Copy Link
Add to Bookmark
Report
Fascination Issue 150
=======================================================================
______ _ __ _ __
/ ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / /
/ /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ /
/ __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/
/_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_)
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
------------------------------------------------------------
http://www.CirqueFascination.com
------------------------------------------------------------
=======================================================================
VOLUME 16, NUMBER 7 July 2016 ISSUE #150
=======================================================================
Welcome to the one-hundred and fiftieth edition of Fascination, the
Unofficial Cirque du Soleil Newsletter.
Fascination has hit quite an important milestone with this issue - our
150th! I wish I had some words of wisdom to impart at this occasion,
but to be brutally honest with you, I've been so busy with my new house
and new baby that, well, I've really not had the time to think about
what it means to reach this mark. Back in May 2012, when we reached
our 100th issue, I entertained the notion of shutting things down, but
then changed my mind and suggested keeping a weather eye out for June
2014, because although I could not guarantee that Fascination would be
around forever, my renewed interest would push us through to #125. Only
then would we reassess the situation. I did reassess and the verdict
was to ask me again when we reached the 150th issue. All I can say now
is ask me again when we hit #175 because Fascination still following
the sun!
Besides us celebrating our 150th issue, we have a few Cirque du Soleil
shows celebrating as well. This month marks the 10th anniversary of The
Beatles LOVE by Cirque du Soleil. (The show launched previews on June
2, 2006 and held its gala premiere on June 30, 2006). On Thursday, July
14th, Cirque du Soleil will officially celebrate this occasion with Sir
Paul McCartney, Ringo Starr and widows Yoko Ono and Olivia Harrison.
But fans at home can take part in the festivities in a number of ways
too...
o) By checking out some of the new re-branding:
< http://www.cirquefascination.com/?p=8570 >
o) Streaming the LOVE album on your service of choice:
< http://gnikn.us/lovestreaming >
o) Watching a first-look video of the show's evolution:
< https://www.youtube.com/watch?v=VCnwkG5GAtQ >
o) And watching the new "While My Guitar Gently Weeps" Video:
< http://vevo.ly/3i6APQ >
NOTE: The evocative video for "While My Guitar Gently Weeps" was
directed by Dandypunk, Andre Kasten and Leah Moyer, and was shot in
the LOVE Theatre and at other locations in Nevada. All effects were
created using projection mapping and captured live, in-camera. No
post production CGI was used.
In addition to LOVE's anniversary, on June 4th, JOYA celebrated a
momentous occasion - it's 500th performance! And in celebration of
reaching this milestone, a documentary about the show's creation has
surfaced. Check that out here: < https://youtu.be/tSswSZ2uAG4 >.
Cirque's newest touring show reached its 100th performance on Sunday,
July 10th. And even OVO is hopping on the happiness wagon, with an
invitation to join its re-vamped insect party (now winding its way
throughout arenas in North America). You too can look buggy by
downloading one of three OVO-themed masks on our website here:
< http://www.cirquefascination.com/?p=8436 >. Or you can learn how
to make one: < https://youtu.be/zbxFnr_VodU >.
The cast and crew of Varekai were treated to something extra-special
last month - they performed at the Vatican! Hand Balancer Anna
Ostapenko even had the privilege to meet His Holiness, Pope Francis,
after the performance. Check out a video < https://goo.gl/jsa1Y8 >
and a picture of the meeting < https://goo.gl/OpWv3v >. This isn't
the first time Cirque du Soleil performed at the Vatican either. On
November 10, 2004, the cast and crew of Saltimbanco visited the
Vatican while on tour and had a touching meeting with Pope John-Paul
II. An engaging special performance was created for the Pope and over
6,000 other spectators. Can you imagine?
* * *
If you were curious about what offerings Cirque might have in store
aboard the MSC Meraviglia, imagine no longer. With just 12 months to
go until the first guests set sail on-board the ship, MSC Cruises -
the Swiss-based world's largest privately-owned cruise line has
revealed further details of its first next-generation smart ship. With
the first cruise scheduled for June 4, 2017, MSC Meraviglia will
feature the ultimate in entertainment, alongside a broad range of
dining options and luxurious wellness choices. The highlight of on-
board entertainment will be represented by the world leader in
artistic performance, Cirque du Soleil, thanks to the exclusive Cirque
du Soleil at Sea partnership with MSC Cruises. Two unique Cirque du
Soleil shows will be performed on-board in the evenings, 6 nights per
week, at the purpose-built Carousel Lounge. In addition, MSC Cruises
will offer an exclusive on-site dinner service for up to 100 of the
450 guests booked for the show. MSC Cruises designed a custom-made
entertainment venue, the Carousel Lounge, for MSC Meraviglia and its
three sister smart cruise ships. Featuring the latest technology, this
ground-breaking venue, which has been designed to meet the needs of
Cirque du Soleil and its performers, will be a stunning circular
performance space with a 180-degree circular glass wall. We've touched
on this before here (http://www.cirquefascination.com/?p=6801) and here
(http://www.cirquefascination.com/?p=6805). Cirque's offerings begin
on July 16, 2017. In the meantime, check out the ship and its
itinerary here: < http://mscmeraviglia.com/us/en >.
Soda Cirque, a new touring show based on the life and music of Soda
Stereo, is shaping up to be something interesting too. Although I
confess to know very little (if anything at all) about Soda Stereo,
I am... intrigued by this new show and what of Cirque will blend with
it. Over the last few weeks Michel Laprise (the show's director) has
teased bits and pieces via the show's Facebook page (which we've listed
in our SOCIAL OUTREACH section), but perhaps the most eyebrow-raising
blurb about it all has come from Cirque's casting team. They put out a
call recently for an athlete / circus performer who was able to hold
his/her breath under water for at least two minutes, or for an apnea
specialist with acrobatic skills. Huh.
Besides the announcement that Cirque du Soleil announced plans for an
NFL attraction in Times Square (see the release in our CIRQUE BUZZ
news section this month), another thing that makes me go hmmm... is
this: On Wednesday, July 6th, Bell Media announced the recipient of
their Executive Producer Accelerator Lab Production Apprenticeship
position, placing the winner with Marblemedia, an award-winning
content creation company. What makes this bit of news interesting is
that Marblemedia is working on a primetime series - their first -
called ALCHEMY, co-produced with Cirque du Soleil Media. That's right,
the same division behind the LUNA PETUNIA series for kids (the 11
episode series will debut on NETFLIX sometime in 2017) and behind
PARADISO, a drama with 20th Century FOX Television. That project,
which stems from the first-look deal for scripted series CDS Media
inked with 20th TV in January 2015, is said to be in the vein of
Moulin Rouge: about a girl pursuing her dream of performing at the
Paradiso, the most glamorous nightclub in San Lorenzo (a fictional
but contemporary city based on 1950s Havana). If it makes it, we'll
see it during the 2016-2017 TV season. I'm not sure when we'll see
(or hear hear more about) ALCHEMY.
As a long-time fan of Cirque du Soleil I'm not quite sure what to make
of all the projects outside of what I would consider the company's
core offerings. On one hand I applaud the company's desire to expand
beyond what they already know, pushing into new forms of entertainment
and expression as to not to appear stale. On the other hand, some part
of me wishes they'd stop the TV shows, special events, and other forms
and get back to what they've already proven to excel at: big top
shows. But there's no denying Cirque is finding success in these new
projects.
* * *
PARAMOUR is a perfect example. The cast album of PARAMOUR was recorded
on June 29th and 30th and it will showcase all 10 signature songs
including "Hollywood Wiz," "The Honeymoon Days of Fame" and "Everything
(The Lover's Theme)." Scott Zeiger, President and Managing Director of
Cirque Theatrical said, "Audiences have been loving the show each night
at the Lyric Theatre and have been asking our staff where they can
purchase the music. The creation of this album will allow everyone to
take that experience home and re-live their favorite moments." Look for
the album to be released later this summer. Otherwise, the show
continues to do well financially, or at least well enough:
Week This Week Potential Difference Seats % Cap
Ending Gross Grosses in Dollars Sold
---------------------------------------------------------------------
17-Apr $190,773.60 $191,599.00 $0.00 1,897 100.05%
24-Apr $1,018,941.65 $1,149,594.00 $828,165.05 10,623 93.38%
01-May $1,065,771.30 $1,172,274.00 $46,829.65 11,043 97.07%
08-May $1,074,995.70 $1,367,653.00 $9,224.00 11,443 86.22%
15-May $464,021.20 $781,516.00 -$610,975.50 6,197 81.34%
22-May $907,800.25 $976,895.00 $443,779.05 9,213 97.18%
29-May $1,126,943.25 $1,805,456.00 $219,143.00 13,731 90.53%
05-Jun $1,024,449.62 $1,805,456.00 $102,493.63 12,000 79.11%
12-Jun $1,093,610.45 $1,805,456.00 $69,160.83 11,279 74.36%
19-Jun $971.039.25 $1,805,456.00 -$122,571.20 10,251 67.58%
26-Jun $1,000,730.25 $1,805,456.00 $29,691.00 10,756 70.91%
03-Jul $1,000,312.40 $1,805,456.00 -$417.85 11,748 77.45%
But if you're going to see PARAMOUR any time soon, you'll want to know
this: Jeremy Kushnier, who plays A.J. Golden in Paramour will take a
two-week hiatus from the show from July 10-24. Assuming the role for
the two weeks will be cast-member Bret Shuford. During his break from
Paramour, Kushnier will film a new feature titled "The Idea of
Manhood", the debut motion picture from his brother, writer/director
Serge Kushnier. The movie tells the story of "two old friends who
unexpectedly spend a day together and end up debating each other's
shortcomings," according to press notes. "The conversation and day go
places neither of them predicted." Fellow cast member and understudy
Shuford's Broadway credits include "Chitty Chitty Bang Bang", "The
Little Mermaid", "Beauty and the Beast", and "Amazing Grace". He can
also be seen in the film "The Wolf of Wall Street" and the web series
"Submissions Only".
And speaking of shortcomings, Jose Perez has an update on TORUK:
"TORUK The First Flight, Cirque's Avatar inspired show, premiered
December 2015 to mixed reviews, with most negative comments coming
from fans expecting to see a "typical" Cirque du Soleil show. If
you've seen TORUK, you very well know this is not your typical Cirque
show and this isn't necessarily a bad thing. Maybe it's the fact
that two new shows have premiered after TORUK (Paramour and LUZIA),
but it seems the negative reviews have died down a bit. Fewer negative
comments, however, doesn't mean that the show doesn't need to evolve.
In fact, some new elements and acts are being added to TORUK! An
aerial straps/rope act is now being presented in the Tree of Voices
number, as well as contortion in the Anurai Scene. But perhaps the
most interesting number being added to TORUK, is a Boomerang act in
the Kekunan Scene. The acts are currently in the show, though they
haven't been officially announced as they are still being fully
implemented. Expect to hear and see more about the new acts soon!
There also appears to be a possible Fire-Knife Dance act, but we
didn't get confirmation if this has been implemented in the show yet.
Lastly, a quick update on the show DVD no updates, unfortunately.
Although the DVD was filmed back in January, the company has not
released any additional information or provided a DVD release date. We
have no choice but to anxiously continue waiting, but in the meantime,
you can now purchase the show's official program (but on site only)!"
* * *
Oh and one more thing: CirqueCast Episode #5 - "The Ever Expanding Big
Top" - is now out! Join us as we discuss the recent Paramour reviews,
the new Criss Angel Mindfreak Live show, and all the news regarding
Cirque's huge planned expansion in the not so distant future. Also, we
have our first CirqueCast Giveaway! Watch this episode to find out how
you can win a Zarkana program and bag! Check us out here: <
https://youtu.be/tcGiSAkoYA8 >. And stay tuned for these exciting
upcoming episodes: In Episode 6, Jose and I discuss our views on
LUZIA, which we saw live in Montreal on the evening of May 24th and
May 25th (we published a huge overview of the show last month). And
then, in episode 7, we take you behind-the-scenes at LUZIA, and talk
with three of the show's wonderful cast-members: Devin Henderson
(Hoops), Kelly McDonald (Adagio), and Rachel Salzman (Cyr Wheel). And
in episode 8, a discussion with Alain Vinet, the Director of Cirque du
Soleil Musique, from his studio at the International Headquarters!
So, without further ado - let's get started!
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
| |
| At CirqueCast: |
| < http://www.cirquecast.com/ > |
| |
| Realy Simple Syndication (RSS) Feed (News Only): |
| < http://www.cirquefascination.com/?feed=rss2 > |
| |
\----------------------------------------------------/
- Ricky "Richasi" Russo
===========
CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News for the Month
* Q&A - Quick Chats & Press Interviews
* Special Engagement - More In-depth Articles
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Fotos -- Images From Cirque & Other Photographs
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* "The Cirque and Competitive Sports"
By: Ricky Russo - Atlanta, Georgia (USA)
* "Complexes Cirque - The Peel Project"
By: Ricky Russo - Atlanta, Georgia (USA)
* "Cirque du Soleil, Wowing the World"
By: Matte Hart, 1066 Gymnastics Head Coach
A Special to the Fascination! Newsletter
o) Subscription Information
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
---------------------------------------------------
LA PRESSE General News for the Month
---------------------------------------------------
Clay Paky Scenius Light Bal en Blanc "One Drop Moment"
{Jun.01.2016}
-------------------------------------------------------
Montreal's 22nd Bal en Blanc, Canada's oldest electronic music
festival and one of the first EDM festivals in the world,
featured an exclusive attraction by 45DEGREES, Cirque du
Soleil's events and special projects company. Five Cirque acts
performing during the Sultan+Shepard set were lit by an array of
Clay Paky fixtures provided by 4U2C. A.C.T Lighting, Inc. is the
exclusive distributor of Clay Paky products in North America.
Held on Easter weekend at the Palais du congres, the Bal en
Blanc was produced by Produkt with One Drop as its official
cause partner. One Drop is a Montreal-based non-profit, created
by Cirque founder Guy Laliberte, whose mission is to provide
safe water to communities worldwide. 45DEGREES staged its "One
Drop Moment" to showcase this collaboration and provide a taste
of what's to come as the partnership continues with Bal en Blanc
2017.
"The challenge was to create a unique Cirque moment during a big
EDM show with a live VJ and video artist keying," says 4U2C's
Karl Gaudreau who served as lighting designer for the
attraction. "We made a special design with six Clay Paky Scenius
spots and eight Mythos on a 16×16-foot riser in the middle of
the space. The dance floor was covered with 90 Sharpys."
The event marked the first time 4U2C deployed the new Scenius
fixtures. "With Scenius we have finally found the best light!"
Gaudreau declares. "The color mix and optics are perfect. It's
the best unit for rock 'n roll and theater combinations."
45DEGREES' Frank Helpin directed "One Drop Moment." Barry
Russell was the video director and Remi Dubois the VJ.
{ SOURCE: Live Design | http://goo.gl/z24Zpx }
Guy Laliberte's $10M Golf Tourney?
{Jun.02.2016}
-------------------------------------------------------
Cirque du Soleil founder Guy Laliberte is producing one of the
largest putting tournaments in golf history to debut [in Las
Vegas] next March with the total prize money expected to exceed
$10 million. A 20,000-square-foot, 18-hole putting course will
be set up from March 8 through 29 with grandstand seating and
live leaderboards. PGA officials at golf facilities across the
country will host qualifying events to send their best putters
to Sin City. Players from around the world also are expected.
The televised Major Series of Putting will offer tournaments for
singles and teams, men, women, amateurs and professionals. Two-
time Ryder Cup team player Brad Faxon said, "Everyone has a shot
at glory. All that's needed is a putter, a ball, skills, nerves
and ice in the veins."
# # #
LAS VEGAS, NV(Marketwired) Major Series of Putting (MSOP)
will host the largest putting tournament in history in the heart
of fabulous Las Vegas in March 2017. Multiple championship
events with total prize money expected to exceed $10 million
will be held between March 8 and March 29, 2017.
Participants from around the world will have the opportunity to
test their skills and nerves as they compete over several
days in high-stakes championship putting tournaments. With
crowds of onlookers, live television broadcasts and the
opportunity to win and take home a share of the millions of
dollars in prize money, MSOP will showcase intensity and
suspense unlike anything seen before in golf.
"MSOP is setting the stage for golfers from all walks of life to
experience the intensity and excitement you'll only reach when
you sink that final putt for the win," remarked Brad Faxon, a
two-time member of the U.S. Ryder Cup Team with 21 professional
victories serving as an advisor to MSOP. "Everyone has a shot at
glory! All that is needed is a putter, a ball, skills and ice in
the veins!"
MSOP will be held within a unique venue featuring a 20,000-
square-foot, 18-hole putting course designed by world-leading
Nicklaus Design. The venue surrounding the course will feature
grandstand seating, live leaderboards, pro shop, sports bar,
live entertainment and more.
MSOP is inviting PGA professionals at golf facilities throughout
North America to host qualifying events through 2016 and early
2017 to send their best putters to represent their clubs at
putting's highest level of competition. Any participant will
have the opportunity to earn a spot in one of the MSOP
Championship events in Las Vegas. Select MSOP tournaments will
also offer registration fees for those looking to gain direct
entry into one of the events.
MSOP will offer a wide variety of putting tournaments. The 2017
MSOP schedule currently includes singles and team events in
stroke play and match play with exclusive events for women,
amateurs and professional golfers. Additional tournaments will
be announced soon.
To learn more about MSOP or to find details on local qualifying
events around North America as they are announced, visit
www.MSOP.com. Interact with MSOP on Twitter and Instagram at
@officialMSOP, or on Facebook at facebook.com/officialmsop
ABOUT MSOP: Major Series of Putting (MSOP) intends to entertain,
challenge and trill people with the simplest and most important
golf element Putting. To achieve such, MSOP will sanction the
largest series of putting tournaments in history with millions
of dollars in total prize money. In fabulous Las Vegas,
participants from all walks of life will have the opportunity to
test their skills and nerves as they compete over several
days in high-stakes championship putting on a 20,000 Square-foot
surface designed by world-leading Nicklaus Design. The fun is
open to all as qualifying events will be held around North
America in collaboration with local golf courses.
MSOP is a subsidiary of Lune Rouge Innovation, a new creative
company inspired and controlled by Cirque du Soleil Founder Guy
Laliberté. For more information, visit msop.com
{ SOURCE: The Las Vegas Sun | https://goo.gl/8fRXNu }
Festivals in Las Vegas: How Much is Too Much?
{Jun.06.2016}
-------------------------------------------------------
Festivals have been a game-changer in Las Vegas, but how much is
enough? John Katsilometes asks this question in his column for
the Las Vegas Sun today. His answer provides a few details on
how Rock in Rio USA did during its inaugural run in the summer
of 2015
# # #
A key barometer of Las Vegas' capacity for large-scale outdoor
festivals is Rock in Rio USA, the American version of the fest
that started in 1985 in Brazil and evolved into a series that
would dwarf even Woodstock. Drawing such superstars as the
Rolling Stones, Bruce Springsteen, Paul McCartney and virtually
every contemporary artist of merit, Rock in Rio now alternates
between Rio de Janeiro, Madrid and Lisbon.
The festival is divided into two parts, Rock Weekend and Pop
Weekend, and boasts considerable range in its multistage setup.
It has drawn huge turnouts, including 1.5 million fans at the
first event three decades ago in Rio. Lisbon and Madrid have
since surpassed 350,000 attendees. But in Las Vegas, the
inaugural Rock in Rio USA was a comparatively difficult draw.
Unlike Rio, where the festival is the only significant
entertainment event in May for a population base of 6 million,
Las Vegas offers top-flight entertainment along the Strip all
the time in a metro area of about 2 million.
From the stacked headliners ranging from Britney Spears and
Jennifer Lopez to Celine Dion and Elton John to the seven
resident Cirque du Soleil shows, the volume of options for
ticket-buyers in Las Vegas is staggering, especially to outside
promoters. So initial projections of 82,000 fans per weekend of
Rock in Rio USA (328,000 over four nights) were swiftly dialed
back. The official tally was 172,000 over two weekends, but
sources familiar with the hard numbers put them lower, around
140,000.
Financial losses in the festival's kickoff year were
considerable estimated to be $24 million to $28 million. Rock
in Rio officials were willing to accept some losses as part of
their $50 million investment in delivering the brand to the U.S.
for the first time, but industry experts weren't expecting a
shortfall of more than $20 million.
The festival did produce $25 million in gross revenue, which is
impressive, until you consider the huge outlays it made for big-
name acts and environmental flourishes. Dedicated to brand and
format, Rock in Rio brass built extensive and expensive "Rock
Streets" emulating the U.S., UK and Brazil. And attractions
included a zipline over the main stage, a Ferris wheel in the
middle of the parcel and a reinforced VIP tent that cost upwards
of $4 million to construct.
"When you look at what Rock in Rio actually delivered, if they
made $25 million, most festivals would be doing backflips over
that," says MGM Resorts Senior Vice President of Entertainment
Development Chris Baldizan, who books events at all MGM Resorts
properties, including the outdoor venues. "They stuck to their
guns on a lot of things, and the first event was definitely a
learning experience for everybody."
Will Rock in Rio return to Las Vegas in 2017? After a successful
edition in Lisbon in May, there's no definitive word on where it
will land when (or even if) it rotates back to the U.S. "We're
like everybody else, just waiting to hear back to pull the
trigger," Baldizan says. "We will need to hear in the next month
or two. We need that information. We should be getting ready to
be booking Rock in Rio right now. We are kind of behind the
eight ball."
Rock in Rio executives say they're coming back, but nothing is
confirmed. "We are still working on the next edition of Vegas,"
CEO Luis Justo said in an email.
{ SOURCE: https://goo.gl/BQHMY4 }
How do Cirque Performers Know They Won't Die?
{Jun.07.2016}
-------------------------------------------------------
Cirque du Soleil is on Broadway for the first time ever.
Cirque's new show, Paramour, opened May 25, giving the world's
most famous theater audiences a chance to experience the pit-in-
your-stomach thrills of watching the chic circus's acrobats fly
through the air. Audiences can rest reassured that everyone's
safe. Right?
To find out, Popular Mechanics spoke to Brett Copes, the head
rigger of Fight or Flight Entertainment, who's spent the last
decade flying performers in shows like Cirque du Soleil's O and
Iris, and Marvel Universe Live.
HEAR THE INTERVIEW HERE:
LINK /// < https://player.megaphone.fm/PM8692105380 >
As it turns out, Copes says, gravity-defying circus work used to
depend mainly on "practical testing" and passed-down knowledge
basically, lessons learned from the 250 years of trial and error
that started with the inception of the modern circus. Early
riggers also borrowed principles from other precarious fields,
like mountain and rock climbing, which existed long before
aerialists took to the trapeze and high wires.
It wasn't until the 21st century that scientists really started
studying the physics and mathematics behind acrobatics. Today,
Copes's work is quite scientific. He knows, for example, that,
at 6 feet and 180 lbs., our podcast host can generate up to a
thousand pounds of force on even a short fall. Copes uses that
knowledge to design equipment based on a "design factor," a sort
of ratio of risk that he's willing to take. A 2:1 design factor,
for example, would mean hanging our host with equipment able to
hold 2,000 lbs. In practice, Copes prefers an even more robust
margin of errora design factor of 5:1 or even 10:1.
Cirque du Soleil's Paramour sets are a mix of old school and
new, a mishmash of very traditional rope-and-pulley rigs
alongside computer-operated winches that cost tens of thousands
of dollars. That's how the best acrobatic rigging teams are
constructed: with the wealth of knowledge and cutting-edge
technology that comes from mixing old circus riggers with
trained engineers and computer programmers, all united by a
single, very important factor: The amount of risk they take
really has a direct effect on the performer.
To hear more from about rigging, check out the How Your World
Works podcast, available now on iTunes.
{ SOURCE: Popular Mechanics | http://goo.gl/HJcT7h }
ABC to develop live musical event 'For The Record Live'
{Jun.10.2016}
-------------------------------------------------------
ABC, Dick Clark Productions and For The Record are partnering to
develop "For The Record Live," a unique, genre-bending
production turning the soundtracks of iconic filmmakers into
thrilling, immersive live-entertainment events.
Created by Shane Scheel and Anderson Davis, For The Record has
staged productions based on the work of acclaimed directors
Quentin Tarantino, John Hughes, Baz Luhrmann, Martin Scorsese
and more.
"'For The Record Live' is a first-of-its-kind live musical event
made for ABC," said Channing Dungey, president, ABC
Entertainment. "The show will be a game-changer for the genre,
and the network is proud to partner with Dick Clark Productions
and For The Record for this exciting experience."
"Five years ago, we set out to create a live event that
celebrated movies and the people who make them. We built a
production in Hollywood and filled it with talent, paying
tribute to the biggest icons of the movie and music industries,"
said Scheel, For The Record creator and producer. "Over the
years, we've been privileged to welcome many of these directors
and stars of their movies to our shows. Their experiences at our
shows are what sparked the idea for the live television
adaptation of For The Record. We could not imagine better
partners than ABC and the legendary Dick Clark productions to
help make our vision come alive on television."
For The Record began in 2010 in a small bar in East Hollywood.
Since then, FTR has become the "must-see show" in L.A. and has
journeyed beyond California to New York; Chicago; SXSW in
Austin, Texas; the Montreal International Jazz Festival; a
residency at Ace Hotel in Palm Springs; a dedicated venue on
Norwegian Cruise Line's Escape featuring a show that celebrates
the soundtracks of '80s "Brat Pack" films; a co-production with
Cirque du Soleil in Las Vegas, and an upcoming residency at the
Las Vegas Palazzo Theatre, celebrating the movie music of
Luhrmann beginning June 25. For The Record will return to Los
Angeles Sept. 21 at The Wallis Annenberg Center for the
Performing Arts to celebrate legendary filmmaker Scorsese with
"American Crime Requiem."
For The Record has featured stars and newly discovered talent
from stage and screen, including Golden Globe-nominee Evan
Rachel Wood, "Dancing with the Stars" champion Rumer Willis,
"Pretty Little Liars" Janel Parrish, Tarantino's "Death Proof"
star Tracie Thoms, "NCIS: LA" star Barrett Foa, Lindsey Gort,
Lindsay Pearce, Ty Taylor of Vintage Trouble, Audra Mae, Ginifer
King and the star of Cirque du Soleil's Broadway show Paramour,"
Ruby Lewis.
Watch trailers and find additional information at
www.fortherecordlive.com.
{ SOURCE: Niagra-Wheatfield Tribune | http://goo.gl/IOWB1u }
The Park: Vidanta's Bold Vision in Forbes México
{Jun.22.2016}
-------------------------------------------------------
Grupo Vidanta was featured on the cover of the May/June edition
of Forbes México. The profile highlights Grupo Vidanta's
incredible forthcoming contributions to Mexico's tourism sector
an exciting partnership with fine-dining/lifestyle industry
leader Hakkasan Group, and The Park, a new immersive
entertainment collaboration with Cirque du Soleil. Grupo
Vidanta's Founder, Daniel Chávez Morán, is also featured
prominently for his daring leadership in the field of Mexican
tourism. The Park is described by Forbes as, "an ace up [Chávez
Morán's] sleeve," a tremendous and fantastical venture set to
disrupt the Mexican entertainment industry like never before.
The goal of The Park is to fuse Cirque's singular immersive
entertainment experiences with Vidanta's innovative approach to
luxury vacationing. The magnificent end result will be a fantasy
land where families from all over the world can explore a world
beyond description. Boasting soaring structures and lush forests
with hidden secrets, The Park promises to plunge attendees into
a magical realm of acrobatics and adventure. The Park will be
the crown jewel of Grupo Vidanta's current development planthe
lead player in a $1.3 billion endeavor meant to further
establish Mexico as one of the world's premier tourist
destinations.
The Park is slated to open at Vidanta Nuevo Vallarta in 2018.
Once open to the public, Grupo Vidanta estimates it will receive
a million visitors in its first stage, and two million more when
its next stage is complete by 2021 or 2022. This mega-park will
be at the forefront of new vacation models that combine the
world of hospitality with family entertainment.
CHECK OUT NEW RENDERINGS OF THE PARK HERE:
http://www.cirquefascination.com/?p=8496
AND GET A FIRST-LOOK AT ONE OF THE CHARACTER DESIGNS HERE:
http://www.cirquefascination.com/?p=8518
{ SOURCE: Grupo Vidanta | http://goo.gl/O2Ejwh }
Stella Artois Launches 'Le Savoir', an unforgettable
Multi-Sensorial Culinary Journey
{Jun.29.2016}
-------------------------------------------------------
Stella Artois recently announced the global launch of 'Le
Savoir', an unforgettable multi-sensorial culinary journey, set
to debut in Montreal in early August. Created in collaboration
with sensory experts, Bompas and Parr and Cirque du Soleil's 45
DEGREES, 'Le Savoir' uses time as a metaphor and Stella Artois
as the muse to transport guests to a forgotten garden in the
heart of the city. Montreal's USINE C (1345 Avenue Lalonde) will
play host to 'Le Savoir' from August 4 to 11 before the event
travels to New York City and Buenos Aries.
"After the success of Stella Artois Sensorium in Toronto last
summer, we are delighted to continue sharing unique experiences
with Canadians that are inspired by the intricate flavor notes
of Stella Artois," said Maria Guest, Brand Director, Stella
Artois. "Through this one of a kind program we hope to elevate
the hosting experience to another level with new tastes and
perspectives as well as inspire consumers across the globe to
leave their mark through their own hosting occasions."
Guests in Montreal, New York City and Buenos Aires will be
transported through the seasons for a multi-sensorial, multi-
course dining experience featuring food and beer pairings
inspired by the spectrum of flavors in a Stella Artois. Brought
to life by culinary wizards Bompas & Parr in unison with the
world's leading immersive entertainment and sensory experts
Cirque du Soleil's 45 DEGREES, 'Le Savoir' will engage, enhance
and awaken all the senses: sight, sound, taste, touch and aroma.
The immersive dining experience blends Stella Artois with food,
technology, entertainment and performance art to challenge
perceptions and awaken the senses.
"We're excited to partner with Stella Artois to create a dinner
party so sensual and luxurious that it will stimulate the senses
as never before.' said Harry Parr, Director of Bompas & Parr.
'Le Savoir' aims to showcase Stella Artois' brewing heritage
that dates back over 600 years with a legacy of bringing
thought, care and detail to everything it touches. From the
beer's unique refreshing flavour notes to the iconic Chalice
specifically designed to stimulate all of the senses that same
attention to detail is what the art of hosting is all about,
creating experiences that leave their mark. For more information
about 'Le Savoir' and to purchase tickets for the 'Le Savoir'
Montreal±, visit stellaartoislesavoir.com.
{ SOURCE: Stella Artois }
---------------------------------------------------
Q&A - Quick Chats & Press Interviews
---------------------------------------------------
Criss Angel offers life lessons and levitations
{Jun.02.2016}
-------------------------------------------------------
Criss Angel 2008: "This show is beyond my wildest fantasy, is
beyond anything I could comprehend. This show is an experience
that is unlike anything the world of entertainment has ever
seen. Believe."
Criss Angel 2016: "It's beyond anything, any other magic show in
Vegas or the world for that matter
. One thing I know, it will
be without a question the most mind-blowing, revolutionary magic
show ever to be performed live, with more magic in it than any
other show ever."
Does the guy ever learn?
As a matter of fact, he says, yes.
"I could have sat here and been very coy, but honestly I'm
bursting with excitement," says the magician not known for
coyness. "But I know what we're doing, I know where we're going
and I know what else is out there."
The relaunch of Angel's long-running Luxor showcase "will really
show how far magic has come and how kind of dated a lot of the
magic shows are," he says. "Magic, I'll be bold and say, has
never seen anything like this."
Though his knack for self-promotion hasn't changed in more than
six years on the Strip, Angel says other things have since the
infamous debut of "Believe" on Halloween 2008.
"I'm a different person artistically and as a human being than I
was eight or 10 years ago," the 48-year-old New Yorker says. The
goal now is to "try to take the lessons that I've learned and to
try to put in on the stage in a way that really is something
unique and original and, quite frankly, revolutionary for the
art of magic."
He gets that chance in the new "Mindfreak Live," essentially the
third version of his Luxor showcase. What remained of the
original "Believe" closed in April to make way for the retitled
makeover, which had its "soft opening" last week to gear up for
a grand reopening June 30. The new show features cutting-edge
video mapping and more than 50 illusions. He hopes those who saw
the original, misguided version of "Believe," will "come away
(and say) 'Hey, this is what you should have done from the
beginning.' "
Angel now carries about every credit you can think of
director, creator, star, executive producer on the title that
still falls under the banner of Cirque du Soleil, but one the
company has kept creative distance from since its first year.
The original "Believe" was a beautiful Cirque fever dream, but
its laughable storyline struggled to figure out what to do with
the goth-rock magician that people expected to see from the
"Mindfreak" TV series. "The biggest problem with the show was
Criss Angel was in it," he is able to say now. "If there was an
unknown magician in there, it probably would still be running,
because it was a good show."
But after three years of his A&E channel show filled with
daredevil stunts and illusions taking place everywhere but a
proper stage, "People were conditioned to think of Criss Angel
in a certain way," he says. "Cirque, and really the director
(Serge Denoncourt), hid the fact that I was Criss Angel. Wanted
me not to act like Criss Angel. Which is crazy if you think
about it. But at the time, I went along for the ride."
At least for a while. Though "Believe" never went through a long
shutdown, within a year it shed most of the dancing rabbits and
showgirls in bondage wear. Cirque still ran the business side
and included "Believe" in its collective marketing, but stepped
back to let the star refashion it into the straight-ahead magic
show most fans expected.
The guy not known for introspection or at least not for
sidelining it from his overall enthusiasm said, "I wouldn't
change anything. It's the way it was supposed to be."
The new show reflects "the knowledge of trials and tribulations
I had to go through to get to this point," he says. "You can't
just come out of the box and be able to do that. You have to go
through this kind of life experience and have the incredible
support and infrastructure that I'm blessed to have."
"Mindfreak Live" has an autobiographical thread, which starts
with a pre-show video and continues in the show referencing
early career successes, such as his off-Broadway breakthrough in
the early 2000s.
Recent life challenges are included as well. A straitjacket
escape is now framed in terms of the sacrifices the real
Christopher Sarantakos endured in the name of Criss Angel, with
footage of past stunts and the shoulder surgery that a Times
Square escape led to in 2014.
Another segment addresses the leukemia battle of his young son,
Johnny Cristopher. "One of the most important things I'm doing
in the show is showing the reality of pediatric cancer, what
it's like to have a son who has that," he says. "And it's done
in a very artful way."
The segment aspires to take audiences "to the point where they
are seeing a real difficult subject matter expressed through
art, and hopefully come away with hope. These kids are really
special and magic in their own way."
If that doesn't sound like the bare-chested, gold-chain magician
parodied up and down the Strip the sketch show "Spoofical"
even planned to portray him as literally a giant douche bag
the older, wiser Angel still hopes to continue his legacy as the
guy who brought magic to pop culture "in a way that utilizes and
embraces all of these elements you would see on an awards show."
The new show makes extensive use of video mapping to create 3-D
effects. In a video-game battle with a "sword-fighting ominous
character" (who just might sound like retired magician Lance
Burton), "the whole scene turns 360 degrees, both me and him and
the background."
MindFreak-Live-Staged-Set-3 Another levitating effect will
reveal "essentially a whole 200-year-old city starting to grow
out of the ground
being built from the ground out of the
earth," he says. "Not only do I go up, the perspective for the
audience changes as I go up. You see over the roof, over the
skyline. The audience feels like they're going up with me."
Cirque fans take note: There will even be acrobatics. "You will
see people doing what's called tricking, where they can flip and
do crazy things with their bodies. But it will be presented as a
way that's seamless within the illusions and the emotion I'm
creating. "We're using things that tie into the magic and using
the illusions as the (acrobatic) apparatus, as opposed to
bringing in the apparatus you would see in a typical Cirque du
Soleil show for them to do their physical magic," he adds.
Not for the first time does the conversation drift back to 2008.
"It's how we should have incorporated what they do and what I do
from the beginning," he says. "But it's easy to say that.
Hindsight's 20/20 now."
A 60,000-square-foot warehouse to create illusions, some of
which were road-tested in a touring show that Angel performed
outside the Las Vegas market, puts the magician in a rare
position to push a stalled art form forward again. "I work
harder than anyone out there, I know that, and I have an
incredibly talented team that is beyond what anyone else out
there has," he says. "I know at the end of the day, we're going
to do something I don't think the world of magic is going to be
able to top for many, many, many years to come."
Bold claims again, but
"It's just the right time. I couldn't have done this 10 years
ago, let's put it that way."
{ SOURCE: Mike Weatherford, LVRJ | http://goo.gl/eF6PsD }
TORUK: Behind the Makeup w/Lisanna Ohm
{Jun.03.2016}
-------------------------------------------------------
Looking at the finished product a blue-hued otherworldly
creature with lightning-quick, graceful movements it's hard to
imagine that just an hour before, Lisanna Ohm appeared to be a
normal human. But in that relatively short time, Ohm has
transformed herself into the Tipani chief from "Toruk The
First Flight."
Check out Lisanna applying her makeup in this time-lapse video:
http://goo.gl/kUjQIu
The role requires Ohm to apply her own makeup, a process that
involves a lot of contouring, the application of four shades of
blue cream-based makeup, huge quantities of finishing powder,
and intricate lines and dots that are true to the characters
from the hit movie.
"It's all about shading and mixing colors. You want to bring out
the cheekbones," Ohm said as she was more than halfway through
transforming her face into one of an extraterrestrial creature.
"You don't realize how many steps are needed."
Ohm is one of about 40 performers onstage at any given time
during the performance. In addition to all the tricks, movement
and acting required, performers have been trained to apply their
own makeup.
"Some days are better than others," Ohm said of the
transformation. "But it's never horrible." Ohm said she listens
to music and chats with other performers while putting on her
makeup and garb. "You don't feel in character until you're
onstage," she said.
"Toruk," written and directed by Michel Lemieux and Victor
Pilon, is a prequel to the 2009 film. The live production is
Cirque du Soleil's 37th since 1984. The story is narrated by a
"Na'vi Storyteller" and tells a tale set thousands of years
before the film "Avatar" and before any humans came to Pandora.
"I'm excited to be a part of the prequel," Ohm said. "It's
setting the stage for the movies." As the Tipani chief, Ohm gets
a good amount of stage time. "It's a fun character to play," she
said. "I go through a lot of emotions." But good luck attempting
to tell her apart from the dozens of other actors on stage.
"It's hard," she said. "My fiance even has a hard time telling
who I am."
To prepare for the production, Ohm watched the movie about five
times, focusing only on the scenes that involve the Na'vi
people. She said it helps her to emulate the movement and
behavior of her character. Ohm has tapped into her 20 years of
competitive gymnastics to take on the rigors of the role. "It's
really intense as far as a cardiovascular standpoint," she said.
"You are running around a lot."
Cameron has seen the production twice, Ohm said, and it has his
seal of approval. "He checks off on everything," Ohm said.
{ SOURCE: The Baltimore Sun }
Small in Size Mini Lili Makes a Big Impression
{Jun.12.2016}
-------------------------------------------------------
There are several moments during Cirque du Soleil's latest show,
"Kurios: Cabinet of Curiosities,'' when the audience thinks to
itself: No way!
One, surely, is when Mini Lili makes her first appearance,
popping unexpectedly from the prodigious belly of the character
Mr. Microcosmos. How is that possible, you say? Easy: Mini Lili
is small, very small.
The character, a diminutive dame whose furnished apartment
inside Mr. Microcosmos's stomach is the picture of Victorian
elegance, is played by Antanina Satsura, who at 3-foot-2 and
barely 40 pounds, is one of the world's smallest people. Unlike
the show's aerialists, acrobats, and contortionists, Mini Lili
doesn't do much except swan around. Still, when she's onstage,
you can't take your eyes off her.
"To me, it was important that it be not only about her height,
but about this sparkle that she has, this spirit that she has,"
says the show's Quebecois writer-director, Michel Laprise. "Mini
Lili has got that Hollywood timeless presence."
Last week, we sat down with Satsura as she got ready "Kurios"
is under the big top at Suffolk Downs through July 10 and
talked (with the aid of a translator) about growing up in Russia
and her life as a circus performer.
Born in Belarus, Satsura, 62, had worked as an accountant for
seven years before being offered a job with the Moscow State
Circus. It never occurred to her to say no.
"I would get onstage with another small person and we would
disappear," she says, describing one of her early acts. "Then
two bigger performers would appear."
It made her happy to hear the audience laugh and she didn't feel
at all exploited. Satsura, who worked for the Moscow circus for
25 years, is also a talented seamstress and enjoyed making
costumes for the performers.
"I always wanted to be onstage and I loved the audience," she
says. "Being onstage gives me energy and interest in life. You
should live your life the way you are."
Satsura has done that. She said she's glad to be small and
doesn't want to "hide." Indeed, when she's not working, Satsura
likes to go walking.
"People here are very friendly. I never have any communication
problems," she says. "When I go to a store and I can't reach for
something if, for instance, the milk is too high for me to
reach I ask someone for help and they always help me. No one
has ever refused to help. I never feel like people are surprised
to see me."
And it's OK if directors call because they need someone small.
"I am always happy when I get invited to be in videos, in
commercials, in movies," says Satsura, who played an elf in the
2007 film "Fred Claus," starring Vince Vaughn. "Most of the
small people are happy for those opportunities, too. It is your
choice. You get offered, but you can refuse if you don't like
something."
When the folks from Cirque du Soleil contacted her they'd seen
her in a video on YouTube Satsura was retired, living with her
dog in Minsk and tending her flower garden. But the opportunity
to travel the world "Kurios" will be in the US for two more
years before it heads to Europe was irresistible.
How long will she perform?
"We'll see," she says, winking.
{ SOURCE: Boston Globe | https://goo.gl/oLFJIc }
Meet TORUK's Gabrielle Martin!
{Jun.15.2016}
-------------------------------------------------------
Cirque du Soleil present "TORUK The First Flight" inspired by
James Cameron's AVATAR. This live experience envisions a world
beyond imagination set thousands of years before the events
depicted in the film. The word Toruk, in the Na'vi language,
refers to the great leonopteryx, the mighty red and orange
predator that rules the Pandoran sky. Central in Na'vi lore and
culture, this fascinating creature is crucial to the Na'vi
clan's sense of destiny and interconnectedness and is about to
be ridden for the very first time by a Na'vi.
A featured acrobat in this ensemble is Gabrielle Martin of
Vancouver. An aerialist, contemporary dancer, and emerging
choreographer, her foray into contemporary circus and dance was
nontraditional. She has a background of sports, competing in AAA
women's ice hockey.
In her late teens, Martin began movement training in contact
improvisation, but oh, and somatic practices such as Authentic
Movement, Release Technique and Body Mind Centering.
Simultaneously, she dedicated herself to training and performing
'street circus' with Nucleus, a collective of actors, musicians,
and self-taught circus artists, and also trained in fire
manipulation, stilt walking, and character animation.
Desiring more formal training, Martin attended Concordia
University and earned a BFA in Contemporary Dance along with
independent training in aerial arts at La Caserne. While at
Concordia, she presented her own aerial choreographies at
professional dance festivals through Floating Seed, an aerial-
contemporary company she co-founded. Upon graduating in 2009,
she continued to choreograph her own work, presenting in
Montreal, Toronto, Geulph, and New York. In 2010, Gabrielle's
choreography, 'Box', was short-listed to top ten in the Sadler's
Wells Global Dance Contest. From 2010-11, she was selected,
through a competitive process, as a choreographer in four
different mentored creation residencies, including: the
Regroupement Québécois de la Danse Creation Workshop for
Emerging Choreographers (Montreal), and Dance New Amsterdam's
RAW Material program (New York).
From 2011-2015, Gabrielle toured with "Cavalia," an equestrian
and nouveau-circus production, performing aerial rope/corde
lisse, bungee trapeze, aerial hoop, dance, and harness dance
numbers. She joined the creation of TORUK The First Flight in
July 2015. It's her first production with Cirque du Soleil.
Read what she has to say about persevering and pursuing your
Dreams:
Q. How did you get involved with this company, Cirque du Soleil?
I think, as a circus artist, dancer, performer, Cirque du Soleil
has always been a company that I admired. I was really moved by
the work, the mix of the physicality, the storytelling and the
fantasy of the circus world. It was on my radar for quite a
while. I really went after it. I did a live audition about two
years ago. I made it a point to knock on their door every few
months, and submitted updated videos of my work, and continued
to research what they were looking for in their shows. What kind
of casting profile I fit and to really tailor performance
material towards that and keep in good contact with the casting
director. I was very proactive. They contacted me when they were
casting for this creation, TORUK. I had to send them further
dance, movement and acting video that was specific to the Na'vi
character.
Q. You're originally from Vancouver?
I grew up in Vancouver. My father is from Zimbabwe and my mother
is white Canadian, British, French mix.
Q. As a writer being involved in the circus seems so abstract.
As a child, I would have never thought it could be a career for
someone. It just seemed like adults at play. But I completely
understand how the art form attracted you?
I love Cirque du Soleil. I started in sports as a teenager. I'm
Canadian. I played ice hockey. I did martial arts. My parents
knew to put me in sports. When I became a teenager, I was living
in a neighborhood that was very artsy and eclectic. I was
exposed to fire dancing. There was one organization that did a
lot of public parades with puppets and stilt walking. I think
that was my first introduction to a type of circus arts. I was
drawn to the performance world. I was really passionate about
sports because I love being physical but it was kind of missing
something. It was a natural transition into dance and circus
arts because I could still be as physically stimulated and
disciplined but with artistic expression. I was lucky to live in
a neighborhood where I was exposed to those styles of art. I saw
my first Cirque du Soleil show when I was 18. And, I had more of
a frame of reference for something that I'd want to be a part of
one day.
Q. How fascinating is it to bring an Avatar-inspired production
to this art form?
When the film Avatar came out, I loved it. I thought the message
was really great. The Na'vi beings were very interesting to me.
'Toruk' takes place thousands of years before the movie. It's
its own story; that's different from what you see in the movie.
What I love about performing the Na'vi character is that it's a
different type of physicality than I've been charged to perform
in the past as a circus artist and a dancer. As female circus
artists we're often put in a generic, sexy, feminine role. I
appreciate something that's more complex than that and where the
physicality is not just about being graceful in a way we've seen
before. The Na'vi are very graceful but there's more to them.
They're powerful, curious, agile. That's fun for me to play.
Q. In between shows and tours, how do you spend your free time?
I don't necessarily turn off when I go home or am on break. I
always want to improve my skills where I can. In the coming
weeks we have a couple weeks off. I already have some coaching
lined up to develop my skills further. There are some things
that I just want to work on. I have time to go in and continue
to be artistic but free in the sense that it's not at work; it's
not specifically for the show but it's skills related to the
show. To be at this level, with Cirque du Soleil, you have to
really love what you do. It will be a break because I won't be
doing it 10 hours a day, just a few hours a day.
Q. If you were addressing a group of pre-teen ballerina and
gymnasts, what advice would you give them?
I would definitely say the generic 'don't give up.' I have
really had a lot of rejections and obstacles. You come to
understand that anybody who has a certain level of success for
the most part have had their share of obstacles and rejection
along the way. I have had so many moments where I didn't feel my
career was going anywhere or in the past, not with Cirque du
Soleil, but I have had injuries that I questioned whether or not
I could keep going as an artist and I am just so happy that I
didn't give up in those moments. Otherwise, I wouldn't be here.
Dream big. Cirque du Soleil for me in my field is one of the
biggest dreams that you can have. It's a great company to work
with and had so many shows traveling the world. They reach such
a wide audience. It was a pretty bold goal for me to have
considering that I came to dance and circus arts late in my
life. It's possible. If you don't dream big, it won't happen. Do
your research. Look at allthe steps required and really know
what's being produced by the company you wish to work with
what are they looking for in artists. Be aware of your
weaknesses. Don't be afraid to look at them so you can actually
work on them. Be very aware and disciplined as an artist. There
isn't a clear cut path.
{ SOURCE: Rolling Out | http://goo.gl/YWubQv }
Meet Eirini Tornesaki Kurios Vocalist
{Jun.30.2016}
-------------------------------------------------------
Meet Eirini Tornesaki, the sole vocalist in KURIOS by Cirque du
Soleil and a Berklee Online student. Berklee Online grants
Eirini the flexibility to earn a specialist certificate in
songwriting while she travels across the world with KURIOS.
VIDEO /// < https://www.youtube.com/watch?v=n6dUnQseuC4 >
"Traveling with a touring show, is a very exciting job! My name
is Eirini Tornesaki. I'm the vocalist of the show Kurios, by
Cirque du Soleil. And also, a Berklee online student.
My character in Kurios, is called Chanteuse du la rue, which
means street singer. I wear a gramophone on my head, and I'm the
only singer in Kurios. During my performance with Kurios, I felt
like I wanted to start writing my own songs. So I went on
Berklee Online, and looked at all the courses. And I thought, oh
my God, I don't even know what to choose. I started Commercial
Songwriting Techniques. I really liked it and I wanted to
continue. Right now, I'm studying for the Specialist Songwriting
Certificate and I'm currently on the Songwriting Melodies
course.
And what I love about singing for Cirque, is actually the amount
of shows. You spend all of your time performing, which is a
dream. We move from city to city every two months. Studying with
Berklee Online, while on tour, I think it's a fantastic way to
keep learning and evolving because when you're touring and
changing location, it could be difficult to have a teacher that
is always there. Or, it's a community of musicians that you
could exchange knowledge with. So having that on an online
platform, I think it's amazing. Studying songwriting inspires me
and motivates me every day. It just keeps me focused on that
goal of learning how to write my own songs."
{ SOURCE: Berklee Online }
---------------------------------------------------
SPECIAL ENGAGEMENT - More In-depth Articles
---------------------------------------------------
Poetry in Motion: A Day in the Life of
a Star Trapeze Artist
{Jun.18.2016}
-------------------------------------------------------
Backstage at the enormous white circus tent in Orlando that is
home to Cirque Du Soleil's La Nouba, Renato Fernandes is
preparing to fly through the air. The Brazilian acrobat is the
first and only trapeze artist in the world able to execute a
daring move called the "Double Twisting Double Layout and Half,"
recently premiered in his "Flying Tapezee" act.
Fernandes, who is 35 years old, is part of a fifth generation of
circus artists. He and his 26-year-old British girlfriend Sarah
Turner, who is also a La Nouba artist, are expecting twins. This
is the most recent chapter of a love story that began three
years ago, right here in this tent.
"The first time I saw her I asked her to dance and she turned me
down!" says Fernandes, laughing. "Months later, I started taking
chocolates to her locker. I asked her to help me with my warm-up
exercises, and nothing. It took nine months for her to give me a
hug! When she finally agreed to be my girlfriend, I went with
her to England to meet her parents, then I invited her to Paris.
There, in the Eiffel Tower, on my knees, I gave her an
engagement ring."
Now, Fernandes prepares for his moment of glory, his twisting
layout, which has been seen by thousands of people from around
the world.
What few people have seen is what a typical day for a circus
artist is like. Cirque Du Soleil opened its doors exclusively
for Nexos, where we spent a day with Fernandes.
11:00 a.m.: Rise and Shine
"I sleep deeply", says Fernandes, born in Poços De Caldas in the
Brazilian state of Minas Gerais. "Although I get to bed at two
or three in the morning, I don't get up until about 11. The
first thing I do is shower, than I enjoy a good breakfast
always accompanied by protein shakes and then I'm off to the
circus."
12:00 2:00 p.m.: The Workout
"Renato trains three times a week for two hours at a time," says
La Nouba chief trainer and dance captain Mathew Sparks. "Aside
from that, from 5 p.m. to 11 p.m. he's in constant motion, since
he performs two shows per day. That makes his work very
physical. It keeps him going from 30 to 36 hours a week."
"My training begins by placing an 11-pound ankle weight (5
kilos) on each foot to keep steady on the floor while I do 150
extensions in different directions, with a Thera-Band between my
hands," says Fernandes. "Then I jump for a few minutes on the
trampoline, to warm up my body and I continue with stretching
exercises on the floor. To end, 10 body pull ups and 10 shoulder
pull ups."
His girlfriend is training with him, despite the aches and pains
of pregnancy. "She's very nauseous today, but we're happy, and
as us artists know the show must go on," says Fernandes. "The
only thing is, because her act (Power Track) involves a lot of
jumps, she'll be in a special position for the coming months."
2 p.m. 3 p.m.: The First Flight
Rehearsal time, flying on the stage for an hour. Everything ends
before 4 p.m. The stage must be empty then, so the technicians
can test all the equipment, including cables, lights and sound.
4:30 p.m.: A Long Make-Up Session
This is a long and detailed process, not suitable for the
impatient or hyperactive. It takes several layers of base, and
takes between 70-90 minutes. "It's curioussays Fernandes,
always smiling. "It takes over an hour to put it on, but only
three minutes to take it off when I go home."
The Not So Rigorous Diet
Minutes before jumping on stage, Fernandes grabs something to
eat. Usually he brings something from home, or he buys a snack
from the little store near the make-up room. "I eat everything!
I don't follow a rigorous diet, I just make sure to get enough
protein."
Backstage, the vibe is surprisingly relaxed.
"He likes to spend time with us, his friends," says Miguel
Vargas, the trapeze trainer and also a La Nouba artist. "Since
we come from so many different places, the circus is our family,
and getting together is an important part of our lives. On the
weekends one of us will cook and invite everyone else. Renato
makes a great barbecue."
"Since we do 500 shows a year, our work becomes something very
natural," stresses Fernandes. "That's why behind the scenes
we're playing backgammon, having a little nap, kidding around or
eating. Zero nerves!"
Let's Fly!
The platform from which Fernandes will take flight is some 52
feet (16 meters) high. While he waits, he chats with the other
trapeze artists: "We talk a little bit about everything; we
discuss the news, just like you would in any other job. Until I
grab the trapeze. When I have it in my hands, nothing else
exists. For 18 seconds the world stops for me."
His concentration is unwavering. "My concern will always be that
the audience is happy. " And if something unforeseen happens? "I
have to smile and try to get back on my feet as soon as
possible. There is a protocol in place, so that my colleagues
and physical therapists act immediately."
11:30 p.m.: Home, Sweet Home
After the show, Fernandes goes home directly and quickly.
"Because the work is so physical, I just want to go to bed. The
first thing is eat
I cook. Later Sarah and I relax doing
puzzles. From Paris we brought home one of the Mona Lisa with
1000 pieces, and we put it together in a few days. We watch a
little TV, and end the night with a bath. But instead of
bubbles, ours has Epsom salts, to relax the muscles and calm any
pain. And then to bed!"
{ SOURCE: American Way Magazine | http://goo.gl/DJMou7 }
Saban Brands & Cirque du Soleil Média Announce
Funrise as the Global Master Toy Licensee
{Jun.21.2016}
-------------------------------------------------------
Saban Brands and Cirque du Soleil Média announced today that
Funrise Toy Corporation, an industry leader in the innovation of
some of the most popular children's products, will be the global
master licensee for its new animated preschool property, Cirque
du Soleil Junior- Luna Petunia. The much-anticipated "Cirque du
Soleil Junior Luna Petunia" Netflix original series for kids
will premiere in late 2016 exclusively for Netflix subscribers
worldwide. A full range of preschool toys will then hit the U.S.
retail market in fall 2017, with categories including dolls,
accessories, playsets and bubble machines as well as plush, role
play, dress up and more.
"We're excited to have Funrise on board as the master toy
partner for Cirque du Soleil Junior Luna Petunia and, as
experts in the toy space, they will no doubt create an
innovative toy line to accompany this groundbreaking new
series," said Janet Hsu, chief executive officer of Saban
Brands.
Inspired by the creativity and artistry of the Cirque du Soleil
brand, the new series chronicles the adventures of a girl named
Luna Petunia who lives in the real world, but plays in the
fantastical land of Amazia. In the series, Luna will learn how
to make the impossible possible, teaching preschoolers the
importance of believing in themselves and all of the wondrous
things they can do.
"Cirque du Soleil Junior- Luna Petunia will inspire kids to see
the world with unlimited possibilities. We trust that Funrise
will elevate the franchise and create an imaginative toy line
that will encourage wonder and foster creative exploration,"
said Jacques Méthé, president of Cirque du Soleil Média.
Funrise will take curriculum and inspirations from the screen to
the playroom as they bring to life the beautifully artistic
Amazia and its whimsical cast of characters.
"We are thrilled to partner with Saban Brands and Cirque du
Soleil Média on such a magical and playful new series," said
King Cheng, chief executive officer of Funrise. "We know
imaginations will instantly be ignited once the new 'Cirque du
Soleil Junior Luna Petunia' series premieres, and we can't
wait to debut the new toy line to help inspire kids to create
their very own imaginative adventures."
About Cirque du Soleil Junior- Luna Petunia -- Developed in
partnership by Saban Brands and Cirque du Soleil Média, Cirque
du Soleil Junior Luna Petunia is an all-new original preschool
property, which will debut as a Netflix original series for kids
in late 2016. Inspired by the wondrous worlds of the Cirque du
Soleil brand, the groundbreaking new series will chronicle the
adventures of a little girl named Luna Petunia who lives in the
real world, but plays in the fantastical land of Amazia where
she learns how to make the impossible possible, teaching young
viewers the importance of believing in themselves and all of the
wondrous things the mind and body can do. For more information,
visit www.sabanbrands.com.
About Funrise -- Founded in 1987, Funrise is an adventurous
innovator and an industry leader in the manufacturing and
distribution of the most popular children's toys. Simply put
we
create fun! Funrise is the manufacturer of leading power brands
such as TONKA, My Little Pony, Stackins, Baby Alive, Gazillion
Bubbles, Booger Balls, Sing-a-ma-Lings and Shelcore's line of
pre-school toys, making their product offerings diverse and full
of fun for kids of all ages! Funrise Toy Corporation is a
wholly-owned subsidiary of Matrix Holdings Limited. Funrise U.S.
headquarters are located in Van Nuys, CA, with an office in Hong
Kong, and additional showrooms in Minneapolis, Bentonville,
United Kingdom and Australia. For more information, visit
www.funrise.com.
About Saban Brands -- Formed in 2010 as an affiliate of Saban
Capital Group, Saban Brands (SB) acquires and develops a world-
class portfolio of properties in the entertainment and lifestyle
sectors. SB applies a global 360-degree management approach to
growing and monetizing its brands through content, media,
marketing, distribution, licensing and retail to markets
worldwide and consumers of all ages. Saban Brands Entertainment
Group (SBEG) develops innovative branded content that resonates
with consumers across all media platforms. SBEG's growing
entertainment portfolio of brands includes Power Rangers,
Popples, Glitter Force, Cirque du Soleil Junior Luna Petunia,
LA BANDA and others in development. Saban Brands Lifestyle Group
(SBLG) drives major expansion within the company's diverse
portfolio of fashion and lifestyle properties. SBLG's portfolio
currently includes Paul Frank, Macbeth, Mambo and Piping Hot. SB
operates a global network of offices in Los Angeles, London and
Sydney. For more information, visit www.sabanbrands.com.
About Cirque du Soleil Média -- Cirque du Soleil Média is a
long-term joint venture between Cirque du Soleil and Bell Média
with a mission to develop new and original media content
specifically for television, film, digital, and gaming
platforms. Headquartered in Montréal, the company develops
entertainment projects for sale and licensing around the world,
leveraging Cirque du Soleil's creative resources and
infrastructure with Bell Média's production experience, media
platforms, and diverse distribution capabilities.
{ SOURCE: Saban Brands }
NFL Is Teaming With Cirque du Soleil to Draw New Fans
{Jun.23.2016}
-------------------------------------------------------
Cirque du Soleil, known for breathtaking acrobatics, and the
NFL, known for bone-crushing hits, today announced plans for an
NFL attraction in Times Square, a first-of-its-kind attraction
in the heart of New York City. The four-story innovative
exhibit, located on the corner of West 47th Street and 7th
Avenue at 20 Times Square, is set to open Fall of 2017. Cirque
du Soleil will spend about $40 million to build the 40,000-
square-foot space and pay a licensing fee to the NFL, which will
provide memorabilia and access to the NFL Films library. The
profits will be shared by both sides.
It may seem an odd pairing, but the two sides say their
partnership makes business sense. Cirque gets to align with the
country's most popular sports league, and the NFL, battling bad
publicity over concussions, domestic violence and other issues,
is uniting with a popular, uncontroversial entertainment brand
with a broad, international following. "It's new for us," said
Daniel Lamarre, the chief executive of Cirque du Soleil. "We try
to push the boundaries of new technology in live entertainment.
NFL is a huge brand; it's the number one sport in America
[and]
they share our point of view in getting close to the general
public," Lamarre added, "Obviously they have their own issues
like any other organizations. But for us we see football in
North America as being an amazing event that you see at every
level," referring to how children, teenagers and college
students play football and that even non-athletes rally behind a
team.
"We see the NFL Times Square experience as an opportunity to
leverage our creativity to bring to life another one of the
world's greatest brands and expand our capabilities beyond live
productions," Scott Zeiger, Cirque du Soleil Theatrical
President and Managing Director told CNBC. "It will be a hub
full of surprises and excitement," Zeiger said. "NFL Times
Square will offer highlights of the previous football season,
current and former player appearances and live broadcasts from
NFL Network."
The price point for a ticket will likely ring in somewhere in
the $30 range, according to Zeiger. The whole experience will
last about an hour. Learn more about this new experience by
reading the official press release below. And find the NFL
Time's Square Experience online at:
o) WEBSITE: https://www.nfltimessquare.com/
o) FACEBOOK: https://www.facebook.com/NFLTimesSquare/
# # #
Located in the crossroads of the world, the NFL Times Square
experience will be a must-see attraction for football fans in
North America and around the world. The revolutionary exhibit
will capture fans' incredible passion for football through an
engaging blend of high-tech displays, as well as immersive and
interactive elements. Fans will have the opportunity to test
their skills to see how they measure up to professional football
players, learn game strategy, in addition to experiencing the
adrenaline-pumping action of the NFL.
The attraction will include an approximately 350-seat theater.
When fans step inside the theater, they will be surrounded by
high-definition screens and state-of-the-art technology, and
will be treated to an awe-inspiring multimedia experience. The
20-minute show, co-produced with NFL Films, will invite fans to
immerse themselves in the NFL and experience what it feels like
to be in the game, on the sidelines and behind the scenes.
"The NFL and Cirque du Soleil are two iconic global brands. We
are pleased to team with this industry leader to set the new
standard of excellence in sports and entertainment," said NFL
Chief Marketing Officer Dawn Hudson. "We are thrilled to re-
imagine what it means to authentically engage with fans by
providing them an immersive, innovative experience celebrating
football and available year-round. We hope to bring fans of all
ages and avidity into the huddle and give them an all-access
pass to players and teams."
In addition to the multimedia show and interactive activities,
there will also be educational programming on the art of
tackling and passing, on-site retail, stadium-style food and
beverage offerings and special artifacts on display. Hall of
Famers, current and retired players from around the League will
be making appearances and participating in fan experiences.
The NFL Times Square experience will mark Cirque du Soleil's
first official experiential sports venture. World renowned for
their live show productions, this new exhibit will showcase
their extensive capabilities as creative content providers and
continue to position them as an industry leader, bringing the
NFL to life like never before through their creative vision and
innovation.
"Our new venture with the NFL signifies the next phase of Cirque
du Soleil, and we see tremendous opportunity in working
creatively with the League as well as other world-class brands
throughout the world. No other brand in professional sports is
as strong and popular as the NFL and we are thrilled to have the
opportunity to showcase the NFL from a whole new perspective,"
said Daniel Lamarre, President and CEO, Cirque du Soleil.
"We are happy to facilitate an experience that brings NFL
players closer to football fans from around the world," said NFL
Players, Inc. President Ahmad Nassar. "This will be a unique and
innovative showcase of professional football and an example of
how our business can be a unifying force."
Cirque du Soleil will work closely with the Witkoff Group, a
leading global real estate development and investment firm, on
the development of the space, located at 20 Times Square.
Leading sports and entertainment presenter AEG will also be part
of the project as a financial partner. Several other strategic
partners involved in the project include world-renowned
architecture and design firm Rockwell Group, as well as the
Thinkwell Group, a design and production agency that will help
develop the custom content-driven experiences within the
exhibition. They are going to work under the guidance of Scott
Zeiger, Producer, and Jean-François Bouchard, Chief Creative
Officer and Creative Guide of Cirque du Soleil.
Steve Witkoff, CEO of Witkoff, added, "This is an exciting time
in our partnership with Marriott and Ian Schrager, and we are
thrilled to welcome Cirque du Soleil and the NFL to the new
EDITION Times Square in New York. It's incredibly gratifying to
add such a unique element to the property that will bring an
exceptional experience to millions of football fans and visitors
to New York from all over the world."
{ SOURCES: http://goo.gl/VJ37I7, https://goo.gl/uCVjEI }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia & Totem}
o) ARENA - In Stadium-like venues
{Varekai, TORUK & OVO}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
MJ ONE, JOYÀ & Paramour}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Amaluna:
Knokke-Heist, BE -- Jul 14, 2016 to Aug 7, 2016
Manchester, UK -- Sep 7, 2016 to Oct 2, 2016
Dusseldorf, DE -- Nov 17, 2016 to Dec 18, 2016
London, UK -- Jan 12, 2017 to Feb 4, 2017
Vienna, AT -- Mar 9, 2017 to Apr 2, 2017
Koozå:
Santiago, CL -- Jul 19, 2016, 2016 to Jul 31, 2016
Sydney, AU -- Aug 25, 2016 to Nov 13, 2016
Brisbane, AU -- Nov 24, 2016 to Jan 8, 2017
Melbourne, AU -- Jan 20, 2017 to Mar 26, 2017
Perth, AU -- TBA
Kurios:
Boston, MA -- May 26, 2016 to Jul 10, 2016
Washington, DC -- Jul 21, 2016 to Sep 18, 2016
New York City, NY -- Sep 29, 2016 to Nov 27, 2016
Miami, FL -- Dec 9, 2016 to Jan 29, 2017
Dallas, TX -- Feb 17, 2017 to Mar 26, 2017
Houston, TX -- Apr 6, 2017 to May 21, 2017
Luzia:
Montreal, QC -- Apr 21, 2016 to Jul 17, 2016
Toronto, ON -- Jul 27, 2016 to Oct 16, 2016
San Francisco, CA -- Nov 17, 2016 to Jan 29, 2017
San Jose, CA -- Feb 9, 2017 to Mar 19, 2017
Seattle, WA -- Mar 30, 2017 to May 21, 2017
Denver, CO -- Jun 1, 2017 to Jul 9, 2017
Chicago, IL -- Jul 21, 2017 to Sep 3, 2017
Phoenix, AZ -- Sep 22, 2017 to Oct 22, 2017
Totem:
Osaka, JP - Jul 14, 2016 to Oct 12, 2016
Nagoya, JP - Nov 10, 2016 to Jan 15, 2017
Fukuoka, JP - Feb 3, 2017 to Mar 19, 2017
Sendai, JP - Apr 6, 2017 to May 21, 2017
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Varekai:
Zaragoza, ES - Jun 29, 2016 to Jul 3, 2016
Santander, ES - Jul 6, 2016 to Jul 10, 2016
Granada, ES - Jul 13, 2016 to Jul 17, 2016
Murcia, ES - Jul 20, 2016 to Jul 24, 2016
Beirut, LB - Sep 7, 2016 to Sep 11, 2016
Dubai, UAE - Sep 16, 2016 to Sep 24, 2016
Istanbul, TR - Oct 5, 2016 to Oct 9, 2016
Milan, IT - Oct 20 2016 to Oct 23, 2016
Florence, IT - Oct 27, 2016 to Oct 30, 2016
Bologna, IT - Nov 03, 2016 to Nov 06, 2016
Turin, IT - Nov 10, 2016 to Nov 13, 2016
Nantes, FR - Nov 16, 2016 to Nov 20, 2016
Toulouse, FR - Nov 23, 2016 to Nov 27, 2016
Strasbourg, FR - Nov 30, 2016 to Dec 4, 2016
Paris, FR - Dec 7, 2016 to Dec 11, 2016
Lille, FR - Dec 14, 2016 to Dec 18, 2016
Lisbon, PT - Jan 5, 2017 to Jan 15, 2017
Gijon, ES - Jan 25, 2017 to Jan 29, 2017
Lyon, FR - Apr 13, 2017 to Apr 16, 2017
Budapest, HU - May 12, 2017 to May 14, 2017
TORUK - The First Flight:
Ottawa, ON - Jun 29, 2016 to Jul 3, 2016
Denver, CO - Jul 21, 2016 to Jul 24, 2016
Lincoln, NE - Jul 27, 2016 to Jul 31, 2016
Chicago, IL - Aug 3, 2016 to Aug 7, 2016
Indianapolis, IN - Aug 10, 2016 to Aug 14, 2016
Birmingham, AL - Aug 19, 2016 to Aug 21, 2016
Nashville, TN - Aug 24, 2016 to Aug 28, 2016
Evansville, IN - Sep 1, 2016 to Sep 4, 2016
Brooklyn, NY - Sep 7, 2016 to Sep 11, 2016
Newark, NJ - Sep 15, 2016 to Sep 18, 2016
Milwaukee, WI - Sep 22, 2016 to Sep 25, 2016
Minneapolis, MN - Sep 28, 2016 to Oct 2, 2016
Winnipeg, MB - Oct 5, 2016 to Oct 9, 2016
Philadelphia, PA - Mar 8, 2017 to Mar 12, 2017
OVO:
Windsor, ON - Jun 29, 2016 to Jul 3, 2016
Memphis, TN - Jul 8, 2016 to Jul 10, 2016
Greenville, SC - Jul 13, 2016 to Jul 17, 2016
Chattanooga, TN - Jul 20, 2016 to Jul 24, 2016
Huntsville, AL - Jul 27, 2016 to Jul 31, 2016
St. Louis, MO - Aug 3, 2016 to Aug 7, 2016
Manchester, NH - Aug 25, 2016 to Aug 28, 2016
Hershey, PA - Aug 31, 2016 to Sep 4, 2016
Hampton, VA - Sep 7, 2016 to Sep 11, 2016
Roanoke, VA - Sep 14, 2016 to Sep 18, 2016
Orlando, FL - Sep 21, 2016 to Sep 25, 2016
Estero, FL - Sep 28, 2016 to Oct 2, 2016
Jacksonville, FL - Oct 5, 2016 to Oct 8, 2016
Erie, PA - Nov 17, 2016 to Nov 20, 2016
Detroit, MI - TBA
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
2016 Dark Dates:
o July 6
o September 10 14
o November 9
Special / Limited Performances:
o June 18, 2016 (Only 7pm performance)
o June 19, 2016 (Only 7pm performance)
o December 29, 2016 (Two Shows)
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 9:30pm (as of Aug 12, 2015)
2016 Dark Dates:
o July 2-5
o August 1-9
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7:00pm on the following days in 2015: January 20,
May 8, May 15, May 19, May 20, and December 31)
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7 pm performances on May 9, 16 and June 21)
2016 Dark Dates:
o July 13
o September 15 - 23
o November 23
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7:00p.m. on May 15-16, June 19-21, December 31)
(Only 4:30p.m. & 7:00p.m. performances on July 4)
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Two Shows Nightly - Dark: Wednesday/Thursday
Schedule: 7:00pm & 9:30pm on Friday, Saturday, Monday & Tuesday
4:30pm & 7:00pm on Sunday
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
PARAMOUR:
Location: Lyric Theater, Broadway, New York City
Performs: Wednesday through Monday, Dark: Tuesday
One/Two Shows Daily:
2:00pm (Wednesday)
7:30pm (Thursday & Monday)
8:00pm (Friday)
2:00pm & 8:00pm (Saturday)
2:00pm & 7:00pm (Sunday)
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) FOTOS -- Images From Cirque & Other Photographs
o) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
FOTOS: Images From Cirque & Other Photo Links
---------------------------------------------------
KOOZA -- https://goo.gl/KPBvEV -- International Handstand Day
KURIOS -- https://goo.gl/TNDvWD -- International Handstand Day
KURIOS -- https://goo.gl/KCTxHR -- TORUK visits KURIOS
KURIOS -- https://goo.gl/2TtV2S -- Aviator Visits Canadian Embassy
KURIOS -- https://goo.gl/1PhOJO -- The Aviator
LUZIA -- https://goo.gl/Zzg2OV -- BTS Fashion Photo Shoot #1
LUZIA -- https://goo.gl/mo5blD -- BTS Fashion Photo Shoot #2
LUZIA -- https://goo.gl/3hkF7L -- Contortionist Tries Aerial Straps
LUZIA -- https://goo.gl/MSy1f3 -- LUZIA & OVO Visit PARAMOUR
LUZIA -- https://goo.gl/0m1BiW -- International Handstand Day
LUZIA -- https://goo.gl/7uTvUx -- Emily Tucker Transforms (makeup)
OVO -- https://goo.gl/cq7LlX -- Backstage in Bangor, Maine
OVO -- https://goo.gl/HZ7Kp0 -- Getting Key to City of Bridgeport
OVO -- https://goo.gl/k8fxIQ -- Animation Beings in Hartford
OVO -- https://goo.gl/tjaUZ7 -- In Atlantic City (Sand castle)
OVO -- https://goo.gl/zjyZfl -- Greetings from Atlantic City!
PARAMOUR -- https://goo.gl/hlFiE7 -- BTS Album Recording!
TOTEM -- https://goo.gl/CQu6yB -- Cake from Charm City Cakes!
TORUK -- https://goo.gl/zgy9ti -- Cast with Young Fans #1
TORUK -- https://goo.gl/mUvmq4 -- Cast with Young Fans #2
TORUK -- https://goo.gl/m1s2E5 -- AvatarMeet Meets Cast!
TOTEM -- https://goo.gl/sT7zJr -- Final Performance in Tokyo
VAREKAI -- https://goo.gl/OKSq3h -- Cast for Russian Leg of Tour
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
AMALUNA -- https://goo.gl/f3xKCU -- Hello Frankfurt!
AMALUNA -- https://goo.gl/QE4Nr4 -- Hello Knokke!
KA -- https://goo.gl/QsJz9b -- International Handstand Day
KOOZA -- https://goo.gl/gJrJCm -- Last Show in Buenos Aires
KOOZA -- https://goo.gl/8Wg5IP -- Kooza Extends in Santiago!
KURIOS -- https://goo.gl/OzN4qq -- Ignoring the Laws of Physics
KURIOS -- https://goo.gl/SP0hmD -- Kit Bandleading on Rola Bola
KURIOS -- https://goo.gl/m77T29 -- Kit Bandleading on Acro Net
LUZIA -- https://goo.gl/5lMmpf -- Five Minutes to Showtime!
LUZIA -- https://goo.gl/TlnMl4 -- Cyr Wheel & Trapeze Act
LUZIA -- https://goo.gl/o0BLeP -- Russian Swings Finale Act
LUZIA -- https://goo.gl/GmwwKY -- Aleksei's Contortion Act
LUZIA -- https://goo.gl/q77x0W -- The Rising Red Dress
LUZIA -- https://goo.gl/6PFdnI -- Fan Video: Cierra Los Ojos
LUZIA -- https://goo.gl/GqUbPH -- Fan Video: Aerial Straps
LUZIA -- https://goo.gl/zKsXVO -- Fan Video: 360 Swing
LUZIA -- https://goo.gl/pIjMLB -- Fan Video: Russian Swings
LUZIA -- https://goo.gl/5SO9wE -- Fan Video: Clips of Luzia
MJ ONE -- https://goo.gl/XKxkpl -- Cut us some slack Paulo Souza!
"O" -- https://goo.gl/28MrDb -- Having a little poolside fun
OVO -- https://goo.gl/h8RnUu -- Bugs go Round and Round
OVO -- https://goo.gl/vew9Lj -- At the Atlantic City Boardwalk
OVO -- https://goo.gl/QU7QwW -- OVO in Arenas, new Images
OVO -- https://goo.gl/U0egBT -- Fan Video of OVO in New Jersey
PARAMOUR -- https://goo.gl/cEbaeD -- World Premiere
PARAMOUR -- https://goo.gl/ve6QZO -- What Arists do with Time Off
PARAMOUR -- https://goo.gl/5gJIhB -- Ruby Lewis Gets Glamorous
PARAMOUR -- https://goo.gl/rfyBkh -- Caught Up in a Love Triange
SODA -- https://goo.gl/DeMmCk -- About the Music
SODA -- https://goo.gl/w9oSN3 -- Surprises About the Show
SODA -- https://goo.gl/RqJrvO -- Charly Alberti and Zeti Bosio
SODA -- https://goo.gl/psVlSN -- Where it Starts Getting Real
LOVE -- https://goo.gl/F76xaA -- Special Hot Wheels Cars!
LOVE -- https://goo.gl/7OKeos -- A sea of possibilities
TORUK -- https://goo.gl/VtrnoA -- Na'vi Help Kick-Off PVDFest
TORUK -- https://goo.gl/57O8Rv -- About the TORUK App
TORUK -- https://goo.gl/jFGf7b -- Props Tech, Mathieu Prud'homme
TORUK -- http://goo.gl/oCr4iH -- Timelapse Makeup Video
TORUK -- https://goo.gl/2DjoJn -- 5at5 w/Acrobat Jessica Ward
TORUK -- https://goo.gl/q12vjC -- Artist Rituals Before the Show
TORUK -- https://goo.gl/RDmQcH -- 5at5 at Denver ComicCon
TORUK -- https://goo.gl/z5WA0Z -- 5at5 w/Paul Frommer
TOTEM -- https://goo.gl/Th3rbC -- Breaking Strength Records
TOTEM -- https://goo.gl/0xVtYZ -- 6/9 Rock Day in Japan
TOTEM -- https://goo.gl/Gk7DZN -- Who is the Crystal Man training?
TOTEM -- https://goo.gl/3DUFGz -- International Handstand Day
TOTEM -- https://goo.gl/oyauq0 -- Final Performance in Tokyo
VAREKAI -- https://goo.gl/fDF7f8 -- Coming to Beirut!
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "The Cirque and Competitive Sports"
By: Ricky Russo - Atlanta, Georgia (USA)
o) "Complexes Cirque - The Peel Project"
By: Ricky Russo - Atlanta, Georgia (USA)
o) "Cirque du Soleil, Wowing the World"
By: Matte Hart, 1066 Gymnastics Head Coach
A Special to the Fascination! Newsletter
------------------------------------------------------------
"The Cirque and Competitive Sports"
By: Ricky Russo - Atlanta, Georgia (USA)
-----------------------------------------------------------
On Thursday, June 23rd, we Cirque fans got the shock of our lives
(well, to be honest, the next in a long line of shocks...), and all it
took was an article in the New York Times announcing a new project
Cirque was undertaking. We didn't even have to look past the first
sentence before clutching our chests, our hearts palpitating (it's the
big one, Elizabeth!): "Cirque du Soleil, known for breathtaking
acrobatics, and the NFL, known for bone-crushing hits, today announced
plans for an NFL attraction in Times Square, a first-of-its-kind
attraction in the heart of New York City."
WAIT. SAY WHAT?
It may seem an odd pairing Cirque and the NFL, the article
suggested, but the two sides said their partnership made perfect
business sense. Cirque would get to align with the US's most popular
sports league (the National Football League) and thus expose the brand
to a different clientele, and the NFL would be uniting with a popular
entertainment brand with a broad, international following, with the
hopes of elevating the brand above some of the mud-slinging it's gone
through lately. As a long-time fan of Cirque du Soleil, I don't think
I buy the combination makes sense artistically or otherwise - but
I'm willing to keep an open mind. "It's new for us," said Daniel
Lamarre, the chief executive of Cirque du Soleil. And that's an
understatement. But is it really?
When you sit down and think about it, Cirque du Soleil really isn't a
newcomer on the sports scene. Through its Special Events team (now 45
DEGREES), the company has made numerous appearances at sporting
affairs over the years --in Las Vegas, for example, characters
routinely throw out the first pitch at nearby baseball games; in 2007,
Cirque was included at the NBA All-Star Game... Roxane Potvin
performed the Canadian National Anthem prior to tip off and a mélange
of musical selections ("Blizzard", "O Makunde" and "Pageant" were
heard for the half-time show performance, which included the baton
twirling segment from KÀ); in 2010, artists from The Beatles LOVE
performed at the NHL Awards ceremony held at the Palms Casino-Resort
there; Cirque performed a portion of Viva ELVIS at the 2010 Sprint Cup
Series awards ceremony at Wynn Las Vegas, featuring dance, acrobatics
and live music in celebration of the king of rock 'n' roll; and who
could forget the rousing opening ceremonies 45 DEGREES created for the
2015 Pan Am Games in Toronto?
It might even surprise you to learn that Cirque du Soleil has also
been involved with the Olympics. Guy Laliberte and Gilles Ste-Croix
were creative consultants in the creation and production of the
Atlanta Olympic Games' opening ceremony. In collaboration with AT&T,
the major sponsor for the U.S. Tour at that time, Cirque even brought
two acts from Quidam to Atlanta. Hand Balancing was presented as the
first part of the Santana concert on July 31st and German Wheel opened
Ray Charles' and Joan Osborne's concerts, August 1st and 2nd. Almost
10 years later, two performances specially created by Cirque for the
organizing committee to help launch the official logo of the 2010
Vancouver Winter Olympics. The special presentation, which aired on
CTV, were put together from a talented team from "O", including: seven
artists, six riggers, and under the artistic direction of Rob
Bollinger (Artistic Director), and Krista Monson (Artistic
Coordinator), and under the technical direction of David Chabira (Head
Rigger).
So as I say they aren't new-comers to the sports arena. (I mean, come
on, many of the company's acrobats were once Olympic athletes!)
In the past we've reviewed a number of the special events that Cirque
has produced, many artistically as rich and interesting as their main
productions. Back in April 2014, when Michel Laprise was publically
announced as the writer and director of KURIOS CABINET OF
CURIOSITIES, we took a peek into some of the special events Michel had
been involved in creating (as he had taken on the role of Special
Events Designer in 2006): The Opening Ceremonies of the Montreal
Outgames (2006), the launch of Fiat Bravo in Italy (2007), the
performance event celebrating Quebec City's 400th anniversary (2008),
the opening show at the Eurovision Song Contest held in Russia (2009),
the Opening Ceremonies of the FIBA International Basketball Federation
World Championships in Istanbul (2010), and the launch of Microsoft's
Kinect console at the Electronic Entertainment Expo (2010).
With the advent of this newest announcement we thought we'd take a
quick look at two other sporting special events Cirque du Soleil has
put together: REFLECTIONS IN BLUE for the 2005 XI FINA World
Championships in Montréal and the infamous SUPERBOWL XLI PRE-GAME SHOW
in 2007.
REFLECTIONS IN BLUE
-------------------
"When a fisherman casts his net, he encounters a beluga, who invites
him to see life from the water. At the same time, a young mermaid
discovers the sea in all its beauty... and all its dangers."
This tribute to the importance of water in our lives invites a
fisherman to see what life is like from the water, showcasing
incredible athletic and artistic expression; Reflections in Blue - a
unique and magical opening ceremony event developed exclusively for
the opening ceremonies of the XI FINA World Championships in Montréal,
which took place from July 17th through 31st. On this very special
evening the swimming pool was transformed into a fantastic aquatic
universe. Spectators were taken to a place where reality meets fantasy
as the rites, myths and richness of the sea are interpreted in
Cirque's own special way. But alas, as the opening ceremonies came to
an end, so did Reflections in Blue
never to be seen again.
In addition to Lyn Heward, Director of Creation, Guy Caron acted as
the show's Director, and was assisted by Fernand Rainville. A number
of other Cirque collaborators put their touches on the unique show
too. And, contrary to what one might think, this was not a remake of
"O". "Our goal," explained Lyn Heward, "[was] to recall the rituals
and myths that have grown around water, and to showcase their
richness. While in 'O' we touch on two of the disciplines featured in
competition at the championships (synchronized swimming and diving),
we've never worked with swimming or water polo. But here, all four
disciplines are represented."
The Show
A series of tableaux taking place in, on and above water will follow
the fisherman and the mermaid through their discovery of water. "We'll
see the element from its own point of view," explained Lyn, "and not
from a human one."
The Water Tree is where Reflections in Blue begins. It represents the
essence of life... in the water. As you took your seat you will notice
reflections of the scene before you projected onto the giant screen
and you will gradually realize that you have become immersed in an
exotic underwater world. Then the sun rises, bathing the scene in warm
yellow light as its rays penetrate the water bowl to reveal a
beautiful adolescent girl. She frolics and dances in her small
universe, the only world she has ever known. She jumps out and looks
around then dives right back in. But she soon begins to feel too
confined in her bowl... This highly original vision gave us, among
other things, the following scenes:
The dream of walking on water (a tight-wire stretched over the
water); Playing in the water (a water polo game between aquatic
creatures!); The seduction of water (a contortion act under the
midnight sun); The sensuality of water (bungee presented as diving); A
final act where swimmers embodied schools of fish. Nearly 150 members
of Montreal aquatic sports teams performed in the show, in addition to
ten artists from other disciplines, including tight-wire and bungee.
The athletes from the 170 participating countries were also greeted
with a Cirque du Soleil touch. Would you be surprised to know during
the parade of athletes they were walking on water?
Performers
Sébastien Allard, Sam Alvarez, Zorigtkhuyag Bolormaa, Eliane Bonin,
Mason Davis, Delly Di Lauro, Sébastien Duval, Chantale Gallant, Akian
Guadette, Manon Gautheir, Charlyne Guay, Reda Guérinik, Ronnie Le
Grand, Isabelle Michon-Campbell, Isabela Moraes, Carolina Moraes,
Patrick Paquette, Didier Pasquette, Laurence Racine-Choinière, Karl
Sanft, Stéphane Verdie, and Anatoly Zalievsky, along with 200
volunteers.
Creative Team
Lyn Heward Director of Creation &
Executive Producer
Bob Whelan Production Manager
Guy Caron Director
Fernand Rainville Assistant to the Director
Jean-François Bouchard Set Designer
François Barbeau Costume Designer
Denise Sauvé Choreography
Debbie Brown Choreography
Martin Lord-Ferguson Music Arranger
Jacques Paquin Acrobatic Rigging Designer
Steve Dubuc Technical Director
Éric Villeneuve Projection Designer
Alain Lortie Lighting Designer
Harvey Robitaille Sound Designer
Eleni Uranis Makeup Designer
Michael Curry Puppet Designer
Patricia Ruel Props Designer
SUPERBOWL XLI PRE-GAME SHOW
---------------------------
While some special productions turn out to be amazing, once-in-a-
lifetime events you never want to forget (like "Reflections in Blue")
others, well... I think you'd like to forget, such as the Superbowl
XLI Pre-Game Show event. Rumors of what Cirque du Soleil's next
"special" performance would be hit fans like a ton of bricks (much
like the current NFL announcement did) Cirque performing at the...
what? THE SUPERBOWL?! Could it be true? Throughout the autumn months
of 2006 fans debated back and forth, some believing the rumors, others
not. But then on January 9, 2007 rumor turned into reality...
Cirque du Soleil and Miami-based artist ROMERO BRITTO will team to
celebrate South Florida and football in an unprecedented performance
in the Super Bowl XLI pregame show on CBS at Dolphin Stadium in South
Florida on Sunday, February 4, the NFL announced.
Inspired by Brazilian street theater, sixty professional performers
and hundreds of students will invade the stadium with a high-energy
extravaganza of music, dance, gymnastics and circus arts linked by a
splashy, multicolored football theme. The Cirque du Soleil performers
will be a living, breathing canvas for Britto, whose signature pop-art
has come to define the color and vibrancy of South Florida.
The objective of the performance is to heighten the excitement of the
game and encourage the fans to root for their teams. The performance
will focus on the spirit of competition as two groups of
percussionists in stylized team colors perform powerful acrobatic
choreography to energize and inspire the players and the audience.
Palm trees, ocean waves, fishes, helmets, footballs, birds and flowers
share a unifying visual signature by renowned pop-artist Romero
Britto, and Grammy Award composer/performer Louie Vega supplies the
red-hot music (with his Elements of Life Orchestra featuring vocalist
Anane) in a shimmering setting that climaxes with gigantic images
portraying the rival team colors and emblems.
Who is Robert Britto?
Romero Britto is a Brazilian neo-pop artist, painter, serigrapher
(silk screen printer), and sculptor. He combines elements of cubism,
pop art and graffiti painting in his work, using vibrant colors and
bold patterns as a visual expression of hope and happiness. Born in
Recife, in Northeast of Brazil, Britto lived an extremely modest
childhood while growing up among a big family of eight brothers and
sisters. However, Britto's innate creativity allowed him to fill his
life with images of a bigger and more beautiful world beyond his own.
Self-taught at an early age, he painted what he saw and what he
imagined on surfaces such as newspapers, cardboard or any scraps that
he could find. With an inordinate passion to excel, he prospered
academically. Still, Britto's artistic nature eventually led him to
seek experiences outside the classroom. In 1983, Britto traveled to
Paris where he was introduced to the works of Matisse and Picasso.
After exhibiting in a few galleries and private shows, Britto was
encouraged to travel to the United States where Pop Art was
flourishing. Britto has lived in Miami, Florida since 1989. Shortly
after Britto arrived in the United States, Michel Roux, founder of
Absolute Vodka's Absolute Art Ad Campaign, happened by Britto's first
studio in Coconut Grove, Florida. Roux quickly asked Britto to
reinterpret the famous bottle, which would be published and seen by
millions, and the rest is history.
One Day, One Game, One Dream?
According to the production team, the show would be based around the
"One Day, One Game, One Dream" theme adopted by the football contest,
referring to the entire South Florida region working together to win
and then present the Super Bowl; it would need to last nine minutes,
but team would only have four minutes to set up and just two minutes
to tear down; and it would feature 350 artists, 278 of them
volunteers. And it would go something like this: while a circular
stage was being set up, cartoon-like characters dressed in football
uniforms would work the crowd, inviting them to join in a noise-making
competition. Then a percussion fight of the kind we saw in DELIRIUM
between two teams teams, fitted out by Romero Britto in the colors of
the Colts and the Bears, would do battle. Other artists, mostly from
Saltimbanco, would then fly from Russian swings to simulate place
kicks, soaring over goals of footballers' heads. Meanwhile, fast track
artists - from La Nouba - would tumble their way down a section of the
field through fields of inflatable palm trees. Err, um, okay?
Getting setup was a bit of a challenge. All week the production team
had been glued to the weather. Mother Nature's mood swings had a
significant impact on rehearsals, not to mention the logistics of this
major challenge. Strong winds can make the Russian swings flyers fly,
but not quite the way Cirque du Soleil intended. Not to mention the
rain showers, which made the natural turf football field very slippery
for artists conducting their "extreme cheerleading" routines. The
field was swarming with people during a first "plenary" session. Fast
track artists were having fun masquerading as bathers, while those on
the Russian swings tried to cope with the whims of the wind - and find
reference points for themselves in an utterly blue sky. While all this
was going on, Fernand Rainville and Geneviève Dorion-Coupal were
explaining the rudiments of group movements - to music and in harmony
- to some very young-looking groups of extreme cheerleaders.
One of the major concerns for Cirque was to make sure the natural turf
was not damaged. Therefore, acrobatic equipment had to be modified to
ensure that weight is uniformly distributed on the ground. The
artists' shoes, the stilts of the giant pink flamingos - all had to be
adapted to make sure that nothing will sink into the surface, to
protect both the field and the artists' safety. And speaking of the
pink flamingos
the Wednesday before, Patricia Ruel did an inventory
check of the 350 costumes produced for the occasion and proceeded with
fittings for the "Tropical Birds." Well, only nine artists were able
to try out their costumes. The remaining ten had been sent to the
Wildlife Department by agents at the Memphis sorting center of
Ciruqe's shipper, FedEx! When they saw the words "tropical birds" on
the box, they were obliged to follow procedures to ensure that no
birds were being mistreated. The costumes finally arrived safe and
sound on Thursday.
Event Creators
Jacques Méthé Executive Producer
Fernand Rainville Director and Director of Creation
Patricia Ruel Set, Props and Costumes Designer
Geneviève Dorion Coupal Choreography design
Daniel Cola Acrobatic Coach
Gabriel Pinkstone Project Aassistant
Linda Dupuis Production Manager
Marie-Josée Adam Coordination
Jocelyne Fortier Cordination
Marie-Hélène Delage Cordination
Stéphane Lemay Technical Director
Jean-François Tremblay Assistant to Technical Director
Isabelle Girard Accounting
The show did go off without a hitch, but it's safe to say it wasn't
the most well received special event presentation... especially by
Cirque du Soleil fans. Even so, Cirque du Soleil would be invited back
to the Super Bowl, this time through a collaboration with Madonna for
her first Super Bowl Half-Time show in 2012's Super Bowl XLVI, but
that was more Madonna than Cirque. It should be interesting to see
what comes of the Cirque/NFL collaboration! (Maybe the inflatable
flamingos and palm trees will be on display!)
------------------------------------------------------------
"Complexes Cirque - The Peel Project"
By: Ricky Russo - Atlanta, Georgia (USA)
-----------------------------------------------------------
A few years ago, at the dawn of our 100th issue, we took a fascinating
look back at a number of the quotes, blurbs, and past announcements of
new products, venues, or avenues Cirque du Soleil announced it would
be exploring (that we then published), wondering what had come of
them, as many had quietly disappeared or were shelved, never to be
heard from again. We uncovered several in our search through our news
archives and then spun our discoveries or re-discoveries as it were
into a three-part series for Fascination, entitled: "Cirque's Dreams
of the Past: A What If?"
In Part One, we explored a number of rumors and announcements
regarding "permanent" or "resident" shows made through the years that
didn't pan out. In Part Two, we examined the number of announced
and/or rumored media potentials from Cirque du Soleil from filmed
shows and books to new music CDs many of which never saw the light
of day. And in the third and final installment, we explored what could
have been in regards to projects beyond Cirque du Soleil's traditional
space entertainment and media and dove into the realm of "Complexes
Cirque".
With the recent release of more details on "The Celebrate Project",
the Cirque du Soleil Theme Park and Resort under development in Puerto
Vallarta, Mexico (with Grupo Vidanta and The Goddard Group) becoming
available, and with us celebrating our 150th issue this month, my
thoughts turned back to another of Cirque's once-upon-a-time ideas,
one we touched upon a bit in that article series THE PEEL PROJECT.
We've learned a bit more about it since then (thanks to a few
documents discovered in our archives), so come with us as we re-
examine what might have been along the Peel Basin in the du Havre
sector of Montreal.
THE PRESS RELEASE
-----------------
On June 22, 2005, Cirque du Soleil and Loto-Quebec unveiled a proposal
for the establishment of a world-class entertainment complex to be
located on the site of the Peel Basin in the du Havre sector of
Montréal. The announcement confirmed the years-old rumors of Cirque
involving itself in entertainment venues that would offer a wide range
of entertainment options branded with Cirque du Soleil's flair. And
they hoped would provide Montréal and Québec with a powerful lever to
spur the development of the local economy, tourism and the cultural
sector. The project would also have translated into the creation of
6,450 direct and indirect jobs. Loto-Québec would be serving as
project manager (investing an estimated at $997 million), contribution
from private partners was estimated to be in the order of $178
million), while the Cirque du Soleil would look after design, creative
and artistic direction of the project.
"This project is what we are recommending to the Québec Government as
being the best solution for the future of the Casino de Montréal,"
explained Mr. Alain Cousineau, Chairman, President and Chief Executive
Officer of Loto-Québec. "The recommendation is based on the rigorous
studies we have conducted, as well as on the creative genius of the
Cirque du Soleil. In addition to being a modern reflection of Québec's
cultural dynamism and Montréal's exceptional vitality, the complex
will offer visitors an unparalleled entertainment experience while
showcasing the historical character of the site."
According to the President and founder of the Cirque du Soleil, "the
Cirque du Soleil is investing all of its creativity and global
expertise in this project in order to ensure that Montréal can fully
benefit from the international spin-offs to be generated. Indeed, we
are envisioning a concept whose outstanding components will make for a
truly world-class entertainment complex. We sincerely hope to be able
to invite the millions of people we meet in the four corners of the
planet to come and enjoy the new complex, which we are convinced will
more than meet their expectations."
No Increase in Game Offerings
The complex would encompass a 300-room hotel and 2,500-seat
performance hall able to accommodate international touring
productions. The Casino de Montréal would also be relocated to the
site, offering more spacious facilities than the existing
establishment on Île Notre-Dame. As outlined in Loto-Québec's
Development Plan, however, game offerings will not be increased. In
addition, the complex would include a boldly designed spa, an Artists'
Wharf, where artistic creators of all kinds will benefit from an
extraordinary window on the world, as well as a park that could play
host to the Cirque du Soleil's Big Top. The entire complex would bear
the signature of the Cirque du Soleil.
Exhibition Center
Furthermore, Loto-Québec has negotiated an agreement, pending the
government's approval, to eventually acquire a parcel of land to the
west of the entertainment complex on which a commercial exhibition
center could be established for business and trade shows. The cost of
acquiring this land is estimated to be $25 million. The Corporation
has also received a show of interest from world leaders in the sector
in associating with the project as investors and operators. Assuming
that all of these conditions are met, Loto-Québec is inviting the
economic community, particularly the tourism sector, to mobilize and
assume an active role in realizing the exhibition center project.
The project made public would also see the construction of a monorail
to interconnect the entertainment complex, exhibition center, and the
future soccer stadium whose planned construction in the Technoparc was
recently announced. As such, the entire sector would enjoy the
benefits of a light transportation system allowing for efficient
circulation between the principal activities/centers of attraction in
the du Havre area.
The Peel Basin was proposed as the site for the complex because it is
an enclaved area surrounded by physical barriers separating it from
residential zones, and because it is located near downtown hotels and
Old Montréal, both major tourist attractions. Situated only 2.9
kilometers as the crow flies from the Casino's current location on Île
Notre-Dame, the new site would not precipitate easier access to the
gaming house.
Economic Spin-offs
According to a study of economic spin-offs conducted by Université du
Québec à Montréal professor Yves Rabeau, the project would create
14,200 jobs/year during the planning andconstruction period. The
operation of the complex and exhibition center would create another
3,150 direct and indirect jobs, and an additional 3,300 direct and
indirect jobs would be generated by the tourist drawing power of the
complex and exhibition center, for a grand total of 6,450 new jobs
over and above the Casino de Montréal's existing workforce. This
project emerged from a proposal outlined in the 2004-2007 Development
Plan presented by Loto-Québec last year. The Corporation's proposal
will remain the subject of discussion and clarification, in
particular, as part of the evaluation process announced last week by
the provincial Government. If the Government gives the project a green
light, it will then be submitted for the approval of municipal
authorities and will be the subject of public consultations, as
prescribed in municipal by-laws.
2010-2011 Target
Loto-Québec and the Cirque du Soleil are committed to cooperating
fully with these consultations. The target is to be able to inaugurate
the new complex in 2010-2011. "We are firm in our commitment today to
approach each phase of this process with total transparency and
openness," underlined Mr. Cousineau. "We sincerely hope that this
project inspires a spirit of enthusiasm and unity on a par with our
creative capacity and sense of innovation."
In addition, specific measures will be taken to maximize the benefits
of the project for the residents of southwestern Montréal. For
example, Loto-Québec intends to adopt various policies to promote the
employability and hiring of residents from the sector. Discussions in
that regard will be conducted with various community organizations in
the area.
"This partnership between Loto-Québec and the Cirque du Soleil is made
possible by the fact that the two parties share the same values of
integrity, social responsibility, innovation, uncompromising customer
service and respect for employees," concluded Mr. Cousineau. "If the
Government gives its approval to this proposal, we are convinced that
Montréal and Québec as a whole will gain a powerful engine for the
development of the economy, and the tourism and cultural sectors,
while opening an exceptional window on the artistic talents of
Québecers and the outstanding quality of life in Montréal."
PRINCIPAL PROJECT COMPONETS
---------------------------
Loto-Québec and the Cirque du Soleil are proposing the creation of a
major entertainment complex encompassing a hotel, performance hall,
garden space, casino, and other areas for artistic creation and
expression. Showcasing Québec's cultural dynamism and Montréal's flair
for living, the complex will be designed by Cirque du Soleil creative
personnel, who would endow it with a style and character unique in the
world. The project will also reflect and promote the rich heritage of
the Peel Basin area, which played a key role in the history of
Montréal. And thanks to the numerous green spaces and promenades along
the Peel and Wellington Basins, it would allow Montréalers to reclaim
a large part of the city's du Havre sector for their enjoyment.
1. OUTDOOR STAGE -- An impressive component of the project is the
proposed open-air stage to be equipped with the most advanced
technical installations. This stage will be able to play host to shows
for up to 8,000-10,000 spectators.
2. PERFORMANCE HALL -- To be operated by a private partner, the
performance hall will accommodate audiences of up to 2,500, allowing
it to stage major productions like the great musicals that tour the
world.
3. HOTEL -- The project calls for the construction of a 300-room hotel
to be financed and operated by a private partner. This would be a
superior-class establishment which could attract the high-limits
players interested in integrated offers. The building would feature
some 20 floors and seduce guests with its exceptional views of the
Saint Lawrence River and the downtown skyline.
4. CASINO -- As outlined in the Development Plan, game offerings at
the casino will not be increased. The casino will occupy a surface
area of 53,000 m2, or 16% more space than the existing building,
bringing it in line with today's norms within the industry in terms of
the density of machines and tables per square meter. For their part,
the casino's restaurants and bars will be able to accommodate close to
1,500 patrons at a time, or about double the number the current
building can.
5. GREEN ROOF -- To be constructed on a single level, the new gaming
house will be particularly noteworthy for its green roof and its
natural lighting thanks to its many skylights.
6. SHOPPING AREA AND SPA -- The project calls for the development of
boutiques and a 2,000 square-meter spa to be submerged under a
cascading waterfall, thus creating a spectacular effect. The
commercial area will occupy a total area of 4,500 square-meters.
7. GARDEN SPACE - A park for all seasons, the Espace Jardins becomes
a nexus for culture and creativity where Cirque will premiere all its
traveling shows under the blue-and-yellow Grand Chapiteau.
8. THE PEEL BASIN - The Peel Basin will be restored to its former
status as a Montreal landmark, becoming a unique and animated site
dedicated to the arts and festivity; a joyful venue that will enhance
Montreal's renown and reputation as a tourist destination; a historic
international crossroads reclaimed from neglect and rededicated to
exchanges between Montreal and the world; a clean, green site in
harmony with the environment; a dynamic meeting place for the public
and the creative community; and an urban focal point where Montrealers
and visitors can catch the irrepressible spirit of Cirque du Soleil.
9. MARINA Currently disused, the project also proposes the
development of a marina in the Wellington Basin, which could
accommodate boats in transit. This facility will serve as a permanent
testament to the island character of Montréal, while linking the
complex to the Saint Lawrence via the Lachine Canal.
10. ARTISTS' WHARF -- Located on the edge of the Wellington Basin
which is slated for restoration, the Artists' Wharf will allow artists
to create and share their works with the public. These spaces will
serve as a vibrant window on Québec culture and will enable local
artists to show off their talents to millions of people each year.
A private partner will operate a monorail system to span five separate
stations. The first will be intermodal and provide a link to
Montréal's public transportation system; the second station will be
located at the entrance to the entertainment complex; the third will
be situated at the parking facility across from the complex; the
fourth will serve the future exhibition center; and the last station
will be at the soccer stadium to be built in the Technoparc. The
complex will also include an underground parking facility able to
accommodate 3,000 vehicles. Moreover, Loto-Québec will build an
aboveground parking lot in proximity to the complex on a parcel of
land currently occupied by a warehouse-type store, thus providing an
additional 1,000 spaces.
THE DECISION
------------
With every large project comes controversy and such did not escape
this new project. To us it looked like a great match; the Montréal
Casino had suffered as "high roller" customers took their business to
other more exciting cities and Lotto-Quebec obviously felt they had to
modernize or risk falling further behind. But there were other
concerns than just gaming. Placing this new project in the Peel
Basin/Point St-Charles area (which, on our map is marked as an
industrial area) had activists concerned that any move would mean more
crime and traffic in what some considered a residential area. But
Lotto-Quebec officials insisted the area was selected because it was
out of the way of most residential areas of the city, yet close to the
big hotels and Old Montréal.
It would take time for this proposal to move its way through the
planning and approval process, but neither party expected the push-
back they had received. Ultimately, Cirque du Soleil announced it was
withdrawing from the Peel Basin project as of March 10, 2006. The
reason: given the context of uncertainty associated with this project,
it had become impossible for Cirque du Soleil to pursue its
involvement. Daniel Lamarre, Cirque du Soleil's President and Chief
Operating Officer, explained: "We cannot live with uncertainty for
almost two years, not knowing if there will be a project at all down
the road. We must protect the interests of our company and employees,
as well as carry on with our development strategy".
In view of the Cirque du Soleil's decision to withdrawal from the Peel
Basin recreational and tourist complex project Loto-Québec also
announced that it would not be pursuing its plans for the relocation
of the Casino de Montréal to this sector. The announcement came after
the Corporation's Board of Directors confirmed the decision.
"The very essence of our project was bound to the dynamic presence of
the Cirque du Soleil, to its distinctive signature, its unique style
and character which was to permeate all the components of the complex,
to its remarkable creativity, and to the Cirque's capacity to attract
private partners," underlined Loto-Québec President, Mr. Alain
Cousineau. "In the absence of these characteristics, the project is no
longer able to distinguish itself definitively within the casino
industry of today's new competitive landscape and to maximize its
ability to draw visitors from outside Québec."
"I would like to thank Guy Laliberté, Daniel Lamarre and the entire
Cirque du Soleil team, whose decision I understand," concluded Mr.
Cousineau. "We greatly appreciate their collaboration and the fruitful
exchange of ideas and expertise in planning this project, which had
the potential of enriching Montréal, particularly the South-West
Borough, with a formidable development tool."
THE FALLOUT
-----------
In the aftermath, Alain Cousineau, CEO and Chairman of Loto-Québec,
sent out an opinion letter to Québec's major dailies in reaction to
the comments made regarding the cancellation of the Peel Bassin
project...
It was a year ago to the day, on June 22, 2005, that Loto-Québec and
the Cirque du Soleil submitted a proposal for the creation of a world-
class entertainment center on the site of Montréal's Peel Basin. Over
the past weeks, we have read and heard a lot of comments about the
reasons for and the consequences of abandoning the project. With many
of these comments being based on erroneous and/or insufficient
information, it is important to delineate the principal elements of
the project in order to allow for enlightened reflection that can help
bear fruit for the future.
Loto-Québec's investment in the project would not have had any effect
on the Government's debt level or interest costs as it would have been
financed entirely by the Corporation's borrowing power. The project
was profitable and built on realistic (even conservative) economic
hypotheses. Indeed, the Interministerial Committee presided over by
Mr. Guy Coulombe concluded that, "with respect to the objectives being
pursued, the project satisfies profitability criteria, both as an
integrated new project, and also as compared to the status quo." The
expected rate of return fully justified the investment required,
particularly given that the project represented a sustainable solution
to the challenges of the new competitive environment confronting the
Casino de Montréal's profitability in the medium-term. It is also
important to note that the status quo will have an appreciable toll on
the Casino's net profits, and consequently, on the dividends
ultimately remitted to the Government.
All financial scenarios called for Loto-Québec to assume full
responsibility for the payment of its property taxes, representing the
remittance of an additional $30 million annually to local authorities.
It is true that preliminary discussions were held with municipal
authorities to examine the possibility that the financial burden of
the hotel and performance hall would be along the lines of that of
comparable establishments. However, all financial scenarios submitted
foresaw a fiscal contribution in accordance with or higher than the
current norms for buildings of the same category.
While representing a positive element, this infrastructure did not
constitute a necessary condition for the realization of the Bassin
Peel project. Moreover, at no time did the rejection of this component
have any negative consequences on the entertainment center project's
profitability or viability.
Regarding the actual role of the Cirque du Soleil: The Cirque du
Soleil is neither a real estate developer, nor a hotel and theatre
operator. Rather, the Cirque is in the business of creative content
development, cultural animation, and the production of original shows.
If the project had gone ahead as planned, the Cirque would have been
associated with it under the same conditions governing the other
projects in which it participates around the globe. Nowhere else in
the world has the Cirque invested in a performance hall. Why should it
have had to be any different in Montréal? The right to use the Cirque
du Soleil's logo, signature and trademarks represents such large sums
that they are difficult to quantify, but these have as great a value
as the bricks and mortar that would have been used to erect the
complex.
By serving as designer and artistic director of the entertainment
center, the Cirque would have lent it tremendous drawing power that
would certainly have set the project apart from any other comparable
endeavour. The Cirque would have produced shows for the performance
hall, which it would have occupied for 10-12 weeks per year. Moreover,
it would have offered its special brand of animation both inside and
at the large outdoor plaza throughout the year. In addition, it would
have developed a unique central bar concept for the Casino thanks to
its acrobatic and artistic presentations, and its unparalleled
worldwide recognition and reputation would have served to bolster the
complex's international marketing efforts. In short, the Cirque would
have had a major and significant presence on the site.
The attraction of private partners was also part of the Cirque du
Soleil's mandate, and several groups expressed an interest in joining
Loto-Québec and the Cirque at the outset but could not move forward
publicly without confirmation that the project itself was sure to go
ahead. Therefore, our discussions with these potential private
partners went as far as they could at the time. Although the
discussions were held in accordance with a strict confidentiality
agreement, suffice it to say that an accord was concluded with a
leading international hotel chain and talks were well underway with a
major consortium that was prepared to finance the construction of and
operate the theatre.
We had initiated a constructive dialogue with groups and associations
representing Montréal's South-West sector, and highly promising
partnership avenues had been paved which would have enabled us to
maximize the economic benefits for the district, particularly in terms
of employment opportunities. Despite the fact that one group attempted
to persuade the others not to collaborate with Loto-Québec, we were
definitely heading in the right direction, and I am convinced that we
could have developed a project that would have served as a model of
productive exchange and partnership with the community, as the Cirque
du Soleil has succeeded in doing in the St-Michel district.
The Québec Government endorsed the Coulombe Report, authorizing Loto-
Québec to invest $35 million and to pursue the development of the
project with an eye toward public consultations to be held. The Report
clearly established that the benefits for the economic and urban
development of Montréal outweighed the potential drawbacks. With
respect to the concerns raised by Public Health, we were confident in
being able to demonstrate that the principal apprehensions expressed
were not well founded regarding the relation between the proximity of
the Casino, the "symbolic" increase in game offerings, and the
increase in Casino attendance on the one hand, and the increase in the
prevalence of compulsive gambling on the other. In any event, the
public health questions could certainly have been the object of
attenuating measures that would have satisfied all concerned.
When the Cirque du Soleil withdrew from the project after the
publication of the Coulombe Report, seeing the decision making process
as being too uncertain for a commercial enterprise involved in
numerous projects around the world, the Bassin Peel project lost its
purpose and unique character that would have truly made it stand out
from the competition. Being pursued by suitors from all sides, it is
quite understandable that the Cirque did not want to risk losing out
on any other interesting opportunities elsewhere in the world.
The Bassin Peel proposal was a solid project that was anything but
short on talent, creativity and potential. It involved a private
partner with a tremendous capacity to create and the desire to
contribute in a concrete fashion to the promotion and development of
Montréal. At the same time, the project involved a public corporation
that, confronted with the challenges related to the future of the
Casino de Montréal, was hoping to take advantage of the opportunity to
create a lever of economic, cultural and tourism development.
It is not within the project itself that we must look for what failed
to work. Let us hope that this experience will help the groups working
at all levels for the advancement of Montréal to work together in
order to find the solutions to overcome the inevitable challenges
involved in realizing such development projects.
# # #
The redevelopment project certainly looked interesting, but would it
have been a success? We'll never know. Cirque du Soleil may have
abandoned this particular project to pursue the expansion of its
resident show program and offerings via 45 DEGREES but it hasn't
abandoned its ambitions of opening or operating this type of
"Complexes Cirque" its partnership with Grupo Vidanta certainly
proves this. And who knows what will come next! But it's interesting
to see what might have been, isn't it?
------------------------------------------------------------
"Cirque du Soleil, Wowing the World"
By: Matte Hart, 1066 Gymnastics Head Coach
A Special to the Fascination! Newsletter
-----------------------------------------------------------
Many of you will have witnessed the incredible acrobatics, death
defying gymnastics and mind blowing circus and theatre that is Cirque
du Soleil. The company which employs over 4,000 people from over 40
countries helps to bring aspects of our sport to a huge audience in
numerous shows spanning the globe. Look closely the next time you
watch a show and you could recognize some of the acts and support
staff. Many of our top gymnasts are part of the Cirque cast, as they
look to continue within the sport after their elite careers. One such
gymnast who took that step is Beijing 2008 star Marissa King who
recently starred in Amaluna at the Albert Hall. Alongside Marissa was
top GB coach Chris Bowler, Gymnast Digital Magazine caught up with
both of them after the show to find out more about their journey into
the "Circus of the Sun".
Q. MARISSA, TELL US MORE ABOUT YOUR MOVE FROM OLYMPIAN TO CIRQUE DU
SOLEIL PERFORMER.
"After my elite career as a gymnast I went to Florida in the summer of
2009 to study and I started competing almost straight away. I competed
for four years. I then transitioned out of collegiate gymnastics into
Cirque. I knew I wanted to join Cirque. I saw a show in Macau in 2008
when the GB team went there for a pre-Olympic test event and that's
when I knew that was something I wanted to do. I went on to audition
in 2011 but I finished my collegiate career as I knew going to
university in Florida was such a big opportunity and I couldn't have
stopped that half way through. I needed to see that through and finish
my degree. I actually continued training for a fifth year, took an
internship, took a second degree. I took an extra year because I
wanted to help with the team still after we won our first national
championship. I wanted to do some student coaching to see if coaching
was something I wanted to get into. I still travelled with the team,
helped the assistant coach and also did my internship within media as
media was the second degree I took. I also trained on the side, ready
for Cirque. There were so many options and I wanted to see what I
wanted to do after I graduated."
Q. FOR PEOPLE WHO DON'T UNDERSTAND HOW BIG THE UNIVERSITY GYMNASTICS
SCENE IS OUT IN AMERICA, CAN YOU EXPLAIN A LITTLE BIT MORE?
"It's very different because in elite gymnastics you have around three
big competitions in a year whereas at NCAA (National Collegiate
Athletic Association) you can do sixteen competitions in four months
and that's something that it took me some time to get used to; the
fact that we travelled and competed so much. It was an incredible
experience because it's different. It's difficult in its own way. It's
slightly simplified routines with less skills but it's all about
perfection and performance. In some ways I don't feel like to I got to
be myself at competitions until then. At college in America I was
really able to express myself. I had a great collegiate career and
being part of the team in Florida that won our first national
championship was a great moment and a really big deal."
Q. SO HOW DID YOU THEN GET INTO CIRQUE?
"I saw my first show in 2008 like I said and from then it was
something I wanted to do. I knew some other GB trampoline and artistic
gymnasts who had gone on to join Cirque and they really inspired me to
pursue that. It was just a matter of when. Sometimes it can be
difficult because there may be an opening with a show but a certain
profile has to fit and that can take time. You might have to wait for
a new show to go through creation for new openings to come up and even
then they are figuring out exactly what acts they want and who might
fit that. You have to get chosen from a pool of people they've chosen
to look at. I kept putting myself out there. Every year at national
championships we had scouts come and watch and I always connected with
them."
Q. SO ONCE YOU WERE AT THE CIRQUE HEADQUARTERS IN MONTREAL, CANADA,
WHAT WAS THE PROCESS FROM DAY ONE THROUGH TO SHOW ONE?
"My formation was quite quick. They wanted the show to be on tour
soon. I had to adapt because the setup is very different. Amaluna
involves an asymmetric bar routine but the low bar is slightly higher
and the stage revolves. I had to explore the structure of the
apparatus once I got there and develop and understanding of the show,
who your character is and what your role is within the show. Going to
HQ was really insightful and a really good stepping stone to see what
the journey I was starting was all about. It was a perfect
introduction and preparation phase."
Q. FOR THOSE WHO HAVEN'T SEEN AMALUNA, HOW WOULD YOU DESCRIBE THE SHOW
AND YOUR ROLE WITHIN IT?
"It tells the story of a girl coming of age, a washed up sailor she
meets and falls in love with, and the challenges they face to be
together. My character is one of the amazons, one of the protectors of
the island. We're the ones who keep everything in place. It's our
island and we are guarding it for our queen. We're strong, we're
fierce and we need to be somewhat intimidating to the men when they
arrive on the island. It's always nice to have an intention on stage,
remember how you are supposed to act and what your place is within the
show. You need to keep with that every show, every day. Doing ten
shows a week can be tiring and it's hard work but you always work to
get in character and stay within that mindset."
Q. WHAT'S IT LIKE TOURING WITH THE SHOW?
"It's crazy we've been everywhere- Miami, Houston, Tarragona, Madrid,
Belgium, Paris and now London. This is my seventh city. I've been on
tour for a year but it still feels like I'm relatively new. When I
watch videos of my performances back I still feel like there's so much
I can improve on. The Royal Albert Hall is just the most amazing
venue. When I tell people I've performed here they're all impressed!
Standing center stage and looking out is an image I am never going to
forget. It's been overwhelming because so many people have wanted to
come and see it. It was harder when we were in North America but it's
been easier since we've been in Europe and definitely lots more since
we've been in London. It's been an incredible opportunity and a great
time to be home!"
Q. CHRIS, TALK US THROUGH YOUR BACKGROUND WITHIN GYMNASTICS COACHING
AND THEN YOUR MOVE INTO CIRQUE DU SOLEIL.
"I started as a gymnast. I was a decent gymnast but I was by no means
exceptional. I knew I'd reached my potential in my teens. From that
point I needed to make a choice and I chose my education. I went to
university and I studies sport and exercise science. I started
coaching from the age fourteen. I was with Woking Gymnastics Club, I
was still training as a gymnast and I got into coaching. That led me
to coach at other clubs like Basingstoke Gymnastics Club and I
continued to coach through my time at university. When I came out of
uni I continued to work my way up through the club system and I found
myself at Pinewood Gymnastics Club. I carried on gaining my coaching
qualifications to the point where I became a high performance coach
and I was directing Pinewood. I did that for several years and I felt
I achieved quite a lot in that setting. I helped the club grow and
felt I was of integral support to the coaches there who produced
several regional, national and European champions across a number of
disciplines.
I was looking for a new challenge. I originally applied to Cirque du
Soleil for a casting position and they interviewed me. A couple of
months later I got a call from them and it just so happened that their
show 'Totem' was in London at the time. I went to visit the show and
caught up with the artistic director and I ended up joining that show
when it finished in London in early 2012. I toured the USA with that
show as head coach. My main purpose was to guide and support the
artists on a daily basis and help the development of the acrobatic
content, in line with the artistic director and the original concept
for that show.
After being on 'Totem' for a few years I was looking for something
else and the opportunity to get involved in the creation process for a
new Cirque show came up. Toruk (based on James Cameron's 'Avatar') has
just started touring the world and I spent a good few months in Canada
being involved in its creation process. That was great. It continued
to broaden my experiences and learn new acrobatic disciplines. That
led me to my position as an acrobatic coach with the show 'Amaluna.' I
was drawn to the opportunity to go back to where I started, tour
Europe and be a coach for the show when it came to London's Royal
Albert Hall. It's a unique, prestigious venue. I was also very open to
continuing my own experiences within the company and contribute to
another show. 'Amaluna' is quite a new show and has been through some
changes and I was asked to assist in continuing to develop the
acrobatic content."
Q. HOW HAVE YOU FOUND MOVING THROUGH THREE DIFFERENT SHOWS; AS HEAD
COACH, TO A CREATION PROCESS AND NOW ACROBATIC COACH? WHICH ROLE
PUSHED YOU THE MOST?
"They each had different challenges. When I joined 'Totem' I was fresh
into the company. I went straight from a gymnastics club setting and
competitive setting into the world of live entertainment. That
transition at age 27 had challenges. I had to learn how to work with
not gymnasts, but acrobats, artists and a whole team. I wasn't dealing
with parents, coaches, judges and committee members anymore. I was
dealing with lighting technicians, riggers, artistic teams, stage
managers and lots of press. That was all new. I was part of a much
larger team now. The company is huge. Learning how to find my feet and
direction as head coach on 'Totem' took some time. I had to build
relationships with everyone there. There were 18 different
nationalities and I had to learn how to communicate with everyone.
'Toruk' was a completely different setting. We weren't touring. There
was a whole array of people put together working towards the goal of
putting together this new, unique spectacle. One of the challenges was
the time constraint. When you're delivering a new show you are given a
few months. It came with its own challenges. The equipment was totally
different. The stage was different. Learning how to work with it all
and manipulate the equipment to get the best out of the performers was
the real challenge. Part of my role was to really motivate and
stimulate the artists too. We had to keep them safe and healthy during
long days, six days per week."
Q. YOU'VE ESSENTIALLY SPENT YOUR LIFE ON TOUR FOR THE PAST FOUR YEARS.
WHAT DO YOU LIKE ABOUT IT AND WHAT DO YOU MISS ABOUT BEING AWAY
FROM HOME?
"Obviously I miss my friends and family. I'm quite a family oriented
person. I do miss my roots to an extent but the touring life is
unique. You live, work and socialize with the same people every day.
It's full on and it's not for everyone. I guess you either love it or
hate it. I've been very fortunate to be able to travel the world and
see things that I probably never would have seen otherwise. The
challenges of touring include simple things like you can't buy a piece
of nice furniture you see and love for your home. You visit all these
wonderful places but you can't take it all with you. You have to be
selective in what you tour with and you're sort of living out of a
suitcase. When you start to settle somewhere it's suddenly time to
move on. Every place you go, you get to embrace the people and embrace
the culture."
Q. WHEN YOU FIRST STARTED COACHING FOR CIRQUE, WHAT SKILLS DID YOU
WALK IN WITH?
"I felt one of my main strengths was being able to communicate with
all the different people, which I got from the club setting. One of
the bigger challenges was learning about the new equipment. In a
sense, from my original coaching career, yes, I knew how to coach a
somersault, I had that underlying principle of gymnastics and
biomechanics and what it takes it to rotate and twist and tumble.
Then, it was 'what if you take someone who is hanging upside down?' or
taking it out of the norm and putting it on unique equipment. In the
gymnastics world you will often have one gymnast at a time and on
static apparatus that does not move and what happens in a performance
is down to that gymnast. Then you go to Cirque and an entertainment
venue and suddenly you're dealing with equipment that moves while the
artist is on it. In 'Amaluna' there is a turntable so the stage
actually rotates while the artists are working on the bars. I needed
to know how that equipment works to then be able to relate that back
to what the artists do and get the best out of them. As a coach I got
the skills set from the club setting to break the acrobatic in the
circus would down and understand them and tackle these new
challenges."
Q. WOULD YOU SAY THAT FOUR YEARS WITH CIRQUE HAS DEVELOPED YOU AS A
COACH?
"Absolutely. I think when I joined the company it put me out of my
comfort zone for sure. I had to learn so much. Working with gymnasts
at a high level, we were used to peaking at competitions just a few
times a year. As a coach with Cirque I have to manage the artists to
perform ten shows a week, 300+ shows a year and try to put out the
same energy and the same level of performance every single time
because each audience deserves the same show. Trying to motivate the
artists after they are tired is important. I have to know them all as
individuals so I know when to push, when to support, when to rotate
certain skills within an act to keep everyone safe. The mental aspect
of being a performer as opposed to a top competitive gymnast is
different. They're not training 30 hours a week anymore. They might
only be training a few hours a week now and the time up on stage
rehearsing on the equipment is limited. A lot of it is maintenance but
I also need to look to the development of the acrobatic content so
very careful planning is needed by me so when each artist does have
stage time they get the most out of it and everything they do is
productive."
# # #
This interview ran in Volume 55, Issue 2 of Gymnast Digital Magazine,
published by British Gymnastics. Check out the original post here:
http://viewer.zmags.com/publication/0310c1e8#/0310c1e8/18
=======================================================================
COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 16, Number 7 (Issue #150) - July 2016
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2016 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination! Newsletter." By
sending us correspondence, you give us permission (unless otherwise
noted) to use the submission as we see fit, without remuneration. All
submissions become the property of the "Fascination! Newsletter."
"Fascination! Newsletter" is not affiliated in any way with Cirque du
Soleil. Cirque du Soleil and all its creations are Copyright (C) and
are registered trademarks (TM) of Cirque du Soleil, Inc., and
Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
{ Jul.10.2016 }
=======================================================================
