showcase,
now called Mindfreak Live! And its so scattered all over the
place youd think it came out on the bad end of his death saw.
For Angels fans, magic ignorance is bliss. Those who arent
broad-based consumers of the craft arent likely to realize much
of the cooler magic in the new show has been seen elsewhere,
from Copperfield on down to afternoon perennial Nathan Burton.
But if you do come in without a fully formed opinion of who
Criss Angel is, he gives you a couple of versions to choose
from.
Theres the metal magician who saws a woman in half and never
puts her back together, joking that he prefers to keep the lower
half. You sick bastards. Yeah, my people, he says when a dark-
humored follow-up bit extends the joke. But theres also the
Long Island family guy who gets choked up on stage making an
impassioned plea to fight childhood cancer, becoming the voice
of all those kids who fought the fight and all the children
just beginning. Angel and accompanying photos explain this is a
battle that came to his toddler son. Power to him for harnessing
his celebrity and rallying fans to a cause.
Pre-show videos also remind fans (or teach newcomers) how it
took me 18 years to become an overnight success. They dont
even conceal the fact that Angel is 48 now if you want to do the
math on his high-school graduation photos. People change. Get
older and more dimensional, it all seems to suggest. But none of
it quite prepares you for the left turns: Dressing the striking
assistant Chloe Crawford as a cancer patient after weve seen
her in plaid mini-skirt and red pumps. Or a Blue Man Group-ish
celebration of life dance party with confetti and go-go
dancers. And if it seems like a conscious attempt at an image
makeover? Angel confirmed as much on opening night, when he told
a crowd heavy on invited guests, Some of you might still hate
me, but hoped they might reassess him.
He also invited us non-paying customers to compare me to whats
in Vegas right now, which I think he meant as an invitation to
study just how much magic is in the show, and just how much he
packs into 85 minutes. The new edition is nearly wall-to-wall
action, minimizing the awkward speaking parts and making little
throwaway bits out of tricks that lower-budget magicians build
into big moments, such as a blizzard of confetti snow.
Some bits fold seamlessly into the next, such as when a
straitjacket escape leaves Angel dangling upside down, allowing
him to dive right into a switcheroo illusion known in the
industry as a substitution trunk. Other times the action stops
cold, often killing the cool gothic-horror vibe. The need to
reset things backstage leads to a lot of forced comic relief
from Mateo Amieva and Penny Wiggins, the latter familiar from
years of working as The Amazing Johnathans ditzy sidekick.
Angel carries over some of the original illusions unsurpassed on
the Strip, including an audience member who gets to choose which
of eight motorcycles will appear in a box. But if the offer to
compare him to other Vegas magicians extends to the past, it
leads down a gooey ethical trail. Lance Burton gets a shout-out
and even a voice cameo for the sword-fighting switch seen in
Burtons show for ages.
Other illusionists arent so generously credited: Copperfield
for his flying around the stage and even into a box, or the
double levitation Rick Thomas did for years on the Strip: first
levitating a woman, then flying up to her to reveal that she has
vanished as well. Its like the history of magic all thrown into
one show and, as such, cant be beat for its magic-per-minute
ratio. But when it comes to the personality of the star and
whether you like him? The kitchen-sink approach only goes so
far.
{ SOURCE: Mike Weatherford, LVRJ | http://goo.gl/Gt9vCC }
MSC Meraviglia Is Next On Deck
{Jul.05.2016}
-------------------------------------------------------
If you were curious about what offerings Cirque might have in
store aboard the MSC Meraviglia, imagine no longer. With just 12
months to go until the first guests set sail on-board the ship,
MSC Cruises the Swiss-based worlds largest privately-owned
cruise line has revealed further details of its first next-
generation smart ship. With the first cruise scheduled for June
4, 2017, MSC Meraviglia will feature the ultimate in
entertainment, alongside a broad range of dining options and
luxurious wellness choices.
The highlight of on-board entertainment will be represented by
the world leader in artistic performance, Cirque du Soleil,
thanks to the exclusive Cirque du Soleil at Sea partnership with
MSC Cruises. Two unique Cirque du Soleil shows will be performed
on-board in the evenings, 6 nights per week, at the purpose-
built Carousel Lounge. In addition, MSC Cruises will offer an
exclusive on-site dinner service for up to 100 of the 450 guests
booked for the show. MSC Cruises designed a custom-made
entertainment venue, the Carousel Lounge, for MSC Meraviglia and
its three sister smart cruise ships. Featuring the latest
technology, this ground-breaking venue, which has been designed
to meet the needs of Cirque du Soleil and its performers, will
be a stunning circular performance space with a 180-degree
circular glass wall.
Weve touched on this before (http://www.cirquefascination.com/?
p=6801) and here (http://www.cirquefascination.com/?p=6805).
Cirques offerings begin on July 16, 2017. In the meantime,
check out the ship and its itinerary: http://mscmeraviglia.com/
{ SOURCE: MSC Cruises }
Review: Mindfreak Live! is Criss Angel
saying, Watch me now!
{Jul.07.2016}
-------------------------------------------------------
Criss Angel wants it. He wants it so badly. He wants to be the
biggest, baddest, greatest magician in the history of recorded
time, space and dimension. He wants that so bad he can feel it,
and watching him impose his will on his audience at Mindfreak
Live! at Luxor, you feel it, too.
Are you ready!! he calls from the stage. I cant hear you!!
Always with the shouting! This is commanding the audiences
attention in the most undiluted fashion, and Angels fans are
eager to rise and shout right back. But if youre among the fans
of a more nuanced experience than this Goth-rock-magic show,
youll brace at this approach and probably wish youd worn
earplugs.
Today, Criss Angel is indeed great at delivering large-scale
magic. Whether he is the greatest ever, or even the greatest on
the corner of the Strip and Tropicana Avenue, is an impossible
statement in the subjective and derivative world of illusion.
What is certain is the Luxor headliners firebrand approach is
entirely a matter of taste.
Angel is back with a visually dazzling and sonically powerful
production that, had it been unleashed in 2008, would have made
his life immeasurably easier. If nothing else, Mindfreak Live!
should finally lay to rest the original production of Believe,
which never took hold until Angel assumed a central creative
role in his partnership with Cirque du Soleil.
As both sides soon discovered in an often painful realization,
the magic show at Luxor would need to survive as an Angel
vehicle or not at all. The result is Angel is more than eight
years into a 10-year contract with Cirque (primarily as a
promotional partner) that ends in November 2018. Regardless of
your opinion of Angels collection of ambitious illusions and
acts, his is a Las Vegas success story.
At the center of that saga is the unbending desire from the
superstar magician to position himself at times, literally
as the top magician working today. Angels drive is his great
strength, as he simply refuses to gear down.
During his show, and elsewhere, we are consistently reminded of
his TV success, the reach of his Internet presence and his
still-formidable worldwide following. It took me 18 years to
become an overnight success, is the oft-repeated line, placing
the Angel timeline in context. He could add that it also took
eight years to deliver his greatest-hits show to the Strip.
Angels new show impresses in ways that are sonic rather than
subtle, and are principally loud, proud and powerful.
In one segment, Angel saws a woman in half (well, two halves) on
a metal table facing the audience with a matching metal blade.
Sparks fly from the stage amid screeches and screams, and
afterward Angel remarks that he goes through a lot of women,
an effective joke as it has more than one meaning.
For additional, and required, comic counterbalance, there are
Penny Wiggins (long Psychic Tanya in Amazing Johnathans stage
show) and Mateo Amieva. Their shared idolatry of Angel can seem
a little overbearing (like, when Wiggins almost faints when
Angel kisses her late in the show), but if taken as satire, is
pretty funny.
Also tucked into the show is a comic moment from Believe, when
a female audience member is invited onstage to select among a
dozen of Angels motorcycles. Every time I have seen this act,
the woman grabs Criss butt, either when the two hug hello or
walk toward those silver bikes. Never fails.
But, seriously, give Angel credit for keeping himself in great
shape.
Still remarkably fit at age 48 and performing a more physically
challenging show than ever, Angel is left hanging upside down
high above the stage after a remarkably swift straitjacket
escape. He performs the familiar routine in which he is covered
in sheet, hands exposed, and when the sheet is pulled clear, Mr.
Mindfreak is seated in the audience (and on this night, he
reappeared next to Tony Orlando).
Those who have seen multiple magic shows in Vegas, or anywhere,
will somehow recognize these scenes from other productions.
Angel has frequently targeted rival illusionists for copping his
act; honestly, this genre of entertainment is so borrow-centric
that expecting something entirely original is folly. Where Angel
does achieve something that is actually mind-freaky is at the
end, rising in levitation over a ladder, around the stage and
inside a metal sphere. He worked for months on this act and
finally slid it into the show a week before opening.
The subtext of this show is Angels family and personal life.
His sons struggles with leukemia is brought to the stage as he
announces the Johnny Crisstopher Charitable Foundation H.E.L.P
event Sept. 12 in that theater. Photos of little Johnny and
other children suffering from cancer and similarly menacing
diseases are shown on the big screens, and Chloe Crawford is
depicted as a cancer patient, arriving in a wheelchair and her
head wrapped in gauze.
Crawford, listed as the shows co-star and who performs one act
in the show, rises from that seat, and the moment is undeniably
powerful. For those who arrived expecting a terrific night of
magic on the Strip, it might be a little too heavy. But thats
how it is with Criss Angel. No ambiguity here. Hes full-tilt,
all the time, pressing the boundaries of his art and working
himself to a point of exhaustion.
Mindfreak Live! is the show that will take him to the tape in
Las Vegas, having ended this run in far better condition than
when he started.
{ SOURCE: John Katsilometes, Las Vegas Sun | https://goo.gl/l74hpe }
Did Criss Angel miss the chance to move magic forward?
{Jul.10.2016}
-------------------------------------------------------
Criss Angel certainly has the resources to deliver what he
promised: The most mind-blowing, revolutionary magic show ever
to be performed live. But rival magicians are asking if he has
a different goal: to be magics ultimate cover band.
Rick Thomas paraphrases the letter he says he sent Angel: Your
success in Vegas is huge. You have much more opportunity than I
do, and many more people who you can hire to work for you to
create. I dont. And when a magician comes up with something
they can call their own, let them keep it.
You may remember Thomas for a family-friendly magic show that
ran on the Strip for years. Back when he did a lot of cabinet
illusions with tigers, you could call it a bargain version of
Siegfried &Roy. But with the exception of a pop-up pooch
those arent what turned up in Mindfreak Live! the reboot of
Angels Luxor showcase.
Thomas best-known original is what magicians call a double-
levitation with the girl vanish. It starts with the age-old
levitation of the lovely assistant. Then the magician zooms up
to join her in the air. Thomas twist is to pull back the
covering and reveal she has vanished while both are still
airborn. I wanted to do it with a real girl there and I wanted
to do it in midair. I worked on it and worked on it until I made
it happen, Thomas says. And every illusionist in the world
knew it was mine, including Criss Angel.
See what magicians argue about? When you get down in the weeds
on magic tricks who owns them and what happens if one comes up
with a different way of getting to the same effect the weeds
are deep.
Deep, as in: Is the disputed levitation a variation of one
created by Lance Burton, where he and the girl float up together
for a little sexy time? Or the one by the late magic builder
Gary Ouellet, whose Ouellet Double Levitation added that zoom
up part for Burtons ex-wife Melinda, The First Lady of
Magic?
Deeper, as in: Whats the difference between levitation and
flying? The answer seems to have a lot to do with vertical
motion, versus left-to-right. A sequence in Angels show looks a
lot like one David Copperfield used for years. Both seem to stem
from U.S. patent 5354238A, issued to John Gaughan in 1994, which
tells you how its done (and is why Thomas says he didnt patent
his).
Deeper still, as in six feet under, when you talk to another
magician, Brett Daniels, about his signature piece: The midair
appearance of a floating girl.
Its an illusion Daniels has done since 1991. He has licensed it
several times, including a $50,000 deal for Hans Klok to use it
in an Aladdin show (which became an almost-legendary Las Vegas
misfire). Daniels says he and Angel worked together to develop
an ensemble show called The Supernaturalists, but couldnt
agree on a final contract. We parted as friends, Daniels says.
But Angel became the only magician to license the levitation
from another builder, who also has rights to it via a
settlement. (Its complicated, and you dont have all day.)
In 25 years, Criss is the only guy who has gone around me,
Daniels says. I have nothing but respect for him. I wish he
would have returned that respect to me by asking me (if he could
use it in the new show).
Angel was fighting the flu but sent me a statement: It is
unfortunate that certain performers continue to waste energy
envying the unprecedented success of Mindfreak Live. However
pathetic, this behavior is nothing new, as Houdini and Doug
Henning were subjected to the same jealous treatment at the
height of their popularity. I see no reason to dignify petty
claims and paranoia with any further comment.
Hes right about this finger-pointing being centuries old. And,
like rock n roll, movies, or any other art form, magic is a
continuing story of younger people adding new twists on what
inspired them. But the fighting over who did what is like a trip
to the art museum. You can get up close and be confused by the
brush strokes, or back up and see the big picture. So lets get
out of the weeds and away from whether Angel has the rights to
familiar material. The bigger question is: Why is it there to
begin with?
This opportunity to really move magic forward only comes along
every so often. As in decades. Think about Siegfried & Roys
show opening at The Mirage. In 1990.
A recent Bloomberg feature on Angel estimates he generates
about $70 million a year. (The article cites foreign rights;
road show versions of his act; magic kits and other merchandise;
and sponsorships. All this would support a number thats really
hard to get to with Las Vegas ticket sales alone.) Angel has a
60,000-square-foot warehouse near the Strip to research and
develop new illusions. And while he is solely in charge of the
content, his producing partner on Mindfreak Live! is Cirque du
Soleil. Granted, its a more austere, private-equity version of
Cirque than the one that spent $165 million on Ka.
But between the two of them, its fair to argue they could spend
$30 million to $50 million to invent genuinely new stuff no
magician could ever claim to have seen, let alone have
performed. You know, mind-blowing, revolutionary stuff.
As I noted in a show review, more of Angels fans come in via
the image he created, not because theyve seen six other magic
shows. They cant be expected to recognize Nathan Burtons
showgirl cabinet, Copperfields flying in and out of a trap or
a laser-bending bit recently performed in the short-lived
Twisted Vegas.
When I talked to Angel for a June 3 preview of the relaunch, he
promised to really show how far magic has come and how kind of
dated a lot of the magic shows are. Playing devils advocate, I
threw out the classic excuse I always hear: There are only so
many principles of magic. Only so many ways to conceal a human
body.
That, Angel said, was old thinking. Thats what magicians are
conditioned to think. Thats what its always been about. Magic
has only been about a puzzle, an enigma, of how it works.
Theres never been something to get beyond the puzzle that gives
people food for their hunger or their thirst of what they want
to see.
That sounds like it might explain strong reviews for In & Of
Itself, the brainy magic show by Derek DelGaudio now packing
the Geffen Playhouse in Los Angeles.
Angels version of revolutionary is quantitative; packing his
show with more than 50 illusions. My reaction to it echoed Bill
Smith, a Las Vegas builder of illusions through his company
Magic Ventures. He too has a beef with Angel, over the rights
to the sawing-a-woman-in-half trick you see in the show. That
said, I wanted to go in there and see some new stuff. Thats
how magic evolves, Smith said. But I was open-mouthed,
thinking theres nothing new. The couple of new (segments) were
basic principles.
So yes, we can argue with who invented what, and who has the
rights to do this or that. But we cant argue with Thomas
larger point. Angel enjoys a position in the industry that (he)
can be creative, that (he) can come up with these things. But he
didnt. And thats the upsetting part.
{ SOURCE: Mike Weatherford, LVRJ | http://goo.gl/woYYP0 }
Cirque brings Booming Business to Trois-Rivières
{Jul.17.2016}
-------------------------------------------------------
The city of Trois-Rivières wants to be Quebecs next
entertainment destination, and its hoping to attract tourists
with its brand new open-air amphitheatre. As many as 64,000
people attended last years Cirque du Soleil tribute to Beau
Dommage at the Amphithéâtre Cogeco, bringing in an estimated $15
million in revenues to the city. Sixty-eight per cent of the
audience was from outside the Mauricie region, said Steve Dubé,
the Amphithéâtres general director. This means they book a
hotel room, go out for supper
Its helped local businesses,
but it has also changed the perception people have of Trois-
Rivières.
The amphitheatre is only steps away from the citys historic
core. The manager of nearby Bistro lAncêtre, Patrick Thiffault,
says his phone has been ringing off the hook. We are fully
booked for every show night this week, Thiffault said. I may
even consider opening during the winter months (because of the
indoor cabaret).
The downtown merchants association was taken off guard by the
success of the amphitheatre after it opened last year. Its
general manager, Mathieu Lahaye, says businesses werent
expecting the crowds of tourists. Employees were a bit confused
as to when the shows were on and how people could get there,
Lahaye said. This year we gave clear directions so everyone is
on the same page.
The Cirque du Soleil has signed a five-year agreement with
Cogeco to continue performing its Série Hommage, a series of
shows that pay tribute to Quebec artists. After the Beau Dommage
show in 2015, artists will next be performing acrobatic feats to
the music of Robert Charlebois. Audience follow the main
character, Linburgh, through time and space, revisiting some
of Charlebois classics like Ordinaire and Je reviendrai à
Montréal.
The 72-year-old singer-songwriter was at the shows premiere on
July 13th, but had no say about how his songs were adapted for
the Cirques show. The same old songs that people loved in the
seventies are there, but you have new emotions, new sounds,
electronic, hip-hop
and the kids love it, Charlebois said.
And the people of my generation can discover new emotions,
based on what they lived through in the seventies.
Tout écartillé, the tribute to Charlebois, runs until August
13th at the Amphithéâtre Cogeco.
{ SOURCE: CBC | http://goo.gl/pIwFwC }
45 DEGREES to Design and Produce the 2016 MAC Ball
{Jul.19.2016}
-------------------------------------------------------
Located in the heart of the Quartier des Spectacles, the Musée
dart contemporain de Montréal (MAC) makes todays art a vital
part of Montréal and Québec life. For more than fifty years,
this vibrant museum has brought together local and international
artists, their works and an ever-growing public. It is a place
of discovery, offering visitors experiences that are continually
changing and new, and often unexpected and stirring. The main
source of funding for the Musée Foundation, the annual Ball, is
one of the years most anticipated and sought-after events. The
evening has always been known for its high style, discerning
taste and glamor. Guests at the annual MAC Ball will be invited
to dive right into the world of the artist at the prestigious
annual benefit evening to be held at the museum September 17.
This year, the Musée Foundation has entrusted the agency 45
DEGREES, Cirque du Soleils events and special projects company,
with the task of dazzling its guests. With proven expertise in
creating successful events internationally, 45 DEGREES aims to
present a Ball tailored to the expectations of the Montréal
community.
We are very proud to have been chosen to design and produce the
2016 edition of the MAC Ball. Even though we have had a chance
to stage prestigious events all over the world, this particular
one offers a real challenge for us. We will be presenting our
project at home, in the heart of our city, in front of
distinguished guests. The MAC is where artists, their work and
the public come together, and this is the setting in which we
now have the opportunity to work on one of Montréals most
eagerly anticipated events. Our team could not be more aware of
this, and we are aiming for a result that lives up to the
mission we have been entrusted with, says Yasmine Khalil,
President, 45 DEGREES.
{ SOURCE: 45 Degrees, MAC | http://goo.gl/fgVnfA }
The Secret Lounge at the Lyric Theater
{Jul.25.2016}
-------------------------------------------------------
A golden curtain in the lobby of the Lyric Theatre masks one of
the best-kept secrets on Broadway. Its easy to miss if youre
not looking for it, especially amid the carnival atmosphere of
the show currently playing the Lyric, Cirque du Soleils
Paramour. Behind the curtain is a winding hallway covered in
thick red carpet. Follow the pointing hands down a stealthy
stairway. Once an attendant hands you a glass of sparkling wine,
you know youve arrived at the Ambassador Lounge.
Tastefully adorned with Danish Modern furniture and bathed in
mood lighting, the Ambassador Lounge is the ideal spot for a
romantic night out on Broadway: It features a coat check,
private bathrooms, and top-shelf liquor. Its limited capacity
shields its 40 nightly patrons from the chaos and long lines
that regularly characterize intermission on Broadway: Using an
unassuming door in the orchestra section of the house, they can
slip back to the lounge during intermission where drinks will be
waiting. In a house as big and boisterous as the Lyric, it feels
like a lavish hideaway for the sophisticated theatergoer.
At 1,896 seats (just four shy of the Gershwin, home of Wicked),
the Lyric is the second-largest house on Broadway. Regularly
referred to in theatrical circles as a barn, the Lyric has
worn a variety of names over the last two decades denoting how
often it has changed hands: the Ford Center for the Performing
Arts (1998-2004), the Hilton Theatre (2005-2009), and the
Foxwoods Theatre (2010-2013), when it hosted the infamous mega-
musical Spider-Man Turn Off the Dark. In 2013, it was acquired
by the London-based Ambassador Theatre Group, which quickly
redubbed it the Lyric Theatre, after one of the two theaters
that occupied the lot in the early part of the 20th Century.
We built this in the dark time after Spider-Man, said ATGs
COO of New York Venues, Erich Jungwirth, as we sat in his
favorite corner of the lounge. Jungwirth was hired by Foxwoods
as the general manager of the Lyric (his first day coincided
with the first day the cast of Spider-Man was onstage). A
battle-hardened Broadway veteran by the time that shows
tumultuous three-year run drew to a close, he stayed on after
the theater was picked up by ATG. This room was here, but it
felt like an old smoking lounge, he noted.
During Spider-Man it was only used for special events, Sue
Barsoum chimed in. Barsoum, who also jumped aboard during
Spidey, is the theater manager for the Lyric. Young
Frankenstein tried to do something with it, but no show really
found the right way to market it and make it successful. So
will ATG be successful at getting its audiences to embrace the
lounge where previous owners have failed?
Admittedly, ATG is asking for a major cultural shift from its
New York patrons: The typical New Yorker doesnt show up until
ten or fifteen minutes before curtain, because they know that if
they arrive any earlier, theyre usually left standing on the
street, says Jungwirth. The Lyric does things a little
differently: The lobby and Ambassador Lounge open 45 minutes
before curtain (15 minutes before most other Broadway houses).
Our Ambassador Lounge patrons can relax and enjoy a drink
before the show, he suggests, Five minutes before curtain,
someone will come over with their programs and they can proceed
upstairs to their seats.
If that all sounds revolutionary in its gentility, its not: In
fact, it has been the norm in the UK (where ATG owns the bulk of
its theaters) for years. All of the London Ambassador Lounges
feature the same level of service presented in swanky interior
design by George Couyas. When I first walked into one of these
rooms in London, I fell in love with the plush red carpet and
dim lights, says Jungwirth, fondly recalling the lounge that
runs underneath the stage of the Piccadilly Theatre,
colloquially known as the Tunnel of Love. All of the
Ambassador Lounges strive for similar intimacy: It makes me
want to sit here and have a drink and tell secrets, Jungwirth
says about the décor.
ATG is already planning to create an Ambassador Lounge in its
latest Broadway acquisition: the Hudson Theatre, which is slated
to officially reopen next February with the Jake Gyllenhaal-led
revival of Lanford Wilsons Burn This, its first theatrical
tenant in nearly five decades. Are such elite spaces the future
of Broadway? And more importantly, is Broadway becoming like air
travel, with primo lounges for top ticket-buyers and
increasingly cramped quarters for the rest of us?
Jungwirth rejects the comparison, stressing that the Ambassador
Lounge is not just reserved for VIPs and premium ticket-buyers:
You can be sitting in the cheapest seat in the back corner of
the balcony and you can still buy access to this room, he
states. The price of admission is $25 per ticket and includes a
free glass of Prosecco. The best way to buy entrance is to walk
right up to the Lyric box office and ask for it when you are
purchasing tickets. For those of us who live in dread of long
lines at the bathroom and bar, its an upgrade that is decidedly
worth it.
{ SOURCE: TheaterMania | http://goo.gl/PuCHkB }
Justin Sullivan on The Beatles LOVE 10th Anniversary
{Jul.26.2016}
-------------------------------------------------------
When I first learned that the original creators of our show, THE
BEATLES LOVE by Cirque du Soleil, would be returning to the
project for an evolution, I wondered, How on Earth could this
show get any better? It seemed to me that LOVE had already
outdone itself (and others) time and time again, with visuals
that splashed color and a soundtrack unlike any other. Its been
almost two years since that fateful day, and Ive realized now
that, yes, the show could and did get better.
My journey working for Cirque began in 2001 as a bright-eyed,
baby-faced 18-year-old fresh out of Lubbock, Texas. I never
imagined in my wildest dreams that I would actually run away
with the circus, but here I am 15 years later still reveling in
my fantasy-turned-reality after having performed in five of its
shows around the world.
One of the most poignant lessons I learned working for Cirque is
that why not? is one of the most important questions the
company continuously asks itself. Cirques desire to transcend
boundaries is what has been the driving force behind its
unbelievable success for more than 32 years. It is that same
desire that drove Cirques decision to re-create LOVE in a
marvelous new way.
LOVE is now more beautiful, vibrant and alive than ever before.
A new projectable stage floor transports you under the sea in
the Octopuss Garden and takes you on a psychedelic trip as
shapes and colors whiz about the stage floor and are brought to
life by Lady Madonna, her Sugar Plum Fairy and a crew of
sensational dancers.
New projections for each act of the show draw the audience in
like never before as incredible texture and depth are added to
the stage for an all-encompassing experience. Eleanor Rigby has
never been portrayed more beautifully than when she dances in a
world of stunning, interactive projections as she relives the
memory of her lost love.
Color and pure eye candy pop at every moment as vivid and
reimagined costumes and makeup hearken back to a time of free
love and the promise of change. New choreography and the
addition of the classic Twist and Shout stir the inherent urge
in us all to move our bodies, dance and smile.
Breathtaking and gravity-defying acts that are a staple of
Cirque abound as upgraded set pieces, props and equipment
literally propel acrobats to new heights. One of the new acts,
for example, features a trapeze duo flying through the air with
such finesse, skill and beauty that we look twice to make sure
its all real.
My favorite part about performing in LOVE is seeing the audience
relive and reconnect with moments of their lives as they hold
hands with their loved ones and sing along. Equally moving is
seeing new fans and younger generations experience the joy and
wonder of Cirque and The Beatles together for the first time.
Countless hours of rehearsals, trainings and meetings have gone
into the reworking of LOVE. Although it has been extremely
complex and tiring, the evolution of the show has been a
refreshing experience for everyone working on it, making us
closer, prouder and more cohesive than ever before.
Thus, it is with great pleasure that we present to you the new
and improved LOVE. Whether you love Cirque du Soleil or The
Beatles or simply enjoy a good show, THE BEATLES LOVE is for
you. Come see for yourself! We promise that youll fall in LOVE.
{ SOURCE: Las Vegas Review-Journal | http://goo.gl/2exVdY }
45 DEGREES Cancels 40 shows in Turkey
{Jul.26.2016}
-------------------------------------------------------
According to ICI Radio Canada, the recent political situation in
Turkey has pushed Cirque du Soleil to cancel 40 performances of
the upcoming 45 DEGREES show Blüm, which was scheduled from
August 16 to September 17, 2016. Blüm was custom designed for
the Horticultural Expo 2016 Antalya, held in Turkey until
October 30. We were not able to ensure the safety of our
employees to our satisfaction. Marie-Hélène Lagacé, Senior
Public Relations Manager of the Cirque du Soleil. A total of 70
people were involved in the show, many of whom are employees of
Cirque du Soleil. This is a decision for their safety,
repeated Marie-Hélène Lagacé Radio-canada.ca.
{ SOURCE: ICI Radio Canada }
45 DEGREES Savor Le Savoir
{Jul.27.2016}
-------------------------------------------------------
Its time to savour Le Savoir, an unforgettable, multi-sensorial
culinary journey, set to debut in Montreal in early August a
dining experience like none other that challenges all the bodys
senses to see, touch, taste and celebrate a culinary spectacle
that promises to go down in the annals of historic eating.
Following on the success of last summers Stella Artois
Sensorium food experience in Toronto, Montreal is following suit
in a similar event created in collaboration with famed British-
based culinary wizards Bompas and Parr (of the Jelly Parlours of
Wonders Fame / Bompasandparr.com), and produced by 45 DEGREES,
the global events company from Cirque du Soleil. Organizers say
Le Savoir uses time as a metaphor and Stella Artois as the muse
to transport guests to a forgotten garden in the heart of the
city Montreals USINE C (1345 Ave. Lalonde) will play host to
Le Savoir from Aug. 4 to 11 before the event travels to New York
City and Buenos Aires.
Within a forgotten garden in the heart of the city, guests in
Montreal (and later New York City and Buenos Aires), will be
transported through the four seasons winter, spring, summer,
autumn to explore frigid tunnels and luxuriant labyrinth while
discovering edible curiosities paired with and inspired by the
tasting notes in a Stella Artois. The highlight of your multi-
sensorial quest; you will find yourself immersed in a forgotten
greenhouse for a feast from Bompas & Parr designed to enhance
each of your five senses. Sight. Sound. Taste. Touch. Aroma. The
mad scientists of the food world bring their unique wizardry to
an immersive dining experience. Inspired by the tasting notes in
a Stella Artois refreshing and iconic savory Saaz hops, unique
fruity yeast, sweet malty cereals your senses will be indulged
and awakened by interactive canapés, deconstructed elixirs,
unusually prepared meats, and more in this feast youll not soon
forget.
The unique and fantastical dining experience blends beer, food,
technology, entertainment and performance art to challenge
perceptions and awaken the senses. Its using food as a
creative medium, says Sam Bompas, who, with Harry Parr, leads
in flavour-based experiences. Their company specializes in
culinary research, architectural installations and contemporary
food design that consists of creative cooks, designers,
specialized technicians and architects. Their studio is noted
for working with some of the biggest companies and the worlds
foremost cultural institutions to give people emotionally
compelling or inspiring experiences. They are indeed culinary
wizards one might find written into a Harry Potter movie.
We work with chemists and pyrotechnicians, scientists and
magicians to create a multi-sensory experience that employs good
food with the whole spectacle, Bompas says from his home in
London, adding that his team has worked more than eight months
to get this event perfect. Were excited to partner with Stella
Artois to create a dinner party so sensual and luxurious that it
will stimulate the senses as never before, added Parr.
Are you ready to awaken your senses?
< http://www.stellaartoislesavoir.com/ >
{ SOURCE: Toronto Sun | http://goo.gl/7SRGZy }
Tim Smith, Artistic Director, on Mystère
{Jul.27.2016}
-------------------------------------------------------
The beloved and enchantingly beautiful MYSTERE by Cirque du
Soleil is a 23-year-old hit on the Strip at Treasure Island, its
original home. While many theatrical productions have come and
gone, MYSTERE, the original must-see, remains a constant,
entertaining millions who attend from Las Vegas and across the
globe. To date, MYSTERE has entertained more than 14 million
guests in 10,000-plus shows.
As the artistic director at MYSTERE, Im often asked: What is it
about MYSTERE that people love so much, what keeps them coming
back what is the secret? The answer is simple. There is no
secret formula but rather an emotional connection, one between a
brand and its audience thats pure, thought-provoking and, in
our world, uniquely entertaining.
Part of that emotional connection with our audiences is the
ability for us to entertain them in ways theyve never
experienced before by constantly upgrading our shows with newer,
challenging acts that shock and inspire.
These frequent updates are what keep MYSTERE exciting and fresh,
differentiating us from a typical Broadway-style production
where audiences will see the same show night after night. If you
saw MYSTERE five years ago, when you return, you would
experience it in a familiar, yet different way today.
Since its beginning, MYSTERE has set the standard for which all
Las Vegas productions are measured. The show continues to
incorporate pure Cirque elements including powerful
athleticism, high-energy acrobatics and vibrant imagery and
costuming, while also featuring subtle changes in choreography
and staging that impact how the audience feels, interprets and
connects with the show.
These changes also re-energize and challenge our artists,
allowing them to expand their skill sets and be engaged in the
work they do. A great example of our ever-changing theatrical
landscape is the new Teeterboard Act that arrived this summer,
which is part of the Planche Act that features the trampoline,
fast track and teeterboard disciplines in one exhilarating,
captivating scene. No doubt one of the most awe-inspiring
moments in MYSTERE, the Teeterboard Act hasnt changed since its
premiere in 1993, making this new rendition even more exciting.
Fulfilling the Cirque mission to create, we wanted to elevate
the act by adding a new teeterboard, more powerful acrobatic
sequences, faster-paced choreography and new artists. The new
board is shorter than the original and catapults artists higher
and faster into the air. Where they could once fly 10 to 15 feet
in the air, they are now soaring to impressive heights of nearly
20 feet.
Additionally, MYSTERE is uniquely entertaining for all
generations. Being unlike any other production has helped us
build loyalty with audiences across the globe. Fans know that
while there are seven Cirque productions on the Strip, MYSTERE
has its own identity, story and rhythm.
Thrilling action, colorful characters and vibrant imagery abound
while a live band with vocalists score this mesmerizing journey
through life. Regardless of your background or age, we know that
when you hear the musings of a larger-than-life baby playing
with the crowd, or catch a glimpse of the whimsical bungee
artists soaring 50 feet above the stage, you will smile at the
fantastical beauty, skill and finesse that define this amazing
show.
To further connect with our fans and say thank you to the
community, we are going one step further and opening our doors
during rehearsals. Now fans have the opportunity to see how our
artists train and get a rare insidelook at what goes into
preparing for our shows. Open rehearsals are free and open to
the public, so its a wonderful experience for everyone. During
these rehearsals, we host Q+A sessions that allow guests to ask
questions to gain a better understanding of our artists and
process.
If youve never experienced MYSTERE, or its been awhile since
weve seen you, get to know us again and witness the magic of
MYSTERE for yourself. It truly transcends time and continues to
offer something special for our city and you.
{ SOURCE: Las Vegas Review-Journal | http://goo.gl/2MB0oO }
MJ HIStory Statue unveiled at Mandalay Bay Las Vegas
{Jul.29.2016}
-------------------------------------------------------
On Thursday, July 28, the Estate of Michael Jackson teamed up
with Michael Jackson ONE by Cirque du Soleil and Mandalay Bay to
pay tribute to the King of Pop as they unveiled his iconic
HIStory Statue. Featured on the cover of his world-famous album
HIStory: Past, Present and Future Book 1, which became the best-
selling multiple disc album worldwide, the HIStory Statue is the
third piece of memorabilia to be loaned by the Estate for
display on the Mandalay Bay property.
The highly anticipated unveiling ceremony took place in the Main
Lobby of Mandalay Bay, where fans had the opportunity to witness
the live reveal of this historic sculpture. To welcome the
piece, members from the cast of Michael Jackson ONE delivered a
never-before-seen performance created especially for this event,
dazzling the audience as they performed to SCREAM, the first
single from the HIStory album. Following the performance, fans
were able to meet and take photos with those cast members.
Theres a reason why Michael Jacksons spirit still lives on,
said Jerry Nadal, Senior Vice President, Resident Shows Division
at Cirque du Soleil. Its the passion and love behind every
song he created. Its the soundtrack he delivered to an entire
generation and beyond. We certainly see this every night at
Michael Jackson ONE as thousands of Michael Jackson, Cirque and
music and dance fans of all ages and backgrounds collide to
experience their favorite Michael Jackson songs in a new and
innovative way. Now, this incredible statue stands with us as a
testament to his legacy.
On loan from the Estate of Michael Jackson, the HIStory Statue
joins two other pieces at Mandalay Bay: Jacksons red and gold
military-style jacket from his appearance at the 1984 American
Music Awards and a pair of his iconic black loafers and crystal-
encrusted white socks. An additional historical Jackson item
will be revealed on Saturday, Aug. 27, kicking off a three-day
birthday celebration for the King of Pop inside the ONE Theater.
Michael Jackson was and always will be an icon of our time,
said Darren Davis, Vice President of Entertainment at Mandalay
Bay. We are so thankful that the Estate has been gracious
enough to share this statue and all of the other precious
Michael Jackson memorabilia with our property. Those who visit
Mandalay Bay will have the opportunity to see these amazing
pieces, and they are truly extraordinary.
Check out some media on the unveiling:
o) VIDEO /// < https://youtu.be/3i-8uydsz_I >
o) VIDEO /// < https://youtu.be/sTaI4BqFRWQ >
o) FOTOS /// < http://www.cirquefascination.com/?p=8837 >
{ SOURCE: ETurbo News | http://goo.gl/DOYHSe }
MAKING-OF: The Musical Universe of Tout écartillé!
{Jul.28.2016}
-------------------------------------------------------
Follow the creative team as they rework Robert Charlebois music
to give an original twist to this unique show. Second edition of
the Tribute Series Tout écartillé offers a breathtaking plunge
into the unbridled imagination of Robert Charlebois. Presented
exclusively at the Cogeco Amphitheatre in Trois-Rivières from 13
July to 13 August 2016.
VIDEO /// < https://goo.gl/JN5zCW >
{SOURCE: Cirque du Soleil }
Amaluna
in Chocolate!
{Jul.28.2016}
-------------------------------------------------------
Amaluna and the renowned chocolatier Dominique Persoone unveiled
this morning a stunning chocolate replica of the Valkyrie
costume. 3 days and 36 kg of chocolate were necessary to
recreate this unique costume. You will be able to see this
amazing costume in the concessions tent until August 19th.
FOTO /// < http://www.cirquefascination.com/?p=8819 >
{ SOURCE: Cirque du Soleil }
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CirqueTech -- The Technical Side of Cirque
---------------------------------------------------
Behind the Tech of LOVE
{Jul.13.2016}
-------------------------------------------------------
It is not just changes to choreography that have given Love a
refreshed look and feel. Key changes to the shows technical
elements have given the show a new look.
While video projection has always been part of Love, it was
mainly seen in two panoramic projection surfaces on either side
of the theater, as well as sporadic special surfaces, courtesy
of 24 Christie 20k digital projectors. For the 10th anniversary
refresh, show director Dominic Champagne and his team decided to
add more.
We felt what we had wasnt enough to fill the room, says the
shows operations production manager Paul Reams. So we decided
to take the 6,500 square-footage of stage floor and turn it into
a projection surface.
The theater now has 52 active Christie projectors, making it the
largest projection installation in all of Cirque du Soleil, and
one of the largest in North America, according to Reams. It
takes 27 servers and four control computers, with 30 terabytes
of storage, to run the show.
Lighting designer Yves Aucoin made changes to his original
lighting design, now providing perimeter footlights shining up
at the performers, instead of lighting shining down onto the
stage surface. Also, to reduce shadows, every point on the
stage is covered by at least four projectors, in some places
six, making use of complicated layering to help keep the
illusion real. Its complicated our stage is not a square
box.
The content, by Montreal-based designer Francis Laporte (and
executed by three media provider companies), now makes use of
images of the Beatles themselves previously a no-no, says
Champagne. One of the rules we had when we built the show was
that we wouldnt put the Beatles themselves in, visually, before
the end of the show. But we decided two years ago that
introducing the presence of the Beatles would support the visual
treatment of every act, he says.
Paul McCartney is now seen in Yesterday, for example, in video
footage from a performance not long after the song was written.
And the show opener, Get Back, includes the four Beatles
performing the song from their legendary London rooftop
concert January 1969, their last live show.
TECH BY THE NUMBERS
o) 66.4k Square footage of stage floor
o) 652 Number of projectors, taking 27 servers and 30
TB of storage to run the show
o) 6600 Custom props used
o) 6300 Batteries charged daily or weekly for props
o) 6,000 seat speakers 3 in each of the 2,000 seats
The nearly 600 custom props that are used in the show have been
given a boost everything from full-size VW Bugs to remote
controlled trains of light to smoking umbrellas. If its not
nailed down, and its not a brick, its a prop in the show,
says Richard Amiss, Loves head of props. Almost 300 batteries
have to be charged daily or weekly to run it all.
Just as the artists have tracks of activity for each evenings
show, so do Amiss props technicians. What the audience doesnt
see is always the most complicated part, he says. The
backstage choreography is nonstop. My least busy team has a
track with a combined seven minutes of the 90 where theyre not
doing anything. They have to search through cue sheets just to
find bathroom breaks.
Music director Giles Martin, who with his father, the late
George Martin, and engineer Paul Hicks, created the shows
soundtrack, also decided to give both the sound system and the
shows music a fresh take. It had always been well received as
a good sounding show, but I thought it could be improved, he
says.
Among other things, a set of Meyer X-800 LFC subwoofers were
added. I had an expert come in and analyze the room, so that we
could adjust the EQ [equalization], Martin says.
We found that we needed a bit more low end. People listen
differently than they did 10 years ago they want more bass,
they want things louder. I wanted more sound to hit you in the
chest.
The theaters 6,000 seat- speakers thats three in each of the
2,000 seats were replaced with higher-quality speakers than
were available 10 years ago. I was able to put more content in
the seat speakers now, because the previous ones would distort
easily, which is no longer a problem.
Martin decided to completely remix the entire complex soundtrack
with Hicks, to take advantage of higher quality transfers from
the Beatles original session tapes than technology permitted in
2006. I thought, as long as were upgrading the playback
system, Id better look into the music, as well.
As before, he and Hicks conducted the mixing in the theater
itself, though this time, Hicks was able to create the mix in
real time, via Avid Pro Tools on a laptop, instead of being tied
to a mixing console in a back room. We were able then to
connect his laptop to our digital-to-digital converters and
directly to our front-of-house mixing console, says head of
audio Rob Lindsay. That was a huge improvement, having
everybody in the same room this time.
The remix gave Martin a chance to introduce yet more Love
magic into the soundtrack. Strawberry Fields Forever, whose
original Love version took the listener through four
versions/demos of the song, now instead has its signature
Mellotron flute introduction back intact. The absence of the
Mellotron was something that always bothered Dominic, Martin
says. It is quite iconic. So its back.
The quality of music playback at Love is key. We need to
listen to music more out loud, and we dont, Martin says. When
you hear a great song on a great system, it takes us back to the
days when we used to invite friends around to listen to music.
And thats part of the intention of Love its about making
people listen, not just hear.
{ SOURCE: Yahoo Music / Variety | https://goo.gl/jv08en }
Paramour Hits The Broadway Stage With Lectrosonics
{Jul.20.2016}
-------------------------------------------------------
Montreal-based entertainment company Cirque du Soleil, which
currently has more than 15 major shows running worldwide,
recently opened its first musical theater production on
Broadway, at the Lyric Theater. Paramour, a story set during the
Golden Age of Hollywood about a woman who must choose between
love and art, features a cast of over three dozen acrobats,
musicians and singing actors that are exclusively equipped with
Lectrosonics SSM Digital Hybrid Wireless micro belt pack
transmitters.
Were using 36 SSM radio transmitters with Venue2 receivers
reports front-of-house engineer David Patridge, who is working
with long-time collaborator John Shivers, the shows sound
designer. The equipment was supplied by theatrical sound
reinforcement specialist company Masque Sound for use at the
Lyric Theatre which, with an audience capacity of 1,896, is the
second largest theater on New York Citys Great White Way.
Every performer who has any kind of line or is singing is
wearing one. We are also using the SSMs to amplify a wireless
guitar, a wireless piano, a wireless trumpet; in fact, theres a
bunch of instruments that people wander around with on stage
that are fitted with SSM transmitters, says Patridge.
Sonically, the SSM is terrific. From an audio standpoint, it
really is a winning product, he continues. When it came out we
were able to try it in the field opposite other radio
transmitters. We compared the audio quality on an actor, A/Bing
back and forth, with two mic elements and two transmitters on
the person. We really liked the quality of the SSM. So it was a
no-brainer for this production. Almost every SSM on the show is
paired with a DPA Microphones d:screet 4061 miniature
omnidirectional microphone, he reports.
But the SSM offers more than just superior audio quality, says
Patridge. The actors wearing them along with everybody in the
hair and wig department love the form factor because they are
substantially smaller than other transmitters that are on the
market. It often becomes difficult to hide transmitters, but we
heard a lot of positive comments made by all of the people who
deal with hiding these things on the actors. So that is also a
winning factor for the SSM.
In fact, three of the principal actors are double-miked, he
continues. Theyre out on the stage the whole time, and it
would be very inconvenient to have to rip microphones off them;
just getting them off the stage would be a problem. They each
wear two SSM transmitters and we use a Sennheiser MKE 1 for
backup. We set one of the mic elements back behind the head of
the other mic, so it pretty much looks like one microphone, but
we still have a second element in case something happens to the
first one. Due to the small form factor of the SSM, the actual
amount of real estate that the two transmitters take up on a
performer is pretty much what a normal transmitter would take.
The shows production crew has also been enjoying the remote
control capabilities of the SSM, Patridge reports. We all
downloaded the LectroRM application, to be able to send DTMF
tones into the microphone in order to turn LEDs off, lock them,
change gain and so on.
Adopting the Lectrosonics SSM transmitter for this show has been
an upgrade on several levels, according to Patridge. With the
SSM, the sound quality is better, and the manageability with the
batteries and the remote functionality are bonuses. The battery
life is also great. All this with the small form factor. The
takeaway for us is that we want to specify them on all of our
shows.
About Lectrosonics: Well respected within the film, broadcast,
and theatre technical communities since 1971, Lectrosonics
wireless microphone systems and audio processing products are
used daily in mission-critical applications by audio engineers
familiar with the companys dedication to quality, customer
service, and innovation. Lectrosonics is a US manufacturer based
in Rio Rancho, New Mexico. Visit the company online at
www.lectrosonics.com.
{ SOURCE: Lectrosonics }
Cirque du Soleil flies into Avatar with BlackTrax
{Jul.21.2016}
-------------------------------------------------------
Cirque du Soleil has brought James Camerons Avatar to life in
TORUK The First Flight through the near-magical technology of
BlackTrax. Under the supervision of Istvan Fazekas, Assistant
Head of Lighting for TORUK The First Flight in conjunction
with video specialists Solotech, BlackTrax technology tracks the
video and lighting elements that transform a simple 85 by 162-ft
stage into a visually stunning re-enactment of the tales of the
inhabitants of Pandora and takes the audience on a voyage
through a new world.
TORUK The First Flight premiered in December 2015 in Montreal,
Canada, which then kicked off its North American tour. While the
inhabitants of Pandora will be brought to life by skilled Cirque
du Soleil performers, the show also features large-scale
puppetry and lived-in puppets to bring the creatures of Pandora
to life. But one of the magical tools that helped tie the whole
look and atmosphere of the show together was BlackTrax
technology.
BlackTrax is a real-time tracking system that uses beacons with
stringers and LEDs that turn into tracking points, cameras and
software that is used to track people and moving objects on
stage in real-time with pinpoint accuracy. As the performer
walks, leaps and runs across the stage, nearly invisible LEDs
attached to his costume will transmit his movements to a camera
and software. In turn, they direct the lights or creative
visuals to essentially follow them around the stage.
The show is full of video illuminations that bring this creative
world to life in front of the eyes of the audience, and although
BlackTrax was initially just used to track 5 performers, over
the weeks of rehearsals that number grew to 17 performers, 15
props and 2 Home Trees. These are 80 feet wide by 40 feet
high. The structure is equipped with wheels and stands on nine
pivots and can be moved by hand.
Istvan Fazekas, Assistant Head of Lighting for TORUK The First
Flight, said: My goal was not to use follow spot, even though
we had four on standby in the first two months of our creation.
However, using the BlackTrax tracking system on the show is more
stable and more precise than having local follow spot operators
every week. We are using 12 Clay Paky Sharpy Washs and 12
Sharpy Spots.
The Sharpy models are a good fit for the production as they can
keep up with the speed of the movements and are bright enough
for use on stage. These models were also hung sideways to
prevent them from flipping if the performer traveled directly
under the fixture.
Fans of Cirque du Soleil and Avatar will be able to imagine that
the costumes were a very tight fit on the actors, making it a
challenge to hide the tracking beacons in inconspicuous places.
Fazekas continues: Every time I found a good place for the
BlackTrax stringers or a beacon on the artists the creators of
the show or the costume designer changed something on the
costumes or their movements. Now most of them have stringers on
their shoulder and on top of their wig, some of them have an
extra sleeveless unitard which they put over their show unitard
just for BlackTrax or a chest piece wired for the act they are
tracked in.
The multimedia projections in TORUK The First Flight evokes
awe-inspiring landscapes from the Floating Mountains and the
Omaticaya Hometree, to the Anurais animal sanctuary and the
lush jungles where the Tawkami live create a visually stunning
environment for the performers. So do the large-scale effects
that come from the storyline, such as the earthquake and volcano
eruption, the rivers of lava rising from within, and the
Shamans visions projected on a huge floating, ethereal veil.
Video projections sometimes over flow beyond the set and right
into the audience, giving spectators the feeling theyre not
merely gazing at Pandora, but theyre actually ON Pandora. At
one point, waves start in the audience before washing up on
shore on stage; in another scene, a starry sky is projected all
over the arena, virtually turning it into an upside-down
planetarium.
The total projection surface, excluding projections that reaches
out into the audience, is approximately 20,000 square feet, more
than five times the size of a standard IMAX screen: 12,750 for
the stage, 3,600 for the two lateral screens, and another 3,600
for the two columns of Hometree.
There are 40 video projectors in all: half are 30,000-lumen
each, the other half, 20,000-lumen. 22 video projectors are used
for projections on the ground; 6 projectors send video images on
Hometree; 2 projectors are dedicated to the two lateral screens;
and 8 projectors are used for immersive projections into the
audience.
Solotech provided the 40 Barco projectors which are driven by 8
4x4pro d3 media servers. BlackTrax is the magic tool that, in
this installation, combines these technologies to track two
large tree like huge inflatable structures that are 40-feet in
height, explained Sebastian Cousineau at Solotech.
In front of a captured audience, whilst the trees move on
stage, the tracked video projection stays perfectly aligned and
looks astoundingly real in movement and texture. We designed the
system, which renders live particles around artists and puppets
to create effects that follow them while they are tracked with
BlackTrax.
We also use BlackTrax positioning to focus 28 of the 40
projectors in the media servers 3D environment, it is a fast
way to calibrate the projectors ensuring their real-world
position is matched within the virtual file that controls the
projection mapping.
CAST BlackTrax CEO Gil Densham said: We are very proud to have
contributed to this thrilling event. The continual development
of this technology means that they will continue to be used in
creative projects such as TORUK The First Flight and we are
very excited to see what else BlackTrax will be used for.
Both Avatar and Cirque du Soleil fans will appreciate the art
and technology that have contributed to bringing this cinematic
masterpiece to a different stage. It promises to be an evening
of spectacular scenery and magical storytelling.
{ SOURCE: CAST Blog | http://goo.gl/B4QN3Q }
Flying robots perform 100th show on Broadway
{Jul.29.2016}
-------------------------------------------------------
Since April, a troupe of eight flying machines has been
performing in a Cirque du Soleil Broadway show called Paramour.
This group of quadcopters has now completed its first 100 shows
in front of a live theater audience, without a single incident.
Given the string of recent safety incidents with drones, this
begs the question: How was this accomplished?
The Paramour quadcopters were designed and created by Verity
Studios of Zurich and were transformed into flying lampshades in
collaboration with Cirque du Soleil. Some readers may recognize
them as the direct siblings of the similarly dressed quadcopters
in Sparked: A Live Interaction Between Humans and Quadcopters; a
short movie shot over the span of two days in the controlled
environment of a research lab. What sets the Paramour
quadcopters apart, and the key to their ongoing success on
Broadway, are a new localization technology and fail-safe
algorithms, that keep the fully redundant quadcopters safely on
course, performing 8 times a week, in front of a live audience
of up to 2,000 people, without nets.
The people behind Verity Studios are no strangers to performing
quadcopters. Founder Raffaello DAndrea is a professor of
control systems at the Swiss Federal Institute of Technology
(ETH Zurich), from which Verity Studios was spun off. From a lab
aptly named the Flying Machine Arena he has been conducting
research for over 10 years on complex, autonomous flight, using
a high-precision motion capture system to guide the vehicles.
The ETH teams first dancing drones performed in 2009 as part of
research by Prof. DAndreas former PhD students, Federico
Augugliaro and Angela Schoellig. The group first stepped into
the public performance space in 2011 with Flight Assembled
Architecture, the worlds first multi-quadcopter performance in
front of a large audience. In all, more than 200 live research
demonstrations have taken place so far in the Zurich lab with
occasional appearances given abroad, such as Google IO 2012.
While the team used motion capture technology extensively over
this period, this type of localization technology proved
inadequate for a long-running Broadway production when taken out
of the research laboratory. The fundamental issue is that motion
capture systems rely on a centralized architecture whereby all
commands are forwarded to a single computer. A failure in that
computers hardware or software may cause a sudden loss of
control for the complete fleet.
Whereas an occasional failure of this type may be
inconsequential in a research environment like the Flying
Machine Arena, it is unacceptable for most commercial and
industrial applications. The live events industry, in
particular, has high safety standards owing in part to the
amplification of safety risks when performing close to crowds of
people. In addition to the safety risks, the consequences of a
mishap entailing personal injury can be severe in terms of
negative publicity, brand damage, and litigation.
Nevertheless, motion capture based performances near a live
audience have been attempted, such as in this recent Americas
Got Talent performance.
An alternative vision based system was demonstrated in a recent
Britains Got Talent episode where quadcopters used onboard
cameras reading floor patterns to orient themselves. In both
cases, the number of quadcopters permitted is limited by
occlusion once a critical level of vehicle density is reached.
Furthermore, both these systems can be compromised by external
show-related light sources (e.g., stage lighting, spotlights),
or even from the audience (e.g., laser pointers, flash-light
photography), risking loss of control of some or all the
vehicles; a major safety concern.
To address these shortcomings, Verity Studios developed a new
system specifically for industrial applications that must meet
strict safety and reliability standards. While the company and
its founders are tight-lipped about the proprietary technology
in use on Broadway, it is clear that they have moved away from
vision systems to using radio-frequency-based localization.
According to statements by Raffaello DAndrea at a recent TED
talk (http://goo.gl/n6YaLc), both the new proprietary
localization system and the flying machines are redundant and
use fail-safe algorithms such that every vehicle can withstand
any single point of failure.
Another key factor in the systems success is its Inter-
operability within a theatrical environment. Any theatrical
system must function within a complex ecosystem of stage
automation where stringent industry standards prevail. These
flying machines have met or exceeded all expectations in terms
of safety, reliability, maintenance, and ease of operation,
states Michael Shepp, Automation Carpenter for Paramour.
The technological achievement of creating a safe and robust
system for flying a multitude of vehicles before a live audience
introduces a rich palette for artistic expression. Creative
staff at Cirque du Soleil recognized this potential and have
worked side-by-side with Verity Studios to achieve this
milestone on Broadway. Cirque du Soleil Chief Creative Officer,
Jean-Francois Bouchard, states: The flying machines are
unquestionably one of the most important statements of the
Paramour show.
Cirque du Soleil and Verity Studios are currently exploring the
artistic use of flying machines in other upcoming productions.
{ SOURCE: Robo Hub | http://goo.gl/ECRlWo }
---------------------------------------------------
Q&A - Quick Chats & Press Interviews
---------------------------------------------------
Michel Laprise Reflects on Zig-Zagging Career
{Jul.15.2016}
-------------------------------------------------------
Michel Laprise loves big projects. The charming and whip-smart
out director served as creative director for Madonnas 2012
Super Bowl halftime show and directed her MDNA Tour. More
recent credits include writer/director of Cirque du Soleils
latest touring show KURIOS Cabinet of Curiosities.
Inspired by the Victorian eras surge of invention and
creativity and imbued with a French steam punk aesthetic,
Kurios premiered in Montréal in April 2014 and is Cirque du
Soleils 35th production. Like Cirque du Soleils other shows,
Kurios reinvents circus by combining the basics tent, clowns
and acrobats with sophistication and the artistic elements of
theater.
Recently, Laprise shared thoughts with Patrick Folliard of the
Washington Blade via phone from Montréal where hes based about
Kurios, Cirque du Soleil and Madonna, whom he calls M.
Q. For a lot of people, Cirque du Soleils innovative aspects
have become familiar. Is the pressure to remain cutting edge
massive?
Yes, but its a pressure we put on ourselves. I hear people say,
Ive seen Cirque once. I dont need to see it again. For us
its a mission to constantly reinvent ourselves. Kurios is
different from other shows. The characters are real people in
real clothes. The set itself is a laboratory that someone
inhabits and not the abstract magical place like in our other
shows.
Q. What led you to staging big productions? Did it happen by
accident?
Well nothing happens by accident, only by passion. Im a group
person, so the bigger the project, the more people you get to
play with. Ive never looked at the obstacles, only the
destination, which is to make people happy and storytelling.
Its like a big surprise party for a lot of people. When I
joined Cirque 15 years ago to do casting, I styled auditions to
be an intense two-day mini-workshop. Because most of the
acrobats were not speaking English or French, I used my
intuition to touch their talent and did my best to bring it out.
Over the years, the artists who were cast encouraged me to
direct. Eventually I told Cirque co-founder Guy Laliberté that I
wanted to direct. Of course he wasnt yet ready to give me a $30
million dollar project like Kurios, but he knew I came from
theater and was a professional director so he made me special
events designer. And eventually he allowed me to conceive and
direct my show which was a longtime ambition of mine.
Q. Whats the inspiration behind Kurios?
My dream was to do a show where a character accesses a parallel
world and brings poetry and imagination back to earth. We live
in a world where we can do so much. I can ring Tokyo for free on
Internet right now. Yet its a very complex time of scarcity for
many people. I want to help people believe that everything is
possible, because I think it is. And I want them to feel joy.
The show is set in the latter half of the 19th century, a time
of invention and innovation. Lots was happening the railroad,
telegraph, gramophone, electricity. Suddenly invisible energy
was stimulating peoples imaginations. Not accidentally, it was
also the golden age of magic and illusionists. Magicians were
the rock stars of the era.
Q. Does being gay make you a better director?
Ive always been gay so I dont know any other way. But I do
believe that going through the process of coming out to self and
family and friends gives you a sense of compassion and allows
you to appreciate diversity. And that I think makes for a better
director. Of course Im generalizing. There are assholes in
every community. Within Cirque, same-sex couples are respected
and celebrated. So being gay here isnt an issue.
Q. Why especially should LGBT people come to see Kurios?
Critics and fans say this is Cirques best touring show in 10
years. Its more theatrical than most of Cirques other
productions and whats more, theres a rainbow and disco ball in
the show. I dont want to spoil the surprise of when they
appear. Theres also a lot of love and inclusiveness in the
show. The planets were well aligned when we created this show.
And of course the acrobats and what they can do with their
bodies is amazing. To reach their level skill, they begin
training at age 5 and live a strictly disciplined lifestyle.
They eat tiny bites of food throughout the day. Stretch a couple
hours before every performance.
Q. Id be doing our readers a disservice if I didnt ask the
next question.
You want to know whether or not Im single?
Q. No. Id like to hear about working with Madonna.
Before working with Madonna in 2012, I presented my ideas to her
manager. He liked them so he took me to her. She appeared in the
room. I told her my thoughts and she was smiling as I spoke.
Then she asked me to listen to Give Me All Your Luvin the
first track of her then-new album MDNA. Ms hands were shaking
a little bit as we listened. So I thought that if after 30 years
shes still nervous to show new work, then this is somebody who
really cares about what theyre doing. I knew then that I wanted
to work her. For the first week of rehearsals for MDNA, M hurt
her ankle and broke her little finger. I asked to slow down
pace. She said, No Michel. Thats the job. Its like going to
war with her. She thinks like an acrobat. Her work ethic is
incredible. Shes also very demanding but its nothing I
wouldnt expect from a woman of that level. She never yelled at
me. The only time she raised her voice during rehearsal was when
the schedule wasnt allowing her to see her kids. Despite the
pressure on her, she was calm and focused with brilliant sense
of humor. She teases me about my (French Canadian) accent which
is less strong now than it was. I dont do a lot of pop music
shows, but Id definitely like to work with her again. We stay
in touch. She sent me flowers on my birthday.
Q. And are you single?
I am. But that might be changing. Some romance may be in the
works, but thats all Ill say.
{ SOURCE: The Washinton Blade | http://goo.gl/SsQZyO }
Meet TORUK Puppeteer Nick Barlow
{Jul.15.2016}
-------------------------------------------------------
As we gear up for the debut of Cirque du Soleil Toruk: The First
Flight, arriving in Denver July 21, we caught up with puppeteer
Nick Barlow who shared how he balances life on tour and
fatherhood.
One of six puppeteers in Toruk: The First Flight, Barlow brings
to life the animals of Pandorafrom Direhorses, Viperwolves and
Austrapedes to the great Toruk himself. But his biggest role is
played at home, as a father of two.
This is Barlows first tour appearance with Cirque du Soleil,
and he admits its been a challenge having two elementary-aged
kids at home. But hes fortunate to have such a strong support
system back home in Melbourne, thanks to his wife and the
grandparents. The hardest part is being awayand the time
difference, says the Australia-based puppeteer.
Luckily, he gets a tour break every 10 weeks and has two weeks
to spend at home with his family in Australia. When hes home,
he likes to spend as much time with his family as he can. We go
on picnics, take walks, hang out at the beachnormal family
stuff, he says.
When Barlows back on tour, his kids send him videos and photos
that he hangs in his hotel room, and they Skype on the regular.
It gets really tough, he says, about being away. Its not
ideal, but we push through.
Barlow is lucky enough to have a family on the road, toohis
tour-mates. The people in the show become your family too, he
says. They have dinner together and explore new cities every
week. Its like having an extended family. And with 40 people
on stage and another 60 or 70 people behind the scenes, thats
quite the family.
But in the end Barlow wishes to be able to work closer to home,
or to have his family travel with him one day. Until then, he
hopes to be able to have his kids catch him on tour soon.
Theyve seen the rehearsal in Montreal but havent been able to
see the whole production yetand its such a great show for all
ages, says Barlow. Theres something for everyone to enjoy.
{ SOURCE: Colorado Parent | http://goo.gl/G3KTsr }
Eirini Tornesaki: What Its Like to Sing with Cirque
{Jul.15.2016}
-------------------------------------------------------
Eirini is a classically trained musician who has recorded at
Abbey Road. In a VoiceCouncil exclusive, she shares her
backstage routines and tells us how hard it is to perform 10
shows a week all around the world!
Q. What obstacles have you had to overcome for your love of
singing?
I was born with a cyst on my left vocal cord, which later formed
a sulcus. I grew up with constant vocal difficulties, such as
limited range, extremely breathy tone, voice breaking during
performance, losing my voice easily, absence of head voice
etc. These challenges caused me a lot of doubt about whether
singing was the right thing for me. But something inside me
wouldnt give up. I didnt know the cause of my problems until I
investigated further when I moved to the UK. I had to just come
to terms with the limitations and learn how to use my instrument
the way it is.
Q. What musical lessons have you learnt since joining Cirque?
Firstly, my technique has improved a lot. During the creation
period of the show, I trained daily with a vocal coach for 2
hours, for about 3 months. My coach helped me strengthen my
voice, gain stamina and work on the weaker parts of my voice.
Since I joined Cirque, my rhythm and focus has improved as I
need to simultaneously focus on my singing and the counting of
my band leader depending on the action on stage. On top of that
I started becoming more and more comfortable on stage,
experimenting with acting skills and interaction with both the
audience and my colleagues on stage.
Q. How do you take care of your voice when doing so many shows?
Performing so many shows does indeed require discipline and some
small sacrifices. Firstly, I warm up every show day, for 30
minutes. I dont smoke, I dont drink alcohol during the city
run (7-10 weeks), I use a humidifier if my room is dry, I steam
my vocal cords usually after two subsequent show days. I do
nasal showers (with a Neti Pot) to eliminate mucus and
allergies, I try to sleep for 8.5 hours and drink 3 litres of
water daily. I dont eat dairy products before a show because
they can cause mucus, I rarely go to bars or loud places where I
could tire my voice and I try not to talk too much or sing on my
day off (Monday). I know it sounds like a lot, but the joyful
feeling of achievement when I finish a 10 show week with a
healthy voice is incomparable, and its worth all the effort.
Q. What are your top tips for a successful audition?
An audition is like a gig, just with added stress. Its
important to be so familiar with the material that you dont
even have to think about it. If there is a note you are not sure
about, rehearse it a million times
If there is a lyric you
think you may forget, just repeat it until youre on autopilot.
Make sure you are not hungry during the audition, but also not
too full. Be very well warmed up. And the biggest cliché, but
number 1 tip, be yourself! This is especially true with Cirque
as they want to know your personality, hear your style and what
you could bring to their shows.
Q. How do you stay mentally focused when doing a long run of
shows?
During a long run, our artistic director tells us pace
ourselves. I distribute my energy equally to each show and find
a balance. Of course it gets harder and harder as the weeks go
by, so its important to take care of my physical and mental
health. I practice yoga, maintain a healthy diet and do things
that I enjoy.
Q. Do you have a backstage ritual before or after the show?
There is a lot to get done before the show! My preparation takes
3 hours including make-up, warm-up, sound check, hair etc. I try
to do everything without rushing. My ritual right before the
show is to take a couple of big breaths, understand what kind of
mood I am in, and if its bad I try to break a smile at my
colleagues and lighten up and wish them a good show. We show
each other compassion and encouragement.
Q. Whats the best and worst thing about touring?
The best thing is that you never get bored! Every 2 months we
are in a new city that we can explore. We live in a new
apartment and meet new people. The worst thing is as soon as you
feel at home you have to pack your whole life again in a couple
of suitcases and leave. Sometimes I dont even bother unpacking
certain things!
Q. Tell us about your biggest performance fail
I think by performing multiple shows every week, I have failures
and successes almost every day. For example, there have been 2
times that my voice broke during an a cappella part! You know,
when nothing comes out but a squeaky sound
a cappella
Q. Do you ever get star struck?
Not too often, but I got star struck by Christina Aguilera when
she came to watch our show and came to meet us backstage! I was
nervous before the show, just because I knew she was there
watching.
Q. A motto that inspires you?
The famous quote by Paulo Coelho: When you want something, all
the universe conspires in helping you to achieve it.
{ SOURCE: Voice Council Magazine | http://goo.gl/jAVLlZ }
Roaming with KURIOS Clown Facundo Gimenez
{Jul.16.2016}
-------------------------------------------------------
If you were to imagine the type of person who runs away to join
the circus, it would be hard to do better than Facundo Gimenez.
The 31year-old Argentine-born clown has worked with the
magical, bohemian Cirque du Soleil for 9 years but has been a
clown for most of his life.
Gimenez is currently touring in the traveling Cirque du Soleil
production of Kurios, a delicious blend of steampunk and
Victorian influences, and one of the most fanciful, poetic
Cirque productions in recent memory (in Washington, D.C. from
July 21-Sept. 18). Gimenez plays a central, unforgettable role
as the ring master and remarkably inventive comic relief (you
wont want to miss his hilarious observational comedy rendition
of the grooming and bathroom habits of cats).
Perpetually on the road in his whimical life as a clown, Gimenez
has quite literally lived out of a suitcase.
Gimenez sat down with Roam to talk about wanderlust and his
deeply philosophical approach to clowning. To Gimenez the clown
is a shadow and reflection of society, a powerful voice for its
absurdities and hypocrisies. Every society since ancient times
has had a clown figure, he notes, and Gimenez has loved watching
as audiences around the world respond to this universal
archetype.
In Asia people dont laugh but they smile and when you finish
they politely clap, he observes. Latinos, says Gimenez, are the
most enthusiastic and demonstrative.
For 21 years I have been traveling around the world with no
home, Gimenez admits of his peripatetic ways. But this March,
after eight years of saving (It was hard for me to get a
mortgage he laughs), Gimenez finally bought two homes in
Guadalajara, Mexico. His goal was to own a home by age 30, and
now he has two.
Over a near-lifetime on the road, Gimenez has collected
strategically, composing a memory as much as buying a memento.
He picks up pieces of art and handicrafts wherever he goes and
pairs them with photographs he takes of the people who made
them, like the woman who wove a favorite poncho he bought in
Guatemala. And now with his Guadalajara home base, he has
finally found a place to park his objects.
Loaded down with silver rings decorating his fingers and a
cascade of necklaces ornamented with crystals, his legs tucked
up under him, Gimenez out of costume looks more like an
international Anthroplogie-outfitted hipster than what we might
think of a working clown. Every day I wake up I have fun
choosing a costume that I will dress in, representing the energy
that I woke up with, he says of his civilian garb. To stay
healthy on the road Gimenez doesnt eat sugar, tries to sleep as
much as he can, minimizes his gluten intake and eats a lot of
super foods, vitamins and organic food. But his spiritual
happiness is just as important, If you do what you love, you
are happy and at peace with yourself and thats really important
to not be stressed, he says.
Gimenez is sitting backstage during a break from his Atlanta
appearances for Kurios, hanging out in a viewing area of leather
couches and large-screen TV where performers can watch their
work and critique their performances. Crew members dart in and
out of this open living room-slash-hair studio-slash-rehearsal
space and intense Russian gymnasts with bodies like plastic
action figures practice on the ropes and bars in a makeshift
gym.
An artist as much as a clown, Gimenez is an eloquent,
thoughtful, inquiring soul, who tells me he was up all night
until 8 a.m. doing a photo session with a friend, just the sort
of thing youd hope a 21st century, jet-setting, hippie-cool
clown would be up to while on the road. At night I feel very,
very artistic, Gimenez confesses in his thickly-accented
English.
In addition to pursuing photography, the multi-faceted, ever-
curious Gimenez has delved into house music DJ-ing, documentary-
making (he loves avant-garde Chilean filmmaker Alejandro
Jodorowsky whose The Holy Mountain is a big influence), and has
recently been exploring tarot card reading and hypnosis. In his
off-time from Cirque du Soleil Gimeniez runs motivational
seminars in Mexico, Costa Rica and other places interested in
his approach to what he calls conceptual clowning. Among the
items he always travels with in four very large suitcases:
mixers, speakers, a projector, computers, cables, a Steadicam
and tripods. And one absolute essential: a scale to make sure
his bags are not overweight.
Influenced by clowns from Charlie Chaplin and Jerry Lewis to
Andy Kaufman, Gimenez started young in Argentina. I put on my
first red nose when I was 8, he jokes. Hes been traveling with
one circus or another ever since, in over 32 countries so far,
including Russia, South Africa, Qatar and Lebanon, performing
for everyone from Jimmy Carter to Hugo Chavez, Mel Gibson and
Christina Aguilera.
Gimenez has never been burdened by material things (what man
living out of 4 suitcases can be?). But to stay grounded and
connected on his travels, he used to always decorate his room
with an Argentinean flag. Over time that connection to an idea
of home has melted away. You create your own home everywhere
you go, hes learned. He no longer displays the flag. I never
stopped being an Argentinean, but now I am something else: a
citizen of the world.
{ SOURCE: Travel Channel | http://goo.gl/5twi6U }
Meet Ryan Shinji Murray KURIOS Acro Net Artist
{Jul.19.2016}
-------------------------------------------------------
When Ryan Shinji Murray was 10, he made the short trek from his
home in Ashton, Maryland to Washington, D.C. with his family to
see a performance of Cirque du Soleil. A decade later, he did
what he could to enter the circus profession and not long after
that, he became a member of the popular performing troupe.
Seeing that first performance definitely planted the seeds in
me, but it wasnt until much later that I really did anything
about it, he says. It became a dream, but one that took a
unique path to get there.
With a background that included competitive gymnastics, diving,
Kung Fu workouts, pole vaulting and just playing around on the
trampoline in his back yard, Murray became something of a master
of acrobatics.
He was a prominent diver in high school at Georgetown Prep and
continued the sport as a student at NYU. He coached gymnastics
at Preston Gymnastics in Gaithersburg and transferred to the
University of Maryland. While I was there, I joined the Gymkana
troupe, an exhibition gymnastics and acrobatic performance
group, he says. It was a way to stay in shape and continue
practicing acrobatics.
It was while in the troupe that he realized that this was his
passion and what he really wanted to do with his life. Thinking
back to when he was 10, he sent a tape to the folks at Cirque du
Soleil, hoping for a job. It didnt materialize right away, and
he headed back to New York to do what he could to get into the
performance field. I tried to tap into anyone I could find on
the performance sceneespecially when it came to the circus,
Murray says. I was lucky to get a job as a trampoline
instructor at Trapeze School New York.
Within a year, he was performing regularly with a chair
balancing act in various venues throughout the city, as well as
occasionally flying trapeze with the instructors at TSNY. In
2009, he was invited to join Cirque Éloize, a theatrical circus
company based in Montreal. Over the next few years, Murray was
touring the world with the show as a trampoline wall artist,
becoming a featured star known for his 20-foot tall chair
stacking solo. Then, in July of 2013, Murray got the call he had
always hoped he would get. Cirque du Soleil contacted him to see
if he would be interested in taking part in its new creation.
Faster than he could do a double flip, he signed on the dotted
line.
The result was one of the 13 acts in the production, KURIOS
Cabinet of Curiosities. Murray is one of eight performers in the
acro-net number, which he describes as a perfect fusion of
trampoline and the trapeze net. The idea is that you can use
all of the people together to push one person into the air, so
we can push someone about 40 feet into the air, he says. Its
so much fun to be able to do a unique acrobatic act. People who
watch it have such a fun time and the reactions are amazing.
Written and directed by Michel Laprise, KURIOSCabinet of
Curiosities is Cirque du Soleils 35th production since 1984,
and includes a talented cast of 46 performance artists from 15
different countries. Its got everything you could imagine,
Murray says. Theres such an assortment of crazy, acrobatic
feats, elements of magic and plenty more. The transitions are
smooth and theres never a dull moment.
Plus, being so close to his home, Murray is excited that his
friends and family will have the chance to see what hes been
doing with his life. Ive been doing circus professionally for
about six years and only made it close to home one time, so its
really great that Ill be getting the chance to show everyone
what keeps me happy, he says.
And who knows. Maybe Murray will inspire a young kid to follow
in his trampoline steps.
{ SOURCE: Keith Loria, DC Theater Scene | http://goo.gl/ytjBmQ }
Meet Stacey Magiera, TORUK Clanswoman
{Jul.27.2016}
-------------------------------------------------------
TORUK-The First Flight is soaring into the United Center this
August for Chicago audiences and Stacey Magiera is a gymnast in
the show from the Chicago area. She went to Barrington High
School while winning state titles and breaking records. She
earned a gymnastic scholarship at UIC. After graduating she
joined the cast of Cirque de la Mer and Viva Elvis in Las Vegas.
After three years in that show, she transferred to KA at the MGM
Grand. She now takes TORUK on the road and sat down to talk to
Windy City Times about it.
Q. Hi, so you are an Illinois girl?
Yes, I grew up in Jefferson Park until I was 7; then we moved to
Barrington. I went to American Academy of Gymnastics in
Wheeling, Illinois then I did two years of gymnastics at
Barrington High School. I went to UIC and did four years of
collegiate gymnastics there. I really wanted to figure out how I
could make gymnastics work for me after that as a career. I
worked for a show called Cirque de la Mer in San Diego. After I
auditioned they taught me how to do Chinese poles and flying
trapeze into the water. I also did high dives and tumbling
there. That is how I transitioned into circus arts. I made a
demo video from that show with my gymnastics background and sent
that into Cirque du Soleil. Then I was hired.
Q. That must have been great to incorporate gymnastics and
Cirque together.
In gymnastics, you have the four apparatuses where you are doing
it your whole lifebut with Cirque there are so many different
apparatuses to learn.
Q. I saw Viva Elvis in Vegas years ago.
I was in it for the entire run, so you saw me. I was in the
high-bar act. It went through a couple of different versions. I
was in the acrobatic pole act, and I did bungee.
Q. Were you ever tired of Elvis songs?
Actually, no. I was a little bit skeptical moving to Vegas but,
once I got there, my life was off the strip. The strip is for
tourists. Vegas is such a fun place to live. Im an outdoor
enthusiast so I found good hiking and camping. There is a ski
resort 40 minutes outside of Vegas so there was plenty to do.
Q. Do you enjoy traveling on the tours?
I love traveling. It is cool to be on a show that travels every
single week. The first couple of days in the city we have off,
so we have time to explore.
Q. TORUK is Avatar-inspired?
Yes. The show is story-based. It is told through acrobatics,
projections and life-sized puppets. The projections, in
particular, bring the world to life. You will feel like you are
on Pandora.
Q. Do you wear a lot of blue paint?
Yes. My face is all blue and I do my own makeup. It takes about
an hour to do. The rest of the costume is a head to toe blue
body suit. It has UV reflective dots everywhere so it looks like
we are glowing like in the movie Avatar. There are different
clans we play so depending on which clan we have different
accessories that are added to the body suit.
Q. What is your part?
There are five clans and I am in three of them. I am the chief
of the Anurai clan. It is a balancing act on a spinning
skeleton. It is a one of a kind apparatus that they created for
the show. It was cool to be part of the creative process for
that. I am part of the Tipani clan, which comes from the forest.
We do Chinese poles/articulated pole act. It is a super intense
act where we are climbing up and down poles and spinning around
while fighting off viperwolves. I am also part of the Omaticaya
clan, which is from the movie Avatar. I do an aerial rope act in
that clan.
Q. How is the Tree of Souls involved in the show?
Part of the plot is that two young Navi boys go on a quest to
save the Tree of Souls.
Q. How much rehearsal was involved with all of this?
Before the show opened we trained for about four months to
create the show and come up with all of the tricks. Our soft
opening was this past November and we have been touring ever
since.
Q. Are there any LGBT cast members?
There are a lot.
Q. What is the music like?
It is a beautiful score. Most Cirque shows have a live band but
we are traveling every single week we have a track they play. We
do have a live singer and she has a gorgeous voice.
Q. Are cast members hurt in the show ever?
We have been very lucky with injuries. Everyone takes care of
their bodies and does their best to prevent injuries by doing
exercises to stay in shape.
Q. How is it maintaining your physique?
In gymnastics I had to do the same thing. I grew up like that so
it comes naturally.
Q. Do you have to watch your diet?
I train a lot so I burn so many calories a day. It doesnt
really matter but whatever food you put in your body is the
energy you get out so I try to eat healthy. We have a catering
team that travels with us so they cook all of our meals.
Q. Hopefully, you have some Chicago pizza while in town.
Lou Malnatis Pizza is my favorite!
{ SOURCE: Windy City Times | http://goo.gl/Pl2l9I }
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SPECIAL ENGAGEMENT - More In-depth Articles
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Giles Martin on his father: Take a sad song and
make it better is what he did
{Jul.13.2016}
-------------------------------------------------------
Even before the legendary Beatles producer Sir George Martin
died in March, his son Giles found himself the recipient of a
staggering family inheritance. For years, the 46-year-old, a
producer in his own right, has acted as a custodian of the music
of the Beatles.
In recent months, he has been in charge of several major
Beatles-related assignments: new high-definition mixes for the
DVD compilation Beatles 1+; restoration of audio from early
Beatles concerts for an upcoming Ron Howard documentary about
the bands touring years; and preparing the Beatles catalogue
for streaming beginning last Christmas.
Martin is well aware that Beatles devotees the world over are
placing his efforts under an extraordinary amount of scrutiny.
I do a mix, or change something, and Im analyzed and
criticized by everyone, he says, speaking from northern Spain
where, he says only half-jokingly, he is escaping the
Beatlemaniacs.
Martin has non-Beatles assignments too, in film (he worked on
Kingsman: The Secret Service) and as Sound Experience Leader
for Sonos, the wireless speaker specialists. But he acknowledges
that he and the music of the Beatles are by now inextricably
linked.
Its a mixed feeling, he says. Do I really want to have this
around my neck? I mean, to be the son of George Martin and then
doing all the Beatles stuff? I remember voicing this concern to
a producer friend and he said to me, If you dont do it,
someone else would love to do it.
At the same time, I feel deeply honored to be trusted by them,
and by my dad, to be the person that protects it, makes sure
standards are kept, and also innovates.
Most recently, Martin has been revisiting andrevising his work
on perhaps his most high-profile Beatles project. Cirque du
Soleils Love has been seen by an estimated 8 million people in
more than 4,500 performances since it opened in the purpose-
built Mirage Theater in Las Vegas in 2006. The show sees Cirque
du Soleils performers enact their acrobatic feats to the
accompaniment of Beatles songs, from I Want to Hold Your Hand
and Help! through to Something and Get Back.
The shows soundtrack, also released as an album in 2006,
consists of fresh mixes of some songs, together with new sonic
collages and mash-ups concocted by Giles Martin. Drive My Car,
for example, is sliced and diced and combined with The Word;
Within You Without You is laid over Tomorrow Never Knows; and
the sinister waltz of I Want You (Shes So Heavy) barges into
Being for the Benefit of Mr Kite! The mixes are audacious
musical feats worthy of comparison with the most impressive
Cirque du Soleil routine.
The show has been given a makeover for its forthcoming 10th
anniversary, to be officially celebrated on Thursday 14 July,
with brighter costumes and characters (the Blue Meanies, the
grinning beasties from the animated feature Yellow Submarine,
have joined the party), an overhaul of the theatres audio-
visual technology and new imagery from the Beatles film and
video archive. For his part, Martin has spruced up the songs and
setlist adding, among other things, Twist and Shout to inject
some rocknroll energy into the early parts of the show.
There are those who balk at the very idea of Love mostly those
who resist the populist entertainment of Cirque du Soleil. A
number of George Martin obituaries referred to the show as if it
were the result of a lapse of judgment.
It has ample rewards, though, for the open-minded Beatles fan:
the way the opening Hammond organ notes of Lucy in the Sky with
Diamonds flicker to life like fireflies at dusk, or the sensual,
ménage à cinq aerial choreography of Something. One of the most
effective set pieces, to A Day in the Life, might be interpreted
as being about John Lennons relationship with his mother, its
climactic piano chord signifying the devastating finality of
death. With more than 8,000 speakers in the theatre, Love is, at
the very least, a spectacular listening party.
The intention was always to make sure a) the Beatles are happy;
b) I dont screw anything up; and c) the people who actually own
and care for the music, the fans, theyre stimulated by it,
says Martin. Love was really a mission in making people listen
and not merely hear.
Giles Martin first started tinkering with the Beatles music in
the early 90s, when he was still a student. He was brought in to
sessions for the Beatles Anthology albums to provide a second
pair of ears for his father, who had been gradually losing his
hearing. In 1996, Giles again collaborated with his father on In
My Life, a compilation of Beatles tracks that featured an all-
star roster of performers at the mic, including Sean Connery
(performing a spoken-word version of the title track) and Jim
Carrey (contributing keyboards and manic vocals to I Am the
Walrus).
When a Cirque du Soleil/Beatles show was first conceived
George Harrison pitched a collaboration to Cirque founder Guy
Laliberté in 2000 the initial idea was to create new dance
remixes of the old songs, with Fatboy Slim pegged as someone who
might oversee the musical side of things. When Giles Martin
heard of those plans, he suggested an alternative approach, one
that used only the music the Beatles themselves had created. It
would be the gig that never happened, he says.
Martin spent three months working on his mixes, on spec, before
the project even got the green light. I really thought I would
get fired. I didnt think anyone in their right mind would
approve of it, so I just enjoyed it, really.
For Martin, it was thrilling to get inside the original Beatles
recordings, hearing the quirks of isolated vocal and
instrumental tracks. You dont quite believe, with these iconic
records, that somebody actually sat down and played it. To hear
someone talking under a count-in and then playing the bit you
know so well
wait a second, this wasnt magically put on a
tape machine there is actually someone doing this? At the
same time, Martin was nervous about how his experiments would be
received, feeling like he was painting a moustache on the Mona
Lisa
I thought, Oh my God, Im going to get lynched for
this.
As it turns out, Love remains one of Cirque du Soleils most
popular productions. The shows grand opening in 2006 was also
the occasion of the biggest ever reunion of the Beatle extended
family, with Paul McCartney, Ringo Starr, Yoko Ono, Olivia
Harrison, Barbara Starr, Cynthia Lennon, Julian Lennon, Sean Ono
Lennon, Dhani Harrison and George Martin in attendance.
With the death of George Martin, the production has assumed a
new poignancy. Though Martin Sr had reservations about the
project initially, he warmed to it, and father and son ended up
working closely together on it.
I would sit and chop things up and create stuff and think about
the show, he would come in on Thursday, and Id play him bits
and wed talk about it, and just have a nice time together.
Regardless of whether the show was a success or not, I would
always be so grateful for that. Very few people have the chance
of going through their dads dirty laundry for two years.
The show also features George Martins string arrangement
which he composed at age 80, when his hearing had almost
completely deteriorated for George Harrisons acoustic demo of
While My Guitar Gently Weeps. The song, with that arrangement,
was performed at George Martins memorial service.
Theres another reason to recognize George Martins indelible
contribution to the Beatles catalogue in the coming weeks. Next
month marks the 50th anniversary of Revolver, a high point of
his relationship with the band. The album shines with his
production genius: the macabre strings on Eleanor Rigby, the
eerie yelps of backwards guitar in Im Only Sleeping, the Goons-
esque revelry and sound effects of Yellow Submarine and the
startling sonic seance that is Tomorrow Never Knows.
He is
Martin stops himself. He was brilliantly musical.
Dutiful in his approach and sensitive, and at the same time
groundbreaking. Take a sad song and make it better is what my
dad did, and thats his legacy, really. Every time you hear a
Beatles song, hes part of that.
His father was also humble about his legacy until the end,
Martin says. He knew he was going to die, I knew he was going
to die, and I said, Dad, you signed the Beatles. Just think
about that. If you did nothing else, just imagine how much
youve given to the world. And he said, You know? I did the
best I could.
{ SOURCE: The Guardian | https://goo.gl/1sCHul }
Giles Martin Reshapes and Protects The Beatles Legacy
{Jul.14.2016}
-------------------------------------------------------
Giles Martin was seated on a directors chair onstage at the
Love Theater at the Mirage when he was unexpectedly upstaged by
an underdressed interloper.
Im talking and I hear this clapping, and Im saying to myself,
Whats going on? said the son of the late Sir George Martin
an hour or so after he left his onstage session with VIP guests.
I turned around, and there he was.
Martin had been cut off by a knighted former Beatle, Sir Paul
McCartney, clad in sweatpants and a T-shirt. McCartney ran a
circle around the nonplussed Martin, who had risen from his
chair, then bowed to the crowd and posed for a quick photo.
McCartney then grabbed the mic and said, Ladies and gentlemen!
Giles Martin!
With that, he scrambled off.
I hadnt seen him this trip at all, and I was going to text him
yesterday
Martin said, chuckling. But its true, I love him
dearly, I really do. He has been incredibly kind to me, all my
life, and of course my father loved him, too.
There is a familial feeling in the boundless Beatles universe as
the show Love, the fanciful collaboration between the band and
Cirque du Soleil celebrates its 10th anniversary tonight at Love
Theater. McCartney and Ringo Starr are in the hotel now, as are
Yoko Ono and Olivia Harrison to round out the ranking members of
Apple Corps, the Beatles licensing company.
The list of extended Beatles family members expands to attend
the landmark show include Sean Ono Lennon (son of John and Yoko)
and Dhani Harrison (son of George and Olivia). Ron Howard, who
has produced the documentary The Beatles about the band, is
also in Las Vegas for the event.
Giles Martins role in the Beatles stage show has been simple
to describe but nearly impossible to appreciate unless you are
in his position. As the son of the man who produced all of the
Beatles recorded music during their active eight-year run,
Martin was given the bands recorded catalogue and charged with
creating the soundtrack to Love.
It was not easy at first. Martin recalls being afforded access
to the Beatles master tapes at Abbey Road Studios in London,
where the band recorded nearly all of their albums from 1962-70.
I was ostracized, he said. I had engineers at Abbey Road who
would not speak to me, who would turn off the lights when they
left and I was still working. So pure were the Beatles masters
that purists at Abbey Road were rankled even when the tapes were
cleaned up for the bands first CD releases nearly 30 years ago.
And here I come, just destroying everything, Martin said. It
wasnt until Love opened that I was accepted, and that this
work was appreciated.
Martin and Cirque director and writer Dominic Champagne, who co-
created the show a decade ago, were most recently in Las Vegas
in February for previews of the revamped production. The
upgrades have been precise in some areas, profound in others.
A new sound system has boosted the low end of the music, and
such songs as Come Together and Tomorrow Never Knows/Within
You, Without You make your heart jump. Twist & Shout has been
added and I Am the Walrus edited away near the top of the
show. The stage surface is now used for video projections, and
the silhouette artistry on the theaters scrims has been
updated. Most impressively, images and video of the band is used
far more inventively than in the original show; the late Neil
Aspinall, a friend of the band dating to their days of playing
at the Cavern Club, always fought to keep the Beatles images
away from the stage and only at the end of the show, during
the show-closing segment of All You Need is Love was the band
actually shown in performance.
They were very protective of the Beatles image, in case the
show did not work, Champagne said today. Now, we cant get
enough of those images in the show.
Naturally, Martins father was instrumental in the launch of
Love and was on hand for the opening in 2006 and again five
years ago for the fifth-year anniversary. But Sir George died
March 8, just as Giles returned to Wilshire, England, from Las
Vegas.
Martin smiles as he remembers his final chats with his father.
Id ask him questions, Dad, you know, do you ever feel youre
not very good at music? and hed say, What do you mean? I
said, I often feel like I cant do this, if I dont have the
chops and maybe Im just bad at it, Martin recalled. And he
said, No, I never feel that way. I always feel like I am
brilliant.
There is a quick laugh.
I just remember how amazing that was, that he was lying in that
bed, feeling so bad when you are dying, you are not feeling
good, you know, thats the fact, but he had so much gratitude,
Martin said as he looked out at the Love stage. In our
various conversations, I said to him, Dad, youve recorded the
Beatles. Think of how many millions of people youve made happy.
He was very proud of that.
The final artistic contribution from Sir George is the
orchestral arrangement in the stage version of While My Guitar
Gently Weeps. During the number a female artist soars above the
audience as a line drawing is created on the stage below.
Its now hard for me to imagine the song without the
arrangement, Martin said. In some way there is a synergy of
the sound and the line drawing, the new strings my father added
and George recording the song as a young man, with the dancers
movement as she performs
there is all that interplay, and
without that arrangement, it would not be the same.
It is the moment we recall Sir George and his role in the
Beatles family. He said to me, at the end, I did the best I
could. Thats what I keep in mind. When you think of the
Beatles, it is so much more than a show. Its the power of
escapism, and being taken on a journey that makes you feel
better.
{ SOURCE: John Katsilometes, Las Vegas Sun | https://goo.gl/OPyFC4 }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia & Totem}
o) ARENA - In Stadium-like venues
{Varekai, TORUK, OVO & Séptimo Día}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
MJ ONE, JOYÀ & Paramour}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Amaluna:
Knokke-Heist, BE -- Jul 14, 2016 to Aug 21, 2016
Manchester, UK -- Sep 7, 2016 to Oct 9, 2016
Dusseldorf, DE -- Nov 17, 2016 to Dec 18, 2016
London, UK -- Jan 12, 2017 to Feb 4, 2017
Vienna, AT -- Mar 9, 2017 to Apr 2, 2017
Koozå:
Sydney, AU -- Aug 25, 2016 to Nov 6, 2016
Brisbane, AU -- Nov 24, 2016 to Jan 8, 2017
Melbourne, AU -- Jan 20, 2017 to Mar 26, 2017
Perth, AU -- TBA
Kurios:
Washington, DC -- Jul 21, 2016 to Sep 18, 2016
New York City, NY -- Sep 29, 2016 to Nov 27, 2016
Miami, FL -- Dec 9, 2016 to Jan 29, 2017
Dallas, TX -- Feb 17, 2017 to Mar 26, 2017
Houston, TX -- Apr 6, 2017 to May 21, 2017
Winnipeg, MB TBA 2017
Portland, OR TBA 2017
Vancouver, BC TBA 2017
Luzia:
Toronto, ON -- Jul 27, 2016 to Oct 16, 2016
San Francisco, CA -- Nov 17, 2016 to Jan 29, 2017
San Jose, CA -- Feb 9, 2017 to Mar 19, 2017
Seattle, WA -- Mar 30, 2017 to May 21, 2017
Denver, CO -- Jun 1, 2017 to Jul 9, 2017
Chicago, IL -- Jul 21, 2017 to Sep 3, 2017
Phoenix, AZ -- Sep 22, 2017 to Oct 22, 2017
Totem:
Osaka, JP - Jul 14, 2016 to Oct 12, 2016
Nagoya, JP - Nov 10, 2016 to Jan 15, 2017
Fukuoka, JP - Feb 3, 2017 to Mar 19, 2017
Sendai, JP - Apr 6, 2017 to May 21, 2017
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Varekai:
Beirut, LB -- Sep 7, 2016 to Sep 11, 2016
Dubai, UAE -- Sep 16, 2016 to Sep 24, 2016
Doha, QA -- Sep 27, 2016 to Sep 30, 2016
Istanbul, TR -- Oct 5, 2016 to Oct 9, 2016
Milan, IT -- Oct 20 2016 to Oct 23, 2016
Florence, IT -- Oct 27, 2016 to Oct 30, 2016
Bologna, IT -- Nov 03, 2016 to Nov 06, 2016
Turin, IT -- Nov 10, 2016 to Nov 13, 2016
Nantes, FR -- Nov 16, 2016 to Nov 20, 2016
Toulouse, FR -- Nov 23, 2016 to Nov 27, 2016
Strasbourg, FR -- Nov 30, 2016 to Dec 4, 2016
Paris, FR -- Dec 7, 2016 to Dec 11, 2016
Lille, FR -- Dec 14, 2016 to Dec 18, 2016
Lisbon, PT -- Jan 5, 2017 to Jan 15, 2017
Seville, ES -- Jan 18, 2017 to Jan 21, 2017
Gijon, ES -- Jan 25, 2017 to Jan 29, 2017
Sheffield, UK -- Feb 2, 2017 to Feb 5, 2017
Dublin, IR -- Feb 8, 2017 to Feb 12, 2017
Newcastle, UK -- Feb 15, 2017 to Feb 19, 2017
Leeds, UK -- Feb 22, 2017 to Feb 26, 2017
Birmingham, UK -- Mar 1, 2017 to Mar 5, 2017
Nottingham, UK -- Mar 8, 2017 to Mar 12, 2017
Glasgow, UK -- Mar 15, 2017 to Mar 19, 2017
Lyon, FR -- Apr 13, 2017 to Apr 16, 2017
Budapest, HU -- May 12, 2017 to May 14, 2017
TORUK - The First Flight:
Chicago, IL - Aug 3, 2016 to Aug 7, 2016
Indianapolis, IN - Aug 10, 2016 to Aug 14, 2016
Birmingham, AL - Aug 19, 2016 to Aug 21, 2016
Nashville, TN - Aug 24, 2016 to Aug 28, 2016
Evansville, IN - Sep 1, 2016 to Sep 4, 2016
Brooklyn, NY - Sep 7, 2016 to Sep 11, 2016
Newark, NJ - Sep 15, 2016 to Sep 18, 2016
Milwaukee, WI - Sep 22, 2016 to Sep 25, 2016
Minneapolis, MN - Sep 28, 2016 to Oct 2, 2016
Winnipeg, MB - Oct 5, 2016 to Oct 9, 2016
Fresno, CA -- Oct 27, 2016 to Oct 30, 2016
Ontario, CA -- Nov 2, 2016 to Nov 6, 2016
Los Angeles, CA -- Nov 11, 2016 to Nov 13, 2016
Phoenix, AZ -- Nov 16, 2016 to Nov 20, 2016
San Diego, CA -- Nov 23, 2016 to Nov 27, 2016
Sacramento, CA -- Nov 30, 2016 to Dec 4, 2016
Portland, OR -- Dec 7, 2016 to Dec 11, 2016
Philadelphia, PA - Mar 8, 2017 to Mar 12, 2017
Vancouver, BC -- TBA
OVO:
St. Louis, MO - Aug 3, 2016 to Aug 7, 2016
Manchester, NH - Aug 25, 2016 to Aug 28, 2016
Hershey, PA - Aug 31, 2016 to Sep 4, 2016
Hampton, VA - Sep 7, 2016 to Sep 11, 2016
Roanoke, VA - Sep 14, 2016 to Sep 18, 2016
Orlando, FL - Sep 21, 2016 to Sep 25, 2016
Estero, FL - Sep 28, 2016 to Oct 2, 2016
Jacksonville, FL - Oct 5, 2016 to Oct 8, 2016
Erie, PA - Nov 17, 2016 to Nov 20, 2016
Kingston, ON -- Dec 7, 2016 to Dec 11, 2016
Detroit, MI - TBA
SÉPTIMO DÍA NO DESCANSARÉ:
Buenos Aires, AR -- Mar 9, 2017 - Apr 16, 2017
Cordoba, AR -- May 2017
Lima, PE -- June 2017
Santiago, CL -- July 2017
Bogota, CO -- September 2017
Mexico City, MX -- October 2017
Guadalajara, MX -- November 2017
Monterrey, MX -- December 2017
Select US Cities -- 2018
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
2016 Dark Dates:
o September 10 14
o November 9
Special / Limited Performances:
o June 18, 2016 (Only 7pm performance)
o June 19, 2016 (Only 7pm performance)
o December 29, 2016 (Two Shows)
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 9:30pm (as of Aug 12, 2015)
2016 Dark Dates:
o August 1-9
o October 9-11
o November 28-December 13
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7:00pm on the following days in 2015: January 20,
May 8, May 15, May 19, May 20, and December 31)
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7 pm performances on May 9, 16 and June 21)
2016 Dark Dates:
o September 15 - 23
o November 23
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7:00p.m. on May 15-16, June 19-21, December 31)
(Only 4:30p.m. & 7:00p.m. performances on July 4)
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Two Shows Nightly - Dark: Wednesday/Thursday
Schedule: 7:00pm & 9:30pm on Friday, Saturday, Monday & Tuesday
4:30pm & 7:00pm on Sunday
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
PARAMOUR:
Location: Lyric Theater, Broadway, New York City
Performs: Wednesday through Monday, Dark: Tuesday
One/Two Shows Daily:
2:00pm (Wednesday)
7:30pm (Thursday & Monday)
8:00pm (Friday)
2:00pm & 8:00pm (Saturday)
2:00pm & 7:00pm (Sunday)
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) WEBSERIES -- Official Online Featurettes
o) FOTOS -- Images From Cirque & Other Photographs
o) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
WEBSERIES: Official Online Featurettes
---------------------------------------------------
*) DHL: GREAT IS IN THE DETAIL
A lot has changed since the world's number one grossing live
entertainment tour got its start in Quebec in 1984. Thirty
years on, Cirque du Soleil has become a part of the DHL
partnership program, which will help bring the spectacular
troupe of performers and acrobats to cities around the globe.
"Not your average circus," the spectacular troupe of acrobats
and performers has had more than 140 million spectators since
its inception in Quebec in 1984. With shows in 300 cities on
six continents, the partnership is the perfect fit for DHL's
global logistics capabilities. Join us as we go behind-the-
scenes with Cirque du Soleil on tour with "Great is in the
Details" and learn how DHL and Cirque are working together!
o) EPISODE 14: BRINGING TO LIGHT (KURIOS)
May 13, 2016
In episode 14 of the Great is in the Detail series we learn
the challenges of lighting a show. They must ensure the
directors vision is created whilst allowing artists to
perform their acts without distraction.
LINK /// < https://youtu.be/qXyp17B7goI >
o) EPISODE 15: MUSICAL CUES
June 22, 2016
In episode 15 of the Great is in the Detail series we
understand how the artists and musicians rely on each
other during the performances. We discover how composers
are inspired by the artists and how the artists are
inspired by the music.
LINK /// < https://youtu.be/DU8VTMxyrX0 >
o) EPISODE 16: TRACKING TALENT
June 27, 2016
In episode 16 of the Great is in the Detail series we learn
how Cirque du Soleil finds and fosters the amazing artists
that perform in their shows a process that can take
months and months and requires a deep understanding of the
show from the moment of inception.
LINK /// < https://youtu.be/s1Bh8E5qHCY >
Check out all the other episodes of this great web series
here: < http://www.cirquefascination.com/?page_id=8126 >
*) THE BEATLES LOVE 10TH ANNIVERSARY
We celebrate the 10-year anniversary of The Beatles LOVE with
a look at the evolution the beloved Las Vegas show.
o) INSIDE LOOK: OCTOPUS' GARDEN
Immerse yourself in the underwater world of the
revamped Octopus Garden scene
LINK /// < https://youtu.be/pQbuEGki2A4 >
o) BEGINNING OF EVOLUTION
The Beatles LOVE celebrates 10 years on the Las Vegas
Strip. Join us as we take a peek into the evolution of
the show for this fantastic celebration.
LINK /// < https://youtu.be/VCnwkG5GAtQ >
o) INSIDE LOOK: "TWIST AND SHOUT"
We are mesmerized by electrifying performance for
the new Twist and Shout scene
LINK /// < https://youtu.be/pNTa5bRlYOs >
o) EVOLUTION OF SOUND
Rock & Roll has never sounded better. Immerse yourself in
the updated sound at The Beatles LOVE by Cirque du Soleil.
LINK /// < https://youtu.be/TjlpOa5oAKE >
o) EVOLUTOIN OF PROPS
Join us backstage and discover the fun and unique props
that make The Beatles LOVE by Cirque du Soleil a one of a
kind experience.
LINK /// < https://youtu.be/CJa_f01sG5s >
o) INSIDE LOOK: "YESTERDAY"
Go behind the scenes of the beautifully reimagined
acrobatic performance for Yesterday
LINK /// < https://youtu.be/qPAg_TiCO3g >
o) EVOLUTION OF COSTUMES & MAKEUP
The costume and makeup teams creative process continue
to evolve with the show.
LINK /// < https://youtu.be/ObPY2Wgq8qs >
o) 10TH ANNIVERSARY CELEBRATION
Its like living in a dream! 10 incredible years and The
Beatles LOVE by Cirque du Soleil is brighter, bolder, and
bigger than ever! Hear it straight from the heart of some
of our biggest fans!
LINK /// < https://youtu.be/OqJVfwNPOW4 >
---------------------------------------------------
FOTOS: Images From Cirque & Other Photo Links
---------------------------------------------------
AMALUNA -- https://goo.gl/itlvhD -- Intermission Selfie
AMALUNA -- https://goo.gl/Aq6emN -- Goodbye Artistic Director
KOOZA -- https://goo.gl/EYLA9L -- Reflecting on a Good Day
LUZIA -- https://goo.gl/ghPK31 -- Oyuna meets Aleksei
LUZIA -- https://goo.gl/L5Fmeh -- Last FeW Shows in Montreal
LUZIA -- https://goo.gl/oNg7Tu -- Goodbye Montreal #1
LUZIA -- https://goo.gl/2XnLHP -- Goodbye Montreal #2
LUZIA -- https://goo.gl/4Phs6h -- Goodbye Montreal #3
LUZIA -- https://goo.gl/dixKlg -- Goodbye Montreal #4
LUZIA -- https://goo.gl/5FzJK4 -- New Look for Hummingbirds?
"O" -- https://goo.gl/VHnBYn -- Lining Up for Swim Trials
OVO -- http://goo.gl/7v9nFC -- OVO in the Streets
OVO -- https://goo.gl/Lv9J3I -- Green on Green is Bad!
LOVE -- https://goo.gl/lhY23y -- Come Together
SCALADA -- https://goo.gl/gdjMv0 -- Scalada Vision Premiere #1
SCALADA -- https://goo.gl/7DPJwN -- Scalada Vision Premiere #2
SCALADA -- https://goo.gl/87oQx4 -- Scalada Vision Premiere #3
SCALADA -- https://goo.gl/bc8NXl -- Scalada Vision Premiere #4
TORUK -- https://goo.gl/9uQCrk -- How Long Can You Handstand?
TORUK -- https://goo.gl/w4osux -- Time Flies!
TORUK -- https://goo.gl/eDpPIl -- In The Streets of Lincoln
TOTEM -- https://goo.gl/ljwQuN -- Congrats Hideto Okuzawa!
TOTEM -- https://goo.gl/MMWA9O -- On The Streets of Tokyo
VAREKAI -- https://goo.gl/1OogDF -- Performance at Palacio Carlos
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
AMALUNA -- https://goo.gl/f7LVkd -- Artists in Knokke
AMALUNA -- https://goo.gl/Yp4aP1 -- Premiere in Knokke
AMALUNA -- https://goo.gl/nx5ZcD -- Thank You Knokke
AMALUNA -- https://goo.gl/blFTx8 -- More Knokke-Heist
JOYA -- https://goo.gl/oSJ6b1 -- Meet Antonio Herrera
KA -- https://goo.gl/ENU8kr -- Making of KA Video
KOOZA -- https://goo.gl/Ox1vsC -- Teeterboard Training #1
KOOZA -- https://goo.gl/UmuibJ -- Teeterboard Training #2
KOOZA -- https://goo.gl/fnWi9p -- Last Shows in Santiago
KOOZA -- https://goo.gl/D0vpsO -- G'Day Aussies!
KURIOS -- https://goo.gl/u0ybdE -- Ryan Applies Makeup!
KURIOS -- https://goo.gl/J4gGlj -- One Hour Until Showtime
KURIOS -- https://goo.gl/TjAPZk -- Premiere at Tyson's Corner
LOVE -- https://goo.gl/Y1Klio -- Happy Birthday Ringo!
LOVE -- https://goo.gl/j7WjHb -- The Magic of John Lennon
LOVE -- https://goo.gl/WRusIe -- Surprise Visit by Paul McCartney
LOVE -- https://goo.gl/ycmFEm -- New Banner at The Mirage
LOVE -- https://goo.gl/1yEjlP -- 10th Anniversary Celebration!
LOVE -- https://goo.gl/hjOjiX -- A 10th Anniversary Thank You
LOVE -- https://goo.gl/jSMMeV -- Love to LOVE
LUZIA -- https://goo.gl/zNgqO7 -- Meet the Juggler!
LUZIA -- https://goo.gl/KELOsy -- Step Onto a Mexican Movie Set
LUZIA -- https://goo.gl/yjht96 -- Celebrating 100 Shows!
LUZIA -- https://goo.gl/GoIjdL -- Los. Mos. Qui. Tos.
LUZIA -- https://goo.gl/gLmdSZ -- Band Says Goodbye at HQ
LUZIA -- https://goo.gl/lLCVi1 -- Goodbye Montreal!
LUZIA -- https://goo.gl/r9M0St -- We're Coming Toronto!
LUZIA -- https://goo.gl/jfN63U -- Dive Into a Cenote
LUZIA -- https://goo.gl/kGG1ba -- Training in Toronto
LUZIA -- https://goo.gl/YQC6Q9 -- Meet Krzysztof, 360 Swing Artist
LUZIA -- https://goo.gl/KALbvo -- Meet Jonas, Head Carpenter
LUZIA -- https://goo.gl/B4XZ86 -- Majo & Erini Singing Acapella
"O" -- https://goo.gl/a1OGBG -- Makeup Application
OVO -- https://goo.gl/K0bnoY -- Canada Day Celebration
OVO -- https://goo.gl/ZUQtUC -- Thanks Windsor, Hello Memphis
OVO -- https://goo.gl/IF8h4p -- Sunday Brunch w/Ants
OVO -- https://goo.gl/id66bE -- Hello, Chattanooga!
OVO -- https://goo.gl/dZQ7ug -- 360-Degree Rehearsal Video
PARAMOUR -- https://goo.gl/Kwkg5q -- Atherton's in Time's Square
PARAMOUR -- http://goo.gl/16EScD -- Ryan Vona at the Today Show
PARAMOUR -- https://goo.gl/Ay7pr3 -- Stunning Acrobatics Look Easy?
PARAMOUR -- https://goo.gl/w9XC0M -- Ruby Lewis on Recording Album
SCALADA -- https://goo.gl/KdZXgm -- Discover Scalada: Vision
TORUK -- https://goo.gl/vztQu3 -- 5@5 w/Gabrielle Martin
TORUK -- https://goo.gl/AzG0YB -- 5@5 w/Elizabeth Brown Gagnon
TORUK -- https://goo.gl/ovrJfa -- 5@5 w/Thomas Hubener
TORUK -- https://goo.gl/tB5kCc -- Two Week Break!
TORUK -- http://goo.gl/EB29bz -- 9 Secrets That May Surprise You
TORUK -- https://goo.gl/IbmWGO -- More Shows in Chicago, Yay!
TORUK -- http://goo.gl/S1OuGx -- KDVR Goes Behing the Curtain
TOTEM -- https://goo.gl/dKQVmV -- Hello Osaka!
TOTEM -- https://goo.gl/OvtTfN -- Dress Rehearsal Day
TOTEM -- https://goo.gl/LfqrsR -- Premiere in Osaka #1
TOTEM -- https://goo.gl/fEldU5 -- Premiere in Osaka #2
TOTEM -- https://goo.gl/oXSHAu -- Glimpse of High Bar Training
VAREKAI -- https://goo.gl/KGev9W -- Announcing UK Tour!
VAREKAI -- https://goo.gl/Xr5mYj -- Performance at the Alhambra
VAREKAI -- https://goo.gl/IbfpZF -- Wishing You a Soaring Summer
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "ALAIN VINET: 'Secrets of the Gods' (Part 1 of 2)"
Interview by: Keith Johnson & Ricky Russo
o) High Flyer Daniel Lamarre: A Tour de Force
By: Lynn Gauker | Fifty-Five Plus Magazine
o) "From Street Performer to Boho Billionaire...
Meet Guy Laliberté" By: Diane Solway | W Magazine
------------------------------------------------------------
"ALAIN VINET: 'Secrets of the Gods' (Part 1 of 2)"
Interview by: Keith Johnson & Ricky Russo
-----------------------------------------------------------
As long-time amateur journalists, we are used to requesting time with
artists, creatives, or executives at Cirque du Soleil. We are curious
about so many things at a company that does numerous interesting,
creative and unique things as an everyday occurrence of its existence.
While we are used to asking, it is highly unusual for us ourselves to
be asked. But such was the case when we got a message from our friend
at Cirque Corporate Montréal, Musical Director Alain Vinet (Al-ahn
VEE-nay), to spend some time with him catching up on Cirques latest
music voyages.
Long-time readers have enjoyed conversations with Mr. Vinet twice
before in these pages. There was our initial discussion in 2009 with
our article, Moving Cirque (< http://www.cirquefascination.com/?
p=1597 >) where we discussed creation of the 25 2-CD retrospective
set (2009, CDS Musique 10030). And again in 2013 with our article,
Facilitating the Journey (< http://www.cirquefascination.com/?p=3960
>) where we discussed creation of the CDs for Totem (2010, CDS
Musique 10034) and Amaluna (2012, CDS Musique 10046).
But discussing the latest Cirque Music (of which there has been much
lately) wasnt the primary factor for him. He also wanted to respond
to erstwhile Editor Richasis review of the broadcast version of
Cirques 30th Anniversary Concert, Celebrating 30 Years Through
Music (< http://www.cirquefascination.com/?p=5487 >. There Ricky
raised several questions about song and singer selection, which Mr.
Vinet felt could best be answered in an interview. That conversation
will print in our next issue, but for now lets talk with Mr. Vinet
about the latest Cirque musical efforts!
LUZIA
-----
We started with the latest Cirque show CD release, Luzia (May 13,
2016, CDS Musique 10053). When we talked back in April the show was
just about to premiere, with an extra amount of time for previews for
a Big Top show, two weeks instead of the usual one. It was due, Mr.
Vinet explained, to scheduling conflicts. Because of problems
coordinating [the schedules of] everybody involved being able to be
there for the Premier, they gave us an extra week of previews to fix
things. Normally we open the big top shows for previews and a week
later do the Premier. This time because of scheduling circumstances
[there was a delay, but] it makes everybody happy to have an extra
week to breathe before. I dont know [if its a trend.]
In what we think is just the second time for a CDS Musique release,
the CD for the show was available on the first day of premiere in
Montréal! Usually it isnt available until several months after a
show has set off on its journey, allowing time for the show to settle
and go through what Cirque calls fixation. This time there was
another mandate, which came,
from the heavens! Actually [it was] one
of the things that changed when Guy sold 90% of the shares of Cirque,
decisions like [having] the CD ready by a certain date resides with
someone else. Not having the CD ready for the opening of the show
[meant we] were losing a lot of money, because the markets we go to
first - Montréal, Toronto and San Francisco - are always big markets
for us. (They are three of Cirques largest worldwide markets, that
generally occur in the first six months of a shows life.)
But producing a CD in parallel with a shows creation brings other
issues to the fore, such as whether the sound of the show is
represented in the CD, and the use of creation musicians. The
difference between the music on this CD and its arrangement in the
show, he explained, is like the difference [between] Montréal versus
Seattle. (Laughs.)
In addition to having a product for sale in important early markets,
the nature of the show (being inspired by Mexico) was another reason
to move forward quickly and use a different production/recording team.
The idea was to also create credibility in the Latin pop market.
Because it's a show about Mexico we wanted to represent the modernity
of Mexico. So I thought the CD would be the perfect way to do that,
[given that we had] to have the CD ready for the premiere. I thought
it was the perfect place to represent the modernity, and [allow us] to
tap into that Latin America music market before the show actually
[starts touring there.] For the first time the CD has the chance to be
the ambassador.
The moved-up timeline also meant the trend of using creation musicians
to record the soundtrack CD had to be abandoned. It was not possible
to use the creation musicians, because they [had just] arrived for
rehearsals in January, they didnt know the songs yet. And they were
busy because they had mis-en-scene, costuming, makeup, and all that to
learn. So it was impossible for us to get [access to] them while they
were in creation.
But the demand was to have a CD for the Premier of the show. And we
came to the conclusion that we could get somebody from Mexico to
actually do the recording with real Mexican musicians that had the
soul we were looking for to make the record authentic.
The need for a pair of music pieces from the show to be available
immediately for use in promotion materials presented the Cirque team
with another challenge, but also an opportunity. I proposed [the
production duo of Ramón Amezcua (DJ moniker Bostitch) and Pepe Mogt
(Fussible), known as Nortec Collective (Found at nor-tec.org or
https://www.facebook.com/nortecbf/)] to (Luzia composer) Simon
Carpentier (simon-carpentier.com) and said lets work with these guys.
And Simon actually knew them and loved what they did. Obviously they
are two DJ producers but they always keep the traditional instruments
of Mexico, like tuba, trumpet, accordion and guitar in their music,
and it's very, very cool what they do. So we were both in agreement
that this would be the perfect [solution] for the two singles.
The first two we did were the first piece on the CD, Asi Es La
Vida, and we also did, Los Mosquitos. We didnt want any vocal
songs because we were using them for marketing purposes. So we tried
that and we actually loved working with them; they are sweethearts,
they are really good at what they do, and really fast.
[Another] reason to use this particular team [was that] from the
beginning of creation we had heard a lot of statements [that suggested
that] okay, yes, we are doing a show on the Mexican culture, but we
also need to represent what it is today. In the show itself it's a
little bit tough to do because obviously we are more into an acoustic
setting, more into musicians playing live etc. etc. And to put
electronic or trendy music in the show was a little bit more
difficult.
Satisfaction with those first two tracks gave Cirque the confidence to
use the team to produce the entire soundtrack using their own
musicians. The CD provided the perfect opportunity to incorporate the
modernity of Mexican electronic music by being produced by the Nortec
Collective duo. But at the same time, there was concern that the sound
of the CD would not quite match the sound of the music as played in
the show itself. That being said, I asked them to put inspired by
the music of the show (on the cover) because it is quite different. I
am hoping this is not going to be a double-edged sword where people
expect the show to be as electronic as the CD (or the CD to be as
acoustic as the show, for those buying it as a souvenir of the show).
When you buy the CD [as a souvenir], that notion of inspired by
kind of excuses that. That was one of my first concerns when they
asked me to have it ready for the premiere. I said, Look, we've seen
in the past that when the music you buy is not what you hear in the
show sometimes there are complaints. But let's try something new. That
is why, if you [look at] the sleeve it's very clearly indicated that
it's inspired by the music of Luzia. That was something that I
insisted upon from the beginning, because obviously fixation [had not
been done].
We [had the same] experience [on] Toruk. I was asked to deliver the
master in October in order to have it for the Premier in Montréal in
December. Guy [Laliberté] didn't oppose it. Now that he's sold he's
letting a lot of it go and not making a lot of business decisions,
[though] he is on board as a lead creator. [Previously] Guy always
insisted that we wait until we actually had a show before we produce
[a CD] for it. So you could say this is one of the things that has
changed since the sale. With an average lifespan of 10-15 years,
having a show CD accurately reflect the music as played in the show
could be a major consideration over the long term that might not be as
important to an ownership whose plans are to increase the value of the
company and then sell within the next 5 or so years, and thus not be
around to deal with the consequences of shorter-term decisions.
What Luzia CD tracks appeal to him? That's a tough one. Obviously the
three vocal songs are right up there, theyre the main things
actually. (Those would be the ones creation singer Maja Cornejo
sings on; 2-Tiembla La Tierra, 4-Pambolero, and 9-Cierra Los
Ojos.)
JOYÀ
----
As opposed to Luzia, the original creation musicians team of: Sophie
Guay Vocals; Benoit Martin Guitars, Bandleader; Abraham G.
Buchanan Drums; and Bryden Baird - Trumpet, were part of the
recording of the Joyà CD (Dec 24, 2015, CDS Musique 51919). And that
was due to a clever plan on Mr. Vinets part. They had a break in, I
think it was September, 2015, in which they were all coming to
Montréal. The show was going dark for, like three months or something
like that, and some people were going back to their families. So what
I did was contact them and ask if we could have them all for two days
in a row, the four musicians [in the studio] at the same time, to get
the spirit, instead of recording the drums one day and something else
the next. Because you can record the drums first, then the bass, then
the guitars later, but you miss the chemistry of the people playing
together.
The only way to do this project was if we [played the entire] show,
and that's exactly what we did. We took the Ableton Live tracks of the
show (a software package that plays additional music tracks and
samples in sync with live performance) and transferred the playback
tracks, so as they were playing along we could skip the parts we did
not need. All the big numbers we recorded as if we were doing the
show, and we edited it later. It was a lot easier on the musicians
because they didn't need to learn a new [arrangement]. It was done
quickly, but the recordings were amazing. Rob Heaney, our recording
engineer, was there with me helping to guide them. So when we finished
in the studio the job was pretty much done; we just had to edit a
little and mix, but the tracks were already good.
This plan had a number of advantages. Less time commitment from the
musicians was one; two days in the studio is way under the norm for
the average CD. The resultant tapes had the sound and feel of the
show in live performance. And less studio time meant less expense.
What is his favorite track? It's a [medley of] three transitional
songs, [with] a little of the Brazilian vibe in the middle, called
The Dive. It starts very, very soft. It has a very soft intro where
we really hear Sophie (Guays) voice perfectly. Then we go into that
little bit of Brazilian feel, which is not like that in the show but I
decided to make it a little bit more rhythmic. There's a lot of music
in Joyà that [is transitional], a minute and a half here, two minutes
there, [and they] kind of glide into one another. When you don't have
the visual it's hard to use those little snippets. This one I
particularly like the melodies.
TORUK
-----
Another 2016 CD release in a busy year for CDS Musique is the
soundtrack from the James Camerons Avatar-inspired Toruk-The First
Flight composed by Bob & Bill (Guy Dubuc and Marc Lessard (Feb 5,
2016, CDS Musique 10052). This arena show features pre-recorded
musical tracks, though occasionally accompanied by a live singer.
Since the music was pre-recorded the tracks were already available,
which allowed the CD to be produced in parallel with creation and
ready by Premiere. Those tracks were used to create the CD. Maybe
mixed a bit different, with some secrets that Rob and I [added].
We had a mandate to not go too electronic because the context of the
music is you're on the planet Pandora. On Pandora there is no metal,
so crashes and all of that had to be foregone. It's really interesting
the way Marc and Guy approached it. Some [sounds were made by playing
on] wood in the forest to make percussion sounds. All kinds of things
like that, using instruments that were out of this world, not using
the typical guitar, bass, drums. Of course there are drums, of course
there is guitar, of course there is bass, but not using them in a
typical format. That was the mandate Guy gave them, he suggested that
maybe on this planet it's not chromatic. So they got inspired and went
in a lot of different directions. They had to create a unique musical
color for each of the clans, and in some of the clans there are
voices. And there are a lot of voices in Toruk.
The CD also features appearances from several Cirque creation musical
veterans, including:
o) Julie McKinnes from O, KÀ and Amaluna (Lead vocals and
Cello on Viperwolves/Timpani Clan)
o) Isabelle Corradi from Alegria and Varekai (Lead vocals on
Kekunan Clan)
o) Christian Laveau from Totem (Lead vocals on Luminous
Reunion)
o) Wayne Hankin from Varekai (Tramp (Jews Harp) on Shaman
Story)
They appear because,
they are in the show, [their] parts are in the
playback. There is a singer, but the singer is there more to help lead
the storyline. The [live] singer represents the head clan.
Mr. Vinets favorite? Takwami Clan. The one where Elsieanne
(Caplette) sings.
OTHER FORTHCOMING CDS
---------------------
We also had a moment to talk about some forthcoming music projects.
The Broadway Cirque show Paramour will be getting a CD produced by Mr.
Vinet himself! Recorded in one day(!) with the band and vocalists
recording simultaneously (as many Broadway musical CDs are) in a
recording space at Avatar Studios in New York (which was previously
known as the famous Power Station), the CD will be released in digital
format on August 22, 2016 and out in CD form on September 16.
In addition, the Soda Stereo musical project (now called Séptimo Día
No Descansaré Seventh Day-I Will Not Rest) is also toward a March
9, 2017 premiere in Buenos Aires. (Tickets are on sale now; our South
American readers can pick them up HERE < http://goo.gl/D0EgN5 >. The
forthcoming CD should be interesting, since the music is moving in a
direction,
more like Beatles Love. The two remaining band members
are having fun in the studio rehashing their old songs to make them
fit whatever (show director) Michel Laprise has in mind.
NEW CONSIDERATIONS
------------------
One commonality between the CDs discussed above that Cirque music
fans like us tend to notice is that the songs on the CDs are getting
shorter and the album total times are getting shorter. Toruks total
time is 46 minutes, Luzia comes in at 44 minutes, and Joyà clocks in
at only 36 minutes. We wondered if this was a trend. Again, the
answer is not so simple. And no small part of it is that soundtracks
and videos are no longer considered just brand extensions souvenirs,
mementos they are treated as profit centers as well. So such
concerns as how much time is spent in a recording studio, and thereby
how much material is recorded for a particular shows CD, becomes part
of the financial calculation.
It's trying to optimize what we do for the return we get. In the
music business, its commonly known that when you pay an artist for
one session you are allowed [to record only] 15 minutes of music for
the CD maximum. We [also] try to keep each song under 5 minutes just
to make it a more coherent experience instead of having 7 minutes
arrangements that get boring after a while.
And in the case of Joyà the show itself is 77 minutes if you count
the intro. There is a lot of transition music but there are only eight
[songs]. So I tried to combine some transitions to have [more] music
on the CD. So that's why we ended up with a 35-36 minute CD that you
can listen to from one end to the other and it flows kind of like the
show.
The wide variety of delivery methods, especially digital, would
suggest more possibilities for special or expanded releases of show
soundtracks. But, as Mr. Vinet points out, The downside to special
releases is that it's like the 30th Anniversary Concert. It's not
necessarily designed as a wide appeal kind of product, it's more a
specialty kind of product, like the three-disc special edition of
Varekai was. It was designed to fill in the gaps that the regular CD
missed.
Without looking at the business aspect, I could see how one might
think that we could take everything we ever put out and put it on
digital really easily and cheaply. If there were ways to increase the
availability and variety of Cirque music, the different kinds of
music, or the different forms music can take, through some sort of fan
club or special edition kind of thing, yes, I would encourage that
very much.
But again, financial considerations Cirque fans might not be aware of
are a large reason why we dont see those releases. All it boils down
to is that each time you make a master and use it commercially you
have to pay everybody again. That's where it gets incredibly cost
ineffective.
Last time, we talked about Mr. Vinets involvement with CDs in terms
of working with composers on the arrangements. Have those
responsibilities evolved? I'm continuing to do that except that going
forward I am getting more and more involved in the actual production
process, which is what I did for a living for years as a DJ. So I got
really interested in being part of the team that actually produces the
CD. And especially with Bob and Bill; when they came on board I'm kind
of the person that opened that door for them.
When you are actually in a creation it's hard to be objective
afterward and produce the CD. So as we did [with the Bob & Bill-
composed shows] Totem (2010, CDS Musique 10034), Amaluna (2012, CDS
Musique 10046), and Kurios (co-composed with Raphëal Beau, 2014, CDS
Musique 10051) where they were involved for the last part, it became
obvious that I [could] come in and co-produce with them. For Totem and
Amaluna [Bob & Bill] laid the groundwork. Rob Heaney and I then went
in and did the mix and all the edits to get the songs into a proper
listening mode, like a pop song if you will. So that became my role,
but instead of giving the orders I actually did it. Which is more fun
for me! (Laughs.)
* * *
Next Month, we talk about the 30th Anniversary Grand Concert. And,
what they were thinking!
------------------------------------------------------------
High Flyer Daniel Lamarre: A Tour de Force for Cirque
By: Lynn Gauker | Fifty-Five Plus Magazine
A Special to the Fascination! Newsletter
-----------------------------------------------------------
TORUK The First Flight is one of Cirque du Soleils three latest
death-defying acts to thrill audiences around the globe. The
multimedia show brings to the stage the enchanting world of James
Camerons AVATAR. Propelled by an uplifting cinematic score, TORUK is
an eclectic fusion of cutting-edge visuals, puppetry, and, of course,
Cirque du Soleils signature acrobatic style.
The combination of athleticism, balance, theatrical performance and
imagination that fuels the show equally underscores the pioneering
spirit of C. Cirque du Soleil is, today, a junction between sports
and cultural performance. Maybe because I was both playing football
and doing theatre as a youth at high school, that was an indication of
what I would do later on, says the organizations iconic leader,
referring to his eventual entry into the world of Cirque.
At age 62, Daniel is a study in subdued exuberance and understated
boldness. He believes the ability to tap into ones imagination and
creativity in the workplace is paramount to achieving success.
Bringing on new projects is what I enjoy the most. I had a blast on
December 21 at the Bell Centre watching TORUK, our new show; seeing
[Canadian filmmaker] James Cameron as excited as I was; seeing
everyone from Cirque being so proud about having this opportunity,
Daniel exclaims about the act running through Quebec, the U.S. and
Ontario from January to September 2016.
CRAVING CREATIVE CHALLENGES
I was like a kid that night, and I hope I will never lose the spirit
of looking for new creative challenges, Cirques enterprising chief
maintains. It started with an informal conversation when James
Cameron invited me to his studio while shooting the first AVATAR
movie, and building this type of relationship is very important.
Seated in his creative-chic Montreal office, Daniels eyes twinkle as
we converse. He enjoys talking about what it is like to run the
phenomenally popular, multi-billion-dollar organization located in St.
Michel, an inner city of Montreal, Quebec.
Perhaps fittingly so, the leader of Cirque du Soleil admits that what
is also key to achieving corporate success is his ability to be
someone who is striving to have fun all the time, as much as
possible.
As the head of the worlds largest theatrical producer, Daniel is in
charge of generating strategies for business development and
operations. He is also accountable for the companys financial
sustainability, as well as its culture and values.
Although Daniels world evokes images from Lifestyles of the Rich and
Famous, his life was not always glitz and sparkle. Cirque du Soleils
chief grew up in the tiny village of Grand- Mère, then a municipality
in central Quebec, located 35 kilomeres (22 miles) north of Trois-
Rivières. Today, Grand-Mère forms part of the City of Shawinigan.
Founded in 1898, Grand-Mère is an important railway and river
transportation centre serving the lumber, pulp and paper,
hydroelectric and textile industries, and is surrounded by verdant
nature: forested hills, lakes, flat plains and farms.
Growing up in the small community, Daniels family faced financial
hardship early on. We were quite poor, but I never felt that we were.
It was only when I became an adult that I realized we had not been
rich. But money was never an issue because we had so much fun, he
recalls. Moreover, village life helped Daniel develop a strong sense
of self and solid values essential to how he would transact business
down the road.
YOUNG ATHLETE
Since childhood, Daniel has been fascinated with the entertainment
world. Grand-Mère, however, offered little opportunity in that field.
Montreal was the entertainment scene, the big city, and almost
unachievable for me. The youth focused, instead, on athletics
primarily hockey and track and field, and later on, football. I was
successful [academically], but if I would have had an hour to play on
an ice rink or read a book, I would spend it on an ice rink.
Daniel went through training camp and was selected for Trois-Rivières
junior hockey team. But I was studying at a private high school that
was very tough on its students. They called my parents and convinced
them I should not play for the junior hockey team, but only for the
school. At the time, I was very upset, but that was probably the very
best thing for me, because I could concentrate on my studies and not
lose all my teeth playing hockey.
The Grand-Mère native quickly switched sports and wryly admits he was
the only student playing for his schools football team while enrolled
in performing arts and acting in the schools theatre troupe.
Despite their differing opinions over playing hockey, Daniel was, and
still is, very close with his parents, Gilles and Pauline Lamarre. His
mother has always been a positive influence on the family. His father
instilled in him great confidence, along with his two younger sisters
and two younger brothers. He always supported us in a way that made
us feel we were the best and led us to believe we could do anything we
wanted to in life.
POSITIVELY RESILIENT
Having been raised in a very positive home environment, Daniel admits,
I run away from negativity as much as I can. He chuckles, his wide
smile illuminating his strong, artistic facial features. I like to
think positively, and I think I am resilient. When people come to my
office with a problem, they should have a solution.
Along with athletes and actors, who ranked high on Daniels list of
favourite people when he was a boy, so did entertainers including
circus performers. The first time I went to the circus, I was
probably six. It was a small circus called Kermesse, travelling around
Quebec, and being broadcast by Radio- Canada. I was really impressed.
Although he had developed a dynamic, hard-working approach to life at
a young age, Daniel never thought he would one day become a public
figure. Even today, he confesses, Imalways surprised when Im at
the airport and someone says, Mr. Lamarre, congratulations on Cirque
du Soleil.
BOLD CAREER MOVES
Throughout his life, Daniel has had a steady, strategic progression
from one career to another, starting at the age of 16. At that time,
the youth enjoyed working as a journalist for Le Nouvelliste de Trois-
Rivières, the local daily. It was a bold move for someone his age, and
the first of many in his career.
The fledgling journalist also worked for Radio- Canada in Trois-
Rivières while completing CEGEP, before leaving in 1972 to study
communications at the University of Ottawa the initial turning point
in his life.An added bonus about studying in Ottawa was learning the
English language, because there was no one in Grand-Mère who spoke
English.
Daniel was among the first to graduate with a degree from the
universitys new faculty of communications. Within less than a year of
graduating, he returned to Trois-Rivières to assume the position of
communications director for the Fèdèration des Caisses Populaires du
Centre du Quèbec. One year later, in 1977, he left to take on the role
of public relations director for Montreal-based Cogeco Inc., a
telecommunications and media company.
These career moves would set the pace for Daniels rapid ascent up the
corporate ladder, and led to the second key turning point in his life.
In 1981, the forward-thinking 28-year-old joined Burson-Marsteller in
Montreal the worlds largest public relations firm as its
president and CEO.
But a new corporate lure was soon to surface, and in 1984, Daniel left
Burson-Marsteller for the position of executive vice-president and
senior partner at National Public Re- lations (NPR), Canadas largest
privately-owned public relations firm. NPR came to me and asked me
why I was working for a foreign-owned organization, saying I should be
doing the job of an entrepreneur and should join them as a partner,
he recalls. It took me a while to make up my mind, but I liked the
idea of becoming independent.
A RISING STAR
In the early 1980s, the same time Daniel was establishing himself in
the world of public relations in Montreal, a troupe of 20 acrobats and
troubadours entertained vacationers in Baie-Saint-Paul, a municipality
in Quebecs Charlevoix County. The street theatre group included Guy
Lalibertè, who walked on stilts, juggled, danced, sang, played music
and breathed fire. Founded by Gilles Ste-Croix, the troupe was known
as Les Èchassiers de Baie-Saint-Paul (the Baie-Saint-Paul
Stiltwalkers).
In 1984, Quebec City was celebrating the 450th anniversary of Canadas
discovery by Jacques Cartier, and needed a show that could carry out
the festivities province-wide. Guy presented a proposal for a show
called Cirque du Soleil (Circus of the Sun) to the Quebec government,
which was organizing the celebrations. Needless to say, he succeeded
in convincing the organizers that Cirque was a lucrative act capable
of attracting a wide audience.
With financial support from the Quebec government, the troupe was
officially formed and called Cirque du Soleil.
More than 30 years, 155 million spectators, billions of dollars spent
in ticket purchases, hundreds of thousands of Cirque performances, and
300 cities within 40 countries spread across six continents later, Guy
Lalibertè, Gilles Ste-Croix and their cronies cherished crazy dream
has reached dizzying heights.
Unbeknownst to Daniel, the vibrant, yet soft-spoken man who grew up
close to where Cirque du Soleil had taken root would eventually point
the companys strategic direction and expansion sky high.
MEETING THE TITANS
The genesis for Daniel joining Cirque occurred in 1986, when Guy
became one of Daniels customers. At the time, he couldnt pay my
bills because Cirque was struggling financially. Daniel waived his
fee and wished Guy much success with his new company.
In 1995, Daniel became NPRs president and continued to work closely
with Quebec media outlets. Two years later, he had accepted an offer
from Andrè Chagnon, Quebecs media kingpin and owner of TVA Group
Inc., Quebecs largest private television broadcaster, who asked
Daniel to become president and CEO of the organization. Because of my
[communications] background, I was very excited about the idea of
managing such an important communications company in Montreal.
JOINING THE CIRCUS
In January 2001, Daniel made history by taking on the role of
president and CEO at Cirque du Soleil. He admits joining Cirque was a
bold and daring move, but I was the only person who didnt realize
that. Im glad I didnt know, because I probably would have made a
different decision. Cirque provided him the opportunity to have a
playground that was bigger than just Canada. Despite his initial
enthusiasm about entering the theatrical world, things did not go off
without a hitch.
I was totally lost. The head of the first nouveau cirque to gain
global popularity by not using animal acts grins, seemingly amused by
his brutal honesty. He had told Guy at the outset that he was a quick
learner and would be off to a flying start within just a few months.
But Guy simply laughed at Daniels remarks, because he knew there was
no benchmark for Cirque. Everything we do here is very unique. It
doesnt matter where you are coming from it takes a long time to
understand the business model, all aspects of the organization, the
creative process. And it took me a good year before I started to feel
at ease in this organization.
Through the years, Daniel has overseen the creation of 10 Cirque
subsidiaries, dedicated to, among other things, custom-made show
content, media (together with Bell Media) and multimedia.
One of my strengths or contributions to this organization is that I
see myself as a business developer. Thats what Ive been doing all my
life, he says. I worked very hard to help Guy finalize the deal with
the Beatles [for the Cirque show Love] and to develop the Michael
Jackson show, One.
When you bring a new show to Cirque, it means you will create more
jobs for Quebecers and more jobs for creative types, Daniel adds.
And thats what is driving me. That, along with the fun aspect of
heading up a company such as Cirque.
BEST JOB IN THE WORLD
Im passionate about the life I live. I should be grateful and
thankful every day because I have the best job in the world, says
Daniel. People have always been trying to get my attention about
other jobs. But I havent seen, nor do I foresee, anything as crazy
and as much fun as the job I have.
Part of that fun comes from the attention the company pours into
audience experience. Investing in research for show development is at
the heart of Cirques operations. Expectations are very high. People
want to get surprised again at each show. We have to come up with new
ideas; new ways of doing things.
Under its internal R&D program called Eureka, employees are asked to
obtain helpful information, ideas and direction for Cirque
productions. We like to think of this organization as having 5,000
pairs of eyes and ears travelling around the world.
He adds, We do have traditional research we conduct all the time, to
see how people would react to our show content. We also have an
amazing network of people and creators around the world, bringing us
new ideas.
LUZIA AND PARAMOUR OPEN
Daniel says the company is continuing to thrill with its latest big
top show, Luzia, which opened in Montreals Old Port April 21, and
which will open at Port Lands in Toronto July 28. With Luzia, it is
the first time we are doing water under the big top. Even if youve
seen 10 Cirque du Soleil shows, youll be surprised when you see
TORUK, when you see Luzia, when you see Paramour on Broadway.
Determining the location of each act is equally important. Daniel
cites New York City as an example of a key market where the
organization has been underdeveloped. We stepped back and asked
ourselves why we dont have a presence in New York City, and decided
to open an office there in the spring of 2014. And guess what? We are
opening our first Broadway show [Paramour] this May.
Remaining physically fit through the years has also helped Daniel keep
pace with his children, now ages 33 and 35. And today he enjoys time
with his five grandchildren who, he says, have changed my life for
the best, because kids bring you back to normal life.
Cirques top gun flashes a smile. Im just coming back from a weeks
holiday, and my wife was amazed to see how I was able to forget about
my job for a week. The reason for that was my granddaughter, who is
four years old. She was driving me every day, saying, We have to go
there. We have to do this. Perhaps she takes after her dynamic
grandfather, who remains driven to ensure Cirque du Soleil continues
to spellbind audiences worldwide.
How much longer does Daniel Lamarre plan to remain at the helm of the
worlds most famous circus? For as long as the owners want me; for as
long as Im healthy and thats why Im training and working hard,
and want to continue to have fun for as long as possible.
After all, theres no business like show business.
------------------------------------------------------------
"From Street Performer to Boho Billionaire...
Meet Guy Laliberté" By: Diane Solway | W Magazine
A Special to the Fascination! Newsletter
-----------------------------------------------------------
The first time Guy Laliberté, 56, visited Ibiza, in the late 1970s, he
paid his way as a busker, stilts walker, and fire-eater. Back then,
the idyllic Spanish island was a hippie enclave frequented by nudists,
out-of-favor aristos, and pedigreed thrill seekers on the hunt for
mind-altering, round-the-clock bacchanalia. These days, Laliberté owns
Can Soleil, a 64-acre spread on Ibizas northwest coast, purchased
from the art collector and Mercedes-Benz heir Friedrich Christian
Mick Flick, and he arrives via either his own plane or his 178-foot
yacht, the Tiara. While the intervening years have seen the street
performerturnedCirque du Soleil cofounder become a billionaire, they
have done little to diminish his flair for seeing possibility in
unlikely places.
They thought I was crazy when I brought this here, Laliberté told me
one afternoon this past February, practically shouting over the
whipping winds as we walked around the first large-scale artwork he
had transported to the island. Time and Space the Speed of Light, 13
solid-basalt columns that rise, Stonehenge-like, over the cliffs, was
a commission from the Australian sculptor Andrew Rogers. Laliberté
laughed as he recalled how local authorities looked askance at his
insistence on erecting the 420-ton installation on his property. They
sent police cars! When it comes to his endeavorswhether its
creating a global brand out of a band of street artists or becoming
the first Canadian space tourist (more on that later)Laliberté is a
high-stakes player, the kind of impresario that his boyhood heroes
P.T. Barnum and Walt Disney might have admired. Though he began
amassing blue-chip contemporary art only three years ago, the
Montreal-based mogul has just unveiled a public sculpture park on the
grounds of his Ibiza home, a year after opening two contemporary
exhibition spaces near the center of the islands namesake town. Also
in town is Heart Ibiza, a club and restaurant designed by Patricia
Urquiola that he co-owns with the celebrated chef brothers Albert and
Ferran Adrià, of El Bulli fame.
I always plant the seeds of my desire and try to be a gardener of
it, Laliberté said with a mixture of understatement and bravado,
making it clear that he hopes for nothing less than to turn this
sybaritic outpost into a year-round cultural destination even after
the summertime highfliers and famous DJs have moved on. And Ive been
lucky in my life to be very successful in my harvest.
Dotting his sculpture parks vast hardscrabble grounds are Ugo
Rondinones colossal Stone Figure, 2015, and Ai Weiweis Iron Tree,
2013. Nestled strategically in the brush are enormous red boulders
inscribed with text, part of the conceptual artist Jenny Holzers
site-specific commission. At Lalibertés invitation, Holzer spent
several weeks in residence this past winter, scouring the island for
rocks and preparing for the exhibition that now fills Lalibertés two
public spacesLune Rouge and Art Projects Ibizaoverseen, as is the
park, by Heather Harmon, director of the art advisory KCM Fine Arts.
The exhibition, Are You Alive? which runs through mid-December,
includes Holzers iconic LED artworks and a selection of marble
benches inscribed with aphorisms. In the sculpture park, she was
hoping to carve Dada text or concrete poetry right at the waterline,
and sentence fragments or words on the rocks on the slope of the
hills. That way, the thought gets completed by the visitor by the
time they get to the bottom, she elaborated when I joined her and
Laliberté on a tour. I asked her later what she made of her patron.
He strikes me as someone who thinks that being a bit wild is a good
idea.
Last summer, the first artist in residence was the Japanese superstar
Takashi Murakami, who inaugurated the exhibition spaces to great
fanfare. Guy took a plunge into the deep end of the pool very
quickly, Tim Blum, whose gallery Blum & Poe represents Murakami, says
of Lalibertés ambition. Hes not theoretical; he has uncanny primal
instincts. A lot of what he responds to is work that can be
experienced in a spiritual or physical way. A case in point is Sarah
Lucass bawdy sculpture Gold Cup Maradona, a ginormous sunshine-yellow
phallus thrusting to the sky that dominated the entrance to Lucass
exhibition in the British Pavilion at the 2015 Venice Biennale and is
now a highlight of Lalibertés collection. Nearby is Giuseppe Penones
towering 2012 Albero Folgorato/Thunderstruck Tree, whose sliced
branches of bronze and gold leaf call to mind a thunderbolt.
At first I made mistakes, Laliberté admitted, pointing out the
drunken-angel statue on the lawn, which he plans to keep there as a
reminder of those missteps. We were sitting on a white sofa winding
around the grand picture windows in the main villa, one of several
buildings at Can Soleil. A black toque was pulled down over his shaved
head, and he was wearing a black leather jacket, a black scarf, black
suede sneakers, and black jeans. With his tattoos, rows of beaded
string bracelets, and ever-lit Gauloise, he suggested a French
cineast. My approach was more about buying things that made sense in
an autobiographical way, creating the story that I wanted to make. But
at a certain point, I wanted to build something serious. I got totally
hooked and took it as a challenge to educate myself in a short period
of time.
Three years ago, Laliberté hired Kimberly Chang Mathieu, the founder
of KCM Fine Arts and a former art adviser to Los Angeles mega
collectors Maurice and Paul Marciano of Guess. Chang Mathieu and
Laliberté spent a year looking at museums, fairs, and galleries
without buying a thing. It was my Art History 101, he joked. Since
2014, he has made up for lost time, purchasing about 100 pieces by 30
artists. When something piques his interest, he cant let it go,
Chang Mathieu told me. He needs to understand, master, and be the
best at it. Sure, there are plenty of splashy current names in his
collection, but Laliberté is also willing to dig deep into previous
generations. In a recent show of works he owns at Lune Rouge, Kara
Walkers 2013 cut-paper wall installation The Sovereign Citizens
Sesquicentennial Civil War Celebration shared the room with one of
David Hammonss shrouded mirrors, Nam June Paiks 1994 video pieces,
and a wall sculpture by Martin Kippenberger.
If Lalibertés tastes now lean more to the avant-garde than to mass
entertainment, sharing his treasures with the public has always been
part of his plan: One of the ways in which he reinvented the
traditional circus with Cirque du Soleil was by combining musical
theater, spectacle, and acrobatic disciplines from around the globe.
Your capacity to build a great institutional collection defines your
quality as a collector, he said, noting that hes made major loans to
the islands only other public contemporary space, the Museum of
Contemporary Art of Ibiza, which last year organized a show of
collaborative works by the artists Douglas Gordon and Tobias
Rehbergeranother sign that Ibizas new crowd includes players on the
international art circuit.
Fabulous wealth, of course, has allowed Laliberté to move quickly, but
so too has his rapport with the artists whose work he collects. I
think the fact that I was an artist really helps me get access to
certain things that I wouldnt have if I were only a rich collector,
he said. I like spending time with people who have passion. After a
studio visit with the famously reclusive Hammons got off to an awkward
start and Hammons left to get coffee, Laliberté sought him out on his
own and clicked with the artist by talking about his days in New York
as a street performer. Hes hosted Murakami and his family at
elaborate Cirque premieres in Tokyo, and for the artists opening on
Ibiza last summer, Laliberté threw a party at home for 1,700 guests
and played DJ all night. Last October, he flew to Paris for Sterling
Rubys first solo show with Larry Gagosian and, while there, bought
Rondinones film of John Giorno performing his poem Thanx 4 Nothing,
after seeing the work in the Giorno retrospective at the Palais de
Tokyo. Ruby says he knows within the first 30 minutes of a studio
visit if there is going to be a relationship with a collector. Ive
had sheikhs and hedge fund kings come through, he says. With Guy,
you could tell art was an obsession. His comments were intuitive and
edgy. Ruby considers him one of a handful of his old-school patrons
the kind who come to the studio, talk about the work, and then come to
see how it evolved in the show. (And then buy it.)
Laliberté sleeps anywhere from one to six hours a night, getting by on
power naps. His style is decidedly laid-back, but hes a stickler for
detail, even choosing all the housewares and linens himself for the
homes he owns around the world. His friends like to say that nothing
makes him happier than masterminding the best party in town, whether
its in Montreal or Tahiti. He can just rip-roar-on-the-floor laugh
because someones having a new experience, said Chang Mathieu, who
travels with him regularly. Hes so excited when somebodys eyeballs
are like, Holy shit!!
His knack for organizing chaos, as he described his early role at
Cirque, extends to his personal life. This past year, Laliberté took
his two youngest kids out of middle school so they could travel around
the world on the Tiara; the group included their mother, his ex-
partner Claudia Barilla, his masseuse, and his then-girlfriend.
Laliberté has three older children with his first partner, Rizia
Moreira, a Brazilian former model, and the entire brood, together with
all the grandparents, gathers for holidays in Kona, Hawaii. Two of his
kids inherited their fathers love of adrenaline: His son Kami, 16, is
a promising race-car driver on the Formula 4 circuit; his daughter
Naima Moreira-Laliberté, 19, is a champion Canadian junior equestrian
in dressage. Last year, when Laliberté sold 90 percent of his stake in
the Cirque juggernaut to U.S., Chinese, and Canadian investors, he
announced that he didnt want to burden his children with burnishing
his passionhe wanted them to discover their own. He still retains a
10 percent stake and remains in the role of artistic adviser for every
Cirque show.
Laliberté grew up in Quebec City, where his father worked in client
relations for the aluminum manufacturer Alcan and his mother was a
nurse. Both parents played music, and their son became adept at
accordion. In school, he said, I was a troublemaker, for sure. There
was a moment when I could have jumped on the dark side, versus going
for my dream. He got kicked out of a few schools before the director
at one of them recognized Lalibertés ability to mobilize the students
and put him in charge of student-faculty relations. At 18, he hit the
road as a juggler and fire-eater; later, he started a theater troupe
in which everyone preformed on stilts. In 1984, at the age of 25, he
united a bunch of street performers he knew in Baie-Saint-Paul, a city
on the northern shore of the St. Lawrence River, for a performance
that would seed Cirque du Soleil, a spectacle that bridged the gap
between circus and theater with a theme, lavish sets, commissioned
scores, and no animal acts. Ever the showman, Laliberté said he sensed
in the 1990s that Las Vegas was the market to grab and persuaded the
casino mogul Steve Wynn to make Cirque a permanent fixture at his
then-latest hotel, Treasure Island, and to cede him creative control
of the show. In short order, Laliberté redefined Las Vegas as a
familyentertainment destination.
During my visit to Ibiza, I joined Laliberté for dinner at one of his
villas, along with Holzer, Chang Mathieu, and various friends and
colleagues. Though his conversation was punctuated with New Agey
references to energy points, Laliberté laughingly recalled his
unlikely foray into gambling. One night in 2006 at the Bellagio in Las
Vegas, he asked to join a game of poker, but no one would let him in
because he was a beginner. So he plunked down $50,000 on the table and
got a seat. He observed for about 20 minutes, his friend Sean
ODonnell, who oversees Lalibertés real estate and hospitality
ventures, remembered, picking up the story. Then he said to me,
Listen, theyre going to think were a bunch of drunk French frogs
and that theyre going to take all our money. Of course, he ended up
cleaning everybody out at that table that night. A year later,
Laliberté finished fourth in the World Poker Tour World Championship.
In 2009, he upped the stakes on his adventures by traveling to outer
space on a Russian Soyuz spacecraft, paying $35 million for the trip
to the International Space Station. Before takeoff, he spent six
months training alongside cosmonauts in Star City, Russia, where he
learned about spaceflight and survival and lived and cooked for
himself in a tiny apartment. Despite being a chain smoker, he passed
dozens of medical tests. While in spacewhere he dared his fellow
astronauts to don clown noseshe was patched in live via satellite to
a U2 performance in Tampa, Florida. With Laliberté on the giant
screen, his friend Bono chatted him up about the experienceto help
raise awareness of Earths water-shortage issues on behalf of the One
Drop foundation, which Laliberté had founded two years earlier.
Laliberté is even considering a bold reinvention of the modern-day
cemetery. Already, the creative maverick has purchased land in
Montreal for a public memorial park, where he imagines visitors will
celebrate the lives of those remembered there via a museum and
interactive installations. He is also in the final stages of
completing a private, solar-powered resort on Nukutepipi, the atoll he
owns in French Polynesia, which is 475 miles from Papeetemore
precisely, in the middle of nowhere. Laliberté has had to create
everything from scratch: He erected a facility to make asphalt and
cement to build a runway and greenhouses to produce vegetables.
Modeled on Sir Richard Bransons Necker Island, it will be completely
self-sustaining and serve as a kind of luxe last resort, should a
doomsday scenario present itself.
But back on Ibiza, the worlds toniest revelers were about to descend
on the island, and Laliberté was eager to orchestrate their
astonishment. I want people to poke around and explore, he said of
Holzers plan to hide many of her new works across the property. Im
just an actor in contemporary art. Im not provoking change, but Im
making my little gesture. Im taming my garden.
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 16, Number 8 (Issue #151) - August 2016
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2016 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination! Newsletter." By
sending us correspondence, you give us permission (unless otherwise
noted) to use the submission as we see fit, without remuneration. All
submissions become the property of the "Fascination! Newsletter."
"Fascination! Newsletter" is not affiliated in any way with Cirque du
Soleil. Cirque du Soleil and all its creations are Copyright (C) and
are registered trademarks (TM) of Cirque du Soleil, Inc., and
Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
{ Aug.10.2016 }
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