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Fascination Issue 158
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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 17, NUMBER 3 March 2017 ISSUE #158
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
It's been quite an interesting month, wouldn't you say? While fans in
the United States celebrated the 11,000th performance of Mystère on
February 21st (check out this video: https://goo.gl/7Tawqy), and fans
in Argentina patiently waited for the March 9th debut of Soda Stereo
Sép7imo Día No Descansaré, fans of La Nouba, though, had something
to be sad about...
* * * LA NOUBA OFFICIALLY CLOSING DECEMBER 31, 2017 * * *
La Nouba to close seemed to be the rumor that just wouldn't quit,
wouldn't it? Ever since the changes to Downtown Disney were announced
(think Hyperion Wharf), there've been yearly rumors of La Nouba ending
its run, with little movement either way. But over the last few weeks
to months, there'd been more serious murmurs about the show closing,
which as of Friday, March 3rd, became painfully real. The Walt Disney
World Resort made the following announcement via the Parks Blog:
With over 8,500 performances to date, La Nouba by Cirque du Soleil
has been a Disney Springs staple for nearly twenty years. Since its
inception in late 1998, La Nouba has been seen by over 10 million
guests and will continue to dazzle audiences with its breathtaking
blend of daring acrobatics and dazzling choreography through 2017,
with a final performance scheduled to take place on December 31st.
With ten months to take in a show, you still have plenty of time
to be mesmerized by the artistry of the talented La Nouba team. We
are incredibly proud of the success that La Nouba has had for nearly
two decades, said Jerry Nadal, Senior VP of the Resident Shows
Division for Cirque du Soleil. We want to thank Walt Disney World
Resort for a wonderful relationship over the years. We look forward
to announcing whats next for Cirque du Soleil.
I have mixed emotions about La Nouba closing. It's through La Nouba I
gained my first glimpse into the world of Cirque du Soleil, coming on
a rather tiresome evening in May 1999. But from the very first moment
the show began, I sat utterly enthralled. It was of little consequence
that I was as far away from the stage as one could get. In that moment
all that was relevant was the artistry and pageantry on display before
me. For truly a door opened; two worlds collided. Dreams clashed with
reality. The mundane mixed with the marvelous. I had truly entered the
dominion of Cirque du Soleil, glowing with spellbinding intensity...
a vibrant kaleidoscope of artistry and daring... a splash of iridescent
genius. I now knew the color of imagination and I never looked back,
(creating Le Grand Chapiteau, CirqueFAQ, Fascination! Newsletter, and
being part of CirqueCon and CirqueCast, amongst many other projects),
so to have La Nouba's doors close after all that it has done for me is
rather surreal. But I'm looking forward to what Disney and Cirque has
in store for us next!
* * * VOLTA RAISES ITS BIG TOP * * *
Speaking of new things Cirque has in store for us: VOLTA's new grand
chapiteau was raised on March 1st and its colors are a bit different
from what we fans accustomed to. And it's caused quite a stir. While
some just don't like it because they don't like it, others (like me)
refer to brand identity as the reason for questioning the change. In
the past it's been very easy to identify a Cirque big top with just a
glance: whether striped or swirled, they've always been (with one or
two exceptions - European and Japanese tours notwithstanding) yellow
and blue. Luzia's big top was a surprise, as it marked the first time
the big top featured patterns and colors related to the theme of the
show within. [The patterns evoked the association between Cirque du
Soleil (the sun) and Mexico (the word originates from Mtztli, meaning
'moon," and Xuctli, which means 'middle') and symbolized the meeting
of two celestial bodies: the sun and the moon. A bird's eye view
reveals the path of the stars that spiral out from the centre of the
Big Top - the symbolic meeting point between earth and sky, sacred
and human.] Volta's big top features a mostly white canvas with
silver swirls, and there's a reason for that according to a recent
video of the raising: it's light color helps reduce energy consumption
and greenhouse gas emissions. Red Bull is a strategic partner with
this show, as its theme is one of extreme sports, so what do you
think about this change? And should we now expect new and differently
designed big tops for each new touring show? [We're hearing no, but
you never know!] Check out the video here: < https://goo.gl/WqKZTd >.
* * * NEW DVDs COMING SOON! * * *
Fans rejoiced when both Luzia and TORUK were filmed and then released
for home consumption, and equally elated when KURIOS was filmed during
its stop in Miami, but there's one question everyone wants an answer
to: when will KURIOS be released on DVD? Soon is the only answer. But
that's not the only DVD we have to look forward to - a documentary on
the creation of Soda Stereo Sép7imo Día No Descansaré is also due
to be released, only this time we have a date: March 9th. Details to
come whether or not the DVD will be available for purchase through
Cirque's online boutique, on-demand, via Amazon, or just on site. And
if that wasn't enough to whet your appetite, we also got word that
La Nouba was recently re-filmed, but like the filming for Zarkana's
last performance in Las Vegas, ZED, ZAIA, Viva Elvis, and IRIS - this
new recording is for employees only. DRAT!
* * * WHAT WOULD YOU DO IF YOU RAN CIRQUE? * * *
"Cirque du Soleils new owners are trying to turn a quirky circus into
a strategically savvy business," writes Michal Lev-Ram in a fantastic
article looking into the business aspects of the new Cirque du Soleil
(which we have in-print this month as a special from Fortune Magazine).
And it's no small juggling act, he goes on to say in his article. As a
bit of an aperitif, check out this video from Fortune, which also looks
at TPG's investment into Cirque du Soleil: < https://goo.gl/pE8w6R >.
Two passages from Daniel Lamarre immediately stand out from the video:
1) "We've very serious and supportive about accelerating the pace of
development of new shows. Obviously, there was some anxiety but
it didn't last long because the people in creation and production
are totally fueled by new shows. And that within a very short
period of time brought stability - emotionally - in the organi-
zation and now we're at the stage where people get very much
[elated] by the fact that we are accelerating the pace of the
development of new content." And...
2) "We're going to open up an NFL Experience in Times Square so you
cannot talk of a better window for an artistic content provider
to put together a new experience for a customer. So that experience
in itself opens the door for Cirque du Soleil to a new category of
experiences that we can develop moving forward in a lot of
different sports in a lot of different cities...
Pretty interesting, no? I invite you to read this month's special
feature entitled "When An Investment Firm Buys a Circus" to learn more
about TPG, their involvement with Cirque, and Cirque du Soleil's future
in business! (Including a Q&A with Cirque CEO Daniel Lamarre.) And
speaking of business opportunities...
* * * NFL EXPERIENCE TO DEBUT IN NOVEMBER 2017 * * *
Superbowl LI has come and gone with the New England Patriots crowned
victor over the Atlanta Falcons, and although I'm not much of an
American Football fan by any stretch of the imagination, when Cirque
du Soleil became involved with the NFL I had to sit up and take notice.
Following the Superbowl, the NFL asked its fans if they wished they
could keep the adrenaline rush going after the season. "Your wish is
about to come true," they replied. "Beginning this November, there
will be one place where you can experience the heart-pounding thrill
of playing in the NFL, 365 days a year, in the heart of New York
City." What on Earth is the NFL talking about? Why, the previously
mentioned NFL Experience by Cirque du Soleil of course! While many
details about the partnership and the offerings at the experience have
so far remained a mystery (read up on it here: https://goo.gl/KEEJpM),
a few details about the upcoming experience have been released on
their website (www.nflexperience.com), which I've outlined below:
o) DISCOVER WHAT IT TAKES - Bring your adrenaline. Bring your
passion. Bring your best game. Because beginning this fall,
theres a place to experience the heart-pounding thrill of
playing in the NFL 365 days a year in the center of NYC.
o) FEEL THE RUSH - A state-of-the-art, 4-D cinema experience will
take you from the stands to the field. Through exclusive
footage, you will be transported from Kickoff in September
through the Playoffs, and maybe, just maybe, make it to the
Super Bowl.
o) SUIT UP - No one said winning would be easy. Dive into an elite
NFL training regimen, visit the locker room and get the game
plan, and see how you measure up against the pros.
o) TEST YOUR TALENTS - Learn the fundamentals of football, complete
with timed, physical challenges that help hone your skills.
o) EMERGE A CHAMPION - The road to The Big Game is paved with hard
work, dedication, perseverance, and commitment. Get a photo with
the Vince Lombardi Trophy, explore the Super Bowl rings, and
take in the glory of victory.
It all sounds very sports-y, and not very Cirque-y, but I guess we'll
have to wait and see. Cirque du Soleil has named consumer attraction
veteran Danny Boockvar to head up its NFL-themed 4D theater and
permanent exhibit in Times Square. Read more about this appointment in
our news section this month.
* * * AND LAST, BUT NOT LEAST... * * *
In early December, NETFLIX in North America began airing Luna Petunia,
Cirque du Soleil's first attempt at a specialty children's animated
program. And with our first child nearing 11 months old, my wife took
quite an interest in watching and reviewing the show for us. You can
read her fantastic review within!
To make an artist for one of Cirques productions, it takes a talented
individual who is open to new experiences and veterans who can guide
the way through those new experiences. Cirque du Soleil has assembled
some of the most well-known and respected collaborators in their
fields coaches, choreographers, creators, composers and others to
help artists achieve their goals. And through a series of interviews
on their casting website, we meet some of them. Like the Meet the
Artist series of Q&As we recently published, the Meet a Mentor set
are equally fascinating reads even more so! Weve collected all 11
mentor interviews for you to peruse in this series, which, due to the
page count, well publish in three parts, beginning with Part One:
André Simard (Acrobatic Research and Development), Bernard Petiot
(Vice President, Casting and Performance), and Boris Verkhovsky
(Director of Acrobatics and Coaching). So be sure to check that out
as well!
And, of course, we've got our monthly look at Paramour's earnings.
Don't forget - their last show is Sunday, April 16th!
Week This Week Potential Difference Seats % Cap
Ending Gross Grosses in Dollars Sold
------------------------------------------------------------------
01-Jan $1,908,018.00 $1,805,456.00 $807,246.95 15,125 99.72%
08-Jan $1,218,860.80 $1,805,456.00 -$689,158.15 14,491 95.54%
15-Jan $999,968.70 $1,544,604.00 -$218,892.10 11,683 88.03%
22-Jan $903,287.95 $1,805,456.00 -$96,680.75 11,528 76.00%
29-Jan $935,804.25 $1,805,456.00 $32,516.30 12,257 80.81%
05-Feb $662,145.25 $1,515,054.00 -$273,659.00 9,107 68.62%
12-Feb $667,758.25 $1,515,054.00 $5,613.00 8,692 65.49%
19-Feb $1,119,906.75 $1,748,376.00 $452,148.50 13,691 90.26%
26-Feb $878,719.75 $1,544,604.00 -$241,187.00 11,239 84.68%
Well, that's all I have time for this month. Let's get to the rest!
/----------------------------------------------------\
| |
| 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
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* "It's Bouncy-Bouncy Boing-Boing Time!"
A Review of Cirque/NETFLIX's Luna Petunia
Written By: Nicole Russo - Atlanta, Georgia (USA)
* SPECIAL /// "When An Investment Firm Buys a Circus"
By: Michael Lev-Ram, Fortune Magazine
A Special to the Fascination! Newsletter
* "Casting Q&A's - Meet a Mentor, Part 1 of 3"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
---------------------------------------------------
LA PRESSE -- General News & Highlights
---------------------------------------------------
Paramour vs. Dandyworld??
{Feb.09.2017}
-------------------------------------------------------
Its called Dandyworld, and its a story of a boy from an
innocent time, and an innocent place.
Wait, isnt that Paramour? Well, yes, and no.
According to an interesting post on one of BroadwayWorlds
message boards, its actually a bit more complicated than that.
# # #
Paramour vs. Dandyworld Songs (Composer Put Same Song in 2
Musicals) Posted: 2/8/17 at 7:45pm
I sat quietly for over a year on something involving Cirque Du
Soleils Paramour Broadway musical. But after being sued twice
in a year by Cirque Composer and my Co-creator of a 10 year
project, I have decided to speak out.
Dandy is a story I wrote 10 years ago, with the intention of
making it into a musical with co-creator Andreas Carlsson, who
is a songwriter. I co-created and co-own the Dandy Project
alongside Andreas.
To cut to the chase, Andreas took the projects title song
Dandyworld (which again, I co-created and co-own) out of a #1
Swedish Novel of which I am the author, and he sold it to Cirque
Du Soleil, without telling me. Cirques top brass didnt seem to
know either. (That is, besides Scott Zeiger, Cirques Broadway
CEO, whom Andreas worked with to get Dandy made into a musical.)
The song is written about my story, using my characters and is
actually being performed in the novel on stage by a character
named, Krazy, (A Ghost / Angel Club Owner at a magical place in
the story called Krazys Club.)
Cirque pulled the song after it was used in the Macys Day
Parade. Which was good. What is not good, is that they refuse to
state that they WILL NOT use the song in the future. (Only
saying they dont INTEND to use it again.) They seem to be
sitting back hoping my multi-millionaire co-creator can sue me
into the dirt and take away my rights. This is WRONG. The public
should know when a company behaves this way. They hid the truth
for over a year, and watched from the sidelines as I have been
dragged through endless Federal Court proceedings. Finally I
have decided to use my 1st Amendment Right of Free Speech and
stand up for myself and others who have been through this sort
of bullying.
# # #
In the video (https://goo.gl/nPKoJM) are pages from the Dandy
Novel that this person is the author of, with both songs side by
side.
Interesting!
{ SOURCE: Broadway World | https://goo.gl/jC1j3G }
Las Vegas: Get To Know Your (Cirque) Neighbors
{Feb.10.2017}
-------------------------------------------------------
Its going to be one of the most talked about advertising
campaigns in this citys marketing history of the wild, wacky
and whirl. Cirque du Soleil has created a playful campaign that
encourages locals to get to know their neighbors by showing that
Cirque performers are just like us residents with ordinary
daily lives.
Starting this month with TV and outdoor ads, plus online and
local print, artists from O at Bellagio, Ka at MGM Grand and
Zumanity at New York-New York will be seen watering the lawn,
picking up dry cleaning and getting coffee en route to work.
Except that Cirque does it a little differently than you and I
in suit and tie. They will be shown doing what we all do but in
extravagant costumes and meticulous, show-ready makeup!
Look for O ballerina Yuliya Eremina in Southern Highlands,
Ka artists Barri Griffiths in Green Valley and Eric Henderson
in Spring Valley and Zumanitys Marina Tomonova in Enterprise.
Cirques marketing director, Lou DAngeli, explained his
campaign:
We wanted to show the more human side of our artists who at
times may seem superhuman and larger than life in our shows. At
the end of the day, they are your neighbors. Lou plans the
campaign to continue through summer with additional Cirque
performers.
Check out images from the campaign here:
< http://www.cirquefascination.com/?p=9616 >
{ SOURCE: Robin Leach, LVRJ | https://goo.gl/OdAGw1 }
See TORUKs Lydia Harper Transform into a Navi
{Feb.13.2017}
-------------------------------------------------------
To promote the new Cirque du Soleil show TORUK The First
Flight, which is based on James Camerons Avatar, visitors to
The Franklin Institute on Feb. 7 were treated to a surprise.
Lydia Harper, a Cirque acrobat, applied her stage makeup in
front of a crowd of children, museum guests and press. The
demonstration was to show the transformation from human to
Navi, who are the characters in Avatar that inhabit Pandora.
TORUK, coming to Wells Fargo in March, is set thousands of
years before the events depicted in the film. Every detail in
the production was approved by Cameron.
Simply put, Harpers transformation into the other-worldly being
took a whole lot of blue and about 45 minutes.
Every performer in TORUK has to apply their own stage makeup;
no professional makeup artist travels with the Cirque crew. The
cast is given about two hours to put on the blue face paint
before each show and theres some pride in being able to do it
in under an hour.
The performers start with a cream base for their stage makeup,
then use a powder to keep the base in place through each
acrobatic trick. After the powder is on, details and highlights
are added so that even the nosebleed seats can tell theyre
looking at a face. Once makeup is in place, its time to put on
the blue suit. Almost all of the performers wear a basic blue
suit, then interchangeable blue pieces are added to make them
look different.
The performers also wear a hood that goes over the body suit and
connects under their chin. Hair pieces are sewn into the hood so
performers can easily change to play different parts and their
hair wont fly off when theyre flipping on stage.
Learning to do your own stage makeup might be challenging, but
for many of the performers, it was having to work with a tail
that required the most training. If you remember from the movie,
however, all Navi have tails, so there was no getting around
it.
See her transformation here:
< http://www.cirquefascination.com/?p=9623 >
{ SOURCE: Philly Voice | https://goo.gl/wd7uJK }
My Big Butt
and other reasons I dont work for Cirque
{Feb.15.2017}
-------------------------------------------------------
My butt has been the center of much conversation in my life as a
performer. Ive had it referred to as a nation unto itself
among other less charming titles. I have always been bottom
heavy, even as a little girl, and as a dancer and artist its
been one of my dominating characteristics. Every performer
overhears things being said about them by audience members who
dont believe they can be heard (btw
we can hear you) and in my
case its always been, look at her BUTT! I aint mad
I like my
butt just fine. It suits me and i find it looks nice on a hoop.
It makes me feel powerful and feminine. Whatever, this is not a
post about butts, even if it did make a damn fine title.
There comes a moment for every freelancing aerialist that they
will have to face this question: Have you worked for Cirque?
Followed by the inevitable, did you ever think about trying?
This question is brutally annoying, because A) Cirque is a word
that means circus. It does not just refer to one company,
however large. And B) it is a given that the asker is looking
for one answer only
yes. And any other answer means you have
failed. Other irritating versions of this question including the
ever-patronizing, did you ever think about doing this
professionally, like in Cirque du Soleil? are equally obnoxious
to anyone who is already doing this professionally.
Do not misunderstand me. I greatly respect Cirque du Soleil, and
enjoy much of their work. I honor them for their origins, and
for what they have done for the artform (arguably paving the way
for it to be relevant in the lives of so, so many more people
than it was before). This is not a condemnation of the company
whatsoever- however it is a story about how I learned the
importance of defining success in my own terms. Which much to my
surprise and in service to my sense of humility, I had not done
as well as I believed I had.
So
have I worked for Cirque du Soleil? The answer is no. Here is
the story of how that came to pass, for once and for all, so
that it is here for all to see, reference, and hopefully enjoy.
The year was 2014, and after applying by way of creating my
profile I was invited to the aerial circus performers audition
in Las Vegas! Well shit my bricks, I was on cloud nine! I
discovered my good friend Ms. Eve Diamond was also invited, so
we immediately joined forces to share a room in one or another
of the ridiculous casino hotels and share a rental car,
blablabla. Eve is gorgeous, strong, tireless, and really really
FUN, so I was looking forward to what was sure to be a great
trip.
By the way, I should mention here
I had every intention of
scoring that audition. Strong? Check! I could murder the list of
conditioning recommended on the website. The flexibility
requirements were childs play. But most of all- i had made my
best act yet that prior spring
a unique, dynamic explosion of
lyra to Jimi Hendrixs All Along the Watchtower. I was
achingly proud of it.
I realized, of course, I probably wouldnt be allowed to perform
that act in a Cirque show. Someone else was in charge of most of
that stuff (that stuff means, the actual creative art that goes
into these enormous shows). But I was after the holy grail, the
golden ticket
the ability to say yes to that damnedable
question.
And I felt no doubt that I had earned my place amongst those
mighty titans of industry. It was basically a formality to go
through the audition.
What an ass I was. Just reread that last sentence and get a
really good idea of what an ass I was.
The audition day came, and it was just as fun and awesome as I
expected it to be. I felt no competitiveness with my fellow
candidates
why would I? I was not feeling insecure. I was
feeling exultant. I cheered and hollered for everyone (btw,
youre kind of a jerk if you cant wish another candidate well.
Come the fuck on.) and they cheered and hollered for me. Eve
destroyed it, and so did another friend of mine who was there-
yeah
our world is small, you will know people at auditions.
And I performed well, and was happy with my work. Fast spin, all
tricks were bossed.
And they didnt call my number. And they didnt and they didnt,
and then they were thanking us for being there, and they still
didnt call my number. I wasnt crushed
I was shocked. They
invited us to stay for feedback if we wanted some, and you bet
your ass I did.
I couldnt help but notice, all of the hoop artists they asked
to stay were good. But they werent all GREAT. Some were! Some
were extraordinary. But more of them were entry level hoop
artists, with great gymnastic ability. And some hadnt
demonstrated a fraction of the work I had put into my own craft.
My question was, what the hell???
I finally got my turn to ask for feedback, which of course I did
politely, because while I might be an insufferable fool in my
mind, I can control my demeanor. The casting director was lovely
and very approachable; and in an no-nonsense manner told me I
was very unique, dynamic, and highly skilled, but my body type
didnt fit what they needed. When I blinked back at her, she
indulged me by explaining that it frequently does boil down to
costuming.
This shouldnt have been news
my own first coach had warned me
of this, having been passed over at many auditions where she
performed in the top percentile, yet didnt get picked because
her body type didnt fit the costuming. And yet, I hadnt really
heard her until now.
The casting director kindly pointed out that in a different
discipline, they did accept female body types that werent tiny
little things but for my specialty I simply would never fit
what they needed.
I thanked her sincerely and departed with my mind finally blown
open to the idea that my coach had tried to suggest to me years
ago. I had to take a second to remember every drop of blood and
sweat and the money and the sheer bloody force of will that it
had taken to make me the creature I was, was at this juncture
worth less than the price of a new costume in this particular
situation. That is not something to be upset by; it is not
fucked up, and it is not insulting. It is a fact to acknowledge
and then move on, further educated.
What happened next? My good friend Eve (who did get into the
database with her killer rope act) and I retired back to our
ridiculous casino hotel, put on slutty dresses and lost $5 each
at the slot machines. Then we had cocktails and celebrated a day
lived very well.
So whats the point of this story?
Im so glad you asked.
Just like being good does not get you jobs, and getting jobs
doesnt mean you are good, being good doesnt get you cast.
Being a good fit for what they are casting for at that time gets
you cast. Dont get the audition? Still want the job? Wait a
year then audition again. You dont know what they are looking
for.
Most of the big companies that hire circus artists in the United
States and beyond are running a business. They operate as a
business, not a dream machine. Specific looks are very important
to the finished product, and the product has already been
planned; signed sealed and delivered, designed by dozens of
experts who are well compensated for their time. No one is in
business to make you feel validated. They are making shows.
Lots of people are making shows. YOU can be making shows. You
might not have the Zarkana theater at your disposal, but at some
point, neither did they.
If you can get a job with Cirque du Soleil, go boss that shit.
If you can get a job with anyone, go boss that shit.
I beg you to examine your own beliefs about your work, your
artistry, and what you view as success. A moment like this one
will probably happen to you, if it hasnt already, and you will
see that your own definitions of success and accomplishment are
imperative. Not only when confronted by the once and future king
of what the world at large considers successful in the circus
world, but by the mighty weight of the outside worlds opinion
of this thing you are doing with your life; which is already
under attack at every possible angle for the crime of being
unusual.
Now go out there with your big butt, short arms, bad skin, and
whatever else youre sporting and find someone who cant wait to
put it on stage.
Or just say fuck it and put it on stage yourself.
Xoxoxo
Rachel Strickland
MadameRex.com
{ SOURCE: MadameRex Blogspot | https://goo.gl/ekOl2D }
Lamarre gives ISE 2017 Closing Keynote
{Feb.15.2017}
-------------------------------------------------------
The importance of taking risks, allowing creativity to flourish
and relishing new challenges were key themes of the ISE 2017
Closing Keynote, given by Daniel Lamarre, CEO of Cirque du
Soleil.
The worlds largest theatrical production company, Cirque du
Soleils shows combine acrobatics and other traditional circus
skills with cutting-edge audiovisuals and staging. During a very
engaging and entertaining presentation, Lamarre, who is
responsible for the companys creative and business strategy,
gave some pointers from his time at Cirque du Soleil that can be
applied to other businesses in the worlds of creativity and
technology.
Im a big believer that new technology is going to change
entertainment, he said, going on to describe some of the ways
that evolving technology has influenced the evolution of a
number of highly successful Cirque du Soleil productions.
An important part in the development of Cirque shows, which
helps to push the envelope creatively is C:LAB. This an in-house
creative laboratory where new ideas and technologies can be
tested, with a view to incorporating them into future
productions.
Cirques very first show in Las Vegas, Mystère, which is still
running after 22 years, contains a spectacular, but expensive
special effect where a curtain is shredded into a large number
of pieces. Steve Wynn, the owner of the casino venue, questioned
the need for it, but, Lamarre recounted, the companys founder
Guy Laliberté insisted that it would create a wow factor that
audiences would remember. When you want to do a breakthrough in
technology, you have to take risk, said Lamarre.
Being open to new ideas has been a constant throughout Lamarres
time as Cirque CEO. He recounted meetings with Paul McCartney,
James Cameron and representatives of Michael Jacksons estate,
all of which resulted in new shows.
Lamarre also described how one of his creative teams generally
comprised of people with a mix of nationalities, to provide a
varied perspective once explained to him their vision of a
show without a stage, using technologies that didnt exist, but
which they thought could be created by bringing together the
work of two people who had not met before, and which they wanted
to pitch to MGM. Isnt it great? they exclaimed, full of
optimism. MGMs response? Only you guys from Cirque du Soleil
can be crazy like that so lets go, do it. The result was
Kà, which has been seen by more than a million people since it
opened in 2005.
He concluded: If you take the words show business, the word
show comes first. If you have a great show, you will have a
great business. If you dont have a good show, you will have no
business.
{ SOURCE: Installation International | https://goo.gl/GuBZ35 }
Cirque Names President for NFL Experience Times Square
{Feb.22.2017}
-------------------------------------------------------
The Cirque du Soleil has named consumer attraction veteran Danny
Boockvar to head up its NFL-themed 4D theater and permanent
exhibit in Times Square.
The former Girl Scouts of USA and New York Cruise Lines exec
will oversee the 40,000 square-foot interactive theater and
digital exhibit scheduled to open in November on the first four
floors of a tower being built at the corner Seventh Avenue and
47th Street. The licensing deal with the NFL and the NFL Players
Association will see the circus behemoth create its first
sports-themed attraction, NFL Experience Times Square, with none
of the usual Cirque du Soleil theatrics and acrobats, but
instead targeting fans of American football year-round in the
heart of Manhattan.
The permanent exhibit will include interactive screens
surrounded by information about the NFL, and a planned
auditorium for a 4D show to be co-produced with NFL Films
promises a roller coaster ride for football fans, with seats
wired up to rock and roll with the game action.
4D cinema systems typically include moving seats, air/water
blasts, fog and other special effects, programmed to sync with
the action on the screen and sounds in the theater. Cirques NFL
4D cinematic experience will take fans from the stands to the
field as they journey from kickoff in September through the NFL
playoffs, and potentially to the Super Bowl.
The NFL attraction will also allow fans into a recreated locker
room, where they can study the game plans of actual teams. They
may also get a photo with the Vince Lombardi trophy, learn about
Super Bowl rings and see how they measure up against pro players
via timed, physical challenges to help hone their football
skills.
Cirque du Soleil will spend about $40 million to build the
permanent attraction at 20 Times Square, with the NFL providing
memorabilia and access to the NFL Films library. The venture
with the NFL follows the Cirque launching a New York City
presence with its first Broadway show, Paramour, and selling a
controlling stake in the Montreal-based entertainment giant to
U.S. private equity firm TPG Capital and a minority stake to
Shanghai-based Fosun Capital Group.
Cirque is working with real estate developer and financier
Witkoff Group to complete construction on the NFL attraction,
with sports and entertainment presenter AEG on board as a
financial partner. Despite becoming a global brand on the
strength of its traveling and permanent circus shows, Cirque du
Soleil in recent years has segued into film, TV and digital
exploitation of its brand in partnership with Canadas Bell
Media, Saban Brands and 20th Century Fox Television, among
others.
{ SOURCE: The Hollywood Reporter | https://goo.gl/2kuap8 }
Cirque du Soleil Stars: Theyre Just Like Us!
{Feb.23.2017}
-------------------------------------------------------
We see them on billboards, commercials and cabs. We watch them
onstage, showcasing talents honed since birth and showing off
parts of their bodies that wed keep covered in the shower if we
could.
Despite all this, what do we really know about Las Vegas Cirque
du Soleil stars? What is beneath the elaborate costumes, that
artful makeup and those incredible wigs? How do you know your
neighbor isnt secretly a Cirque performer who spends his nights
contorting himself into impossible positions?
To get the answers to these questions, Vegas Seven did the only
thing they could do. They asked!
# # #
We found three stars, all born outside of the United States, who
now make Southern Nevada their home: a ballerina from O, an
archer from KÀ and an aerial performer from Zumanity.
The trio is being featured in a new locals-focused Get to Know
Your Neighbors campaign that shows them undertaking everyday
taskspicking up dry cleaning, ordering coffee, etc.in full
Cirque regalia.
The inquiring minds at Vegas Seven wanted to know what their
lives were like before Cirque, how they wind down after the
curtain drops and if they cry at the end of Armageddon, when
Bruce Willis pushes Ben Affleck back on the space shuttle and
says hed be damn proud to have him as his son. Yeah, stuff like
that.
So in the tradition of our favorite tabloids and documentary
interviews, heres our version of Cirque du Soleil Stars:
Theyre Just Like Us!
Check out the advertisements here:
< http://www.cirquefascination.com/?p=9714 >
{ SOURCE: Vegas Seven | https://goo.gl/3ETYj6 }
An Update on the Cirque Park
{Feb.24.2017}
-------------------------------------------------------
Through a variety of companies and countless projects, Gary
Goddard has left an indelible and innovative mark on the
amusement park industry. InParks Martin Palicki spoke with
Goddard and Taylor Jeffs, Director of Design at Goddard Group,
on recent and upcoming projects along with their take on paths
for industry growth. While InParks conversation on theme park
and experience design is informative (please, read it here:
https://goo.gl/CnOqoC), its the question about an update on the
Cirque Park that were more interested in...
Q. One of the major projects youre working on now is the Cirque
du Soleil park under construction in Neuvo Vallarta, Mexico.
Can you give us an update?
Taylor Jeffs: Construction is racing along in Mexico while we
continue to develop and innovate both here at our headquarters
in Los Angeles, and at Cirques home base in Quebec. We
conducted a mock-up of one attraction this past fall near Quebec
City, inviting both industry colleagues and members of the
public to attend, and the result was truly electric- I felt I
was looking into the future.
Gary Goddard: I call it an experience park instead of a theme
park because it is filled with immersive experiences. It has
theme park elements, rides and shows, etc. But the way we have
configured things and the way it will be consumed is very
different. The waterpark is conceived as a rainforest. There
will be no red, blue and yellow slides. It will appear that
things are built by tribes in a way only Cirque can do. There is
an entire nighttime waterpark experience but it will
revolutionize the evening experience for waterparks. We are
working with Cirque to create something truly original and
revolutionary.
Taylor Jeffs: I really believe our Cirque du Soleil waterpark
will dramatically shake things up when the first phase debuts
(scheduled for 2019). Weve creating an entirely new creative
approach that could fundamentally change waterparks, and I
really cant wait to share that with the world.
{ SOURCE: InPark Magazine | goo.gl/CnOqoC }
iGotcha Media to Exhibit with LG Canada at DX3
{Feb.27.2017}
-------------------------------------------------------
iGotcha Media, an interactive agency specialized in delivering
turnkey digital signage and interactive solutions, today
announced that it will exhibit with long-standing partner LG
Electronics Inc. Canada, a global leader in electronics,
information and communications products, at the upcoming DX3
conference, Canadas leading technology, digital marketing and
retail event.
iGotcha Media will showcase two innovative applications,
incorporating LG Electronics Inc. Canada monitors, but only this
one piques our interest: Cirque du Soleil Luzia application
An immersive 60-second augmented reality (AR) experience. An
interactive game where players become Luzia characters. Using a
Microsoft Kinect motion sensor, a camera and real time tracking,
players wear 3D masks to enter the world of Luzia. This
application runs on a video wall comprising 2 x 2 LG 55VM5B-B
TVs with borderless design and a 0.9 mm even panel bezel that
enables an immersive and seamless viewing experience.
We are pleased to be attending DX3 with iGotcha Media for a
second consecutive year, says Scott Thomas, Vice President,
B2B, LG Electronics Inc. Canada. The iGotcha team has
consistently developed remarkable applications that harness the
incredible power of AR, VR and other innovative technologies.
The sophistication and complexity of these applications offers
an exceptional platform to demonstrate the full potential of our
latest range of monitors.
LG is a valued partner, continues Greg Adelstein, President,
iGotcha Media. We are pleased to be demonstrating some of the
latest AR and VR applications at DX3. As a provider of turnkey
solutions, we appreciate the critical importance of integrating
the finest quality monitors into our applications. For this
reason, we are proud to be working with LG.
DX3 will be held at the Metro Toronto Convention Centre, March
8th and 9th. iGotcha Media will be in booth #400. For more
information, please visit https://dx3canada.com/.
About iGotcha Media iGotcha Media is an interactive agency
specialized in delivering turnkey digital signage and
interactive solutions, including: hardware, software, content
development, application development, installation, network
management and consulting. Solutions include: screens, kiosks,
video walls, LEDs, RFID technology, gaze-tracking technology,
payment solutions, virtual reality (VR) and augmented reality
(AR). We help our clients communicate with their customers
digitally, generate new revenue streams, reduce costs and gather
data. With offices in Montreal and Toronto, iGotcha Medias
clients include: Browns Shoes, Cirque du Soleil, National Bank
of Canada, Nissan Canada, Reebok, Rockport, Rona, Toronto
Congress Centre and Via Rail Canada. For more information,
please visit http://www.igotchamedia.com.
{ SOURCE: PR Web | https://goo.gl/Sv6KFV }
Cirque du Soleil, Crayola Experience team up for a month
{Mar.01.2017}
-------------------------------------------------------
Crayola Experience and Cirque du Soleils La Nouba are teaming
up for a month at the Florida Mall attraction.
Cirque Month Presented by La Nouba begins Saturday and runs
through March 31. Visitors will be able to create La Nouba
masks and airplanes, have faces painted and watch acrobats and
musicians from the show in exclusive performances.
At the heart of Crayola Experience and La Nouba is a strong
sense of creative wonder and play, which makes the combination
of the brands both effortless and very exciting, said Jackie
Vasquez, Crayola Experiences marketing manager.
On Saturday, participants can get an up-close-and-personal look
at an assortment of La Nouba costumes and props. Visitors also
can enter to win show Cirque du Soleil tickets at the adjacent
Crayola Store.
La Nouba and Cirque have been ensconced at Walt Disney World
since late 1998. The show is produced in a standalone theater at
Disney Springs.
Cirque Month activities are included in regular Crayola
Experience admission. Tickets are $18.99 online, $22.99 at the
door. (Visitors under the age of 3 get in free.) For tickets,
hours and info, go to CrayolaExperience.com.
{ SOURCE: Orlando Sentinel }
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Q&A - Quick Chats & Press Interviews
---------------------------------------------------
Meet Varekais Emily McCarthy and Sam Sturt
{Feb.02.2017}
-------------------------------------------------------
The age-old adage of running off to join the circus rang true
for two British gymnasts who are now touring the world in a
globally popular show.
Emily McCarthy and Sam Sturt are two of the stars in Cirque du
Soleils Varekai, which reaches the Metro Radio Arena in
Newcastle from February 15 to 19.
I caught up with the pair in Paris after watching the
spectacular, high-flying show, and, yes, it really was a case of
running off to join that circus!
In fact, Emily, who grew up in Wakefield, joined the show at the
age of 16, straight from school, while Sam joined Cirque at the
age of 18 after taking two years out from gymnastics.
Two months after finishing high school I went into Cirque,
explains Emily, who recently turned 21. My parents knew I
always wanted to go there but I didnt expect it to happen so
young.
The guy I worked with in competition was going to retire as he
was going to join Franco Dragone (founder and artistic director
of Dragone, and also known for his work with Cirque du Soleil
and Celine Dion) so it was a case of `youre leaving, what am I
going to do? so I was going to wait in the gym but Cirque
called at the same time he left.
This opportunity doesnt just fall out of the sky, I had to
take it. It was hard for my parents but they wouldnt and
couldnt have stopped me.
I actually havent had a break since I was six.
Thats about to change for Emily though, as the Glasgow dates on
the final leg of the UK tour of Varekai will be her last with
the show.
Theres nothing set in stone as of yet, I would like to stay
with Cirque, with the company, in a different show and setting,
not an arena tour, maybe a resident show, she tells me.
Ill probably go home for a little bit. Im just taking it as
it comes. This is my first ever job.
Emily is one of the Slippery Surface Flyers in Varekai, while
Sam, 24, is part of the Russian Swing Flyers and their
performances are astounding, as is the show as a whole.
Having caught the show in December in Paris I would recommend it
to all. It has everything you would expect from a Cirque
spectacle, and then some.
Varekai itself involves a cast and crew of 95 and it takes 22
trucks to transport the show from venue to venue. Once at each
venue, it then takes 12 hours to assemble the stage, which
includes a forest of 330 trees eight of which are climbable.
Varekai boasts an international cast, including our two
performers from the UK and all put in hours of practise each day
to keep their bodies and muscles in shape for their
performances.
I finished competing in gymnastics and took two years out, aged
16, says Sam. I needed a break. I had started gymnastics at
nine and I started to not enjoy my sport and started to not have
fun and dreaded going to training.
But I was bored and didnt know what to do and mum suggested
going back into gymnastics and go and join the show, so it was
down to her.
I started training again, teaching myself again, then I sent a
video to a company and thats how it all started.
Ill always try and do a workout in the middle of the day
specific to my act or whatever I want to improve on, my
handstands or posture. Then Ill do a stretch to really loosen
up my muscles. By the time it comes round to the show, rather
than just immediately stretching the muscles and going straight
on stage, I dont really like that too much, I like to have a
bit of time to adjust.
By the time of the show Ill do a bit of cardio to get the
blood flowing and because Ive already done my big stretch Ill
just do a few limbering up exercises to make sure the muscles
are ready to go. In the middle of the show we have time on the
swings backstage to practise our skills before we go on so its
fresh in your mind.
With new routines, you have to be confident in yourself and in
the people pushing you and catching you. You have to be
completely aware of what youre doing.
{ SOURCE: Chronicle Live | https://goo.gl/X82Pho }
ONOD 5: Q&A w/Brian & Nicky Dewhurst
{Feb.17.2017}
-------------------------------------------------------
Its a family affair with Cirque du Soleils One Night for One
Drop this year at Zumanity Theater on March 3 at New York-New
York.
Husband-and-wife Nicky and Laetitia Dewhurst are co-writers and
-directors of the 2017 one-night-only benefit production, and
Nicks father, Brian Dewhurst, who plays the clown in Mystere
at T.I., Cirques longest-running Strip production, is
ringmaster of One Drop.
Robin Leach sat with father and son after a sneak-preview run-
through Feb 7:
Q. So, Nicky, did you set out with fun in mind, with Monty
Python in mind and with your dad as ringmaster?
Yes and yes! The whole thing came together when we thought about
the key characters, and I talked to my dad about being part of
the show before we really formulated what we were going to do.
He said, Yes, absolutely! We went through a couple of
scenarios. Then we landed on this concept of an old ringmaster
going back in time to his youth and seeing himself. When I
explained that, I was like, This is perfect, you know. Brian is
perfect for this role. Hes been in the circus his whole life
and knows exactly what that feels like.
Q. Has your dad been the perfect student to take your direction?
Actually, Ive been incredibly impressed because I showed up the
other day to fix his Wi-Fi, I walk in, and hes got all his
script laid out, and hes reading his lines. Hes learning his
lines, and Im going, Wow, its amazing that you
(Brian
interrupts) Well, it only takes me twice as long to learn the
lines as it used to, then I forget them, so I have to go over
them again.
Nicky: Its definitely collaboration. We work very well
together.
Brian: Hes being generous. He probably wants something. But,
seriously, he and Laetitia are doing an amazing job.
Nicky: This is definitely a partnership my wife and I have.
Shes incredible. When shes not around for a session of
directing, I suddenly feel a little insecure. I just get that
oh, where is she because we bounce ideas off each other, and
she has the same feeling when Im not there. She goes, Can you
make it to the dance rehearsal? even though Im not dance, Im
not choreography. She likes to bounce ideas off me.
Brian: Its not like that at all at home, though.
(Laughs all around.)
Q. Is there anything that Brian has tweaked?
Hes just added his own little flare to moments where Ill say,
This is what we want here, and we want that here. And hell
go, Well, Nick, what if I just did this instead? And Ill go,
Oh yeah, of course yep, perfect. I cant be specific because
it happens so often, and thats his genius. Its happened twice.
Thats his genius and our relationship, how were able to
connect and still get to the final product.
Q. The four previous shows have been heavy in imparting the
seriousness of the message, yet you seemed to have brought
fun to it even though its a delicate tightrope to walk.
Brian: Its smaller. It lends itself to seeing the acts without
too much distraction because other places you could have people
all over the place, but this theater brings everything more
focused.
Nicky: Im not taking anything away from the previous shows
because it is a very, very serious subject. Theyve done some
beautiful presentations of representing that walk for water and
those kind of things that are powerful and emotional. It is a
difficult subject, and one of the things that we wanted to do to
try to help this year is to have people leave positive but
informed. They go out and say, I had a great time, I get it,
were here for the right reason, and were donating our money.
We enjoyed ourselves.
Q. Youre not going to disappoint because youve got William
Shatner and things coming down from the ceiling right into
the audience.
Brian: When in doubt, bring in a clown.
Nicky: String somebody up from the ceiling and drop them in.
Brian: Well send in the clowns right into the audience.
Nicky: And we have our Screw It Were Moving to Mars
singalong:
This planet is a big disgrace
Theres only one solution for the human race
Lets pack and get out of this place
Screw it, were moving to Mars!
No passport needed, theres no immigration
Everybodys welcome at this destination
Lets all let go of our daily frustrations
Screw it, were moving to Mars!
{ SOURCE: Robin Leach, LVRJ | https://goo.gl/MDYIyT }
ONOD 5: Q&A w/Krista Monson & Jerry Nadal
{Feb.17.2017}
-------------------------------------------------------
It is one of the most ambitious Strip productions each year, and
it takes almost a year, by a team of 300 volunteers, to pull off
a one-night-only spectacular seen this time by only 1,250 lucky
VIPs. Exactly two weeks from now on March 3, Cirque du Soleil
stages for the fifth consecutive year its incredible charity
show One Night for One Drop.
We have a massive logistical puzzle to fit everybody in,
Krista Monson, director of creation, told Robin Leach at a sneak
preview rehearsal Feb. 7. We have 63 artists, we probably have
a crew of 80, and our designers and wranglers and travel
immigration specialists to get everybody here, we probably have
a total team of 300 people. Everyone is a volunteer nobody
gets paid.
The extraordinary experience supports safe water-access programs
worldwide and includes charitable support for our Springs
Preserve. Cirque founder Guy Laliberte created the international
nonprofit to develop strategic and operating initiatives to
address access to safe water. The four previous performances of
One Drop have raised about $25 million.
Said Krista: This show has a spirit of freedom, comedy, wit and
taking a chance, and theres really cool writing.
That closing song is almost like a Monty Python episode!
Exactly! Cirque is about taking a chance, thats what we do, and
thats what Nicky and Leticia have done with this and with the
whole narrative arc. It comes to a point where the emotion gets
so high, we have no choice but to break out into a completely
new feeling. We have a singalong we want to keep people
guessing about what the end will be, so, without giving away too
much, it takes a look at the planet in a way that has that Monty
Python comedy edge that you dont expect in these lyrics. Its
almost inappropriate, but the end hits us.
(In addition to the Cirque performers, Krista and her team have
secured William Shatner, Grace VanderWaal, The Tenors, Redfoo,
Lisa Loeb, the eight-man Brazilian drum-and-dance team Malevo,
aerialists Duo Sky Angels and Miles Brown, who was a sensation
in last years One Drop at The Smith Center. Jean-Francois
Blais composed the original soundtrack.)
Q. So the audience, in glittering gowns and smart tuxedos with a
touch of blue, will let its hair down?
We want everyone to leave having a blast. The audience will be
singing as they walk out of the theater no doubt, we hope even
in their glittering gowns.
Q. The song Screw It Were Moving to Mars
which came
first, William Shatner or the number itself?
Move to Mars came first, and, to be honest, it had nothing to
do with the space theme that made us think of him. We wanted a
man, an iconic figure who can actually tell Cirque du Soleil how
to close the show. He didnt hesitate for a split-second! I got
an immediate callback saying that hes interested.
He was on a Star Trek cruise at the time, so we had to wait a
couple of weeks until he got back on land, and after that it
was, Lets jump on a call. Leticia took him through the story
arc. There was a bit of a pregnant pause at the end of the line,
and he burst into laughter and said, I cant believe you want
me to do this.
And we said, The pleasure and honor is all ours, Mr. Shatner.
It is really interesting because hes the old man of theater,
and Grace is the young girl of theater. It fits with the theme,
the idea of generations, the old ringmaster and the new
ringmaster.
Q. How many guest circus performers are joining in from around
the world?
We have six guest artists coming in from all over the world.
Youve seen our dance trapeze artist today. We have others
coming in over a three-week span. We have a massive logistical
puzzle to fit everybody in, including their training, plus the
staging. Some of them have already been here. We know what
theyre going to be doing. They will train on thisstage.
Zumanity has very small space, so some of them will train at
the Mystere training studio, the Ka training studio. We have
to coordinate our forces to make it all happen.
Q. How many people under your control behind-the-scenes are
moving all the pieces to make it work?
We have 63 artists, we probably have a crew of 80, and our
designers and wranglers and travel immigration specialists to
get everybody here, we probably have a total team of 300 people.
Everyone is a volunteer nobody gets paid.
Q. Has President Trumps travel ban caused any hiccups?
Thats a great question. We have an award-winning duo coming
from Uzbekistan, and they were here in December. They have their
travel visa, theyre ready to go, but its an interesting time
right now for all of Cirque. Theyre not on this list of seven
countries, but its a funky time, and were recognizing that it
seeps into all walks of life, right? I do know that the people
who are here are appreciative to be here, and theyre thinking
twice before they leave, thats for sure.
Q. With two weeks left, how confident and comfortable are you
that you will pull all of this off? Or is it nails bitten
down to the quick until the night of March 3?
Our mandate is to reinvent and break formulas and do things in a
different way, so thats always chancy, and it always gets the
fire under our butts and the adrenaline pumping. Im not going
to lie, but were confident, were working with extremely
talented people, and they all feel the passion to do it all
together. They feel the pressure as well as the passion. The
timeline of that pressure and passion has a new equation now
because its that much earlier. There are a lot of things that
still have to come together. So over 200 volunteers for one
night, it is extraordinary, absolutely amazing. The common
thread is everybody is here to create a show that were all
proud of, so everybodys making it happen and doing whatever it
takes.
Q. You directed the first One Drop at O, and there have been
three others since. Lets run through them.
We were immersed in water when I directed that first show. The
concept was to celebrate Earth in its fragility, vulnerability
and strength, so it was really a celebration of water
importance.
Our second show in the Michael Jackson One Theater at Mandalay
Bay was how to cope in a world without water.
The third show (at The Mirage) was a continuation of the walk
for water by five women and how it affected each of them as we
went into their personal stories. Last year our fourth show was
at The Smith Center, and it was based on the personal story of
our director, Hassan El Hajjami, of how he walked for water five
miles every day as a child. These were surreal environments.
So this time we are lighter were flying free and having fun.
After five years, its a different rhythm but the same theme
with different directors. Thats the joy of it, to see the
interpretations and take audiences over years one, two, three,
four and five to a totally different experience. This one is
fun, comedic and witty, yet still with that degree of excellence
and messaging.
* * *
Jerry Nadal is the senior vice president of the Resident Shows
Division at Cirque. He told me that hes cautiously optimistic
everything will come together perfectly March 3 despite the
much-shortened preparation period.
Q. And youre having to cope with President Trumps travel ban?
Plus the logistics of 63 performers from different countries?
There are things you cant predict. Immigration is our game.
Without immigration, we dont have Cirque du Soleil. People from
50 countries work for us, so its a big deal for us. With so
many artists, its the nature of entertainment. Certainly, its
the nature and tradition of circus, people coming from all over
the world. I think the rest of the world could take a cue from
the way we operate. I always tell people that this is like
running the U.N. except it works. We have people from all over
the world, many different languages, and yet it happens every
night onstage in the regular shows and certainly in this One
Drop. This always amazes me that we pull this off every year
for one night only.
Q. Why this extraordinary volunteer commitment from the
performers of Cirque to this one-night effort a year? Where
does that come from?
I think the performers, and the entertainment industry in
general, are inherently incredibly generous. Ive given speeches
at universities to students who are graduating in this field:
You join the ranks of people whether you ever become famous or
not who give of their time and energy to pick a cause. Its
inherent of people in this industry, and Cirque du Soleil in
particular, its been our goal to tackle the risk and water-
related issues, and everybody rallied around that when Guy
started talking about it. They see the difference theyre
making, and we see the progress were making around the world
and the different projects. For the amount of time theyre
donating to do this, if we can make a difference in somebodys
life somebodys buying tickets to come see them, and they love
to perform on top of that I think its just a win-win for
everybody.
Q. How much have the four shows raised to date?
Somewhere in the $24 million range. With a little luck, well
edge in on $30 million this year. Its a smaller theater this
year, but that was intentional. We wanted to completely change
up we always want to keep people surprised with what were
doing. I think this is a beautiful venue at New York-New York. I
think we established a message in the first year, let people
know what the issue is. We live in the desert; its a serious
issue for us. We forget about it because we can turn on the tap
and get water at any time. Go to Lake Mead and just see how far
down it is. You realize whats going on. But this one, were
having fun. Theres still a message, but I think weve
established the message over the last few years; its still
there but in a very humorous way.
Q. Are you impressed with the performance turnout that Nicky and
Laetitia have assembled?
Theyve got so many connections. You look at Nickys father,
Brian, he goes back how many generations, he was a Vaudeville
performer, and his parents were performers. Theyve got
connections throughout the entertainment industry and in the
competitive gymnastics world. Its unbelievable how theyve
tapped into the network around the world.
{ SOURCE: Robin Leach, LVRJ | https://goo.gl/ibMbw5 }
Forbes: A Q&A w/ Guy Laliberte on One Drop
{Feb.25.2017}
-------------------------------------------------------
The One Drop Foundation was launched by Cirque du Soleil founder
and billionaire Guy Laliberté in 2007. The non-profits mission
is to make safe water accessible around the world.
Ever since Laliberté created the world-wide entertainment
phenomenon Cirque du Soleil, his core value was to make the
world a better place to live. As soon as Cirque du Soleil
started making money over 25 years ago, he started giving back.
He created the One Drop Foundation to make a change in peoples
lives around the world after learning that one person dies every
90 seconds from not having access to clean water.
Not only a brilliant businessman, poker champion and creative
force in the world of entertainment, Laliberté also became the
first Canadian private space explorer. In 2009, his out-of-this-
world mission was dedicated to raising awareness on water issues
facing humankind on planet earth.
Jim Dobson at Forbes Magazine spoke exclusively in Las Vegas
with Laliberté about the inspiration behind his water charity,
the outrageous luxury items he is offering up for auction at
this years One Drop Gala, (speedboat racing in Lake Como,
private jets and more) and his future plans fighting the global
water crisis.
Q. Can you tell me how One Drop began? Why are you so passionate
about water preservation and access?
One Drop began to emerge at a time when I was starting to think
of how to celebrate Cirque du Soleils 25th anniversary. I was
thinking on how I wanted us to manage the celebrations; we could
have fun and be proud of our international success, or we could
look forward and pursue our dream of a better world that has
always inspired us.
I started researching and I quickly understood that almost every
single issue facing the world today poverty, health,
education, social justice, economic development, environmental
issues, gender issues, food security all have one source in
common: water. Addressing water-related issues has a ripple
effect on all of these. The situation in each country is
different but, to exemplify, when a poor family has access to
safe water, all their members have better health, the parents
can practice income-generating activities, the children can go
to school because they dont have to walk hours to fetch water,
women dont get harassed on the road to and from the well; These
families can grow more crops in a year, sell surpluses at the
market, etc. For all these reasons, water is a transformative
force.
On a more symbolic level, water is precious because it is the
source of life. It has also always been a source of inspiration
in my life. Water eases me. Thats probably why my objective is
not to hammer people on the head with numbers Im more into
soft medicine. But theres one statistic that really struck me
at that time: that a child died every 8 seconds from a water-
borne disease. I thought this was unacceptable and that I had to
do something about it. Today the statistic has improved by 11
times thanks to the hard work accomplished by the key actors of
the sector, but the work is not completed and we will not stop.
Q. Tell me about the future plans for the organization? Any new
initiatives you are excited about?
One Drop has bold plans both in terms of the impact it wants to
achieve with its water access programs and in terms of acquiring
the means to achieve them through partnerships and creative
fundraising initiatives. This year will mark One Drops 10th
anniversary. Just like for the 25th anniversary of Cirque, we
dont want to tap ourselves in the back and congratulate
ourselves. We are celebrating this milestone by launching new
programs with the goal of helping more people. We have just
started a new project in the State of Rajasthan in India, we are
in the planning phase of a third project in Burkina Faso, West
Africa, and we will announce in the coming days our most
ambitious program ever that is going to transform the lives of
over 150,000 people in five Latin-American countries. These
projects will bring together corporations, multilateral
organizations, international NGOs and dozens of local partners,
and represent investments of nearly $80 million.
Im an entrepreneur, I strive at achieving results, and quickly.
In this case, more funding means more projects and more people
helped, its a pretty simple equation. I am personally
contributing $100 million over 25 years a portion of which
covers our administrative costs, meaning that the benefits
coming from our fundraising initiatives go directly to the
programs. I also use my creative instinct and know-how to move
One Drop forward in a unique manner and to develop new ways of
raising money. I like to think that One Drop is not taking a
slice of the existing pie, but contributes to baking a bigger
pie. That is particularly true of our initiatives in the poker
sector with our $1 million buy-in Big One for One Drop. We have
other ground-breaking initiatives in development, notably
signature auctions, that will see the light in the next two
years.
Q. What do you envision 10 years from now with the worlds water
problem?
You ask that question to a dreamer. I will not quote scientists
nor discuss generally admitted projections. I will simply say
that it is in the present that we prepare the future. I am
concerned by the fact that, still today, a child dies every 90
seconds from a water-borne disease and that hundreds of millions
of people live in extreme poverty. We and numerous organizations
and institutions do everything in our power today to put a
lasting dent into these issues. Doing so, we have to make sure
that the solutions we implement on the field are designed to
address the issues of sustainability and that they are capable
of empowering the local communities while developing their
capacities and autonomy. I think we will have achieved our goal
when the world will not need us anymore. It may take a little
bit more than 10 years, but thats the only horizon that I look
up to. We can choose to wait and do nothing or move forward one
drop at a time to make a difference in the long run.
Q. Tell me about this annual charity event in Las Vegas? How did
it come about and why Las Vegas?
One Night for One Drop is an extravagant event imagined by
Cirque du Soleil and performed by its artists and guest
performers. As its name says, it is performed for one night
only, making it a rare and exclusive opportunity. For this fifth
edition, it is around 100 artists and creators who are
volunteering their time nearly 20,000 hours! to make magic
happen at the Zumanity Theater in the New York-New York Hotel &
Casino. The event raised over $24 M since 2013 for the tickets
sales, through pledges and donations, and through the signature
auction. The excitement of some of the packages the team creates
are quite enticing for many individuals who are ready to spend
on these unique items, knowing that the proceeds are going to
the foundation.
Las Vegas is the best place for an event like that. Like no
other city in the world, the city is built in the desert and had
to adopt creative solutions to deal with water consumption and
preservation. The people of Las Vegas realize the importance of
water and know that it is a privilege to open the tap and see it
pour. Intuitively, they have an understanding of the
difficulties that are facing people in underdeveloped countries.
The other reason is of course the presence of seven Cirque du
Soleil shows in the city and the amount of talent that
participates in these shows; One Night for One Drop offers the
artists and creators a chance to put forward a different side of
what they can do by creating new numbers or by participating in
a different way, for example when a dancer becomes a
choreographer, or when a musician becomes a composer. The great
relationship with our longstanding partner MGM Resorts
International is also a central reason.
Q. The auction sounds fabulous. Tell me how the speed boat
package in Lake Como came together. Have you experienced the
race before?
Every year we look for packages that are ultra-exclusive and
have the potential to generate a lot of interest. This year, a
dear friend of One Drop who knows how to appeal to adrenaline
seekers like me proposed me the idea. I was on board from the
moment I heard about it. I have never experienced that type of
powerboat before and Im very excited to feel the extreme speed
on the lake. It is the first time ever that a package like that
is being auctioned off. This experience is certainly not for
everyone but there are people who like to undertake such
daredevil stunts
like me!
, and this item is for them.
Q. Finally, I would love to know your top three favorite places
to visit in the world. I know you love spending time on your
yacht Tiara, but any destination very special to you?
Obviously, I particularly enjoy the places where I have homes
(among them Hawaii, Ibizi, Canada and the French Polynesian
island of Nukutepipi, where he plans on building a solar powered
private resort.) But I am a citizen of the world, and to choose
only three would not bring justice to the scope of amazing
places there are in the world. I am still in wonderment with
discovering sometimes new places, sometimes old favorites all
over again.
{ SOURCE: Forbes | https://goo.gl/tUQfmB }
LVRJ: Q&A w/The Tenors One Night & Beyond
{Feb.26.2017}
-------------------------------------------------------
The Tenors are Las Vegas regulars. The award-winning Canadian
vocal group first appeared in Cirque du Soleils annual One
Night for One Drop at Michael Jackson One Theater at Mandalay
Bay in 2014, and theyre back for the fifth installment Friday
at Zumanity Theater at New York-New York.
The Tenors, now Clifton Murray, Victor Micallef and Fraser
Walters after Remigio Pereira and The Tenors parted ways in
July, have performed during Andre Agassis Grand Slam fundraiser
at Wynn Las Vegas, a David Foster & Friends concert at Mandalay
Bay, and one year ago at The Smith Center.
Murray, a fan of Cirque du Soleil and Las Vegas, answered
questions over the phone Feb. 9 ahead of Fridays One Night for
One Drop:
Q. Youve performed in One Night for One Drop before. I
watched your performance at Mandalay Bay in 2014. What brings
you back to the benefit performance at New York-New York on
March 3?
One Night for One Drop is a highlight of the year and an
incredible cause. The experience three years ago was incredible.
We were moved by the show and Cirque du Soleils awe-inspiring
artists and jumped at the opportunity to return. This time
around, we get to sink our teeth into the creative aspect more
and make it even more special and unique.
Q. Can you give us a hint as to what your role will be in the
performance and what guests and your fans can expect?
We are helping to carry the story forward as 18th century
horseman acting along the lines of The Three Musketeers mixed
with Interview With the Vampire (laughs). We have a small role
in the plot to carry the storyline.
Q. Why is being involved in One Drop Foundation so important to
you?
For myself, I grew up in a fish resort in the middle of nowhere
in British Columbia, and we were isolated and relied heavily on
clean water. As weve traveled the world, the importance of
clean water has really struck us. I have always had a strong
respect for the environment and water growing up in British
Columbia.
Weve seen in our charity work in Africa, in South Africa and
Kenya, how clean water, a simple water well can transform a
community and give them hope and cure disease. Fresh water can
change the lives of so many people around the world. Were
honored to share the stage with Cirque and also use our voices
and talents to give back.
Q. Have you seen many Cirque du Soleil shows, and, if so, what
is your favorite?
I have seen a number of them, and I have loved every one. The
power of Cirque is that no matter how you go into the show, you
walk way being in awe of the miraculous ability to create a
magical world. You ask yourself, Did that really happen? Was it
a dream of some kind?
O at Bellagio was my first Cirque show. Its a magical show,
and it stands out because of the water element. I also love
Love at The Mirage. I am a big Beatles fan, and Love
captured the comedy of the music and the era so beautifully.
Cirque transforms from set to set and production to production,
and Im in awe of the creative abilities of the performers who
devote their lives to blowing our minds.
Q. What is new with you since I watched The Tenors at The Smith
Center here in Las Vegas last Feb. 20, almost exactly a year
ago, and met you for the first time post-show?
Its been a busy one (laughs). After the roster change and
trials and tribulations, we are stronger and more convinced than
ever of a positive, hopeful future. It hasnt slowed us down; in
fact, it has been a very busy seven months. Were in the studio
working on a new album.
We have two tours lined up this year and gigs in Europe and
Southeast Asia. Well be in L.A. this week for The Grammy
Awards. The last year has put things in perspective for us. We
realize that everything can go away overnight, so we dont take
anything for granted.
It has been a new lease for us and reminded us not to rest on
our laurels. We are reinventing ourselves and taking new
opportunities like with Cirque and the stage acting this year.
Q. There were four of you in The Tenors for many years, and now
there are three. How has that changed the dynamic and your
live performances?
Three is obviously different than four. We rearranged a few
things, its a different experience, but the power is still
there, the passion and the power are still there. There is more
space and new opportunities. It was a difficult time, but we
have taken the positives and grown with them. We are feeling
grateful for everything right now.
Q. Are there plans to add a fourth member again?
Well never say never, but right now were comfortable in three.
We are arranging music in three. Weve performed some 60 shows
in the last few months, and the response is very strong. We
dont feel like we are missing anything based on the reaction
from the audience. That is the litmus test.
Q. What else are The Tenors working on right now?
We have a couple tours in North America, a lot of moving parts
with a lot of people. We have new dates listed on our website.
It takes a lot of time to create a magical experience, and
Cirque inspires us to come up with new ideas for our show. Were
inspired to take their ideas and run with them. This is an
exciting time, so come see Cirque and us!
Q. What is on your to-do list when youre in Las Vegas when
youre not working on One Night for One Drop?
One Night for One Drop is going to be a big family event Mom
and Dad, my sister and aunts and uncles and friends are coming
to Las Vegas. Were foodies. We love the restaurants and the
sites. Were staying a few days after to take it all in.
And it will be great to reunite with William Shatner, too! I
appeared in Boston Legal many years ago with the stars of the
show, William Shatner and James Spader. I spent seven days on
the set
my dad and William Shatner look a lot alike! Its
weird.
{ SOURCE: Don Chareunsy, LVRJ | https://goo.gl/JxwkVY }
Michel Laprise on Soda Stereo Show Premiere
{Mar.03.2017}
-------------------------------------------------------
The Cirque du Soleil spectacular Sép7imo Día: No Descansaré
premieres March 9 at Buenos Aires Luna Park stadium. Its a
huge show: after Sép7imo Día completes a three-month run of
5,000-capacity performances in Soda Stereos home town, a fleet
of 20 trucks will carry the technical equipment for the tribute
to the transcendent Argentine rock band which includes a
custom crafted stage through Latin America. Five hundred
thousand tickets have already been sold (fans bought 50,000 on
the first day of sales in August.) More than 25 of the Buenos
Aires dates are sold out.
Cirque has just announced shows in three Mexican cities late
2017. And U.S. shows have not been confirmed, but are expected.
True to the new acrobatic extravaganzas rock roots, the ticket
offerings include standing room on the floor the first time in
the history of Cirque du Soleil that part of the audience will
be standing, and even at times mixing with with the performing
artists.
Soda Stereo was known for loud music, says Sép7imo Día
director and writer Michel Laprise. And it has to be loud.
The shows soundtrack of Soda songs was produced and remixed
from original masters by band members Charly Alberti and Zeta
Bosio. Soda frontman Gustavo Cerati, a legend throughout Latin
America, passed away in 2014.
I never met Gustavo Cerati but I think of him everyday,
Laprise, a Cirque veteran who also designed Madonnas MDNA tour,
said during a recent phone conversation from Buenos Aires.
Laprise talked to Billboard about creating a show inspired by
the recollections of those who witnessed the bands rise in the
1980s and by input from the trios subsequent generations of
fans. While he refers to Sép7imo Día as a surprise party that
will remain a secret until next week, he revealed some details
about the event thats incredibly anticipated in Buenos Aires
and beyond.
Q. What people will the audience see when the lights go up in
Buenos Aires on March 9?
Soda Stereos songs are very metaphorical. Youre not going to
see a documentary on stage about Soda Stereo: we invented a
complete world based on the songs. The prologue goes back in
time, but then we go to 2007. We pick up the journey of Soda
Stereo where it stopped in 2007, and then we continue. Its a
show thats based on the musical exploration of relationships,
the relationships that people have with music and the band. We
want to create a collective hallucination thats visual and also
vibrational. To me the relationship with music is so important
and I am obsessed with it in this show. The visual part has to
feel like music. At this point, its still like a big surprise
party for our friends.
Q. You are a Cirque du Soleil veteran and youve worked with
Madonna. But you are not a rock en español fanatic and you
werent familiar with Soda Stereo before signing on to direct
this show. What was your approach?
Within days of starting the project, the first thing I wanted to
do was to go to Buenos Aires. I wanted to see where they grew up
and where they performed. I was asking people in the streets,
taxi drivers, everyone, about Soda Stereo. And people were
saying, Sodas music is the soundtrack of my life. The
relationship people have with their music is very deep and very
emotional. And that really helped me give me the essence of this
project. Very often, you have such a deep relationship with
music when you are around 16 or 17. There is that moment when
you realize that things go wrong in a society and you want to
change the world. Rock was and is feared by the political
system; its the music of progress and change, and a lot of joy.
Soda Stereo arrived right after the dictatorship [in Argentina].
They were on the cusp of the wave of self expression, of
freedom. There could not be better timing for this than now.
Q. How is that essence of the music expressed on stage?
The presence of acrobats on stage is stronger than any other
art. You take risk. There is an element of concentration and
also your relationship to the environment is very special. Its
a perfect match with the music. Its a show about music. We are
doing it at night, and its so loud. Weve never had such a
strong sound. Usually when we do a show we have neighbors around
the tent so we cant push so hard. And in Vegas, older people,
so no. But Soda Stereo was known for loud music. And it has to
be loud. We have the quality of when you record in the studio
but the feeling of live music. It was a lot, a lot of work for
[Soda members] Charly and Zeta, and Im so proud of the sound
that they created. It feels like a live show, but polished like
in a studio. Im very proud of the sound; its very strong, its
very physical.
Q. Soda Stereos fans also influenced the making of Sep7imo Día.
How did that work?
It was very important that we be humble about the fact that when
we started this we were not experts. It was important for the
show to connect with the fans. We started Facebook Live sessions
every month. There were 7-8,000 joining at first; then we had
80,000 people in one session. We met with the fans through the
whole creation process. We opened the door of the [Cirque]
creation room for the first time ever. They were so involved.
Some people made a painting and sent it to me, they did photos,
they wrote poems. What people were sending about their wishes or
feelings allowed me to take the pulse of the band. I showed the
results to the creation team and they said, this is the show
were making. This was not a marketing thing, it was about the
creation of the project.
Q. Gustavo Cerati died in 2014. In a symbolic way, this show
marks his return to the public. How would you say he is
present in the production?
I never met Gustavo Cerati, but I think of him everyday. I think
his spirit is there. Its not like a tribute, but at the same
time I did not ignore [his death]. I really embraced the fact
that hes not there. At times in the show we acknowledge that
hes not there. But the great thing about artists is that they
are eternal. And this show is about that too music is eternal.
And music is a very powerful thing. Everyone is working very
hard, harder than usual. I dont think [with Cirque] weve
worked this intensely before. But people have been waiting ten
years for something from Soda, so we have to make it work.
{ SOURCE: Billboard | https://goo.gl/oTy2kR }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia, Totem & Volta}
o) ARENA - In Stadium-like venues
{Varekai, TORUK, OVO & Séptimo Día}
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:
London, UK -- Jan 12, 2017 to Feb 26, 2017
Vienna, AT -- Mar 9, 2017 to Apr 17, 2017
Rome, IT -- Apr 30, 2017 to May 28, 2017
Sao Paulo, BR -- Early Oct to End Dec, 2017
Rio de Janeiro, BR -- Early 2018
Koozå:
Melbourne, AU -- Jan 20, 2017 to Mar 26, 2017
Perth, AU -- Apr 13, 2017 to May 28, 2017
Singapore, SG -- Jun 12, 2017 to Aug 13, 2017
Kurios:
Dallas, TX -- Feb 17, 2017 to Mar 26, 2017
Houston, TX -- Apr 6, 2017 to May 21, 2017
Winnipeg, MB Jun 2, 2017 to Jun 25, 2017
Portland, OR Aug 28, 2017 to Oct 8, 2017
Vancouver, BC Oct 19, 2017 to Dec 31, 2017
Luzia:
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 Aug 20, 2017
Phoenix, AZ -- Sep 22, 2017 to Oct 22, 2017
Totem:
Fukuoka, JP - Feb 3, 2017 to Mar 19, 2017
Sendai, JP - Apr 6, 2017 to May 21, 2017
Sochi, RU -- Jul 1, 2017 to Jul 30, 2017
Brussels, BE -- Aug 31, 2017 to Oct 29, 2017
Paris, FR -- Nov 2017
VOLTA:
Montreal, QC -- Apr 20, 2017 to Jul 2, 2017
Gatineau, QC (Ottawa, ON) -- Aug 3, 2017 to Aug 27, 2017
Toronto, ON -- Sep 7, 2017 to Nov 26, 2017
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Varekai:
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
Copenhagen, DK -- Mar 23, 2017 to Mar 26, 2017
Lyon, FR -- Apr 13, 2017 to Apr 16, 2017
Amsterdam, NL -- Apr 20, 2017 to Apr 23, 2017
Bratislava, SK -- Apr 27, 2017 to Apr 30, 2017
Bucharest, RO -- May 3, 2017 to May 7, 2017
Budapest, HU -- May 12, 2017 to May 14, 2017
Prague, CZ -- May 19, 2017 to May 21, 2017
Sofia, BG -- May 26, 2017 to May 28, 2017
Ljubljana, SL -- Jun 2, 2017 to Jun 4, 2017
Vilnius, LT -- Jun 8, 2017 to Jun 10, 2017
Oslo, NO -- Sep 1, 2017 to Sep 3, 2017
Malmo, SE -- Sep 6, 2017 to Sep 10, 2017
Helsinki, FI -- Oct 5, 2017 to Oct 8, 2017
Stockholm, SE -- Oct 11, 2017 to Oct 15, 2017
TORUK - The First Flight:
Cleveland, OH -- Mar 3, 2017 to Mar 5, 2017
Philadelphia, PA -- Mar 8, 2017 to Mar 12, 2017
Hartford, CT -- Mar 15, 2017 to Mar 19, 2017
Dayton, OH -- Mar 22, 2017 to Mar 26, 2017
Taiwan -- Jul 6, 2017 to Jul 18, 2017
Japan -- TBA 2017
Australia -- TBA 2017
New Zealand -- TBA 2017
OVO:
Rio Rancho, NM -- Mar 1, 2017 to Mar 5, 2017
Lubbock, TX -- Mar 8, 2017 to Mar 12, 2017
Cedar Park, TX -- Mar 15, 2017 to Mar 19, 2017
Laredo, TX -- Mar 22, 2017 to Mar 26, 2017
Corpus Christi, TX -- Mar 29, 2017 to Apr 2, 2017
Oklahoma City, OK -- Apr 6, 2017 to Apr 9, 2017
El Paso, TX -- Apr 12, 2017 to Apr 16, 2017
Tuscon, AZ -- Apr 17, 2017 to Apr 23, 2017
Cincinnati, OH -- May 11, 2017 to May 14, 2017
Columbus, OH -- May 17, 2017 to May 21, 2017
Pittsburgh, PA -- May 24, 2017 to May 28, 2017
Toledo, OH -- May 31, 2017 to Jun 4, 2017
Hamilton, ON -- Jun 7, 2017 to Jun 11, 2017
London, ON -- Jun 14, 2017 to Jun 18, 2017
Sunrise, FL -- Jul 13, 2017 to Jul 23, 2017
Miami, FL -- Jul 28, 2017 to Jul 30, 2017
Jacksonville, FL -- Aug 2, 2017 to Aug 6, 2017
Zurich, CH -- Oct 5, 2017 to Oct 8, 2017
Salzburg, AU -- Oct 18, 2017 to Oct 22, 2017
Leipzig, DE -- Oct 25, 2017 to Oct 29, 2017
Hamburg, DE -- Nov 1, 2017 to Nov 5, 2017
Berlin, DE -- Nov 8, 2017 to Nov 12, 2017
Mannheim, DE -- Nov 15, 2017 to Nov 19, 2017
Cologne, DE -- Nov 22, 2017 to Nov 26, 2017
Stuttgart, DE -- Nov 29, 2017 to Dec 3, 2017
Nuremberg, DE -- Dec 6, 2017 to Dec 10, 2017
Munich, DE -- Dec 13, 2017 to Dec 17, 2017
SÉPTIMO DÍA NO DESCANSARÉ:
Buenos Aires, AR -- Mar 9, 2017 to May 14, 2017
Cordoba, AR -- May 25, 2017 to Jun 2, 2017
Lima, PE -- Jun 17, 2017 to Jun 24, 2017
Santiago, CL -- Jul 19, 2017 to Aug 6, 2017
Bogota, CO -- Sep 3, 2017 to Sep 23, 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
2017 Dark Dates:
o March 8
o May 6 - 10
o July 12
o September 9 - 13
o November 8
Special Performance Dates:
o Thu, Apr 6, 2017
o Thu, Aug 17, 2017
o Fri, Nov 24, 2017
o Fri, Dec 29, 2017
o Sun, Dec 31, 2017 | 4:30pm & 7:00pm
2017 Single Performance Dates:
o Fri, Mar 03 | 9:30 pm
o Sat, Mar 11 | 7:00 pm
o Sun, Mar 26 | 7:00 pm
o Sun, Apr 02 | 7:00 pm
o Sun, Apr 09 | 7:00 pm
o Sun, Apr 16 | 7:00 pm
o Sat, Jun 17 | 7:00 pm
o Sun, Aug 13 | 7:00 pm
o Sun, Oct 01 | 7:00 pm
o Fri, Oct 20 | 7:00 pm
o Sun, Oct 22 | 7:00 pm
o Fri, Dec 08 | 7:00 pm
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 9:30pm (as of Aug 12, 2015)
2017 Dark Dates:
o April 5 - 9
o June 11
o August 2 - 6
o October 8
o November 29 - December 12
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
*** CLOSING DECEMBER 31, 2017 ***
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Two Shows Nightly - Dark: Wednesday/Thursday
Schedule: 7:00pm & 9:30pm on Friday, Saturday, Monday & Tuesday
4:30pm & 7:00pm on Sunday
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
PARAMOUR:
Location: Lyric Theater, Broadway, New York City
Performs: Wednesday through Monday, Dark: Tuesday
*** CLOSING APRIL 16, 2017 ***
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) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
WEBSERIES: Official Online Featurettes
---------------------------------------------------
*) C:LAB WORKSHOP SERIES
In the Workshops series - Presented by C:LAB - Cirque du Soleil
explores a new acrobatic repertoire by reaching out to athletes from
other disciplines.
o) EPISODE 14: TRAPEZE
January 10, 2017
In this episode, acrobats from different disciplines explore
new Trapeze techniques!
LINK /// < https://youtu.be/rKIRnvrwoz4 >
o) EPISODE 15: US SKI TEAM COLLABORATION
February 21, 2017
In this episode of the Workshop series, the Cirque du Soleil
team joins up with the United States Ski and Snowboard
Association (USSA). See what happens when skiers try their
skills at a Cirque du Soleil bootcamp.
LINK /// < https://youtu.be/qC6QNc2BNDM >
*) VOLTA - "FREEDOM MOMENTS"
"Freedom Moments" is a new series about how the artists from
Cirque du Soleil's NEW 2017 Big Top show, VOLTA, found their
free. VOLTA is a story about the FREEDOM to choose and the
thrill of blazing your own trail. Get up close and personal
with VOLTA's artists, discover their "Freedom Moments and
share yours with #FindYourFree!
o) EPISODE 1: ELENA SUAREZ - BALLERINA
January 6, 2017
Freedom = dance for VOLTA's s ballerina Elena, who
says being onstage is the best feeling in the world.
LINK /// < https://youtu.be/23DBoIQU6cI >
o) EPISODE 2: DINA SOK - TIGHTWIRE
January 13, 2017
In this weeks Freedom Moment meet Dina, a tightwire
artist. He finds freedom in the middle of nature, back
home in Cambodia.
LINK /// < https://goo.gl/ofJdE1 >
o) EPISODE 3: RIKKI CARMEN - FREE RUNNER
January 27, 2017
In this weeks Freedom Moment we meet Rikki, a free
runner. He finds freedom by escaping the 9 to 5 and
hitting the road, traveling wherever his heart takes him.
LINK /// < https://goo.gl/NpU2IL >
o) EPISODE 4: PAOLA FRASCHINI - ROLLER SKATER
February 3, 2017
In this weeks Freedom Moment we meet artistic roller
skater, Paola! She expresses what she does to feel connected
with herself.
LINK /// < https://goo.gl/ikvrm6 >
*) LUZIASELF - THE WEBSERIES
LUZIAself is a collection of portraits highlighting the unique
stories, passion and dedication of some LUZIA artists.
o) EPISODE 3: CONTORTION
February 1, 2017
In episode 3, LUZIAself with our contortionist Aleksei
Goloborodko! Get to know how he became the most flexible
human in the world!
LINK /// < https://youtu.be/OO1afRLMNgc >
o) EPISODE 4: SONGS AND POLE DANCE
February 15, 2017
In episode 4, LUZIAself with Majo and Diana! Get to know
those "sisters" and what brings them together.
LINK /// < https://youtu.be/kOjjFyqK7b8 >
o) EPISODE 5: ADAGIO
March 1, 2017
In episode 5, LUZIAself with our Adagio performers: Kelly
and Grzegorz! Here's a sneak peek at how they create their
Adagio number.
LINK /// < https://youtu.be/RzWuB84Ym5s >
*) AMALUNA OUR ISLAND AT THE ROYAL ALBERT HALL
Discover Our Island at the Royal Albert Hall and get an insider
look at Cirque du Soleil's London adventure!
o) EPISODE 1: NEW SURPRISES
FEBRUARY 1, 2017
Discover Our Island at the Royal Albert Hall and get an
insider look at our London adventure!
LINK /// < https://goo.gl/cpNkmt >
o) EPISODE 2: THE PREMIERE!
February 8, 2017
Go behind the scene of our amazing Premiere in London with
our 2nd webisode of "Our Island at the Royal Albert Hall"
LINK /// < https://goo.gl/l8GO44>
o) EPISODE 3: REJUVINATION
February 24, 2017
Are you wondering how Amaluna artists spend their free
time between shows? Find out in this next installment
of "Our Island at the Royal Albert Hall"
LINK /// < https://goo.gl/pQcouk >
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
*) CIRQUECAST
CirqueCast is a Vodcast (thats video podcast) for Cirque fans
by Cirque fans featuring artist interviews, Cirque headlines,
and the inside scoop to your favorite Cirque du Soleil shows!
Join your hosts José Pérez (TheChapiteau), Richard Richasi
Russo (Fascination!), Ian Rents (Hardcore Cirque Fans), and Dario
Shame (a big 'ol fan), as we bring you a behind-the-scenes look
into Cirque du Soleil, complete with discussions and the latest
Cirque news.
o) EPISODE 14 Review of Paramour
February 13, 2017
On this episode of CirqueCast, we review Cirque du Soleils
Paramour! After Paramours recent closing announcement, we
decided to fly to NYC to catch the show before its final
curtain drop. Watch now to find out what we thought of the
show!
LINK /// < https://youtu.be/dZLkyuR5WZc >
*) OTHERS...
o) The Making of Duo Straps - Mystere
February 3, 2017
Discover the stunning new addition to Mystère by Cirque
du Soleil. This male-female duo strap act celebrates the
power of a woman and the relationship with her king. The
process celebrates the creative and artistic relationship
with the acrobatics.
LINK /// < https://youtu.be/KsxGKvEEX4g >
o) VOLTA: Meet the Costume Designer
February 6, 2017
Watch renowned designer Zaldy talk about his creative
process behind the VOLTA show costumes. VOLTA tells a
spellbinding story about the freedom to choose and the
thrill of blazing your own trail. Inspired in part by the
adventurous spirit that fuels the culture of action
sports, the show weaves the adrenaline rush of acrobatics
into a visually striking world driven by a stirring
melodic score.
LINK /// < https://youtu.be/rehxMqqY4Nk >
o) Training an Artist - Kooza Trickster
February 7, 2017
Watch how Barry Lowen went through an artistic process
and training to become the Trickster in Cirque du Soleil's
show Kooza. In a traditional circus homage, KOOZA combines
acrobatic performance and the art of clowning, while
exploring fear, identity, recognition and power
LINK /// < https://youtu.be/41ioIf4p9OE >
o) Cirque at the BAFTA's
February 12, 2017
Cirque du Soleil and Stephen Fry open The British Academy
Film Awards 2017 ceremony on BBC One
LINK /// < https://youtu.be/rfqI89ILrLc >
o) Valentine's Day Makeup Ideas by Cirque and MAC Cosmetics
February 13, 2017
Discover how Isabelle, Head of Makeup at Cirque du Soleil
recreates glamorous Valentine's day ideas with MAC Cosmetics.
Watch the tutorials and try them out for a dazzling look.
LINK /// < https://youtu.be/cctcUA7XnwE >
o) Welcome to Cirque du Soleil
February 17, 2017
We are Cirque du Soleil - we currently have 20 productions
worldwide, have brought wonder and delight to more than 160
million spectators in over 400 cities, in 60 countries, on
6 continents.
LINK < https://youtu.be/fBBGpDZODTY >
o) How to Clean Makeup Brushes, Sponges, and Puffs
February 20, 2017
Isabelle Fink, Makeup Team Supervisor at Cirque du Soleil
shows us the best techniques on how to care for and clean
our makeup brushes, sponges, and puffs.
LINK /// < https://youtu.be/zbpDJQj0ACc >
o) Cirque Workouts - Ab Exercises by Cirque du Soleil
February 23, 2017
In this video series, Eric Saintonge gives us training
tips to improve our workout sessions. This video focuses
on how to properly train your abdominals.
LINK /// < https://youtu.be/a9ogOH-IQBc >
o) 4 Masquerade Makeup Ideas by Cirque du Soleil
February 27, 2017
In this makeup video tutorial, we use Cirque du Soleil
show-inspired makeup and costume techniques to create 4
different masquerade makeup looks, which are also perfect
for celebrating Mardi Gras! Choose between being the
Belle of the Ball, the Carnival Comedienne, Your Royal
Majesty, or the Feathered Fairy!
LINK /// < https://youtu.be/cirS-VT-YCU >
o) ONOD5 Preview During The Climate Reality Project
March 2, 2017
Al Gore and The Climate Reality Project hosted the
sixth-annual 24 Hours of Reality broadcast and we
produced a stunning performance highlighting One Drop
& One Night For One Drop.
LINK /// < https://youtu.be/1jTnvI1apNw >
o) ONOD5 Trapeze Act Rehearsal
March 3, 2017
One Night for One Drop is an annual philanthropic event
in which Cirque du Soleil cast and crew donate their
talent and time to create a unique and breathtaking
production for one night only in support of One Drop, an
international non-profit organization dedicated to
providing access to safe water. In 2017, we will be
celebrating the 5th edition at the elegant yet intimate
Zumanity Theatre at New York-New York Hotel & Casino in
Las Vegas. This unforgettable production will benefit
those without access to safe water around the world as
well as local projects in Southern Nevada focusing on
innovative educational programs.
LINK /// < https://youtu.be/2MHwAv5HBRw >
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "It's Bouncy-Bouncy Boing-Boing Time!"
A Review of Cirque du Soleil/NETFLIX's Luna Petunia
Written By: Nicole Russo - Atlanta, Georgia (USA)
o) SPECIAL /// "When an Investment Firm Buys a Circus"
By: Michael Lev-Ram, Fortune Magazine
A Special to the Fascination! Newsletter
o) "Casting Q&A's - Meet a Mentor, Part 1 of 3"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
"It's Bouncy-Bouncy Boing-Boing Time!"
A Review of Cirque du Soleil/NETFLIX's Luna Petunia
Written By: Nicole Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
Iconic Montreal, Canada-based performing arts organization Cirque du
Soleil has achieved more success in its 30-plus year history than most
companies ever dare to dream about, but the company isnt interested
in resting on its laurels; its continuing to evolve and expand
globally at an ever-increasing rate. In December 2012, Cirque du
Soleil caught the attention of the kids entertainment industry by
launching Cirque du Soleil Média, a joint-venture with Canadian
broadcast heavyweight Bell Media. The plan was to expand the Cirque
brand and its values beyond live shows into new and original youth-
and kid-targeted content for television, film and digital platforms.
The joint-ventures first project brought L.A.-based Saban Brands
(Power Rangers, Julius Jr., Popples) into the mix in February 2014 to
help launch a property that would include a TV series, consumer
products line, and interactive content. Eight months later, Cirque and
Saban introduced Luna Petunia to the world at MIP Junior (the worlds
showcase for kids programming), and revealed that an animated TV
series of the same name was in development with Bradley Zweig (Sid the
Science Kid, YoGabbaGabba!) as showrunner. The series marks uncharted
waters for Cirque du Soleil Média, but the company was confident its
collaboration with Saban would move the property in the right
direction and open up a wealth of opportunities. Jacques Méthé,
president of Cirque du Soleil Média, said: We are committed to
delivering refreshing, beautifully artistic entertainment and we are
confident that Luna Petunia will do just that.
And weve been waiting to see what Luna Petunia was all about ever
since then. Netflix acquired the series and on Friday, December 9,
2016
it began airing!
BUT WHY PRE-SCHOOL ANIMATION?
-----------------------------
Back in 2015, Kidscreen visited Cirque headquarters and spoke with
Daniel Lamarre (president and CEO of Cirque du Soleil), Jacques Méthé,
Elie Dekel, (president of Saban Brands) and Brian Casentini (Saban SVP
of development and production) to answer that very question.
When Cirque was initially exploring ways to bring the magic and
emotion of its live shows to a larger audience through mass media, it
kept coming back to animation for kids. Weve been toying with the
idea of [animation for kids] for many years. We think it is the right
way to attract a new demo, Lamarre said. Its very important to
expand Cirques target demo beyond those who can afford to go to its
live shows in person. And when it came time to pinpoint a specific
age group, Cirque and Saban both agreed that preschool was a sweet
spot. For the majority of the world, adults are the most aware of the
Cirque brand, says Casentini. So we felt that because moms and
parents control the media preschool kids consume, launching a
preschool brand first made a lot of sense.
In addition, Sabans global success with its own brands and Zweigs
experience in developing and producing TV series were big factors in
Cirques final decision. Bradleys openness to another creative
process was a big factor for us, notes Méthé. A lot of people when
they interact with us see the surface, the acrobatics and colors. He
cut straight to our DNA and values. He asked right away, Who is Luna
and what drives her?
With positive early reactions across the board from broadcasters at
MIPCOM, and a deal secured with NETFLIX, a global distribution
partner, Cirque and Saban are confident in the potential of the IP.
Its exciting and frightening because we have to deliver, says
Méthé. Lamarre concurs. The risk is that we have to produce a series
that will not only be appealing to viewers, but that will be a good
demonstration of our brand, too, he says. Our consumers have very
specific expectations of what Cirque is all about, and its very
important that moms recognize the creativity in the new brand.
Obviously, we dont want to disappoint them.
With delivery of the series, Cirque and Saban are also exploring ways
to extend Luna Petunia to interactive, digital, learning and other
consumer products. As the creative is developing, we are paying a
great deal of attention to how the storylines, characters and visuals
can translate to the other platforms, says Dekel. One of the ultimate
goals, according to Lamarre, would be to launch an immersive live
experience and bring the property back to what Cirque does best. The
greatest reward we could have, and it would be a first for us, would
be to establish a character that has enough impact to integrate into a
live show.
MAKE THE IMPOSSIBLE, POSSIBLE
-----------------------------
Luna Petunia, in spite of being inspired by Cirque du Soleil, has
little if nothing to do with a circus at all. The series follows the
adventures of a bubbly, headstrong six-year-old girl, Luna, who lives
in the real world, but plays in a dreamland where she learns to make
the impossible possible. [Her name is derived from the petunia on her
headband.] Luna is supposed to teach young viewers the importance of
believing in themselves and in the wonderful things their minds and
bodies can do. And though shes full of happiness and optimism, the
oft-quoted Sheryl Sandberg expression I wish every little girl who
was told she was bossy to instead be told that she has good leadership
skills rings true. Luna is bossy, sometimes to an annoying level. She
is a know-it-all, orders her friends around, allocates tasks (often
with nary a please or thank you, but boy does she say sorry a lot),
and volunteers her friends and herself up for the most outrageous
tasks without even asking them first. She does first and asks
questions later. Luna is impulsive, and often causes more harm than
good. She makes assumptions and does whatever she wants, whether shes
been advised to or not. However, she DOES own up to her mistakes
readily and easily, and apologies and forgiveness abound.
The narrative begins at Lunas birthday party. After her friends
leave, she receives a special gift from her mischievous aunt Zuzu a
mysterious box adorned with a petunia and filled with unusual toy
characters. The box is also inscribed with the phrase, Make the
impossible possible today
feel your heart, touch your mind, and swirl
away! When Luna speaks the words, she is magically transported to the
world of Amazia, where the toy characters from the box come to life
and accompany her on wondrous adventures. Theres...
o) Sammy Stretch A Steampunk-esque accordion-limbed character
appearing to resemble Microcosmos and Nico from Kurios, fused
with Rodrigue from Varekai (lightbulb on the head, under his
hat). [In the development of the shows characters, Méthé says a
number of Cirque artists were called on for creative input. A
bunch of them [were] involved and have produced all sorts of
elements that [went into their development], he said.] Sammy is
tall and helpful, and he loves to be the center of attention.
Hes fluent in gibberish (Cirqueish), likes to sing along to his
own accordion music, and enjoys riddles and jokes.
o) Bibi Bubbles Superficially resembling Clara from Kurios, she
is vaguely absent minded, and has a little bit of a muddled,
confused personality. She can travel by bubble, and they come
pouring out her ears when she thinks (IF it suits the plot).
She is timid and scared of heights and new things. She is very
knowledgeable about Amazia, but sometimes the facts come out
muddled or just plain wrong.
o) Karoo The preschooler of the group, Karoo is a kangaroo /
koala hybrid. Originally he was supposed to have a kangaroo tail
and springs for legs (and be named Koalaroo), but presumably
tweaks to the storyboards resulted in Karoo- with no tail,
somewhat artificial-looking legs that do not seem to match his
body, an overall koala-like appearance, a kangaroo pouch, and
meltingly huge eyes reminiscent of Mort from the Madagascar
franchise. He is, for all intents and purposes, Elmo of Amazia.
He speaks somewhat incomplete, toddler-ese English in the third
person (Luna love Karoo? Karoo love Luna!). Hes tactile,
kinetic, and bouncy- figuratively and literally (Its bouncy-
bouncy-boing-boing-time!) Hes super affectionate and loves to
huggle everybody.
As for unique environments, Amazia is a magical fantasy world of
bright colors and fantastical creatures. It is a place where the
Impossible becomes Possible. It has an ecosystem regulated by a
rainbow, which controls the amount of glitter produced by the
Glitterflies wings. This glitter regulates the growth of Fluffy
Flowers. And Fluffy Flower seeds turn into Jelly Trees, and Jelly
trees make up Jelly Forests, which are crucial homes, and food
sources, for the animals and other beings in Amazia. There are also
forests of balloon trees, and at least one volcano. The series also
features a mood willow tree that changes a characters hair color to
suit their mood when they walk under it. Wiggly lily pads also react
to characters emotions. It also rains popcorn, butter, and salt.
All of which happen in twenty features across eleven episodes in
season one:
o) Episode 1: Amazing Amazia Rainbow -- On her birthday, Luna
receives a magic toy chest, which leads her to the enchanted world
of Amazia and new best pals Bibi, Sammy, and Karoo.
o) Episode 2: The Fuzzlings / Now Were Cooking -- When three
frightened fuzzlings go astray, Luna and her pals team up to find
them. / Luna tests her leadership skills while filling in for Chef
Zesto.
o) Episode 3: Grumpy Volcano / Shadow Show -- Cranky volcano Ashton
refuses to erupt into fireworks, so Luna tries to cheer him up. /
Luna plays detective after her three pals shadows disappear.
o) Episode 4: Star Dust / Popcorn Storm -- Luna offers to clean
Amazias dusty stars, but can she restore their twinkle all by
herself? / Luna helps Sammy conquer his fear of popcorn storms.
o) Episode 5: The Crystal Queen / Seahorse Hero -- At the queens
welcome party, Luna assumes instead of asks and chaos ensues. /
When Bibi loses control of her giant seahorse, Luna leads the
rescue.
o) Episode 6: Lost Land / Boom Shine -- Unaware that boy wizard
Melvin has cast a spell, the crew gets stuck in Lost Land. / Zoom
Shine tries a risky stunt after her showoff cousin goads her.
o) Episode 7: The Show Must Go On / Great Train Chase -- To create a
show for the Queen, the Amazia pals try some teamwork. / When dizzy
Karoo makes Sammys train run wild, a special crew flies to the
rescue.
o) Episode 8: Wishy Swishy Wishing Well / Painting Day -- Karoo
causes the wishing well to explode, but Luna has a plan to fix it.
/ On Painting Day, Karoo mopes until his pals show him how to make
art fun.
o) Episode 9: Take Off Your Dancing Shoes / Dream Boat -- To get shy
Sammy to dance, Bibi gives him magic shoes, but is magic what he
really needs? / Unable to sleep, Luna joins her pals on a dream
boat trip.
o) Episode 10: Sammys Grammy / Melvins Magical Mix-up -- The crew
helps Sammy entertain his quiet grandma during her Amazia visit. /
When Melvins magic fails, the pals must convince him to accept
their help.
o) Episode 11: Happy Jollydays -- Luna learns all about Jollydays in
Amazia, but can she save the holidays after she breaks the Jolly
Clause rule and makes her pals gifts disappear?
EVERYTHING IS AMAZIBUBBLES?
---------------------------
PBS.org has outlined what they consider to be important features to
look for when selecting high-quality childrens programming
Activities Worth Repeating, Constructive Ways to Resolve Conflict,
Strong Male and Female Characters, Positive Role Models, Characters
From Around The World, Lessons that Foster a Love of Learning, Humor
That Appeals to Parents and Children, Characters From Different Age
Groups, and Few or No Commercial Messages. These points are touched
upon with details of how they pertain to Luna Petunia.
ACTIVITIES WORTH REPEATING -- Most effective when there is an
educational component, such as letters or sounds. There are recurring
themes within the show, but they mostly are silly, nonsensical (i.e.
Luna exclaims Thats amazing!! and Sammy corrects "Thats Amazia!"),
and not necessarily beneficial except to establish a culture within
the group of friends. Bibis scrapbook is a helpful plot device from
time to time, but its appearance is intermittent. The most noticeable
repeating theme is Stop, breathe
and believe! I feel that this
message is pretty much the ONLY thing Luna Petunia has going for
itself. Mindfulness (breathing exercises, meditation, and calm-down-
techniques) is lately finding a home among families, classrooms, and
caregivers of small children to help little people deal with big
emotions. This is working very well, and is becoming an important part
of many childrens lives. It is nice to see a show that helps promote
mindfulness among its characters, even in the rushed, shallow, and
reduced capacity of Luna Petunia.
CONSTRUCTIVE WAYS TO RESOLVE CONFLICT -- This is another of the very
few points Luna Petunia has in its favor (aside from being a fluffy
distraction that will potentially keep a kid occupied for 20ish
minutes.) Plot devices and conflict abound in the show. However,
resolutions are often hurried, shallow, glossed over, and unrealistic.
For example: during one event involving teamwork, two members of the
group experience sudden and out-of-the-blue self-doubt and a lack of
self-confidence to perform their required tasks. Luna instructs them
to take a deep breath, tells them she believes in them, and amazingly
and instantaneously, their self-doubt is shed, and they are restored
to their previous, self-confident, self-assured selves, and the crisis
is resolved. Also, conflict, and various crises are resolved with
equal rapidity, AND often whimsical magic. I feel that preschool aged
children, while satisfied with the overall resolution of the conflict,
will not necessarily gain any benefit from watching a know-it-all
(good leadership skills?) glittery little girl always figure out the
correct solution on the first try, and complete it magically.
STRONG MALE AND FEMALE CHARACTERS AND POSITIVE ROLE MODELS -- This
show is so girly. Its themed in glitter, rainbows, flowers, gems,
cutesy fantasy animals, more glitter, ponies, fuzzy things,
butterflies, a queen, beings called Glitterflies, and more glitter.
The only male main characters are Sammy Stretch (to my mind, an only-
vaguely-helpful buffoon), and Karoo (essentially Luna Petunias
version of Elmo). Luna is the only character who seems strong - she
is confident (sometimes to a fault), a go-getter, brave, and willing
to help. Shes also too headstrong, a bit bossy, and really a complete
know-it-all, but much of that is to drive the plot. Certainly
empowering for a young girl, no doubt, but mildly irritating to adults
who appreciate the well thought out complexities of quality childrens
programming.
CHARACTERS FROM AROUND THE WORLD -- Amazia is inherently fantastical,
so everything about it is diverse. The main characters are a
steampunk-esque robot man, a silly bubble-girl, and a koala-creature,
teamed up with a spunky little girl. Other fantasy characters show up
resembling cats, caterpillars, octopi, and a myriad of other beings.
Diverse? Indeed. Realistic diversity illustrating what children might
encounter in their daily lives? Maybe not. Certainly not to the degree
of diverse immersion as Sesame Street.
LESSONS THAT FOSTER A LOVE OF LEARNING -- There is essentially zero
educational value to the show. Lessons about expressing feelings,
self-esteem, and creativity are important, but shows like that are a
dime a dozen. I feel that a quality preschoolers television show
delivers supplemental educational lessons integrated in: colors,
shapes, patterns, matching, letters, words, and so on. Foreign
language is often integrated easily into childrens shows - with a
plethora of Spanish-teaching shows out there, Cirque could have made a
bit of a splash while teaching French. However, the only foreign
language in the show is a Cirquish-gibberish, translated by Sammy.
This rubbed me the wrong way, since preschool aged children are
already working hard to learn actual languages, sometimes more than
one. How does having a made-up nonsensical language appearing in a
television show help anything? Though the success of Dr. Seuss books
probably proves me wrong, but granted, I never enjoyed those
personally anyway. I feel that the lack of an educational component is
a big sticking point I have with this program, and a big hit against
it overall.
HUMOR THAT APPEALS TO PARENTS AND CHILDREN -- Its there in small
amounts. For example, the main character, moments after having been
welcomed to Amazia and greeted by three new friends, is told
dramatically that she must pull a magical rainbow out of a pond by the
end of the day, or Amazia will never have any glitter, the ecosystem
will crash, and Amazia as we know it will never be the same! No
pressure! the characters chirp. Quirky. But, these instances are few
and far between within the show.
CHARACTERS FROM DIFFERENT AGE GROUPS -- Essentially nonexistent. We
never see Lunas parents or any siblings, and aside from Sammys
frequent mentioning his Papa (to quote something pertinent he once
said in a gibberish Cirqueish language, and then translate),
families are kind of not mentioned. Luna has an aunt Zuzu (who is
suggested to have spent time in Amazia herself, as characters often
refer to how much Luna reminds them of Z), but she is seen once
briefly in the opening episode, and never again.
FEW OR NO COMMERCIAL MESSAGES -- Being on Netflix makes this one easy
to accommodate. However, there is rumored to be a merchandise line of
Luna Petunia products, including books, toys, and clothing, in
development.
COMPARED TO...
--------------
While watching Luna Petunia, I found myself making comparisons to
PBSs Dragon Tales. Dragon Tales utilizes essentially the same plot
device: young children (a brother and sister) travel to a magical land
inhabited by dragons and other magical beings. There is a trio of
primary dragon friends, and preschool situations are presented.
Similar lessons to Luna Petunia are addressed, including trying new
things, problem solving, and feelings. However, while watching Dragon
Tales, I perceived a sense of calm stability, patience, and
sensibility. Also, the conflicts are built upon more slowly, and
crafted more carefully. Luna Petunia seems to set the conflict off
like a glitter-filled neon-colored rocket, and drags you along with
it, slipping like a stone across the surface of the plot, before
resolving it abruptly with a fantastical solution. The resolution at
the end of each episode is comforting, as is the lesson of Breathe...
and believe {in yourself}. In this day and age, many parents are
using mindfulness (breathing, calm down techniques, meditation) to
help manage big emotions in their little people, so it is refreshing
to see this utilized.
If Cirque du Soleil wanted creative and imaginative, they achieved
their goal. But I feel overall, if its simply an entertaining show, a
good distraction for kids for a period of time, without any real meat
and potatoes, its simply a surfeit of sugar. I feel it is lacking in
structure, and is just over-the-top pink and glittery. As a mother to
a young son, I find myself disappointed that it is SO pink and powdery
and glittery and fluffy. Not that theres anything wrong with boys and
pink by any means, but it appears to be a strongly stereotypically
girly television show, and that I find disheartening. So much more
could be done with this show to make it more educational, less fluffy,
and more appealing to young boys, or less-girly girls. And I feel
there was so much untapped potential in marrying Cirque du Soleil with
childrens entertainment. French language could have been integrated
(a great nudge to the roots of CdS), interactive coordination
activities could have been included (Jump! Stand on one foot! Touch
the ground!), acknowledging the acrobatics that have made CdS so
famous, and introducing children in gymnastics, movement, and dance.
They could have explored various kinds of dance, similar to how The
Backyardigans (Nick Jr.) explored a different style of music in each
episode. I feel that this was a wasted opportunity for Cirque du
Soleil to make the most of their Cirque du Soleil Junior brand and
interest children in activity, fitness, and circus-arts.
------------------------------------------------------------
"When an Investment Firm Buys a Circus"
By: Michael Lev-Ram, Fortune Magazine
A Special to the Fascination! Newsletter
------------------------------------------------------------
Cirque du Soleils new owners are trying to turn a quirky circus into
a strategically savvy business. Its no small juggling act. The
following is a collection of two articles (an exposé and Q&A) written
by Michael Lev-Ram and published in Fortune Magazine, diving into the
new TPG owned Cirque du Soleil.
LAS VEGAS
---------
Im seated on the inner edge of a cerceaua thin, white hoop,
suspended from the ceiling by a wire. My fingers tighten around the
sides of the apparatus as my legs dangle, frighteningly far from the
ground. I try to look casual, but its hard to feel at ease while
perched, sans harness, on this raised-up roost. My mind wanders to the
fine print on my insurance plan. (Are aerial hoop accidents covered
under workers compensation?) That doesnt exactly help me relax: Im
still recovering from the earlier routine when I hung from the hoop by
my hands while spinning spasmodically.
How high up was I? I ask when Im finally lowered back to terra
firma, or in this case, a foam-filled, bright-blue gym mat that makes
me wobble with every step. Probably just about 10 feet, answers
James Guilford, a project manager with the renowned live-entertainment
company Cirque du Soleil.
We are in a training room deep within the labyrinthine backstage belly
of O, one of Cirques famous Las Vegasbased shows. The makeshift gym
is full of exercise machines, trampolines, and trapeze swingsmere
toys for the likes of Pierre Cottin, the ponytailed, French-born
acrobat who is also on hand, assisting with my clumsy initiation to
the cerceau. To my right, high up on the wall, is a poster of Cottins
blond, beaming girlfriend, Christina Jones, an Olympic synchronized
swimmer. Both are Cirque du Soleil performers. And Im pretty sure
neither has any body fat.
Clearly I am out of my element. But so are most of the people Guilford
guides through these aerial adventures. And Guilford is a bit out of
place himself. Hes a former educator whose mandate at Cirque is to
head a new offering called Sparkessentially a corporate team-building
retreat with more mystique and off-the-charts production values.
Companies like Google, Adobe Systems, and Kmart Australia have already
sent employees through Spark, which includes hands-on acrobatics
training with Cirque talent. That makes Guilford part of an unusual,
ambitious experiment. Hes helping transform a quirky, bohemian circus
founded by street performers into an optimized, monetized,
strategically managed global entertainment brand.
The private equity firm TPG Capital seized the opportunity to invest
in Cirque du Soleil and boosted its potential.
Cirque already has the global part covered: The performing powerhouse,
founded in 1984 in Quebec, now encompasses 10 resident shows in the
U.S. and Mexico, including O, and eight traveling productions, which
tour to 130 cities around the world. Even as traditional circuses
continued a long declinein January, after a run of 146 years,
Ringling Bros. and Barnum & Bailey Circus announced that it would soon
shut downa stunning 10 million people saw a Cirque show last year.
Its extravagant productions are famed for their mixture of daredevil
acrobatics and lowbrow clown comedy, pop hits and New Agey
compositions, and daring design. (O, for example, takes place in and
above a 1.5-million-gallon pool of water.) But lately Cirque has
branched out in unprecedented and potentially lucrative ways: There
are plans to launch a theme park and a kids entertainment project,
and to design an interactive NFL store in New Yorks Times Square.
There areof courseplans to go big in China.
In short, the big top wants to crack into the corporate big league.
And leading that charge is private equity firm TPG Capital, which
acquired a majority stake in the company in 2015 from its cofounder,
Guy Laliberté, for an estimated $1.4 billion.
In a world of spangled leotards, Cirques new managers are the suits.
The year before the acquisition, Cirque reportedly brought in $845
million in revenue. (By comparison, all the shows on Broadway combined
brought in $1.37 billion last season.) But TPG has an extensive résumé
when it comes to helping artistic enterprises growand it has much
grander plans. Since the transaction, it has made sweeping changes,
moving quickly to identify and exploit opportunities that may have
been anathema to Cirques original managers, who preferred a more
loosey-goosey approach to scaling the company.
Not that many of those managers are around to see the changes. Over
the past 18 months, TPG has replaced nearly all the executive
leadership. (No former employees contacted for this story, including
Laliberté, agreed to talk with Fortune.) The private equity giant
cleaned up Cirques financial practices and implemented data analytics
and discipline where once there was mostly instinct. And, yes, the new
team found ways to cut costs. Cirque needed to make some major
changes, says Daniel Lamarre, its CEO since 2006 and one of a few
executives who were asked to stay on post-acquisition. We couldnt
continue to do the same thing and hope for different results.
CEO Daniel Lamarre is one of the few executive holdovers from Cirques
pre-acquisition days. I passed from a regime of a one-man show... to
feeling its a partnership, he says.
Indeed, Cirques shot-from-a-cannon rise had stalled in recent years.
The Great Recession hit Cirque hard, especially where it really hurt:
its high-profit-margin Vegas productions. A slew of setbacks ensued
including the early closure of its underperforming show Viva Elvis and
the companys first fatal onstage accident, in 2013, when an aerialist
fell to her death during a show in Las Vegas. That year the company
had its first-ever layoffs, letting about 400 of its 5,000 employees
go. The ongoing struggles partly explain why Laliberté sold control of
the circus (he retains a 10% stake).
The stakes are high for TPG too, as evidenced by the fact that co-CEO
and cofounder Jim Coulter and TPG partner David Trujillo joined
Cirques board. This was a very sensitive transition, where we had to
make sure we didnt impact the creative genius that is Cirque, says
Coulter. His team sees Cirque as a way to play a bigger,
counterintuitive trend: a yearning for live entertainment in a digital
era. Recent surveys show that millennials, in particular, increasingly
prefer to spend money on selfie-worthy experiences that screens and
gadgets cant provide. (Selfie breaks, by the way, are now built into
Cirque shows.)
If TPG successfully expands the circus, it could create the go-to
platform for live entertainment, a creator of not just Cirque-branded
shows but events and experiences for all sorts of corporate clients.
Just as notably, it could rewrite the playbook for expanding creative
entities without choking off their artistic inclinations. Cirque is as
inventive as companies come, as befits a business founded by people
whose prior experience included breathing fire and playing the
accordion. As a person familiar with both companies puts it, They
bought a circus. Not a figurative one, but a literal circus. Its
TPGs job to make sure nobody compares management to a bunch of clowns.
MONTREAL
--------
Nestled in this citys working-class Anjou borough, not far from one
of Montreals biggest shopping malls, is a warehouse that stores
thousands of heads. They are the pates of Russian gymnasts, Mongolian
contortionists, and West African dancers.
The busts are replicasexact down to the distance between the eyebrows
and the diameter of nostrilsof the heads of Cirque du Soleil
performers. For decades, the making of these molds was part of
Cirques onboarding process. New hires sat still as plaster was
painstakingly shaped around their heads. The resulting sculptures were
labeled with each performers name and used by the costuming
department to create perfectly proportioned, individualized headpieces
(think feathery masks and fuzzy clown hats). They were also used for
repairs: When someones chapeau tore on tour, it would be sent to
headquarters, where milliners patched it up, using the model to get
the exact fit.
Some of these heads are also on display at Cirques mazelike main
building, a few miles away, where the entryway is guarded by a giant
metal sculpture of a clown shoe. The decapitated decorations, glued to
tiny pedestals that protrude from the hallway walls, give the office
the feel of an ancient multicultural mausoleum. It does throw you a
little bit when you round the corner and see this wall of heads, says
Trujillo, the TPG partner most involved in Cirques day-to-day
operations. As you get closer, you realize those are all individual
people. That leads to the question, Who are these people and why are
they here??
TPG is one of the few investment firms that could ask such questions
without making artistic types feel like second-class citizens. Founded
in 1992, it has a sturdy track record of investing in companies in
tech (Uber), retail (J. Crew), and airlines (Continental). But its
also known for taking stakes in creative fields, where its portfolio
includes movie studios, the giant talent agency CAA, and Fender
Musical Instruments, creator of rock stars guitars. (U2s ubiquitous
frontman, Bono, is a TPG special adviserand a board member at
Fender.) And it has the resources to make a big impact in the thin-
margin entertainment world: TPG has more than $74 billion under
management.
It was in 2014 that TPG first began mulling big investments in live
events, which Trujillo calls DVR-proof. Not long thereafter, a
center-ring opportunity came along: The firms contacts at CAA passed
the word that Cirque was looking for a buyer. (Cirque and CAA already
had a working relationship based on bringing third-party intellectual
property like music and movie characters to Cirques live shows.)
Despite its relatively small size, Cirque was attractive. At a time
when most circuses were fading sideshows, Cirque had a distinctive,
edgy feel, along with remarkable capabilities virtually unique in live
entertainment. Its leaders had developed a global network for
recruiting contortionists and clowns. They had engineered some of the
most elaborate stage sets ever built. They had unmatched expertise at
dyeing belt buckles and designing shoes for little people and decking
stretch-velvet leotards with 4,000 tiny mirrors and 155 crystals.
But that creative rigor hadnt translated to the corporate side. While
Cirques leaders were seasoned, they werent au courant. Cirque wasnt
utilizing digital marketing tools. Ticket pricing systems hadnt been
upgraded. Financial reporting was exasperatingly sporadic. In deciding
whether to make an offer, Trujillo traveled to Montreal for a
management presentation led by Lamarre. As the Cirque team outlined a
multiyear strategic plan, Trujillo had a realization: This basic
corporate exercise was something the company had historically not
done.
HOW TO MANAGE CREATIVE CHAOS
TPG IS WALKING A FINE LINE AT CIRQUE DU SOLEIL, STRIVING TO
DEVELOP IT AS A BUSINESS WITHOUT SNUFFING ITS CREATIVE SPARK.
THE PLAYBOOK:
o) USE DATA ARTFULLY -- Dynamic ticket pricing, which TPG
introduced at Cirque, can help arts organizations get the
optimal revenue from shows when theyre hot, while moving
more tickets at discounted rates during slowdowns.
o) EXPAND JUDICIOUSLY -- Cirque had expanded its brand to
businesses that had a public presence, but no profits (e.g.,
nightclubs). TPGs ideas generally have clearer potential for
revenue and for generating wider publicity.
o) LET THE BEAUTIFUL WEIRDOS BE WEIRD -- TPG thoroughly
overhauled the executive team on Cirques business side, but
it left the chief creative decision-makers in placeand
doesnt interfere with them. Thats partly a recognition that
the core of a successful creative brand is distinctive and
hard for outsiders to improve.
TPG turned elsewhere for reassurance. The firm enlisted Jonathan
Tétrault, then a managing partner in McKinseys Montreal office, to do
some market research. Tétrault calculated Cirques Net Promoter Score,
a measure of the loyalty of its customer base. The brand of Cirque du
Soleil was extremely strong, says Tétrault. Even people who have not
seen the shows have respect for the brand.
For TPG, that helped tip the balance. The firm recruited partners
Chinese investment group Fosun and Canadian pension fund Caisse de
Dépôtand made its best offer to Laliberté, who owned the vast
majority of the company. After a bidding process handled by Goldman
Sachs, the founder handed the reins to the TPG group, and the
acquisition was finalized in July 2015. (Laliberté has since invested
in real estate and other ventures, including a cemetery that he says
will someday allow visitors to use holograms and other whiz-bang
technologies to interact with the deceased.)
Almost overnight, the circus began to change. Unprofitable
distractions like nightclubs and restaurants were killed off. In their
stead, TPG identified a list of new revenue opportunities and
improvements to Cirques traditional shows. But to execute that wish
list, Cirque needed the right processes and people in place. One of
them was Tétrault. The new owners coaxed the exec to leave McKinsey
and become Cirques new chief operating officer. In his gray jacket
and slacks and slicked-back hair, Tétrault is a near-caricature of
the more buttoned-up management team at Cirque. (Buttoned-up by
comparison, at least: Laliberté famously donned a foam clown nose in
2009 when he traveled to spacehaving paid $35 million to spend 12
days aboard a Russian Soyuz.)
Each of the new suits brought along a team and a set of new tools
table stakes at most corporations but largely foreign to Cirque.
Kristina Heney, Cirques first-ever chief marketing officer, brought
in the companys first digital and social-media marketing programs and
a new customer-relationship management system. Stéphane Lefebvre, a
longtime public company exec, came on as CFO. Because Cirque had been
a founder-owned business from inception, he says, it had never adopted
disciplined accounting practices. When you have only one guy owning
the company and a report is due on Monday, it doesnt matter if you
send it on Monday, says Lefebvre. Suffice it to say, thats no longer
true.
The sweeping management changes inevitably led to tension between the
leotards and the suits, as Lamarre admits. With his tinted blue
glasses and polka-dot ascot, hes a visual reminder of Cirques more
colorful culture. But the new structure has given him more freedom. I
passed from a regime of a one-man show, which was Guy, to feeling its
a partnership, Lamarre says. That said, he lauds Laliberté as a
creative genius whom he still calls on to get advice on the artistic
front.
Just as important, the creative part of the business has largely been
left to the artists. I said to TPG at the time, You can come in my
office 10 times a day if you so desire. Ill give you all the
financial and operational information you need,? Lamarre says. But
you shouldnt go in the creative department, because thats the core
of the company. TPG has kept Cirques creative leadership intact,
from the longtime head of costume and creative spaces, Benoît Mathieu,
to Bernard Petiot, vice president of casting and performance.
INSIDE TPG's BAG OF TOYS
TPG HAS A HISTORY OF INVESTING IN BRANDS WITH CREATIVE DNA AND
LOYAL FOLLOWINGSTHE KIND THAT CAN BE TRICKY TO TURN INTO
EFFICIENTLY RUN BUSINESSES.
o) DUCATI -- In 1996, TPG bought a 51% stake in the iconic
Italian motorcycle maker. It helped the firm focus on new
markets and streamline manufacturing. Ten years later, TPG
sold off Ducati; it is now owned by Audi AG.
o) STX ENTERTAINMENT -- New movie studios are a rare commodity.
But TPG and its partners think they have a winning formula.
STX, founded in 2014, focuses on easy-to-produce, mid-budget
films and has deals to distribute in China.
o) FENDER -- After shelving plans for an IPO, the guitar-maker
became majority owned by TPG and its partners in 2013. It
hired a new CEO, named Bono to its board, and allowed
customers to order guitars online for the first time.
o) J.CREW -- Retail has had a rough decade, and J. Crew is no
exception. TPG, an investor since 1997, took it public, then
led a 2011 buyout to take it private. Reportedly it recently
slashed the value of its stake by more than 80%.
o) CAA -- TPG recently upped its investment in the talent
agency, becoming its majority owner. Under TPG, CAA has
brought in fresh leadership, cut costs, and invested heavily
in new areas like sports and licensing.
o) VIKING CRUISES -- Last year TPG sank $250 million into a
minority stake in the high-end river- and ocean-touring
company. The plan? To accelerate Vikings growthparticularly
in Chinaand strengthen the companys balance sheet.
Other arts leaders are watching the transition with interest. One
understands the need for professionalization, says Patrick
Willingham, the executive director of New Yorks Public Theater and
the former president and COO of another creative entertainment
company, Blue Man Productions. You have to give as much power to
those voices who are advocating for the art as to those who are
advocating for the revenue.
That tightrope walk is visually apparent at Cirques headquarters.
Yes, there are former McKinsey consultants crunching numbers. But
there are also vats of dye and spools of glittery string and wigmakers
and acrobats. And headsbut not quite as many of them. These days the
wig-and-hat busts have been outsourced, and plaster is obsolete. Each
new performers head is now scanned by computer. The files are sent to
a firm outside Montreal where an automated cutter chisels models out
of a synthetic material called Renshape, and only as needed. Its a
lot lighter, a lot faster, a lot cheaper, and a lot more stable, says
Mathieu, the costumes chief. And we dont need to make them all the
time.
SAN FRANCISCO
-------------
TPGs spacious headquarters in the heart of San Franciscos Financial
District feels a world away from Cirques colorful campus. The
understatedly swank office is where most of the firms biggest deals
have been drawn up, from its 1996 purchase of motorcycle maker Ducati
to its 2011 leveraged buyout of J. Crew. And its proximity to Silicon
Valley could yield big benefits for Cirque.
The circus has been an incredible showcase of human capacity for
centuries, says Brent Bushnell, CEO of Two Bit Circus, a startup that
develops interactive, tech-centric experiences for corporations. But
entertainment needs to evolve. TPG, which has made major investments
in Uber and Airbnb, among others, is well-positioned to help Cirque do
that. Late last year, when Cirque brought Luzia, a show inspired by
Mexican culture, to San Francisco on tour, co-CEO Coulter invited his
tech exec friends to see itand to talk about what virtual reality
could add to the experience. The prospect of a pipeline to such
wizardry energizes Cirques managers. Weve never had that before,
Lamarre says. And the circus is already strengthening its ties with
Facebook and boosting its YouTube presence.
It will take more than technology, of course, to engage with younger
audiences. Cirque has prioritized creating more shows that incorporate
recognizable characters and music (replicating hits like the Beatles-
themed Love). Brands matter too. Cirques new show, Volta, which
launches in Montreal in April, will include action sports like
snowboarding and BMX. It will also have a first-time content
partner: energy drink Red Bull. Bill Hornbuckle, president of MGM
Resorts, which hosts six of Cirques shows, says such evolution is
critical. There will always be a place for Cirque and its core
product, he adds. But Las Vegas does not need another circus show.
One place that TPG believes does need a circus show is China. Its
already the country of origin for many Cirque performers, but the
circus wasnt previously able to crack the market. TPG is an old hand
there, having invested in China for more than 20 years: Its notable
deals include buying a stake in computer maker Lenovo and partnering
in 2014 with Chinas Hony Capital to launch STX Entertainment, a movie
studio focused on mid-budget films.
Such connections are now turning into deals. Later this year, Cirque
will launch a touring show in six cities across China, including
Beijing. And sometime in 2018, a show unique to China will open in
Hangzhou. The company also plans to create its own local school for
technicians (a sizable chunk of the staff for any Cirque production).
China has the potential to maybe double the size of this
organization, says Lamarre.
TPG has other growth tricks up its sleeve, and its ambitions sound
vast. Coulter compares Cirque to another entertainment company that
started small. Just as Disney... started in animation but became so
much more over time, Cirque has the ability to do so much more, says
Coulter.
Whether or not Cirque reaches that scale, one question is how long TPG
will keep its stake: Private equity firms, after all, are structured
to look for an exit. Cirques prospects as a public company are
murky. But given its new China ties, its more likely that it would be
bought by a Chinese investor or conglomerate. A cash-rich acquirer
like Dalian Wanda, for example, which has already snapped up Legendary
Entertainment, the company that licenses the Ironman competition and
Dick Clark Productions, could easily buy Cirque. And China has huge
cities that could host permanent shows and use them to lure tourists,
as Las Vegas does today.
However it plays out, the Cirque that emerges 10 years from now will
look very different from the company that was Cirque just two years
ago. Change can be disorienting, but its preferable to ceasing to
exist. Cirque may have the DNA to survive where traditional circuses
failedand no circus in memory has had such a deep-pocketed,
aggressive backer under its tent.
DANIEL LAMARRE
--------------
Nothing could have prepared Daniel Lamarre for his gig as chief
executive officer of Cirque du Soleil a company that employs
wigmakers and contortionists and yes, a CFO. The live entertainment
giant, profiled in the current issue of Fortune, has wowed audiences
for decades with its death-defying stunts and extravagant sets and
costumes. But what goes on behind the scenes has also been quite
colorful.
For most of its history, Cirques corporate strategy relied heavily on
trying crazy new show concepts and investing in the occasional pet
project (think unprofitable restaurants and nightclubs). That vision
was set by one man: Guy Laliberté, Cirques co-founder and long-time
leader. In 2001, Laliberté brought in Lamarre as head of new
ventures, promoting him to CEO of the company a few years later, even
as Laliberté remained the companys creative spirit, not to mention
financial owner. A much bigger change came in 2015, when Laliberté
sold the company to a trio of investors led by private equity firm TPG
Capital. Since then, Cirque has expanded in new ways and brought in a
new executive team.
Lamarre is one of a small handful of execs who have stayed with the
company through this most recent twist. (Laliberté, who had majority
ownership before the acquisition, retains a 10% stake in the company
and has moved on to other projects.) That puts the CEO, who now
answers to a board of directors mostly made up of its new owners, in a
unique position to tell Cirques story, past, present and future. As
Fortune found out, its a story worth telling.
The excerpt below, from Fortunes recent interview with Lamarre, has
been edited.
Q. You had run a variety of businesses before [coming to Cirque]. What
was different here when you first arrived?
Everything. Its funny because I joined the company and I said Guy,
Im a quick learner, give me a couple of months and Ill figure it
out. And he was laughing at me. He said Daniel, this is more
complicated than that. And what makes it complicated even today is
that theres no benchmark. I cannot compare our business to Live
Nation or anybody else. So you have to learn the Cirque business
model. And thats what makes it difficult. Every time we have a new
employee it takes time for someone to understand our business model.
Q. In the years leading up to the acquisition, what was going on? What
led to the decision?
First of all, I joined the company at a perfect time. Because that was
the time where the brand was totally ready to explode internationally.
So I would call my first 10 to 12 years our golden age. We were trying
a lot of crazy ideas, and they seemed to be working.
And then after those golden years, then came [the global recession of]
2008 and it was more difficult for us, like everybody else. We had to
streamline the company and all of that. And thats when Guy started to
think about sharing the ownership of the company because he thought
that it was getting more and more difficult to support the growth of
the organization. And he started feeling that if we could find the
right shareholders it could bring Cirque to the next level. After a
few years of talking about it one day he said, Im ready.
Q. Can you describe what you see as the biggest, the most profound
changes to the company since the acquisition [by TPG Capital and
two other investors]?
First and foremost, the one thing I would like to say is that the
bread and butter of this organization is creation. We have protected
the entire team in creation. And to me, that was very, very important.
I said to TPG at the time, You can come into my office ten times a
day if you so desire, Ill give you all the financial information you
need, all the operation information you need. But you shouldnt go
into the creative department because thats the core of the company,
and I dont want them to be disturbed by any changes we are making.
So thats the first thing.
Then, from the business standpoint, obviously TPG brought a financial
discipline that was different than what we had before. Because
basically now Im reporting to a board. We have to do reports, monthly
financial reports and all of that. And then we very quickly realized
that from a business standpoint I needed to enhance our core team.
[Since the acquisition, Cirque has brought in a new CFO, COO, head of
HR and the companys first-ever CMO and head of China.]
So now I think I have the best team to go to the next level. And that
was my motivation to stay at Cirque. Because I truly believed that
from this organization that had reinvented the circus arts, that now
we were at the stage when we could become a true live entertainment
organization. Meaning that moving forwards were not going to do only
circus shows but we are now looking at other artists content that we
can develop. [Cirque is now developing an interactive store in Times
Square for the NFL and a live entertainment experience for kids,
among other new projects.]
Q. As all these new ideas are bubbling up and getting financed,
theres always the risk of diluting the brand. So what wont Cirque
do?
First, were a live entertainment organization. And thats what we
will continue to do. In terms of the brand, its not for me to decide
what I stand for. Its the consumers that are telling us what they
expect from Cirque du Soleil. And it has some limitations. Because for
them, they see a big wand, they see acrobatics, they see new
technology, they see a lot of different things. But if I go too far
from that, then they will not recognize us. So it means that, for
instance, there are activities that were going to develop, the NFL
experience being an example of that, where we wont put our brand. If
we want to broaden and diversify our content, we have to be aware that
there are things that we can do under our brand, and there are other
things that we cannot do with our brand.
Q. Going back to when the transaction took place: what was the biggest
change for you, personally?
Its very, very different. Because Guy and I have been working
together for fifteen years, so we were talking every day basically.
But Guy was traveling all the time. Hes barely ever in Montreal. So
in terms of the difference, for me its that I passed from a regime of
a one-man-show, which was Guy, to feeling its now a partnership. I
feel Im a partner in the organization. I feel my key players are
partners. And I feel that TPG, Fosun, La Caisse, Guy [the current
owners of the company], were all working in partnership.
Now, I have people getting excited again. When we announced the
transaction, everybody was very scared. Are we going to lose our
soul? Are we going to stay in Montreal? A normal employee of Cirque
du Soleil is fueled by new shows. If there is something happening in
the studio, everybody feels good because its a concrete sign that the
company is doing well. Right now were working on three new shows. And
we have more to come. So the employees say, Oh my god, they were
serious. TPG was serious when they told us that they wanted to develop
the company.
{ SOURCE: Michal Lev-Ram, Fortune | https://goo.gl/MfAM1M }
------------------------------------------------------------
"Casting Q&A's - Meet a Mentor, Part 1 of 3"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
To make an artist for one of Cirques productions, it takes a talented
individual who is open to new experiences and veterans who can guide
the way through those new experiences. Cirque du Soleil has assembled
some of the most well-known and respected collaborators in their
fields coaches, choreographers, creators, composers and others to
help artists achieve their goals. And through a series of interviews
on their casting website, we meet some of them. Like the Meet the
Artist series of Q&As we recently published, the Meet a Mentor set
are equally fascinating reads even more so! Weve collected all 11
mentor interviews for you to peruse in this series, which, due to the
page count, well publish in three parts, beginning with Part One:
André Simard (Acrobatic Research and Development), Bernard Petiot
(Vice President, Casting and Performance), and Boris Verkhovsky
(Director of Acrobatics and Coaching).
# # #
ANDRÉ SIMARD
Acrobatic Research and Development Specialist
A true icon in the world of the circus arts, André Simard hails
simultaneously from the world of elite sports (as a former gymnast),
art (he was a fine-arts student) and the circus (with years of
teaching acrobatics to his credit). In addition to training hundreds
of artists and developing or helping to develop scores of aerial acts
at Cirque du Soleil and elsewhere, André was able to draw on the
skills he acquired in these three worlds to take the swinging trapeze
to a whole new level. In 1987, the act he created for Nouvelle
Expérience revolutionized aerial high-flying.
In the early 1970s, André was pursuing a career with Canadas national
gymnastics team while also studying at Montreals Institut des arts
graphiques. After taking part in several world championships, he
represented his country at the 1972 Summer Olympics in Munich.
When he was subsequently named national coach of the mens gymnastics
team, André continued to teach basic acrobatics to clowns and street
entertainers at Montreals Centre Immaculée-Conception. Home to
Quebecs first circus school, the Centre would give rise to the world-
renowned National Circus School a few years later.
In 1987, André retired from his elite sports career to devote himself
full-time to his new passion: developing spectacular acrobatic and
aerial acts for the circus. For nearly a decade, he trained artists at
the National Circus School in Montreal. His reputation earned him
invitations to teach budding performers outside the country, including
at Frances École nationale du cirque, to supervise internships and to
speak at events around the world. It was during this period, nearly 20
years ago, that André began working with Cirque du Soleil, and in 1997
he became a member of the organizations permanent creation team.
In large part, his success in the circus world can be attributed to
his personal and artistic sensitivity along with his exceptional
ability to help artists master their discipline. But even more
importantly, André is able to show artists how to get their emotions
across to spectators.
One of Andrés major technical contributions to aerial acrobatics was
his invention in the early 1990s of a secure safety line which
revolutionized the aerial world by allowing artists to execute
difficult acrobatics in optimal safety and comfort. That contribution
was key to raising the bar for aerial acrobatics around the world.
The man to whom the new circus arts owe the aerial silk" discipline
developed many of the aerial acts currently featured in Cirque du
Soleil shows worldwide. What fascinates me the most at Cirque is the
constant opportunity for innovation and renewal we have here."
Q. WHAT IS YOUR ROLE AT CIRQUE DU SOLEIL?
I design human acrobatic performances, mainly aerial, for new shows in
creation.
Q. WHAT IS CIRQUEs APPROACH TO ATHLETES?
Athletes who join Cirque du Soleil come to us with a complete spectrum
of acrobatic skills. They have trained as athletes for years, and when
they come to Cirque they are ready to refocus their careers on the
world of entertainment. The training approach we use depends on the
show to which each artist is assigned, meaning the ideas the director
and other creators have in mind and the set in which they will be
performing. But even if the top priority is delivering the show, I
nevertheless try to use a personal approach with every artist to bring
out his or her own energy.
Q. HOW WOULD YOU DESCRIBE YOUR CREATIVE PHILOSOPHY?
Today, inventing a brand new aerial act is getting harder and harder
to do. The art of aerial movement has spread across the planet over
the last 15 years, so many avenues have already been explored. New
communication platforms like YouTube, for example, have made it easier
to share information. As a result, creating and reinventing focus on
combining and interweaving different types of content and playing with
the nuances between them. Ideas that are truly one-of-a-kind are more
difficult to find
but at Cirque we do have some new approaches that
are currently in development and will be unveiled in the future!
Q. AS AN ACROBATIC DESIGNER, HOW DO YOU WORK WITH THE DIRECTOR OF A
NEW SHOW IN CREATION?
Every creator, whether acrobatic or artistic, works very closely with
the others to meet the directors requirements. The show creation
process always begins with a brainstorming session and at that point,
anything and everything is possible. Even ideas that arent
necessarily feasible are welcome. We go as far as we can and come up
with as many ideas as possible. Thats crucial. We cant close any
doors. Instead, we let ourselves go and join in the adventure led by
the director and the director of creation.
Q. WHAT ADVICE WOULD YOU GIVE A CANDIDATE WHOs THINKING ABOUT JOINING
THE CIRQUE DU SOLEIL ADVENTURE?
Candidates should be completely open-minded. They should show up ready
to give their all and to learn. The possibilities at Cirques training
studio are unlimited, and the conditions are excellent. They just have
to take advantage of that!
* * *
BERNARD PETIOT
Vice-President, Casting and Performance
Athletes who join Cirque du Soleil must continue to develop their
skills and challenge their limits. However, unlike the situation in
the competitive environments they came from, they now do so by working
in cooperation with their peers. Everyone is interdependent. Because
when all is said and done, the true winner at Cirque du Soleil has to
be the show."
After discovering artistic gymnastics as a child, Bernard followed his
passion all the way to the Canadian university circuit, where he won
numerous titles including Athlete of the Year" from Quebec Citys
Université Laval in 1975. Then, along with one of his professors, he
founded Club Salto in the same city, where he created the womens
gymnastics program and coached for eight years.
Upon completing his Masters degree, Bernard was recruited by
Montreals Club Gymnix to take the reins of the advanced gymnastics
program while simultaneously teaching at Université de Montréal. In
1997, he created an advanced training program for coaches at the
National Multisport Centre in Montreal as part of the National
Coaching Certification Program. Bernards career as a coach was
prolific: in addition to taking part in 13 World Championships, he
trained four Olympic athletes, more than any other Quebec coach.
In 1998, Cirque du Soleil recruited Bernard to head up its training
studio, directing training programs for acrobats and supervising
coaches and medical staff.
Q. AS VICE PRESIDENT OF CASTING AND PERFORMANCE, WHAT IS YOUR ROLE AT
CIRQUE DU SOLEIL?
I am in charge of casting for artists from artistic, circus and sports
backgrounds. I am also responsible for supervising coaching
operations, training programs, artists health therapists and
specialists who design innovative human performances of a physical and
acrobatic nature, as well as seeing to the good governance of all
those activities. I make sure the necessary resources, infrastructures
and mechanisms are in place to meet our goals for shows currently in
performance as well as new creations.
Q. HOW IMPORTANT ARE SPORTS AT CIRQUE?
Sports are very important for us since 50% of our artists-acrobats
come from a sports background. Also, part of Cirques fame and unique
style can be attributed to the highly developed athletic and sport
skills featured in our shows, and gymnastics skills are the main
contributors. Drawing on acrobatic skills acquired through sports, we
can explore various performances faster and in greater depth and take
calculated risks that are a cut above the traditional circus approach.
Thats true from a psychological viewpoint as well as from a technical
and physical perspective.
Q. WHAT IS CIRQUES APPROACH TO ARTISTS?
We have two distinct approaches. With artists from an entertainment
background, like singers, musicians, clowns and actors, our approach
is based on respecting the strengths they already have. They are
professionals who come to Cirque with special skills and abilities,
and we treat them as such. Our role is to help them apply their
expertise in the Cirque du Soleil context. With athletes, their
arrival at Cirque means they have chosen to reorient their careers. We
therefore have to respect the skills theyve learned, but we also
start from the premise that those skills are insufficient to meet all
our needs, whether in terms of acrobatics or show-specific aspects
like stage presence. As a result, we teach them what they need to know
to make the transition a success.
Q. HOW DOES CIRQUE ASSIST ARTISTS ALONG THEIR PATH TO JOINING A SHOW?
We have a complete infrastructure in place. First, an orientation team
helps artists make the transition to life in Montreal, where our
training studio is located. Then, we offer three types of training:
acrobatic, artistic and personal-professional. Each type of training
is overseen by experts, allowing artists to achieve real progress. As
soon as they join Cirque in Montreal, athletes become artists-
employees. As such, they have to take responsibility for their
artistic development, and they have to get used to doing things
theyve never done before. That process requires them to demonstrate
their own creativity, making a real effort and learning by trial and
error.
Q. HOW MUCH OF A CHALLENGE IS THE MIX OF DIFFERENT NATIONALITIES?
The biggest challenge is communication: understanding artists, making
yourself understood by them, and making sure they get along with each
other. The solution lies in accepting our cultural differences. We
have to help our artists become active participants in life at Cirque.
In other words, we have to succeed in making the most of each persons
individual color and unique personality and cultural traits.
Q. WHAT ADVICE WOULD YOU GIVE A CANDIDATE THINKING ABOUT BECOMING PART
OF THE CIRQUE DU SOLEIL ADVENTURE?
Dont put up any barriers or cling to preconceived notions: instead,
try to be open-minded. The best way to do that is to get as much
information as possiblefor example, by visiting the Casting website,
learning about Cirque by viewing DVDs of our shows, and eventually
sending us your application. In a word, candidates should open their
minds to getting in touch with their inner artist!
* * *
BORIS VERKHOVSKY
Director of Acrobatics and Coaching
Early on, as an elite athlete part of the Russian Mens National Team
in Sport Acrobatics, Boris Verkhovsky discovered a bigger passion for
coaching than performing. Having graduated from the Byelorussian State
University with a degree in Physical Education and Sports specializing
in coaching, he immigrated to Canada in 1978 where he had to quickly
adapt his coaching style to the Canadian amateur sport environment.
Having succeeded in that, he worked his way through the ranks to
become the Head Coach of the Canadian National Trampoline and Tumbling
team when, in 1993, he was approached by Cirque du Soleil to consult
on a proposed tumbling act for the Las Vegas resident show Mystère.
Boris great expertise in the acrobatic field soon made it clear to
all involved at Cirque that they needed to secure his expertise. First
hired as Head Coach for the Acrobatic Training Department, his role
through the years grew to the point where, as current Director of
Acrobatic Performance and Coaching, he directs the assignment,
development and management of teams of coaches, guiding them to select
strategies and to design interventions and coaching methodologies to
support Cirques current and future needs. Making full use of his
knowledge and expertise, he also contributes directly to the design of
acrobatic acts for shows in creation.
Q. HOW DO YOU GUIDE AN ATHLETE IN THIS TRANSITION FROM THE SPORTS
WORLD TO BECOMING AN ARTIST ON STAGE?
The most important element is to make sure that the person is very
comfortable with the concept that we will be capitalizing on what
theyve already accomplished. We tell them, youve achieved wonderful
results, youve developed a phenomenal range of skills, now lets use
those skills but in a very different way and in a very different
environment.
The modern thinking in complex model learning is that expediency in
learning should not become the goal. Therefore, we begin right away
the process of introducing the complex environment: the acrobatic and
artistic elements are both present in learning. When the artists
arrive here in Montreal, we begin intensive artistic workshops right
from the start. Of course, we also introduce right from the start the
acrobatic elements. As soon as there is an opportunity, we merge the
two. In an ideal training environment, both elements should always be
present.
The psycho-professional development is also very important to us. As
Cirque is a very different environment, the performance psychologist
helps reshape the attitude, the focus and the commitment of artists.
In the sport world, you are used to doing a phenomenal amount of
training and very few performances. In our environment, the reverse is
true; training is limited as you cannot physically afford it but there
is a lot of performance. In that regard, performing becomes a form of
training. At the same time, you have a responsibility to the public:
your performance cannot be perceived as just training.
Q. WHAT IS THE BIGGEST CHALLENGE AN ATHLETE SHOULD EXPECT TO FACE WHEN
ARRIVING AT CIRQUE DU SOLEIL?
When you are an athlete coming from a fairly elite level - which is
the majority of people who come to us - you are used to an environment
where you know every aspect - inside and outside. At that stage of the
game, discovery is limited. You are a master at what you do. You have
developed the capacity to deliver the performances in those few peak
moments throughout the year called competitions. When you arrive at
Cirque, the element of discovery is enormous. We put athletes in a
different environment. They get to perform 9 to 10 times a week. They
perform on equipment that theyve never seen or tried before.
Gradually, the artistic element allows them to learn that performing
is not about doing tricks; performing is for the public. The
acrobatics skills are one of the tools used to evoke emotions. That
element of discovery is exciting to be part of.
Q. HOW WOULD YOU DESCRIBE YOUR CREATIVE PHILOSOPHY?
You have to begin with the notion that everything is possible It is
at the base of every creation process whether it be in terms of
training environment, development of an act or development of a skill,
to name but a few. If you begin by thinking Its impossible you are
thwarting innovation and creation. In a strange duality is the fact
that we have to be intelligent and reasonable. When we create, the
risk of being overwhelmed by the passion for the new and exciting is
fairly high. What we create has to be sustainable and delivered
consistently, about 350 times a year in a touring show and 450 times a
year in a resident show. Acrobatics are a mean of expression, not an
end in themselves. They help generate the wow effect and thats what
people want to see when they come to Cirque du Soleil. But the wow can
come in many different forms. Acrobatics are part of the vocabulary,
as opposed to tricks but they are not the only form of wow.
Q. WHAT ROLE DO YOU THINK ACROBATICS PLAY IN CIRQUE DU SOLEIL? HOW DO
THEY FIT INTO THE MIX?
Acrobatics are an essential part of Cirque. The humanperformance is
the central point of Guy Lalibertes vision when we create a show.
That physical aspect of human performance and ability remains a very
critical element. Its a central element. Without beautiful
choreography, intriguing costumes, wonderful makeup, phenomenal music,
superb theatrical lighting and stunning scenography, acrobatics cannot
speak. However, without acrobatics, something is lost. That is why at
Cirque, every acrobatic element, or intention of an acrobatic element,
has to be world-class.
Q. WHAT ADVICE WOULD YOU GIVE TO A FUTURE CIRQUE DU SOLEIL ARTIST?
Its not easy. Its exciting. Its an opportunity of joining a
profession. It will take phenomenal amount of physical, mental and
emotional effort. But it will reward you in ways that you havent
experienced in a sport. Working for the public rather than for the
judges is another world, and its a wonderful world.
# # #
Stay tuned for more pieces of this series coming soon! In Part Two,
well hear from Claude Chaput (Conductor, Composer, and Arranger),
David Shiner (Director and Clown), Dominic Champagne (Director), and
Francois Girard (Director). And in Part Three: Laur Fugere (Singer &
Vocal Coach), Luc Tremblay (Choreographer and Educator), Mia Michaels
(Choreographer), and Robert Lepage (Director).
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 17, Number 3 (Issue #158) - March 2017
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2017 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination! Newsletter." By
sending us correspondence, you give us permission (unless otherwise
noted) to use the submission as we see fit, without remuneration. All
submissions become the property of the "Fascination! Newsletter."
"Fascination! Newsletter" is not affiliated in any way with Cirque du
Soleil. Cirque du Soleil and all its creations are Copyright (C) and
are registered trademarks (TM) of Cirque du Soleil, Inc., and
Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
{ Mar.04.2017 }
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