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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 17, NUMBER 4 April 2017 ISSUE #159
=======================================================================
Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
* * * VOLTA PRESS CONFERENCE * * *
On Tuesday, April 4th, Cirque du Soleil unveiled a bit of VOLTA to the
press, holding the show's press conference in the new big top on the
quays of the Old Port of Montreal, but doing so in an interesting way:
via Instagram. Much of their initial presentation is no longer
available, but a number of enterprising attendees put up videos and
pictures from the event on their Instagram pages, which you can check
out here:
o) https://www.instagram.com/p/BSd8yVoBAaC/
o) https://www.instagram.com/p/BSd927fFM8c/
o) https://www.instagram.com/p/BSd-HwflWF5/
o) https://www.instagram.com/p/BSd-WC_B86h/
o) https://www.instagram.com/p/BSd_ADnl_GD/
o) https://www.instagram.com/p/BSd_I28FY5e/
o) https://www.instagram.com/p/BSd9D85FatU/
A few even put together montage videos on YouTube, like this one
< https://youtu.be/qUC6Qr-asak > from Cirque Vault. Even Cirque du
Soleil got into the act (no pun intended), releasing a video of their
own, which you can find here < https://goo.gl/7EEDBC >. And there's
already been one article about the press conference, from Brendan
Kelly of the Montreal Gazette. He calls VOLTA the "next generation
Cirque du Soleil." Here's what else he had to say:
The latest Cirque show was created by Bastien Alexandre and Jean
Guibert. At the press preview of the show Tuesday morning, Jean-
François Bouchard head of the creative department at the Cirque du
Soleil described the duo as deux jeunes du Cirque (two young
people from the Cirque). But in an interview after the preview,
Alexandre, the shows writer-director, and Guibert, its creative
director, both noted that theyve actually been with the Cirque for
quite a few years. Alexandre began working as a concept artist with
the Montreal circus in 2001 and Guibert has been on staff for a
decade, mainly working in branding and advertising. But there is no
question, judging from what we saw Tuesday, that Alexandre and Guibert
have brought a breath of fresh air to the Cirque.
The first number features a madcap game show called Quid Pro Quo, and
the scene soon segues into an acrobatic rope-skipping routine, with
single rope and double Dutch sequences. The next number is a pas de
deux with a traditional ballet dancer and a guy pulling off some eye-
popping flatland BMX moves on his bike (almost like break-dancing on a
bike). The final number presented in the preview was a full-scale BMX
showcase, with bikers whizzing up and down giant ramps and flying
through the air.
Guibert and Alexandre thought it would be a blast to give a BMX
flavour to a Cirque show. We fell in love with the culture, more than
the disciplines themselves, Guibert said. The culture of extreme
sports is all about inventing rules and not following rules. Thats
been in our guidance in the creative process how much we can
challenge our Cirque rules and push the limits even further.
Everybody knows action sports, Alexandre added. So how can we bring
that to the Cirque world and use it narratively to tell a story and
touch people.
Its something quite different for the Cirque, but they werent overly
worried about alienating the core Cirque audience. We were happy to
promote something with a little edge, Alexandre said. We feel the
Cirque audience is broad enough and savvy enough to embrace it. But
weve kept a lot of the DNA of the Cirque du Soleil.
Bouchard noted that this is the 41st Cirque show and that the
Montreal-based performing-arts giant has to constantly re-invent
itself. Its about always bringing something new, Bouchard said.
Thats a law for us. The planet evolves and we evolve. And we make
the extreme sports theatrical in our own fashion. We have to give a
personality to every show.
The narrative of Volta revolves around Waz, a popular game-show host
who has lost his identity in his relentless quest for fortune and
fame. Part of the story focuses on Waz going back through his
childhood memories to try to give meaning to his life. The (theme) is
to shed your fear
finding your true self and being able to promote
that to the world, Alexandre said. Guibert added: Its about
embracing differences, celebrating differences. Today, more than ever,
this theme is extremely relevant, and were happy to give people a
chance to reflect on this.
You can read the original article here: < https://goo.gl/iGgz7w >
* * * A COUPLE OF INTERESTING PASSAGES * * *
Whether its for a a brand new concept gearing up to tour the world,
or a new partnership ready to kick-off, Cirque du Soleil is constantly
in the news. And never more so now on their home turf in La Presse.
Earlier this month a series of article blurbs were shared from La
Presse's new online presence - LaPress+ - and while the articles are
written in French, two pieces I translated via Goolge Translate stand
out.
1) Cirque's conquest [of China] will begin with the presentation of
KOOZA on October 1st in Shanghai then tour Beijing and five other
cities. TORUK, which was to be presented this year, was pushed back
to the end of 2018. But the centerpiece is the permanent show to be
presented in Hangzhou in 2018 in an 1800 seat theater currently
under construction. The show, staged by Hugo Bélanger (Théâtre Tout
à Trac), is already very advanced, said Lamarre. "It will be a
Western-themed show that meets China, so it's a bit of a meeting of
international culture and Chinese culture."
Cirque du Soleil posted a couple of casting notices with regards to
the Hangzhou show recently. Seems Cirque du Soleil is looking for a
middle-aged Caucasian singer with acting skills to play the role of a
king AND a middle-aged female singer of Asian heritage with acting
skills to play the role of an empress. Training and rehearsal is from
March 26 to June 19, 2018, starting in Hangzhou on July 2, 2018, and
with a soft-premiere in November 2018!
2) [On Paramour] "As we speak, we are looking for another theater in
New York and we have a very advanced discussion to produce it in
Hamburg. "If we find another theater in New York," he added, We
can create a second distribution of Paramour, which was the goal
from the start. "
Check out the original article here: < https://goo.gl/4mUz4X >.
* * * PARAMOUR BEGINS FINAL STRETCH OF PERFORMANCES * * *
Cirque du Soleil Theatrical's smash production of Paramour, the
organization's first show created specifically for Broadway, begins
its final stretch of performances this month before it must vacate for
Harry Potter and the Cursed Child. According to Broadway World, "in
one year, Paramour has thrilled over 500,000 audience members, more
than any other show of the 2016-2017 season and celebrated the
Broadway debuts of over 70 members of the cast and creative team
representing 16 different countries, spanning five continents." The
production features at least 15 different circus arts disciplines,
many of which have never appeared on Broadway. The disciplines cover
aerial strap artists, Banquine, Chinese pole, contortion, Cyr wheel,
hand to hand, hand to trapeze, juggling, lyra, Russian bar, Spanish
web, teeterboard, tumbling, trampoline, and trapeze. And the show is
still pulling in the dough...
Week This Week Potential Difference Seats % Cap
Ending Gross Grosses in Dollars Sold
------------------------------------------------------------------
01-Jan $1,908,018.00 $1,805,456.00 $807,246.95 15,125 99.72%
08-Jan $1,218,860.80 $1,805,456.00 -$689,158.15 14,491 95.54%
15-Jan $999,968.70 $1,544,604.00 -$218,892.10 11,683 88.03%
22-Jan $903,287.95 $1,805,456.00 -$96,680.75 11,528 76.00%
29-Jan $935,804.25 $1,805,456.00 $32,516.30 12,257 80.81%
05-Feb $662,145.25 $1,515,054.00 -$273,659.00 9,107 68.62%
12-Feb $667,758.25 $1,515,054.00 $5,613.00 8,692 65.49%
19-Feb $1,119,906.75 $1,748,376.00 $452,148.50 13,691 90.26%
26-Feb $878,719.75 $1,544,604.00 -$241,187.00 11,239 84.68%
05-Mar $769,249.75 $1,748,376.00 -$109,470.00 10,754 70.90%
12-Mar $824,504.50 $1,748,376.00 $55,254.75 11,352 74.84%
19-Mar $908.801.55 $1,748,376.00 $84,297.05 12,277 80.94%
26-Mar $921,604.25 $1,748,376.00 $12,802.70 12,086 79.68%
02-Apr $837,809.54 $1,748,376.00 -$83,794.71 11,057 72.90%
Well, that's all I have time for this month. Let's get to the rest!
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
| |
| At CirqueCast: |
| < http://www.cirquecast.com/ > |
| |
| Realy Simple Syndication (RSS) Feed (News Only): |
| < http://www.cirquefascination.com/?feed=rss2 > |
| |
\----------------------------------------------------/
- Ricky "Richasi" Russo
===========
CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
* Q&A - Quick Chats & Press Interviews
* CirqueTech - The Technical Side of Cirque
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* "SEP7IMO DIA NO DESCANSARÉ:
Inside the Realm of Soda Stereo"
A Special to the Fascination! Newsletter
* "We're Off and Running - A Series of Classic Critiques"
Part 0 of 16: An Introduction
By: Ricky Russo - Atlanta, Georgia (USA)
* "A Review of One Night for One Drop 5"
By: Robin Leach, Las Vegas Review-Journal
A Special to the Fascination! Newsletter
* "Casting Q&A's - Meet a Mentor, Part 2 of 3"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
---------------------------------------------------
LA PRESSE -- General News & Highlights
---------------------------------------------------
Cirque du Soleil, Crayola Experience team up for a month
{Mar.01.2017}
-------------------------------------------------------
Crayola Experience and Cirque du Soleils La Nouba are teaming
up for a month at the Florida Mall attraction.
Cirque Month Presented by La Nouba begins Saturday and runs
through March 31. Visitors will be able to create La Nouba
masks and airplanes, have faces painted and watch acrobats and
musicians from the show in exclusive performances.
At the heart of Crayola Experience and La Nouba is a strong
sense of creative wonder and play, which makes the combination
of the brands both effortless and very exciting, said Jackie
Vasquez, Crayola Experiences marketing manager.
On Saturday, participants can get an up-close-and-personal look
at an assortment of La Nouba costumes and props. Visitors also
can enter to win show Cirque du Soleil tickets at the adjacent
Crayola Store.
La Nouba and Cirque have been ensconced at Walt Disney World
since late 1998. The show is produced in a standalone theater at
Disney Springs.
Cirque Month activities are included in regular Crayola
Experience admission. Tickets are $18.99 online, $22.99 at the
door. (Visitors under the age of 3 get in free.) For tickets,
hours and info, go to CrayolaExperience.com.
{ SOURCE: Orlando Sentinel }
Y&R Reminds Us That Cirque Performers Are People, Too
{Mar.06.2017}
-------------------------------------------------------
Have you ever wondered how the insanely talented performers who
make up Cirque Du Soleil spend their down time when not getting
new tattoos and exotic piercings?
Agency of record Y&R gets right down to it in a new campaign
promoting the French-speaking Canadian groups popular Las Vegas
shows O, Zumanity and KA. Locals positions these individuals
as exactly that: dedicated artists who have to take a few
minutes to attend to more pedestrian concerns near their
suburban Vegas homes.
KA star Barri, a Welsh dude who used to be a WWE wrestler, loves
to stop by his local coffee shop for what looks like an espresso
and a cupcake. VIDEO /// < https://youtu.be/sOmlfKqgq1g >
Acrobat Marina is very particular about her outfits
and her
dry cleaning. VIDEO /// < https://youtu.be/h-lNIU6MCeU >
Finally, Yulia Korosteleva waters her lawn before heading to
work to deal with dancing zebras and a human torch.
VIDEO /// < https://youtu.be/pmjEPLk-PFY >
VP, group creative director Nathalie Brown, who came up with the
concept, wrote: We wanted to represent the multiple sides of
these artists: as amazing Cirque performers from some of the
greatest shows in the world, but also as every day Las Vegas
residents. The ads bring to life their extraordinary feats in
contrast to their everyday errands, and really highlights the
personality of Cirque du Soleil.
Beyond these fifteen second commercials, the campaign also
includes outdoor, digital and the print ads, which you can see
here: < http://www.cirquefascination.com/?p=9784 >
CREDITS
FOR CIRQUE DU SOLEIL
Chief Marketing and Experience Officer Kristina Heney
Brand and Marketing Strategy Thierry Dumoulin
Director of Marketing and Public Relations Lou DAngeli
Senior Marketing Manager Ninfa Valdez
Senior Brand Manager Charlotte Montminy
Director of PR Ann Paladie
Junior Brand Manager Lina Moussaoui
FOR Y&R
Chief Creative Officer Leslie Sims
VP, Group Creative Director Nathalie Brown
Head of Design Hamish Mcarthur
CD/Writer Margot Owett
CD/Art Director Nathalie Brown & Fern Cohen
Art Producer Louisa Gargiulo
Art Director Emily Lahourcade|
Copy Writer Allison Reuben
Group Account Director Caleb Lubarsky
Account Supervisor Kim Reyes
Strategist Ethan Scott
PHOTO PRODUCTION
Photographer Russ Quackenbush
Photographer Assistant Heshua Hipp
Photography Agent Jason Eason
Producer Justin Folger
Location Manager Mark Baliant
TV PRODUCTION
TamTam Films
Director/Editor Alvin Tam
Director of Photography Clayton Moore
Production Assistant Meg Macdonald
Production Assistant Derrick Webber
Key Grip Frank Arant
Gaffer Eric Pool
1st AC Lynsey Cook
{ SOURCE: AdWeek/Agency Spy | https://goo.gl/07MCBn }
Broadway World Gives PARAMOUR 2 1/2 Stars
{Mar.07.2017}
-------------------------------------------------------
Disney and Oprah have done it and, critics be damned, Marvel
Comics has done it no less spectacularly. So after flirting with
tent shows across the Hudson in the Meadowlands and tailoring
shows for Madison Square Garden, it was inevitable that Montreal
entertainment juggernaut Cirque du Soleil would make their own
assault on Broadway, in hopes of a long-running megahit. Looking
at what Marvel had done before their abortive leap and what they
hadnt done music and Vegas Cirque must have felt that
producers of Spiderman had snuck ahead in line.
What Id never seen Cirque do before, though Id seen theatrical
characters and singing in their shows, is either story or
language. Interspersed with acrobatics and clowning in Cirque-
taculars Id seen were the most heartfelt gibberish ballads
youll ever hear. Those gaps Cirque needed to leap over to land
in the frontier of a genuine Broadway musical figured to be
miniscule when PARAMOUR opened for previews last April, but
theyve proven to be a chasm.
The shows e-program lists Philippe Decouflé as director and
conceiver of the show, but despite assurances that PARAMOUR is
written with the utmost respect for the traditions of Broadway,
by way of Busby Berkeley, theres no professional writer aboard
a production team that includes four creatives and 11 designers.
Small wonder that the three-character story is fairly well
buried in its circus derring-do and Golden Age of Hollywood
designs.
The most interesting speaking character we encounter is our
narrator, AJ, a driven Hollywood producer/director who prowls LA
in search of new talent. Jeremy Kushnier attains a sleazy
carnival charisma as our mogul host after he finds inspiration
at an outré nightclub where he is captivated by Indigo, a
chanteuse who performs with her songwriting partner surrounded
by a flying flurry of acrobats.
Ruby Lewis as Indigo absorbs some of the exotic allure of her
glittery surroundings, and Kushniers leering adoration pushes
her up another notch as he promises to make her a movie star.
Keeping the topics of love and marriage on the back burner, AJ
brings the piano player, Joey, along for the ride so Indigo will
believe that his motives are purely commercial and artistic.
Trouble is, Lewis finds it impossible to shine when saddled with
the music by Bob and Bill (forgettable lyrics by Andreas
Carlsson), either at the club or in front of the camera.
Ryan Vonas predicament as Joey actually becomes laughable as AJ
keeps prying his partner away, making her a star while he
languishes in obscurity. The presumption is that Indigos true
love must be a songwriting genius that AJ is cruelly holding
back, telling him over and over that nothing he has written is
good enough. But its obvious that Cirques team couldnt write
a breakthrough song for Joey if they tried.
With the story sputtering into clichés on loan from 42nd Street
and other showbiz sagas, we find ourselves longing for those
famed Cirque acrobats to return and obliterate our principals
all they wish. Swinging out from the stage and over the
audience, identical twins Andrew and Kevin Atherton are the most
compelling of the aerialists, their choreography combining
sensuousness, skill, daring, and grace.
But they dont exemplify best what PARAMOUR could be if circus
and story and music were truly integrated. That happens near the
end when Indigo eludes AJs clutches and runs away with Joey
implausibly to the roof of a hotel. Suddenly a chase fantasia
breaks out with the reprise of Everything (The Lovers Theme).
Both the hunters and the hunted bounce prodigiously up and down
in a dizzying blur. Sometimes theyre perching on the
surrounding rooftops, and sometimes theyre walking on the walls
in their upward trajectory before plunging down to unseen
trampolines. Spectacular, exhilarating silliness.
The follow-up text message to the one that links to the e-
program rightly asks, Head still spinning? before seeking a 1-
10 rating. Mine was 6.
{ SOURCE: Broadway World | https://goo.gl/Li5WSP }
Cirque Resident Shows Division Receives USITT Award
{Mar.09.2017}
-------------------------------------------------------
The Resident Shows Division of Cirque du Soleil received the
Institutes highest honor, the USITT Award, at USITT 2017.
The award recognizes a lifetime contribution to the performing
arts and entertainment communities. It was presented at the 2017
Annual Conference & Stage Expo on March 8 in St. Louis, MO.
We understand we are a leader in the industry and to remain a
leader in the industry we need to ensure that we are developing
the entertainment technicians of tomorrow, said Kim Scott,
Company Manager for The Beatles LOVE by Cirque du Soleil. The
only way to do that is to be involved in the development of
those technicians by providing high level education at a cost to
students so that they can get these opportunities without
breaking the bank.
Jerry Nadal, Senior Vice President of the Resident Show Division
of Cirque du Soleil, played an integral part in supporting USITT
training, education, and mentoring initiatives. Nadal has been
assembling teams that launched these initiatives under his
direction and leadership. Nadal has supported the people on the
ground and allowed them to have the resources and the leadership
support that Cirque du Soleil needed to make these programs
successful for the membership.
If we can at least touch one member and make a positive
difference in their career, then everything that were doing is
worthwhile, Scott said. To have the institute recognize our
company for the time and effort and resources that we give, it
means that weve been a responsible member of the entertainment
industry. Weve paid it forward; it hasnt just been for us.
The Elite program has since become a highly popular event
providing students and early career professionals with an
opportunity to engage industry leading professionals from Cirque
du Soleil, through three days of intensive, hands-on training in
sound, rigging, automation, projection, and stage management.
The Elite program is free to participants, and available
exclusively to USITT members.
As much as we want Cirque du Soleil to be the employer of
choice, we also want to be a supporter of the entertainment
industry as a whole and develop our next generation of
colleagues -no matter what company they choose to work for,
Scott said. Thats the overarching reason why we continue to
stay involved with USITT.
USITT, the United States Institute for Theatre Technology, is a
national non-profit association for the live entertainment
production industry. It provides hands-on learning, mentorship,
and networking opportunities for emerging and working
professionals in the backstage arts. Its Annual Conference and
Stage Expo is the only complete production event in North
America, featuring over 250 training sessions and 280 exhibitors
of the latest tools and resources for creating live
entertainment. More information is available at usitt.org.
{ SOURCE: Broadway World | https://goo.gl/co2j3J }
Cirque Pays Tribute With Sep7imo Dia
Michel Laprise on Soda Stereo Show Premiere
{Mar.10.2017}
-------------------------------------------------------
In the early 80s, when the Soda Stereo trio was looking to
complete its formation, musicians such as Ulises Butrón, Richard
Coleman and Daniel Melero, among others, tried their luck to see
if they could fulfill that coveted fourth role in the band; but
it turned out to be impossible for someone else to be
incorporated into the group. Not because the band wouldnt want
to, but because it was simply not possible: Their relationship
and bond was so esoteric, so impenetrable, that any who tried to
join would feel foreign to it.
On March 9, with the Buenos Aires premiere of Sép7imo Día No
Descansaré (Seventh Day I Will Not Rest) Cirque du Soleils
tribute to the band formed by the late Gustavo Cerati, Zeta
Bosio and Charly Alberti Luna Park was witness to the
unrelenting vigor that their music has. For the first time,
Soda has let someone enter their triangle: you, a voice said
while the stadium was still under the veil of darkness and
after, the audience gave Zeta and Charly a standing ovation when
they arrived at the venue to watch the show.
The event marks the fourth musical tribute from the company,
after having worked on music from The Beatles, Michael Jackson
and Elvis Presley. There will be 70 shows in the same venue
every day until May 14, with tickets already sold out for most
of the dates. After closing up in Buenos Aires, the show will be
moved to Córdoba and later throughout Latin America.
We invented a new world inspired by their songs and the
relationship the group had with its audience, Michael Laprise,
director and writer of the spectacle, told Billboard. And hes
right. Its the first time in the history of Cirque du Soleil
where there is a standing audience that mixes in with the
performance of the artists. For example, the bulky tires that
carry the acrobats inside traveled in between the crowd, the
fish tank where two artists swam in without breathing equipment
for the whole act was situated in the general sitting area, and
two bonfires were built in between people when the Mexican
artist Zendra Tabasco who also had an aerial dance number with
a harness that held her by her hair interpreted Té para
tres.
SODA STEREO SÉP7IMO DÍA IN PICTURES
< http://www.cirquefascination.com/?p=9810 >
We never had such a loud sound in Cirque. Generally there are
neighbors around the tent, so that limits us a lot. And in Vegas
there are older people, so its not convenient. But Soda Stereo
was known for its loud music, and thats how this should be. We
have studio quality but with the rawness of being live,
explained Laprise.
The soundtrack was produced and mixed by Zeta and Charly and co-
produced by Adrián Taverna, who also digitalized and restored
the original tapes to create new versions of the tracks. Even
some drums were re-recorded. Gustavos sister, Laura Cerati, was
also involved in the production. The show reviewed the majority
of the bands albums without following a fixed timeline and
creating a particular scene for each song. They put on display
songs like El séptimo día, Cae el sol, Planta, Picnic en
el 4°B, Te hacen falta vitaminas, Mi novia tiene bíceps,
Un misil en mi placar, Prófugos, Crema de estrellas,
Cuando pase el temblor, Luna roja, Sobredosis de TV,
Persiana americana, Signos,' Un millón de años luz, En la
ciudad de la furia, Primavera 0, De música ligera and
Terapia de amor intensiva.
It would be a nice moment for you to illuminate the stadium.
Youre stars. The whole world is a star, said the ethereal
voice of Gustavo Cerati. Its the phrase he said in one of the
2007 concerts at the Argentine soccer stadium River Plate, which
marked the return of Soda Stereo after a 10-year hiatus.
Accompanied by the voices and pictures of the band, the acrobats
37 people in full makeup and psychedelic costumes showed off
their physical ability on a concave stage that simulated a
planet, with screen tricks and excellent lighting, nods to the
aesthetics, videos and history of Soda, and interaction with all
sorts of elements: harnesses, diabolo, mattresses, rods, cages,
mirrors, ropes and even a giant metal flower.
If conquering without risk is succeeding without glory, then
these artists deserve a rightful and honorable victory: to every
dangerous movement was added the difficulty of being
choreographed. And even then, in the city of fury, Gustavo
Cerati became a part of everybody. Forever.
{ SOURCE: Billboard | https://goo.gl/xHKTqd }
Criss Angel Rushed to the Hosipital!
{Mar.12.2017}
-------------------------------------------------------
On Friday, March 10th, Criss Angel was rushed to a Vegas ER
after passing out during his straight jacket routine, prompting
rumors that he had broken his neck. The famous illusionist was
performing Mindfreak Live! at the Luxor Hotel, where eye-
witnesses say the show was canceled 10 minutes into the opening
act... after Criss dangled upside down in a straight jacket and
attempted to escape. After spinning in vain for about 2 minutes,
he was quickly lowered down and the curtain closed onstage. A
representative for Criss told TMZ he did in fact lose
onsciousness during his straight jacket routine and was taken to
Spring Valley Hospital Medical Centers emergency room about 4
miles away, evaluated, and later discharged the same night. A
statment regarding the incident was released...
Criss Angel routinely performs some of the worlds most
dangerous illusions and escapes live on stage. During Friday
evenings performance, while attempting his famed upside down
straitjacket escape while suspended by his feet, he lost
consciousness. He was lowered to the stage and rushed to the
hospital where he was evaluated and released early this morning.
He is undergoing additional testing today and while it is not
yet certain, it is his hope to return to the stage in his hit
show MINDFREAK LIVE at Luxor Las Vegas tonight. He is grateful
for the outpouring of love and concern from his fans around the
world. Due to Fridays events, Criss and his son Johnny
Crisstopher were unable to attend a previously scheduled
appearance at a fundraiser for Make-A-Wish of Southern Nevada
Saturday morning. In his absence, a representative of HELP, the
non-profit Criss created to find a cure for pediatric cancer,
presented Make-A-Wish with a $100,000 donation.
MindFreak Live! performances resumed Saturday. Im gonna try
it again, Angel texted later. Ill give it 100 percent. An
unconfirmed report from a source close to the production
suggested that Angel suffered dehydration and suffered what
magicians and acrobats call a head rush. The 49-year-old
headliner has struggled with his straitjacket act before. He
suffered a shoulder injury while performing a similar routine
above Times Square in New York in October 2013. Angel underwent
surgery the following January to repair torn muscles in that
shoulder, forcing a 10-week hiatus of his stage show, at the
time named Believe.
Angel prides himself on his fitness, work ethic and durability.
Before he was sidelined with his shoulder injury, he had
performed more than 2,100 shows over five years without
canceling a performance.
{ SOURCE: Criss Angel, LVRJ }
Sép7imo Día No Descansaré Album Now Available!
{Mar.13.2017}
-------------------------------------------------------
On March 10, 2017, Columbia Records and Sony Music Entertainment
in Argentina released a 21 track companion CD to Cirque du
Soleils new Soda Stereo spectacular: Sép7imo Día No
Descansaré, which you can purchase on Amazon in three formats:
MP3 ($13.99), Audio CD ($16.23), and on Vinyl ($77.60):
01: En el Séptimo Día........... [3:04]
02: Cae el Sol / Planta......... [5:20]
03: Picnic en el 4to B /
Te Hacen Falta Vitaminas /
Mi Novia Tiene Bíceps....... [6:22]
04: Ella Usó, Un Misil.......... [1:29]
05: Prófugos.................... [4:25]
06: En Remolinos................ [5:00]
07: Planeador................... [2:24]
08: Persiana Americana.......... [3:34]
09: Signos...................... [4:40]
10: Un Millón de Años Luz....... [4:17]
11: Intro Luna Roja............. [2:03]
12: Luna Roja................... [2:37]
13: Crema de Estrellas.......... [1:19]
14: Cuando Pase el Temblor...... [3:48]
15: Hombre al Agua.............. [5:53]
16: Sueles Dejarme Solo......... [0:59]
17: En la Ciudad de la Furia.... [5:21]
18: Efecto Doppler.............. [1:16]
19: Primavera 0................. [4:54]
20: De Música Ligera............ [5:49]
21: Terapia de Amor Intensiva... [3:34]
TOTAL RUN TIME: 1:18:08
Purchase the album here:
https://www.amazon.com/SEP7IMO-DIA-Soda-Stereo/dp/B06XDTZ2P2/
{ SOURCE: Amazon }
45 Degrees Presents: STONE, 3rd Homage Show
{Mar.14.2017}
-------------------------------------------------------
45 Degrees presents the official poster and the title of the
second performance of Cirque du Soleils Homage Series series
STONE this year a tribute to Luc Plamondon, a French
Canadian lyricist who has written for many artists, notably the
Québécois singers Bruno Pelletier, Diane Dufresne, Robert
Charlebois, Céline Dion, Ginette Reno, Fabienne Thibeault,
Martine St. Clair, and Garou, as well as the French singers
Julien Clerc, Nicole Croisille and Johnny Hallyday. He is the
co-author of a number of musicals. The two most successful are
Starmania (music composed by Michel Berger) and Notre-Dame de
Paris (music composed by Riccardo Cocciante).
CHECK OUT THE POSTER HER:
< http://www.cirquefascination.com/?p=9857 >
Taking place in the heart of a baroque punk-rock opera universe,
in an abandoned parc Belmont background-feel, an Amadeus
lookalike and eccentric maestro is hypnotized by a voiceless
automaton muse, Lolita, in whom he envisions the incarnation of
the perfect voice, the one which will give a heart and soul to
his music. As a post-modern queen of this strange park inhabited
by timeless and playful characters, this human spirit, captive
of her automaton body, will be humanized through musical
tableaux fed by multiple contemporary feminine voices,
culminating in the unmasking of her own voice.
Creative team:
o) Daniel Fortin Executive Director, Creation
o) Jean-Guy Legault Director
o) Jean-Phi Goncalves Musical director and arrangements
STONE, imagined by Cirque du Soleil will be presented at
Amphithéâtre Cogeco in Trois-Rivieres, QC from July 19, 2017
through August 19, 2017. Tickets from $49 are now available at
www.amphitheatrecogeco and at the ticket office of the J.-
Antonio-Thompson Hall at 819 -380-9797 or 1-866-416-9797.
Valle joins Cirque du Soleil as VP of Sales
{Mar.15.2017}
-------------------------------------------------------
Starting April 4, Valle will be the VP of sales for Cirque du
Soleil based out of Las Vegas. Hell oversee sales for Cirques
resident shows in Las Vegas and Orlando.
Cirque du Soleil is a best in class worldwide brand that
continues to grow and expand. I look forward to learning,
partnering and contributing with their talented team, he tells
Media Moves. Ive also always wanted to learn how to do a
standing backflip safely, he jokes.
Valle previously spent five years at Univision, joining the
company in 2011 as VP and GM of Univision Radio in Los Angeles,
promoted to President of the division soon after. After an
internal restructuring, Valle was reassigned in 2015 to a new
role as President of Political & Advocacy Sales, quietly exiting
Univision last year.
Before Univision Radio, Valle spent two years as President and
GM of KVEA Telemundo 52, overseeing operations for KWHY-22. From
2002 to 2008 he was VP and GM of Telemundo 39 in Dallas.
I was blessed to spend decades in Spanish-language media, he
says. The best part is that I was able to work with and learn
from talented, devoted and caring people that I now consider my
extended family.
{ SOURCE: Media Moves | https://goo.gl/eEdggB }
45 DEGREES Presents REFLEKT in Astana!
{Mar.17.2017}
-------------------------------------------------------
We have prepared a big show especially for EXPO 2017. It is a
combination of classical circus and incredible acrobatic feats.
The performance will be an emotional journey for the spectators,
which they will remember for a long time, said show director
Fernand Rainville.
o) TEASER VIDEO: < https://goo.gl/gOkV8j >
o) POISTER: < http://www.cirquefascination.com/?p=9904 >
o) STAGE VIDEO: < https://vimeo.com/211300987 >
The special performance of Cirque du Soleil will be presented
from June 16 through September 10, 2017 at EXPO 2017. Overall,
there will be 71 performances. The performance was inspired by
the main theme of the International Specialized Exhibition
Future Energy and the rich cultural heritage of Kazakhstan.
Through the main character of the show, Arman, an archaeologist
and hopeful dreamer, the spectators will discover the seven
elements: Joy, Success, Wisdom, Well-being, Speed, Height and
Growth, and Divine Protection.
The music, especially composed for this performance, will
reflect the journey across a fantastic world where the past
meets the present, together producing a bright future.
The stage will be decorated with elements of the city of the
future and the architecture of the past. Ritual dances and
modern choreography will be combined with one another.
Fascinating video projections, laser installations and light
graphics will bring landscapes to life. The performance will be
highly informative for the spectators, who by the end will
return home with a message of how human energy and power can be
used to create a sustainable future.
{ SOURCE: 45 Degrees ]
LV Golden Knights & Cirque Enter Partnership
{Mar.23.2017}
-------------------------------------------------------
Vegas Golden Knights President Kerry Bubolz announced today,
March 23, that the team has signed a multi-year partnership with
Cirque du Soleil. The partnership will run for three seasons,
beginning with the teams inaugural 2017-2018 season.
Cirque du Soleil is an iconic, worldwide entertainment brand
and we are thrilled to partner with them in this capacity, said
Vegas Golden Knights Vice President of Global Partnerships
Michael Mungiello. Cirque du Soleil has had a significant
presence in Las Vegas since 1992 and continues to be one of the
most popular entertainment options in town. We are always
looking for creative ways to enhance the overall fan experience
at our home games and this partnership certainly helps advance
that objective.
Lou DAngeli, VP of Marketing and PR for Cirque du Soleils
Resident Shows Division, said, We are very excited to be
working with the Vegas Golden Knights and to welcome the NHL to
Las Vegas. Cirque du Soleil has been a leader in Las Vegas live
entertainment landscape for nearly three decades, and this
partnership will go hand-in-hand with what we do best, providing
world-class entertainment that is appealing to diverse
audiences.
Under the agreement, Cirque du Soleil becomes a strategic
entertainment partner of the Vegas Golden Knights. The multi-
year partnership extends through June 2020 and provides Cirque
du Soleil with in-bowl branding elements throughout T-Mobile
Arena, including dasher board signage, LED ribbon board
exposure, digital presence on the VegasGoldenKnights.com
homepage and mobile app and various in game features.
Additionally, Cirque du Soleil will have four title game nights
each season, as four select Golden Knights home games will be
designated Cirque du Soleil nights. During these game nights,
Cirque du Soleil will have LED mesh exposure on the front of T-
Mobile Arena, provide intermission entertainment and be involved
in a variety of game presentation elements.
As a result of the partnership, Golden Knights fans can also
expect to see Cirque du Soleil talent perform throughout the
year at games and special events.
{ SOURCE: NHL | https://goo.gl/qQKDo5 }
All You Need is Love and Teamwork
{Mar.27.2017}
-------------------------------------------------------
Sometimes all you need is a Beatles tune to turn your day
around. But pair 120 of the Fab Fours songs with the
breathtaking tumbles and turns of 68 performance artists donning
5,800 costume pieces and youve got the recipe that has been
delighting Las Vegas audiences for over a decade. So when Dr.
Nancy Berk got the opportunity to sneak behind the scenes of The
Beatles LOVE by Cirque du Soleil, she jumped (but not quite as
high as the professionals). Then she did a little twist and
shout of her own as she headed to Sin City. There Ms. Berk
caught up with Melanie Lalande, artistic director of Cirque du
Soleils Beatles LOVE. Lalande oversees stage management,
coaching, performance medicine and wardrobe.
Pretty much anything artistically that touches the show is what
Im working with, explains the director who has a dance
background and the calm demeanor of someone who has everything
under control. Not only is she up to the complicated task, she
loves being in the middle of it all.
You know, I love performers. I love their energy. I think that
they kind of dedicate their lives to being in front of you guys
and taking you away for 90 minutes. And they do it twice a day
every day. So I think thats an interesting way to spend your
life and I want to be part of that.
What is one thing that would surprise audiences about The
Beatles LOVE rehearsals?
I think that it is fascinating that everything you can do on
the stage, I can do off the stage in the training room, Lalande
says. That is how the training room is set up. So while you see
the artists out her [on the main stage rehearsing], theyre also
backstage training for it all. So their work ethic is awesome. I
mean clearly to get here it has to be, but the facility is set
up for that to happen as well. Its pretty impressive.
A recent refresh of the show meant adding new music and
details. And with that, came a visit and applause from former
Beatles members Sir Paul McCartney and Ringo Starr.
We really tried, especially with the refreshwe tried even more
to sort of bring you into the world of the Beatles, Lalande
says. We really wanted to
make it an immersive experience for
you, and give you that feeling like you were going on the
journey with them.
The result is a mesmerizing show that touches all of the senses.
From sound and color, to astounding acrobatics and beautiful
memory-elicitation, The Beatles LOVE is a magical mystery tour
that takes audiences into a world of timeless music, revisiting
the classics while carving out a spectacular new experience.
Leave it to the Beatles to rock our world again. What was it
like for Lalande to be on the receiving end of the Beatles seal
of approval?
Its really an awesome responsibility and I dont take it
lightly, she says. So I know in my eye and what I am
witnessing sort of has a critical presence for continuing their
work in the world.
The Beatles LOVE, like so many Cirque du Soleil shows, is the
perfect example of teamwork in action. Everyone has to literally
have everyone elses back in order to make the magic happen. Is
there a life lesson Lalande thinks we can take from the show and
that experience?
Thats a beautiful question, says the artistic director. I
think that there are many life lessons that you can take from
this. But one of the best ones is to trust the moment. And I
think thats what theyre developingthese artists and this
audience. Theyre trusting the moment together, and thats why I
feel you are so deeply touched by the show.
Open rehearsals are fascinating, but it is the live performance
that will make your head spin in the most amazing way. Fans exit
the show with beautiful songs on their minds and streamers and
pieces of confetti still in their hair (The Beatles LOVE uses 65
pounds of confetti each week.). Some tuck the paper into their
pockets tiny reminders of the moment they dove into an
Octopuss Garden and realized that Strawberry Fields really were
forever.
{ SOURCE: Parade | https://goo.gl/iEByQm }
JUST Water Partners with Cirque du Soleil
{Mar.29.2017}
-------------------------------------------------------
JUST water, the ethically sourced spring water in a paper
bottle, has joined the circus well, sort of. Cirque du Soleil,
one of the largest theatrical productions in the world,
partnered with JUST to offer the 100% spring water at its North
American Big Top touring shows for 2017. JUST water results in
74% less carbon emissions than traditional plastic bottles.
JUST water is 100% spring water, responsibly sourced, produced
and packaged for improved environmental and social impact. The
JUST water bottle is made from 82% renewable resources by using
plant-based plastic derived from sugarcane and FSC-certified
paper. The JUST water bottle creates up to 74% less greenhouse
gas emissions than PET plastic bottles.
JUSTs 100% spring water is from the Glens Falls watershed in
Upstate New York where water is abundant. An ethical trade
revenue partnership with the city of Glens Falls is revitalizing
the local community by paying six times the municipal rate for
responsible sourcing of less than 3% of its excess water. This
appreciable revenue over time helps to upgrade aging water
infrastructure, while the business model itself is restoring
industry, providing jobs and protecting the watershed.
JUST water and Cirque du Soleil share a passion for innovating
and doing things better. In 2006, Cirque du Soleil exemplified
its commitment to the environment by adopting a proactive
sustainability policy throughout the entire organization. JUST
water is a perfect supplier for Cirque because we are both
visionary, mission-driven companies charting new territory,
said JUST water co-founder Drew FitzGerald. People go to Cirque
du Soleil to see things out of the ordinary and we want to
provide a bottled water option that lives up to that
expectation.
Since its launch more than 32 years ago, Cirque has delighted
more than 180 million spectators across six continents. JUST
water initially partnered up with Cirque in 2016 for their
LUZIA and KURIOS Cabinet of Curiosities shows in Montreal and
Boston, respectively.
In 2017, JUST water will be sold at the majority of the Cirque
du Soleil Big Top touring shows across North American locations.
About JUST water - JUST delivers everyday products that are
responsibly sourced and made for improved environmental and
social impact. A diverse group of impact investors, artists, and
members of the science and innovation community came together to
form JUST and support the launch of its first product, JUST
water. JUST water is 100% spring water ethically sourced from
Upstate New York, where water is abundant. The JUST water bottle
offers a 74% reduction in CO2 emissions compared to traditional
plastic bottles. For more information, please visit
www.justwater.com.
{ SOURCE: BevNet | https://goo.gl/5N7Vxw }
---------------------------------------------------
Q&A - Quick Chats & Press Interviews
---------------------------------------------------
Michel Laprise on Soda Stereo Show Premiere
{Mar.03.2017}
-------------------------------------------------------
The Cirque du Soleil spectacular Sép7imo Día: No Descansaré
premieres March 9 at Buenos Aires Luna Park stadium. Its a
huge show: after Sép7imo Día completes a three-month run of
5,000-capacity performances in Soda Stereos home town, a fleet
of 20 trucks will carry the technical equipment for the tribute
to the transcendent Argentine rock band which includes a
custom crafted stage through Latin America. Five hundred
thousand tickets have already been sold (fans bought 50,000 on
the first day of sales in August.) More than 25 of the Buenos
Aires dates are sold out.
Cirque has just announced shows in three Mexican cities late
2017. And U.S. shows have not been confirmed, but are expected.
True to the new acrobatic extravaganzas rock roots, the ticket
offerings include standing room on the floor the first time in
the history of Cirque du Soleil that part of the audience will
be standing, and even at times mixing with with the performing
artists.
Soda Stereo was known for loud music, says Sép7imo Día
director and writer Michel Laprise. And it has to be loud.
The shows soundtrack of Soda songs was produced and remixed
from original masters by band members Charly Alberti and Zeta
Bosio. Soda frontman Gustavo Cerati, a legend throughout Latin
America, passed away in 2014.
I never met Gustavo Cerati but I think of him everyday,
Laprise, a Cirque veteran who also designed Madonnas MDNA tour,
said during a recent phone conversation from Buenos Aires.
Laprise talked to Billboard about creating a show inspired by
the recollections of those who witnessed the bands rise in the
1980s and by input from the trios subsequent generations of
fans. While he refers to Sép7imo Día as a surprise party that
will remain a secret until next week, he revealed some details
about the event thats incredibly anticipated in Buenos Aires
and beyond.
Q. What people will the audience see when the lights go up in
Buenos Aires on March 9?
Soda Stereos songs are very metaphorical. Youre not going to
see a documentary on stage about Soda Stereo: we invented a
complete world based on the songs. The prologue goes back in
time, but then we go to 2007. We pick up the journey of Soda
Stereo where it stopped in 2007, and then we continue. Its a
show thats based on the musical exploration of relationships,
the relationships that people have with music and the band. We
want to create a collective hallucination thats visual and also
vibrational. To me the relationship with music is so important
and I am obsessed with it in this show. The visual part has to
feel like music. At this point, its still like a big surprise
party for our friends.
Q. You are a Cirque du Soleil veteran and youve worked with
Madonna. But you are not a rock en español fanatic and you
werent familiar with Soda Stereo before signing on to direct
this show. What was your approach?
Within days of starting the project, the first thing I wanted to
do was to go to Buenos Aires. I wanted to see where they grew up
and where they performed. I was asking people in the streets,
taxi drivers, everyone, about Soda Stereo. And people were
saying, Sodas music is the soundtrack of my life. The
relationship people have with their music is very deep and very
emotional. And that really helped me give me the essence of this
project. Very often, you have such a deep relationship with
music when you are around 16 or 17. There is that moment when
you realize that things go wrong in a society and you want to
change the world. Rock was and is feared by the political
system; its the music of progress and change, and a lot of joy.
Soda Stereo arrived right after the dictatorship [in Argentina].
They were on the cusp of the wave of self-expression, of
freedom. There could not be better timing for this than now.
Q. How is that essence of the music expressed on stage?
The presence of acrobats on stage is stronger than any other
art. You take risk. There is an element of concentration and
also your relationship to the environment is very special. Its
a perfect match with the music. Its a show about music. We are
doing it at night, and its so loud. Weve never had such a
strong sound. Usually when we do a show we have neighbors around
the tent so we cant push so hard. And in Vegas, older people,
so no. But Soda Stereo was known for loud music. And it has to
be loud. We have the quality of when you record in the studio
but the feeling of live music. It was a lot, a lot of work for
[Soda members] Charly and Zeta, and Im so proud of the sound
that they created. It feels like a live show, but polished like
in a studio. Im very proud of the sound; its very strong, its
very physical.
Q. Soda Stereos fans also influenced the making of Sep7imo Día.
How did that work?
It was very important that we be humble about the fact that when
we started this we were not experts. It was important for the
show to connect with the fans. We started Facebook Live sessions
every month. There were 7-8,000 joining at first; then we had
80,000 people in one session. We met with the fans through the
whole creation process. We opened the door of the [Cirque]
creation room for the first time ever. They were so involved.
Some people made a painting and sent it to me, they did photos,
they wrote poems. What people were sending about their wishes or
feelings allowed me to take the pulse of the band. I showed the
results to the creation team and they said, this is the show
were making. This was not a marketing thing, it was about the
creation of the project.
Q. Gustavo Cerati died in 2014. In a symbolic way, this show
marks his return to the public. How would you say he is
present in the production?
I never met Gustavo Cerati, but I think of him every day. I think
his spirit is there. Its not like a tribute, but at the same
time I did not ignore [his death]. I really embraced the fact
that hes not there. At times in the show we acknowledge that
hes not there. But the great thing about artists is that they
are eternal. And this show is about that too music is eternal.
And music is a very powerful thing. Everyone is working very
hard, harder than usual. I dont think [with Cirque] weve
worked this intensely before. But people have been waiting ten
years for something from Soda, so we have to make it work.
{ SOURCE: Billboard | https://goo.gl/oTy2kR }
Fabrice Lemire on Working with James Cameron
{Mar.10.2017}
-------------------------------------------------------
Thirty-three years after its start in Montreal, it is now a new
normal to see the colorfully acrobatic, atmospheric Cirque du
Soleil and its multitude of themed productions. They occur so
often, you can throw a rock and hit one. The plan, then, is to
make them unique, with potential new partnerships like in the
case of Toruk: The First Flight, which is based on the
James Cameron film Avatar.
Along with Toruk being the first time that a Cirque show is
inspired by a movie, it is also the first time that the troupe
has followed a narrative storyline with speaking parts for its
main characters. Paris-born Cirque Artistic Director Fabrice
Lemire worked directly with Cameron and his Lightstorm
production company to bring the blue Navi world to life on the
stage.
Q. Who comes up with the names for Cirque shows and must they
always top the flourishing grandeur of the last big show?
We do have a fine marketing department who, when a subject comes
to the table, must find a great name. There was a lot of
development here. We are not doing stage work that comes
directly from Avatar so we cant use that. We are however
inspired by, so that we can say. The Toruk is that large
flying character that we see in the film. The main character
bonded with one of those creatures, as did five other Navis. We
are concentrating on the first one that a Navi could mount.
Q. This is the first time Cirque du Soleil has ever constructed
or followed a distinct narrative. What specifically is that
narrative?
It is the first time that we have collaborated with such ...
organizations as Camerons, so with that, we could develop a new
form of creativity, an opportunity for the company to fully
design a concept rather than leave so much space for the
audience to fill in the blanks. Usually an acrobatic fete drives
the story supports an emotion. Now they support the narration,
as does the projections which makes the whole show feel like a
film. Why not explore a new direction with a partner such as
Cameron? Especially since there are messages regarding
acceptance, respect and diversity to not fear the unknown.
Q. What big adjustments did you have to make to your artistic
direction given this is the first time youve been inspired
by a film?
Thirty years ago we came to the scene as something different and
innovative a circus without animals, a showcase of emotion and
movement. We are still active and present and have a chance to
reconnect ourselves with new technology and continued
innovation. On the creative side of things, you have to renew
yourself reinvigorate the vision. James Cameron allowed us to
open up new aesthetic horizons. More so than ever, lighting and
projections drive this show.
Q. Why did Cirque du Soleil pick Avatar? How does James
Camerons vision fit with that of your company?
About eight years ago, Cirque co-founder Guy Laliberte met
Cameron at a party, where he said he was very inspired by our
work for his films. The subject of collaboration came up. Now,
here we are. He is currently developing three orfour prequels
and sequels to his Avatar vision, so the timing was perfect.
We have to understand the territory we are dancing on, while
staying in alignment with his vision. We picked on him because
his message resonated with us protecting the earth, tolerance
and caring for each other. As we see and hear the news, these
issues are crucial for us to move mountains together.
{ SOURCE: Metro US | https://goo.gl/acXa2F }
Aussie Laura Kmetko Still Leaping For Joy
{Mar.11.2017}
-------------------------------------------------------
The flags of 18 countries fly outside the swirling blue and
yellow Kooza bigtop at Flemington racecourse, one for every
nationality represented in Cirque du Soleils cast.
The Australian flag waves proudly among them thanks to the one
and only local performer in the troupe, teeterboard flyer Laura
Kmetko. Melbourne born and bred, Kmetko is enjoying a rare
experience for a touring circus performer: a stint working in
her home town.
I love being back in Melbourne, she said. Its great seeing
family and going to my favourite places to eat.
Theres little time to play tour guide for her coworkers,
however. The cast maintains a gruelling training regime around
its performing schedule, which can take in up to ten
performances a week.
You have to be very passionate about what youre doing, Kmetko
said. Its a lot of long hours.
I come into the tent at lunchtime every single day; I like to
eat here and get ready for my training sessions. We have a team
that trains together twice a week for about two hours. And on
top of that, Pilates sessions [and] boxing for cardio.
I like to do my own training in aerial silks and handstand
contortion and keep up my other disciplines, so Im basically
training in my own hours.
As a teeterboard flyer, Kmetko performs some incredible aerial
acrobatics. At one point she is launched into the air, flips and
then lands in the splits, caught by two men who are themselves
standing on the shoulders of two others. Its an impressive
feat, one made possible through a lifetime of dedication and
training.
I started in ballet when I was six years old and I did
gymnastics from eight to 18, she said, I did elite gymnastics
with the Victoria Institute of Sport and I did circus arts for
three years at the National Institute of Circus Arts in Prahran
as well.
Everything Ive learnt along the way from ballet to
choreography, to the artistic side, the expressive side of
circus has built to this point.
As spectacular as the show is, day-to-day life is far from
glamourous. Cast and crew spend most of their time in a
sprawling tent village made up of training facilities, gym
equipment, office space and a dining hall, all of which have
sprung up out of the dozens of empty shipping containers that
litter the site.
Running away to join the circus may sound romantic, but the
intensity of training, performing and living out of a suitcase
can take its toll.
Of course it can be exhausting, says Kmetko. But thats what
it takes to do what you love. When you wake up every morning and
think this is incredible, I get to go and do two circus shows
today, thats my job
its awesome.
{ SOURCE: Sydney Morning Herald | https://goo.gl/sVlLgE }
Meet Paul Butler, Koozas Drummer
{Mar.17.2017}
-------------------------------------------------------
All Paul Butler wanted to be while growing up in Adelaide was a
rock star. Now he travels the world living another dream
playing drums for Cirque du Soleil.
When I was in high school my teacher suggested I broaden my
horizons, Butler said. He got me into studying percussion,
which took me to studying classical percussion at university and
was a big step in making me a more diverse player and thinking
outside the box. The percussion department was right next to the
jazz department, so I spent my time between the classical
percussion course and hanging out with the jazz guys and playing
with them whenever I could, and then doing pop gigs on the side.
In a town like Adelaide, if you pigeonhole yourself into one
thing you might not get enough work. Being able to say yes when
the phone rang to one thing led to another and another.
Butler said he saw three options when pursuing a full-time job
in his field joining an orchestra, touring in a music theatre
production (he worked on The Sound of Music) or joining Cirque
du Soleil. A trip to Las Vegas five years ago put him in contact
with the percussionist on Cirque du Soleil resident show O and
he was hooked. Fate stepped in shortly after when a
percussionist friend on Cirque production Corteo contacted
Butler to say he was moving across to another Cirque show,
Kooza.
Butler auditioned and not only replaced him in Corteo but
continued to follow in his footsteps by recently joining the
cast of the high-energy Kooza during the Australian tour. Like
most Cirque shows, Kooza has a world music influence, he said.
There are some Indian rhythms and then pop and funk music as
well, so its a great mix and fun to play.
Butler, who performs a drum solo during the second act, said he
loved his birds eye view from the bands position at the top of
Koozas travelling tower called the Bataclan. Were at the
level where the performers are when theyre flying up in the
air, he said. Its crazy to think Im in my comfort zone on
the same level while theyre up there.
Butler said his fellow cirque performers had inspired him to try
the odd circus skill, but when handstand practice started to
hurt his hand he decided to protect his livelihood. Instead he
works on how to speak the various languages spoken by his cast
mates. I learn how to order a beer and ask where the bathroom
is, he said.
{ SOURCE: Tanya MacNaughton | https://goo.gl/6MBi5T }
---------------------------------------------------
CirqueTech -- The Technical Side of Cirque
---------------------------------------------------
Underwater magic: Hidden tech behind Cirques O
{Mar.16.2017}
-------------------------------------------------------
Theres something eerie about seeing 1.5 million gallons of
water up close.
Im standing in the dark 17 feet underground pressed up
against a massive tank while swimmers and divers glide in and
out of view.
Down here, I feel a long way from the noisy Las Vegas strip.
This tank is arguably one of the most famous attractions in
Vegas. Ten times a week for the last 18 years, swimmers,
acrobats, high divers and contortionists have been diving into
this water and skating across its surface as part of Cirque du
Soleils water-themed show, O.
As a mad theatre nerd, this show is my Xanadu (the place, not
the theatrical production). But going behind the scenes I could
see just how much work and technological wizardry goes into
putting this show on every night. From the hydraulic stage that
drops away to reveal a 17-foot deep pool to the countless set
pieces that move around high above stage, all automated to
within a fraction of a second, O is a technical marvel.
DISAPPEARING ACT
Before O opened to the public in October 1998, Cirque du
Soleil was already well known for its epic productions and
unique staging. But the construction of the Bellagio casino in
Las Vegas in the late 90s presented a new opportunity: a
custom-built theatre and a blank slate.
So what do you do when you build in Vegas? You start with a
pool, of course. And if youre going to do a water show, why not
do it with a 1.5 million gallon tank?
Even with all this water O takes its name from the French
word for water, eau Cirque still needed a stage. But unless
Cirque wanted to build a pirate ship (and Vegas already had
plenty of steamy, pirate-themed shows of varying quality), it
needed something better than wood.
The O stage is made of Mondo flooring (the kind you find at
track meets) and is actually separated into four parts, each set
atop four massive scissor lifts. The lifts can quickly and
smoothly drop from inches above water to the bottom of the pool
17 feet below, deep enough for a high diver to jump in from 60
feet in the air.
In the bowels of the theatre, it all seems so effortless as this
hulking stage slips down into the pool, water passing through
thousands of holes drilled across the surface.
Sitting in the audience, the effect is mesmerizing: Clowns walk
on solid ground one minute, and the next, an acrobat is
seemingly walking on water or a high diver is disappearing into
the blue.
While a dive from 60 feet is death defying enough, its hard to
imagine how Cirque could have created any more challenges with
the staging of the show.
But backstage, safety is everywhere you look. You can even hear
it, underneath the theatre on the dry side of the tank a
beeping sound, like sonar, that signals the stage is moving and
warns stray divers to get out of the pool. With 18 years under
its belt, its clear that Cirque leaves nothing to chance.
BENEATH THE SURFACE
Watching the O team in action is a theatre buffs dream.
Techies harnessed 110 feet above the stage rig high wires and
set up ladders for high divers. Swimmers flit backstage to make
their next cue. Safety divers wait in the pool behind the
curtains, looking like stagehands but in scuba gear.
The cast and crew numbers are huge. There are 75 performers and
another 122 technicians who work behind the scenes. Every person
in the crew (except the 27-person team in wardrobe) is a
certified scuba diver.
Fourteen of the divers stay in the water during the entire show,
doing normal backstage duties like moving props and keeping
performers alive.
If youve seen O, youll remember the bevy of synchronized
swimmers who open the show, performing an intricate and
perfectly timed routine using nothing but their feet to dip in
and out of the water.
These swimmers spend roughly 90 seconds underwater, but even the
Olympic swimmers in the cast cant stay under for that long. So
the divers are on hand in the pool with a massive labyrinth of
air hoses and regulators for each performer, keeping them
breathing safely underwater and maintaining the illusion on the
surface.
The music from the shows live 10-piece band plays through
underwater speakers so performers can keep time underwater,
while two of the divers also wear full face masks so they can
maintain constant communication with the lighting booth at the
very top of the theatre.
As a result, the performers above and below the water are in
perfect unison, while the divers can talk from inside the pool
with the techies sitting in the rafters.
You wont find that in Hamilton.
TOTAL CONTROL
Going behind the scenes, you get a sense of just how many moving
parts there are in O. With 75 performers hanging from aerial
hoops, swinging metal frames and giant carousel horses, Cirque
has its hands full with staging, cues and technical
requirements.
Add in the fact that performers have come and gone during the
18-year run and that each new performer needs to slot into the
show without skipping a beat, it makes sense for every element
of this complicated performance to be automated.
The entire show is run through two automation consoles in the
lighting booth that control virtually every element of the
production apart from the performers themselves.
The moving stage and set, the lighting cues, the rotating
mechanical carousel that supports the aerial performers high
above the stage and the piano that sinks below the water at the
end of the show all these elements are viewed on a series of
screens in the lighting booth.
Combined with cameras that give the crew multiple views of the
backstage areas, the whole setup is kind of like a high-tech
Bond lair, rather than a theatre. Its certainly a long way from
the lighting booth at your local amateur rep.
But wed expect nothing less from one of the biggest touring
production companies in the world.
I remember watching O many years ago on my first trip to
Vegas. Even in the good seats that I somehow snagged up front,
none of the hard work behind the show was visible. I didnt see
the crew watching over the high divers from 110 feet. I didnt
see the safety divers on standby to give a breath of air
underwater. I didnt see the giant automated carousel that
spirited carousel horses in from above, or the wardrobe team
busy at work deep under the stage, getting the performers ready
for the show.
All I saw were perfectly synchronized feet flitting around above
the water. But thats the perfect magic trick: a touch of
misdirection and an effortless reveal, all hiding the hard work
going on behind the scenes.
{ SOURCE: C-NET | https://goo.gl/q5ljnS }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia, Totem & Volta}
o) ARENA - In Stadium-like venues
{Varekai, TORUK, OVO & Séptimo Día}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
MJ ONE, JOYÀ & Paramour}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Amaluna:
Vienna, AT -- Mar 9, 2017 to Apr 17, 2017
Rome, IT -- Apr 30, 2017 to May 28, 2017
Sao Paulo, BR -- Early Oct to End Dec, 2017
Rio de Janeiro, BR -- Early 2018
Koozå:
Perth, AU -- Apr 13, 2017 to May 28, 2017
Singapore, SG -- Jun 12, 2017 to Aug 13, 2017
Shanghai, CN -- Oct 1, 2017 to TBA
China City #2 -- TBA
China City #3 -- TBA
China City #4 -- TBA
China City #5 -- TBA
Kurios:
Houston, TX -- Apr 6, 2017 to May 21, 2017
Winnipeg, MB Jun 2, 2017 to Jun 25, 2017
Edmonton, AB -- Jul 20, 2017 to Aug 13, 2017
Portland, OR Aug 25, 2017 to Oct 8, 2017
Vancouver, BC Oct 19, 2017 to Dec 31, 2017
Luzia:
Seattle, WA -- Mar 30, 2017 to May 21, 2017
Denver, CO -- Jun 1, 2017 to Jul 9, 2017
Chicago, IL -- Jul 21, 2017 to Aug 20, 2017
Phoenix, AZ -- Sep 22, 2017 to Oct 22, 2017
Totem:
Sendai, JP - Apr 6, 2017 to May 21, 2017
Sochi, RU -- Jul 1, 2017 to Jul 30, 2017
Brussels, BE -- Aug 31, 2017 to Oct 29, 2017
Madrid, ES -- Nov 10, 2017 to Jan 14, 2018
Seville, ES -- Jan 25, 2018 to Mar 11, 2018
Barcelona, ES -- Mar 23, 2018 to Apr 15, 2018
Munich, DE -- TBA 2018
Port Aventura, ES -- TBA 2018
VOLTA:
Montreal, QC -- Apr 20, 2017 to Jul 2, 2017
Gatineau, QC (Ottawa, ON) -- Aug 3, 2017 to Aug 27, 2017
Toronto, ON -- Sep 7, 2017 to Nov 26, 2017
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Varekai:
Lyon, FR -- Apr 13, 2017 to Apr 16, 2017
Amsterdam, NL -- Apr 20, 2017 to Apr 23, 2017
Bratislava, SK -- Apr 27, 2017 to Apr 30, 2017
Bucharest, RO -- May 3, 2017 to May 7, 2017
Budapest, HU -- May 12, 2017 to May 14, 2017
Prague, CZ -- May 19, 2017 to May 21, 2017
Sofia, BG -- May 26, 2017 to May 28, 2017
Ljubljana, SL -- Jun 2, 2017 to Jun 4, 2017
Vilnius, LT -- Jun 8, 2017 to Jun 10, 2017
Oslo, NO -- Sep 1, 2017 to Sep 3, 2017
Malmo, SE -- Sep 6, 2017 to Sep 10, 2017
Minsk, BY -- Sep 28, 2017 to Oct 1, 2017
Helsinki, FI -- Oct 5, 2017 to Oct 8, 2017
Stockholm, SE -- Oct 11, 2017 to Oct 15, 2017
TORUK - The First Flight:
Taiwan -- Jul 6, 2017 to Jul 18, 2017
Japan -- TBA 2017
Australia -- TBA 2017
New Zealand -- TBA 2017
China -- TBA 2018
OVO:
Corpus Christi, TX -- Mar 29, 2017 to Apr 2, 2017
Oklahoma City, OK -- Apr 6, 2017 to Apr 9, 2017
El Paso, TX -- Apr 12, 2017 to Apr 16, 2017
Tuscon, AZ -- Apr 17, 2017 to Apr 23, 2017
Cincinnati, OH -- May 11, 2017 to May 14, 2017
Columbus, OH -- May 17, 2017 to May 21, 2017
Pittsburgh, PA -- May 24, 2017 to May 28, 2017
Toledo, OH -- May 31, 2017 to Jun 4, 2017
Hamilton, ON -- Jun 7, 2017 to Jun 11, 2017
London, ON -- Jun 14, 2017 to Jun 18, 2017
Uniondale, NY -- Jun 28, 2017 to Jul 2, 2017
Brookyln, NY -- Jul 5, 2017 to Jul 9, 2017
Sunrise, FL -- Jul 13, 2017 to Jul 23, 2017
Miami, FL -- Jul 28, 2017 to Jul 30, 2017
Jacksonville, FL -- Aug 2, 2017 to Aug 6, 2017
Zurich, CH -- Oct 5, 2017 to Oct 8, 2017
Geneva, CH -- Oct 11, 2017 to Oct 15, 2017
Salzburg, AU -- Oct 18, 2017 to Oct 22, 2017
Leipzig, DE -- Oct 25, 2017 to Oct 29, 2017
Hamburg, DE -- Nov 1, 2017 to Nov 5, 2017
Berlin, DE -- Nov 8, 2017 to Nov 12, 2017
Mannheim, DE -- Nov 15, 2017 to Nov 19, 2017
Cologne, DE -- Nov 22, 2017 to Nov 26, 2017
Stuttgart, DE -- Nov 29, 2017 to Dec 3, 2017
Nuremberg, DE -- Dec 6, 2017 to Dec 10, 2017
Munich, DE -- Dec 13, 2017 to Dec 17, 2017
SÉPTIMO DÍA NO DESCANSARÉ:
Buenos Aires, AR -- Mar 9, 2017 to May 14, 2017
Cordoba, AR -- May 25, 2017 to Jun 2, 2017
Lima, PE -- Jun 17, 2017 to Jun 24, 2017
Santiago, CL -- Jul 19, 2017 to Aug 6, 2017
Bogota, CO -- Sep 3, 2017 to Sep 23, 2017
Mexico City, MX -- October 2017
Guadalajara, MX -- November 2017
Monterrey, MX -- December 2017
Select US Cities -- 2018
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
2017 Dark Dates:
o May 6 - 10
o July 12
o September 9 - 13
o November 8
Special Performance Dates:
o Thu, Apr 6, 2017
o Thu, Aug 17, 2017
o Fri, Nov 24, 2017
o Fri, Dec 29, 2017
o Sun, Dec 31, 2017 | 4:30pm & 7:00pm
2017 Single Performance Dates:
o Sun, Apr 02 | 7:00 pm
o Sun, Apr 09 | 7:00 pm
o Sun, Apr 16 | 7:00 pm
o Sat, Jun 17 | 7:00 pm
o Sun, Aug 13 | 7:00 pm
o Sun, Oct 01 | 7:00 pm
o Fri, Oct 20 | 7:00 pm
o Sun, Oct 22 | 7:00 pm
o Fri, Dec 08 | 7:00 pm
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 9:30pm (as of Aug 12, 2015)
2017 Dark Dates:
o April 5 - 9
o June 11
o August 2 - 6
o October 8
o November 29 - December 12
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
*** CLOSING DECEMBER 31, 2017 ***
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Two Shows Nightly - Dark: Wednesday/Thursday
Schedule: 7:00pm & 9:30pm on Friday, Saturday, Monday & Tuesday
4:30pm & 7:00pm on Sunday
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
PARAMOUR:
Location: Lyric Theater, Broadway, New York City
Performs: Wednesday through Monday, Dark: Tuesday
*** CLOSING APRIL 16, 2017 ***
One/Two Shows Daily:
2:00pm (Wednesday)
7:30pm (Thursday & Monday)
8:00pm (Friday)
2:00pm & 8:00pm (Saturday)
2:00pm & 7:00pm (Sunday)
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) WEBSERIES -- Official Online Featurettes
o) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
WEBSERIES: Official Online Featurettes
---------------------------------------------------
*) VOLTA - "FREEDOM MOMENTS"
"Freedom Moments" is a new series about how the artists from
Cirque du Soleil's NEW 2017 Big Top show, VOLTA, found their
free. VOLTA is a story about the FREEDOM to choose and the
thrill of blazing your own trail. Get up close and personal
with VOLTA's artists, discover their "Freedom Moments and
share yours with #FindYourFree!
o) EPISODE 5 - HARRY OWEN - SWISS RINGS
In this episode we met Harry, specialist in Swiss Rings!
Discover why he left the world of the competition to find
his moment of freedom.
LINK /// < https://goo.gl/YOwp1q >
*) LUZIASELF - THE WEBSERIES
LUZIAself is a collection of portraits highlighting the unique
stories, passion and dedication of some LUZIA artists.
o) EPISODE 6: FOOTBALL DANCE
March 1, 2017
In episode 6, LUZIAself with our football player Abou
Traore! Find out his story and how he developed these
acrobatic football skills.
LINK /// < https://youtu.be/cRydVmowUxg >
o) EPISODE 7: THE CLOWN
March 29, 2017
In episode 7, LUZIAself with our favorite clown Eric! Get
to know the man behind that funny character!
LINK /// < https://youtu.be/WUkqrLIhZeE >
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
*) CIRQUECAST
CirqueCast is a Vodcast (thats video podcast) for Cirque fans
by Cirque fans featuring artist interviews, Cirque headlines,
and the inside scoop to your favorite Cirque du Soleil shows!
Join your hosts José Pérez (TheChapiteau), Richard Richasi
Russo (Fascination!), Ian Rents (Hardcore Cirque Fans), and Dario
Shame (a big 'ol fan), as we bring you a behind-the-scenes look
into Cirque du Soleil, complete with discussions and the latest
Cirque news.
o) EPISODE 15 - Jimmy Slonina Interview
March 12, 2017
Jimmy Slonina has performed in 4 different Cirque du Soleil shows,
as well as toured with international pop star P!NK! Watch episode
15 to find out how Jimmy ended up in the circus, and to learn more
about his clown and acting projects!
LINK /// < https://youtu.be/oseEXhmYj9g >
o) EPISODE 16 - Behind the scenes at OVO
April 5, 2017
On this episode of CirqueCast, we bring you a behind-the-scenes
look at OVO! Dario visited the Budweiser Events Center in
Loveland, CO for a backstage tour, and Jose met up with Russian
Cradle artists Camille Santerre and Nansy Damianova at the H-E-B
Center in Cedar Park, TX for an exclusive interview!
LINK /// < https://youtu.be/gs98ZcJp1kU >
*) OTHERS...
o) INTERNATIONAL WOMEN'S DAY BY CIRQUE DU SOLEIL
March 8, 2017
On this International Women's day, we wish to salute the
contribution of women to our success. Here's to celebrating
all the women at Cirque du Soleil worldwide. #HerVoiceIsMyVoice
LINK /// < https://youtu.be/6vaqM5QtVcc >
o) RAISING THE VOLTA BIG TOP
March 10, 2017
Cirque du Soleil's latest Big Top show has a new look! Watch
the VOLTA show's Big Top raise before your very eyes at the
Old Port of Montreal in this step-by-step video of the setup,
along with fun facts.
LINK /// < https://youtu.be/vrp03yMj4Sk >
o) KOOZA 360-DEGREES in MELBOURNE, AUSTRALIA
March 12, 2017
Inside the Kooza bigtop performers talk us through their
acrobatics at Flemington Racecourse in Melbourne, Australia.
LINK /// < https://youtu.be/WoMdJSwhgpo >
o) VAREKAI AERIAL STRAPS ARTIST MAKEUP APPLICATION
March 13, 2017
In this step-by-step makeup application video, watch Cirque
du Soleil aerial straps artists, Kyrylo Liannoi and Dmytro
Lykov, from the show Varekai get transformed into character.
LINK /// < https://youtu.be/OlLLksOHDAk >
o) CIRQUE WORKOUTS - PUSHUP EXERCISE
March 17, 2017
In this video series, Eric Saintonge gives us training tips
to improve our workout sessions. This video focuses on
different types of push-ups. Be careful, before starting
an exercise program that includes any of these exercises.
Please consult your doctor or your personal trainer.
LINK /// < https://youtu.be/G4tW8dvF1GU >
o) VOLTA ARTISTS SEE THEIR NEW HOME
March 23, 2017
Our VOLTA show artists have finally moved to the Big Top
and we followed them around on the first day at their new
home. Watch their reactions! VOLTA makes its World
Premiere at the Old Port of Montreal, Quebec on April
20th, 2017
LINK /// < https://youtu.be/3n0g60g6yuA >
o) PARAMOUR ON BROADWAY's RISE TO FAME
March 25, 2017
Cirque du Soleil has dazzled audiences the world over and
finally came to Broadway with its boldest, most heart-soaring
spectacle ever. PARAMOUR spins the thrilling tale of a
beautiful young actress forced to choose between love and art
in the glamorous world of Golden Age Hollywood. Featuring
eye-popping acrobatics and sumptuous music and dance, PARAMOUR
is a groundbreaking new event that will transport you to a
sublime world of emotion and awe as it walks the exhilarating
tightrope of the heart. COME SEE THE BROADWAY MUSICAL IN NEW
YORK BEFORE ITS GRAND FINALE APRIL 16, 2017.
LINK /// < https://youtu.be/R50SzariCy0 >
o) ONE NIGHT FOR ONE DROP 2017 RECAP
March 29, 2017
In 2017, we celebrated the 5th edition of One Night for One
Drop at the elegant yet intimate Zumanity Theatre at New
York-New York Hotel & Casino in Las Vegas. One Night for One
Drop is an annual philanthropic event in which Cirque du
Soleil cast and crew donate their talent and time to create
a unique and breathtaking production for one night only in
support of One Drop, an international non-profit organization
dedicated to providing access to safe water. This
unforgettable production will benefit those without access
to safe water around the world as well as local projects in
Southern Nevada focusing on innovative educational programs.
Red Carpet Guests: Malevo, Guy Laliberté, Daniel Lamarre,
Grace VanderWaal, Nigel Lythgoe, Marie Osmond, Lisa Loeb,
Carrot Top, Blue Man Group
Performers and Acts: William Shatner, Grace VanderWaal,
Redfoo, The Tenors, Malevo, Duo Sky Angels, Banquine, Dance
Trapeze, Baton, Marionette, Cloud Swing, Pommel Horse,
Teeterboard, Aerial Silks, Moving to Mars
After party performers: Backstreet Boys, Redfoo & The Party
Rock Crew, Sultan & Shepard
LINK /// < https://youtu.be/Cnm9_v4wGQU >
o) MAKING OF "BRAVURIA" - 45 DEGREES IN MUMBAI
Last December, 45 Degrees produced and created two 10 minute
performances presented at an Awards Ceremony in Mumbai, India.
Here's a sneak peek of this amazing experience.
LINK /// < https://youtu.be/4c-qZhaqkMQ >
o) SODA STEREO SEPTIMO DIA WORLD PREMIERE
April 2, 2017
With over 500,000 tickets sold, and more than 25 Buenos Aires
dates sold out, on March 9, 2017, we kicked off the SEP7IMO
DIA NO DESCANSARÉ World Premiere and celebrated the legacy
of Soda Stereo! For the first time in the history of Cirque
du Soleil, ticket offerings include standing room on the
floor.
LINK /// < https://youtu.be/L1rGfja22d4 >
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "SEP7IMO DIANO DESCANSARÉ: Inside the Realm of Soda Stereo"
A Special to the Fascination! Newsletter
o) "We're Off and Running - A Series of Classic Critiques"
Part O: An Introduction"
By: Ricky Russo - Atlanta, Georgia (USA)
o) "A Review of One Night for One Drop 5"
By: Robin Leach, Las Vegas Review-Journal
A Special to the Fascination! Newsletter
o) "Casting Q&A's - Meet a Mentor, Part 2 of 3"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
"SEP7IMO DIANO DESCANSARÉ: Inside the Realm of Soda Stereo"
A Special to the Fascination! Newsletter
------------------------------------------------------------
SEP7IMO DIA NO DESCANSARÉ blends the wonder of Cirque du Soleil with
the explosive pop-rock energy of Soda Stereo Argentinas musical
icons to immerse spectators in the bands symbolism and poetry. Much
of this iconic band (and the show) is lost to most fans of Cirque du
Soleil, and a good portion of people outside of Latin America. We hope
the information below will help bring the world of Soda Stereo, and
that of Sep7imo Dia - No Descansaré, into better light.
THE SODA STEREO ADVENTURE
-------------------------
In a breathtaking display of Cirque du Soleils signature artistry and
physicality, SEP7IMO DIA conjures a world outside of time a place
where emotions ebb and flow like the tide, pulsing to the rhythm of
the bands emblematic songs. A cast of 35 performers take the audience
through a series of visual, acrobatic and artistic tableaux that mix
breathtaking feats of physical prowess with moments of poetic beauty,
using the musical realm of Soda Stereo as a springboard for
exploration.
Set on a strikingly unconventional stage, SEP7IMO DIA is an ode to the
trios fiercely innovative artistic approach and musical legacy. The
show picks up on the wave of euphoria that Soda Stereo unleashed in
Latin America and beyond, and celebrates the iconic bands deep
connection with its fans.
A young man named LAssoiffé, who thirsts for meaning and social
justice and dreams of a better world, feels trapped. When he plugs
into the music of Soda Stereo, he is whisked away to an inner world
and is set free. The music of Soda permeates this inner world,
spawning an entire civilization that resonates to the groups music,
poetry, culture and iconography. The inhabitants of this realm become
the physical embodiments of the music. After experiencing a series of
events and emotions inspired by the lyrics of the songs, LAssoiffé
ultimately realizes that the music we carry in our hearts is as
faithful as a true friendship deep and eternal.
The music of legendary rock group Soda Stereo was and continues to
be the soundtrack of the lives of millions of Latin Americans. The
trio formed in 1982 by Gustavo Cerati, Héctor Zeta Bosio and Charly
Alberti branded into history the sounds of the post-military
dictatorship decade of the 1980s, the golden age of Argentine rock.
Soda Stereos debut was marked by a thirst for change, boldness,
irreverence, and great pop hits with a post-punk energy. The band
established a strong bond with fans and attained nationwide
popularity. Album after album, Soda Stereo continued to reinvent
itself with new sounds and new looks largely inspired by the British
new wave scene, seducing new generations of fans along the way. The
band covered a staggering amount of stylistic ground throughout their
career and had a discography that was on par with their British and
American peers. Soda Stereo soon became the most popular rock band in
Latin America with an influence that extends to nowadays.
But for all Soda Stereos success, after the toll of years of touring,
a last farewell concert tour was announced. Soda Stereo ended at the
pinnacle and thanked its fans with the unforgettable phrase ¡Gracias
totales! After a ten-year hiatus that began in 1997, the band
reunited for a successful tour with more than one million tickets
sold. Unfortunately the euphoria would not last, as the band's
frontman, Gustavo Cerati, died in 2014 after lapsing into a coma...
and it seemed that would be the end of Soda Stereo.
In 2013, Pop Art Music founder Roberto Costa, Pop Art Music CEO Diego
Saenz and Soda Stereo Manager Dany Kon approached Cirque du Soleil to
create a show based on the bands music. SEP7IMO DIA NO DESCANSARÉ
comes to life exactly 10 years after the bands final tour in honor of
Gustavo Cerati.
SET DESIGN - A PLANET INSPIRED
------------------------------
When show director Michel Laprise visited the childhood home of Soda
Stereo frontman Gustavo Cerati and spoke with his mother, he learned
that young Gustavo was an avid fan of science fiction. When he later
told Zeta and Charly about this revelation, they told him that sci-fi
was one of the many passions that united all three of them in the
first place. Inspired by this discovery, Michel imagined an entire
world that thrived on the energy of Soda Stereos music and the deep
connection that existed between the band and its fans.
The SEP7IMO DIA creative team decided to challenge the notion of a
normal stage to express the story of the show, therefore, the idea
of creating a spherical body in the shape of a planet became the core
of the shows set design a first at Cirque du Soleil. Revolving
around this new world that echoes Soda Stereos love for sci-fi, are
satellites that move into the standing room area of the audience to
create a feeling of proximity and total engagement in the constantly
changing multimedia-intensive environment.
In addition to the normal seating in the stadium, an area is reserved
for those SEP7IMO DIA spectators who opt for standing room tickets
so they can move, groove and dance to the music. This configuration is
another way of celebrating the proverbial connection that existed
between Soda Stereo and its fans. (Soda Stereos massive concerts in
their hometown of Buenos Aires were known to have fans jumping up and
down in unison to the beat of the music, sweeping everybody up in what
is now known as the legendary Soda Stereo audience wave. It was
nothing short of exhilarating to watch this movement from the stands
and bleachers.) Spectators in the field also get an up-close look at
some of the action that unfolds right in the audience, such as when
musicians gather round a campfire to play music, or when an acrobat
performs a mesmerizing hand balancing act on top of a huge flower. The
goal is to let the energy flow freely between the artists to the
crowd, and vice versa.
The SEP7IMO DIA set contains acrobatic and décor elements inspired by
Soda Stereos music videos and the lyrics of the songs, which die-hard
fans will recognize.
o) THE WHEELS OF CHILDHOOD The three futuristic looking rings
orbiting the planet are vessels symbolizing each of the band
members boyhood days. These rings are equipped with LED screens
along the outer side that tell the story of the three musicians.
Early in the show, three umbrellas appear at the center of the
large wheels. They are a direct evocation of the three luminous
umbrellas on the Me Veras Volver album cover, which were also the
core set element of the 2007 comeback tour. Through this evocation,
it is implied that SEP7IMO DIA picks up where the band left off in
2007. The Childhood Wheels are more than 4 meters tall while the
Signos Wheels, which are made of aluminum with a steel cradle, are
5 meters tall.
o) THE INNER CORE Using automated systems powered by four motors on
a moving track, the planet also opens up to reveal its inner core.
Artists perform on the circular stage, on the floor among the
audience, and on the flat surface inside the planets core. The
portion of the planet that opens up serves as a giant projection
surface that becomes a sun or a moon depending on the storyline.
o) GIANT MUSHROOMS The vegetation on the Soda Stereo planet, which
feeds on the vibrations of the music, comes in the form of giant
mushrooms. The sculptures are skinned with a translucent drop that
reveals the interior structure; the scrim doubles up as a
projection surface. Translucent atmospheric cloud sculptures above
the stage are also used for projections, combined with a giant,
semicircle scrim.
PROJECTIONS VISUALIZING THE WORLD
-----------------------------------
To echo Soda Stereos perpetual rejection of conformity, no standard
screens are used in the show. All video-projections are delivered on
unconventionally shaped and often whimsical surfaces that meld with
the décor, whether they are circular, curved or translucent. Most
video-projections that evoke the world of SEP7IMO DIA are based on a
pictorial and abstract approach, replete with geometrical shapes and
optical art effects. A great deal of the projected content is
created using simple DIY techniques a style that Soda Stereo was
fond of such as hand-painted images and effects.
(There are 14 high-performance video-projectors in the show delivering
images taken from or inspired by Soda Stereos music videos and photo
archives. A tracking system ensures that the projections move in sync
with the set pieces on stage. The projection rate is 30 frames per
second, and every frame has more than 29 million pixels.)
Cameras are used at certain times during the show to focus the
audiences attention on specific performances or characters. The
footage is integrated stylistically into the décor or projected in
real time on the various projection surfaces to propel the story
along. Some visual effects combine live action on stage with images
done in trompe-loeil. The final scene is a tribute to the fans of
Soda Stereo and features archival footage of fans at concerts over the
years, played back on the screens above the stage. And in a solemn
moment during the PRIMAVERA CERO act, images of fans and of the band
members are projected onto the main character using body mapping
techniques. The montage was created with images that fans uploaded to
the Cirque du Soleil site during the creative process. These images
are full-body photos of the fans themselves.
COSTUMES THE FABRIC OF SEP7IMO DIA
------------------------------------
Soda Stereo was formed during a time of political strife in Argentina,
and the bands music brought freshness and vitality to teenagers, and
appealed to their desire for freedom. Music often nourishes our inner
world a place where we can take refuge and imagine a better world.
For costume designer Dominique Lemieux, the costumes of SEP7IMO DIA
are woven from the threads of hope of this younger generation.
The world of the show is made of the vibrations and sounds that
emanate from the music, like ripples in water, and these vibrations
and sounds have made their way into the shapes and volumes of the
costumes. For example, the characters Soda and Stereo have speakers
jutting out of their stomachs, as if their whole bodies vibrate to the
sound of the music. The colors, patterns and textures of the costumes
seem like natural expressions of the music.
For Dominique, the provocative post-punk fashion styles of the 1980s
are often associated with the notion of disguise. Soda Stereo
established looks and weird new haircuts, drawing their inspiration
from the underground scene in the UK and the rest of Europe. The
costumes of SEP7IMO DIA, including the extravagant headdresses,
reflect these experimental trends with an added elegance that also
borrows from other periods.
The characters from the banquine act are called the Grisailles (Greys)
and represent the younger generation that is taking its rightful place
in society; they all dress the same except for a splash of color that
sets them apart and highlights their uniqueness. The Eccentrics,
including the characters Soda, Stereo and the Sun Lady, have totally
embodied the music of Soda Stereo in the new world; Soda and Stereos
costumes are extravagant and have soundwave patterns, as if they were
the physical incarnation of the music.
Working with [Agostina to specify the name of person], Eugenia
Palafox, Argentinian wigmaker, Dominique Lemieux designed headdresses
using synthetic hair, vinyl and metallic appliqués that either reflect
the post-punk fashion of the 1980s and 1990s or mimic sound
vibrations.
THE CHARACTERS OF SEP7IMO DIA
-----------------------------
LAssoiffé A young man in his late teens, LAssoiffé (French for
Thirsty Man), hungers for meaning and social justice. He dreams of a
better world and longs for love, friendship and a genuine connection
with others. He is an artist and a poet living in a world of
oppression reminiscent of Argentina during the military dictatorship.
He discovers music as a means of escaping the grim realities of life,
but more importantly as a way to connect with others in a meaningful
way. For him, music is a source of light, optimism and hope.
Soda and Stereo These two are inhabitants of the world that
LAssoiffé has escaped to, and are there to guide him along. Soda and
Stereo have speakers jutting out of their stomachs, as if their whole
bodies vibrated to the sounds and music of Soda Stereo ready to be
shared with the world. They embody the feminine and masculine sides of
Soda Stereos music on this world.
Grisailles (Greys) The Grisailles represent the younger generation
resolvedly pushing for change. They are fashion conscious and all
dress the same. But underneath their dark exterior, they each have
their own vibrant colors and bold patterns that reflect their
uniqueness and distinct personalities.
Lois in Space This character is a tribute to Alfredo Lois, an old
classmate of Gustavo and Zeta, who went on to become Soda Stereo's
video director as well as the bands visual and stylistic guru. Lois
Alfredo recorded most of Soda Stereos performances throughout their
careers and chronicled the bands life on and off stage. Lois in Space
has a camera built into his head. He films some of the action on the
SEP7IMO DIA stage, which is then projected overhead in real time.
Shadows of Childhood The three characters called the Shadows of
Childhood represent Charly, Zeta and Gustavo when they were kids and
evoke their eternal youth. They first appear inside the Wheels of
Childhood through archival images depicting their childhood days. The
three wheels follow separate paths until they interconnect as a symbol
of the formation of Soda Stereo. The Shadows of Childhood are
LAssoiffés guardian angels.
Dog Lady This character is inspired by the illustration of a clothed
Doberman that appears in the 1984 Dietetico music video. The Dog
Lady has a Dobermans head and wears a short fur coat and fashionista
sunglasses. As curious as she is nosy, the coquettish and exuberant
Dog Lady knows everything about everybody in the Soda Stereo world.
The Gardener The Gardener is a wacky character who goes around with
a watering can in his hand and has a mushroom sprouting from the top
of his head. He presides over all plant life, which feed on the energy
of the music. Instead of planting seeds, he sows vibrations and good
intentions in the world of SEP7IMO DIA.
Coeur Brisé A throwback to pre-democracy Argentina, this character
embodies the nostalgia and loneliness of youth overdosing on
television to escape reality. He carries on his shoulders all the
sadness of freedom lost, of friendships that will never be. Corazón
Rotos encounter with the Dog Lady will make his sadness literally fly
away.
Femme Solaire This archetypal character is the ultimate femme fatale
beauty incarnate. She is connected to the music and brings light
into the world of SEP7IMO DIA. LAssoiffé, who has fallen passionately
in love with the Femme Solaire, is transfixed by charm, pureness and
integrity.
SEP7IMO DIA, SCENE BY SCENE
---------------------------
PROLOGUE
In a nod to the invisible triangle that Gustavo, Zeta and Charly
formed on stage in which no one could penetrate, the spectators are
symbolically invited within Soda Stereos inner circle, at the heart
of the action, when the sacred triangle opens up to embrace the
audience.
OPENING CELEBRATION
With video-projections evoking the explosive energy this act features
a fast-paced, vitamin-laced rope skipping number with an upbeat 1980s
rock n roll attitude. Sometimes the skippers ropes turn
blisteringly fast; at other times, they just seem to float or undulate
in the air like sound waves.
PROFUGOS
This aerial revolver and missile number evokes passionate love and
expresses the moment when a relationship spirals out of control.
Borrowing from the discipline of aerial hoops and fixed trapeze, two
fugitives spin on two three-meter-long revolvers. They then move
into a single missile-shaped apparatus where they intertwine their
bodies and spin in a vertical dance of unusual movements and lifts.
EN REMOLINOS
This act is based on the paradox between the fragility of a flower and
the strength of the metal of which this giant specimen is made. A
flower four meters in height made entirely of metal yet surprisingly
fragile makes its way into the audience and opens its majestic petals
to reveal an artist who performs a graceful hand balancing act on the
pistils of the flower. In all her powerful energy, the beautiful
temptress and her flower symbolize the driving force of rock and the
fire of love.
SOBREDOSIS DE TV
This act is an evocation of the overdose of information resulting from
the proliferation of TV channels and series during the 1980s. The
character Corazón Roto, who evokes the nostalgia of pre-democracy
Argentina, loses his sense of identity in a maelstrom of camera
effects that recall the Orwellian slogan Big Brother is watching
you.
PERSIANA AMERICANA
The artist who plays LAssoiffé performs a fluid diabolo act as he
slides, juggles and tosses a spool high up in the air, literally
dancing with his device. In a moment of introspection, surrounded by
his guardian angel, the character explores his creative abilities and
engages in dialogue with the planet and the universe to the sound of
Planeador and the Brit-rock-tinged Persiana Americana.
SIGNOS
This captivating acrobatic wheel number is a combination of rotating
Russian cradle techniques with object manipulation skills. The catcher
strapped between the gigantic wheels turns into a human trapeze,
flipping and catching his partner in the air. This scene explores the
bonds of brotherhood and the conflicts that sometimes arise in a
friendship.
UN MILLON DE AÑOS LUZ
An artist creates a sand drawing in real time with her fingers and
hands while the image is projected on a screen overhead. She tells the
story of a man with a broken heart who escapes to a planet a million
light years away from the origin of his pain.
CREMA DE ESTRELLAS
Lo que irradia
esta noche es especial
sobre el lago resplandecen
esperaba una tenue aparición
(
)
conversación astral
(
)
su cuerpo lunar refugio celestial
A group of artists perform a hallucinatory ballet of arms and legs,
both real and make-believe, in an organized chaos that is half-
choreography, half-manipulation.
LUNA ROJA
Breathing new life into an old circus discipline, a solo artist
representing the spirit of the Red Moon, all alone on the planet,
performs a mesmerizing dance suspended only by her hair! This tableau
is a nod to the iconic hairstyles that Soda Stereo were known for
throughout their career.
HOMBRE AL AGUA
Man overboard! This act, which unfold inside a large aquarium more
than 6 meters tall, is a metaphor for a songwriter who finds
inspiration while in the midst of composing a new song. The water in
which the free diving artist is submerged creates a womb-like feeling.
CIUDAD DE LA FURIA
An artist executes a rock-infused aerial chain act while two other
artists perform a high-powered, street-based calisthenics number on a
massive metal grill. This tableau is a direct reference to the iconic
En la ciudad de la furia video.
TE PARA TRES
This tableau evokes a person who is no longer here among us. The
artists around the campfire mourn a friend who is lost to this world.
Soon they realize that sharing their sorrow creates new bonds.
PRIMAVERA CERO
A luminous blue ray of morning light is the symbol of life restored.
Combining the disciplines of flying pole dancing, this sensual act is
performed on a pole suspended up above the stage while another artist
twirls a luminous baton in the air. In this fluorescent blue world,
images of fans are projected in rapid-fire succession on a gigantic
scrim above the stage using body mapping techniques.
DE MUSICA LIGERA
In this explosive finale that mixes the Italian acrobatic tradition of
banquine with full-throttle tumbling techniques, the artists perform
impressive sequences of acrobatics and human pyramids, hurling their
partners high up in the air. The breathtaking finale extends from the
Soda Stereo planet all the way out into the audience to the bouncy
rhythm of the bands power anthem De música ligera.
# # #
And there you have it
Sep7imo Dia No Descansare!
------------------------------------------------------------
"We're Off and Running - A Series of Classic Critiques"
Part 0 of 16: An Introduction
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
A few weeks ago, as I was flipping through a few classic Cirque du
Soleil programme books (as is my wont), I was happily caught off-guard
by a brief history of the company that it had written about itself in
Saltimbancos original European Tour programme, published sometime in
1996. Not because the historia was in English, French, and Spanish,
but rather I found the wording a bit more colorful
haughty
than what
youd find from the company today. Something about its whimsical and
heady nature spoke to the way Cirque du Soleil saw itself then (think:
the voice-over narration in Alegría: The Truth of Illusion
documentary video: When the time has come and when the time is right,
somehow you know. Time after time and time again, you've seen the
signs and wondered what it was out there, deep in the river. Was it
hell on earth and fading into the sky? Was it the garden of delights?
In the heart of the night, you've seen the moon and the shadow of
light, the spirit of creation, the spirit of dream... youve seen the
truth of illusion
), containing a youthful verve and arrogance that
is simply no longer present. When did Cirque lose this dynamic sense
of self, this liveliness, and vivacity about its past, present, and
future? Unfortunately, not long after. Thereafter the speak becomes
less joie de vivre and more lié aux affaires, and Cirque du Soleil
turns from a rag-tag band of street performers into a bona fide
corporate entity right before our very eyes. This is not a new
revelation far from it in fact but this re-discovery struck a
chord of curiosity within
How did others see Cirque du Soleil during this period?
Think about it: as Cirques multitude of shows travel around the globe
in either arenas or under the big top, at each stop, in each city,
there is a write-up in the local press. Sometimes the coverage is just
a brief blurb about the show and its theme, occasionally theres a
short interview with a performer, a stage hand, or creation director,
and other times its an assessment of the show itself, evaluating its
technical and acrobatic merits with what had come through before. But
the reviews we see today are too current, discussing these shows
through a contemporary lens; shows that have/had 15 to 20 years
touring the globe, shows we would refer to as classic or
signature. What Id become interested in knowing was what some of
the first reviews, peeks, and evaluations of these shows were as they
took their first steps across North America. How did the press see Le
Cirque du Soleil in 1998, 1994, 1990, 1987?
Time to peck through the archives!
What I found was extraordinary, and more than I expected. So starting
next month well begin sharing these discoveries here in the pages of
Fascination through a series of collections, beginning with the 1987
tournée of Le Cirque du Soleil (better known today as Le Cirque
Réinventé) and continuing onward in the following manner...
o) Issue #160, MAY 2017 Le Cirque Réinventé, Part 1 (1987)
o) Issue #161, JUN 2017 Le Cirque Réinventé, Part 2 (1988)
o) Issue #162, JUL 2017 Le Cirque Réinventé, Part 3 (1989)
o) Issue #163, AUG 2017 - Nouvelle Expérience, Part 1 (1990)
o) Issue #164, SEP 2017 - Nouvelle Expérience, Part 2 (1991)
o) Issue #165, OCT 2017 - Saltimbanco, Part 1 (1992)
o) Issue #166, NOV 2017 - Saltimbanco, Part 2 (1993)
o) Issue #167, DEC 2017 - Alegría, Part 1 (1994)
o) Issue #168, JAN 2018 - Alegría, Part 2 (1995)
o) Issue #169, FEB 2018 - Quidam, Part 1 (1996-1997)
o) Issue #170, MAR 2018 - Quidam, Part 2 (1998)
o) Issue #171, APR 2018 Dralion, Part 1 (1999-2001)
o) Issue #172, MAY 2018 Dralion, Part 2 (2001-2003)
o) Issue #173, JUN 2018 Varekai, Part 1 (2002)
o) Issue #174, JUL 2018 Varekai, Part 2 (2003-2004)
o) Issue #175, AUG 2018 Varekai, Part 3 (2005)
But let me warn you right now... theres a lot of text here. Were
looking at around 230 pages from 120 different articles. Some make me
shake my head while others Ive learned something new from. Theyre
all here, well, mostly. So while itll take some time to get through
them, I hope youll stick around until the end. Theyre all
fascinating. Its quite interesting to see what each reviewer focuses
on while glossing over other aspects of shows we know so well. Some of
their descriptions are hilarious! Oh, and the original bit of text
that started me down this rabbit hole? Find it below. May it serve to
whet your appetite for more interesting texts, reviews, interviews,
and critiques from classic Cirque du Soleil productions on their
original tours across North America thats to come!
# # #
If you wander north along the mighty Saint Laurence, beyond Montreal
and Quebec City, you will hap upon a quiet little town nestled deep in
the heart of a valley. It all began here, in Baie Saint Paul.
Enveloped in magic, the story of an enchanting circus unfolds. So
listen closely and I will tell you a tale that will surely hold you in
thrall.
One mid summer's day in 1982, excitement was brewing in Baie Saint
Paul as eager anticipation grew. From far and near, folk poured into
the town. The streets were decorated, gaily festooned, a carnival
ground for jugglers, tumblers, jester, and buffoons. Guy Laliberte
performed his fire-eating act, Gilles Ste-Croix proved a fearless
acrobat, leaping, bounding, and soaring through the air, while others
walked the tightrope to the clamor of fanfare.
The band of merry companions, or the Club des Talons Hauts, were
hatching a clever plan, plotting playful antics, nimble feats and wily
shenanigans. Perched high on their stilts above the mirthful crowd,
they caught a glimpse of the future through a break in the clouds. It
came to them like a vision - the emblem of the sun. They held a
mystical power to dazzle and make fun. They would perform under a big
top and call themselves the Cirque du Soleil. For soleil is the world
for sun en francais.
WITH WIND IN THEIR SAILS
------------------------
It was in 1534 when Jacques Cartier beached upon the rugged Canadian
shores. Exalted by his valiant voyage across the sea, he raised high
his banner and staked this land, claiming the New World in the name of
France. Proudly he flaunted the fleur-de-lys, the cherished emblem of
French heraldry.
In 1984, four hundred and fifty years after that historic day, the
province of Quebec celebrated its rich ancestry. Fantasy was added to
the festivity under the pinwheel canopy yellow and blue. People were
drawn to the big top, flocking in numbers, seduced by the performance.
The crowd was wooed by the fledgling troupe. It was a roaring success,
its engines were fueled. Now Cirque du Soleil was eager to conquer the
world.
After taking Quebec and Ontario by storm, Cirque ventured west to the
Pacific coast. At the opening ceremonies of Expo'86, onlookers were
mesmerized by the spectacular tricks. By this time the Grand Chapiteau
had expanded to twice its original size. At every turn, Cirque was
decorated with medallions, at every twist, awarded a prize.
It then set its sights on American towns, delighted Los Angeles, San
Diego, and Santa Monica with tumblers and clowns. Spectators were
riveted, the applause thundered - it brought the house down.
CITIES BEGUILED, CITIES BEWITCHED
---------------------------------
For this sorcerous troupe, in the prime of its youth, the moment of
truth had come. Gingerly treading on American soil, Cirque du Soleil
would ne'er recoil, for each city it descended upon to its magic would
succumb. It gently drew back its bow, releasing itsarrows on Santa
Monica and San Francisco. Then onto New York and Washington, here it
captured the hearts of everyone. After dazzling Miami, Chicago, and
Phoenix (1988), its presence graced once again Californian cities and
everywhere in betwixt (1989).
Had we seen it all? No! T'was merely the start. A troupe of performers
from Cirque du Soleil crossed the Atlantic to present Cirque
Reinvente. "Circus tames London, courts Paris," the headlines read.
Meanwhile, back in Montreal, the masterminds were secretly weaving
golden thread. The latest creation, Nouvelle Experience, emerged from
their filigree. The Grand Chapiteau now could hold 2500 or more; it
crisscrossed North America with Nouvelle Experience, bewitched 13
cities and 1.3 million spectators.
THE PHANTASMAGORIC OVERTURE
---------------------------
Gipsy in spirit, Bohemian by nature, Cirque du Soleil was spurred on
by more lust for adventure. In a single beat, Cirque leaped to perform
three orchestral movements before spellbound audiences on three
different continents (1992-1994):
o) Andante in the Land of the Rising Sun. Cirque touched down on Asia
to offer Fascination 118 times in four months. Tokyo, along with
eight other cities cross Nippon, was dazzled by the brilliance of
the circus sun (1992).
o) Crescendo on the Alps. The artists of Cirque du Soleil attained
astonishing heights when they flew with the renowned circus Knie.
For nine wondrous months they travelled the Helvetian roads,
mesmerizing all those who had come out to see (1992).
o) Vivace in the USA. Cirque was beckoned by Las Vegas to revel in
never-ending night; it created quite a sensation amid the
glittering lights. Twelve months had passed and the die was cast.
Fate decreed that Cirque would stay, perform on Treasure Island,
the newest palace in the paradise of play. The troupe introduced to
Las Vegas the magic of Mystère (1993), the pinnacle of troubadours
and the medieval carnival fair.
Bravissimo! Ovations and praise echoed around the globe. Now was the
time to score a new symphony, reveal the mystery of Alegría and
Saltimbanco.
THE FOUNTAIN OF YOUTH
---------------------
The ringmasters were aroused when visited by an elusive creature in
their mind's eye. The image was faint, but would soon come to life as
they carved and facetted, dabbed on the colors from their jewel-tone
palette. After masterfully adding the crowning touches, they were
finally ready to lay down chisels and brushes. In honor of the
spirited street tumblers of long ago, they unveiled their latest work,
an alluring creation they called Saltimbanco.
Ten years had gone by since Cirque was born. The time was right to
introduce Alegría to Montreal (1994). Velvets were embroidered for
this celebration, eerie arias composed to mark the occasion. Donning
ethereal costumes studded with jewels, all were waiting for Alegría to
fly from its silken cocoon.
Alas! Alegría sprouted its wings and so took flight. Migrating south
to the United States (1994-1995), it scouted for new places to alight.
Montreal bid its youngest bairn farewell. Will it ever come back? Only
time will tell.
As Montreal wept over the sweet loss of Alegría, Saltimbanco returned.
Hallelujah, Hallelujah! The city was beguiled by its prodigal child.
Yet, before the infatuation could begin to wane, Saltimbanco prepared
its departure, once again (Europe 1994-1995).
Looking hopeful toward the new millennium, Cirque du Soleil silently
ponders the pools of the fountain of youth to rejuvenate the springs
of its imagination.
# # #
Stay tuned!
------------------------------------------------------------
"A Review of One Night for One Drop 5"
By: Robin Leach, Las Vegas Review-Journal
Special to the Fascination! Newsletter
------------------------------------------------------------
Its 90 minutes of nonstop veteran circus acts and entertainment as
daredevils dice with death, although the banana-chomping, mouth-
tossing antics of the truly weird-and-unusual duo known as Daredevil
Chickens provide outrageous, gross hilarity, quick clothes changes and
near-nudity to take the edge off the white-knuckle, rollercoaster ride
of amazing aerialists and acrobats.
More than 200 performers and other volunteer stage crew units from
rigging, costumes, scenic props, hair, makeup, lighting and sound
departments all play a vital role in tonights one-time-only One
Night for One Drop clean-water benefit production presented by Cirque
du Soleil at Zumanity Theater at New York-New York.
The inspirational time-machine journey had its one-and-only dress
rehearsal Thursday afternoon after six months of behind-the-scenes
preparation. Juggling heart-stopping circus acts from around the
world, putting all the logistics into place and ensuring that
everything runs smoothly is the responsibility of Krista Monson, who
directed the first One Drop at Bellagio in 2013.
A NEW CIVILIZATION ON MARS?
---------------------------
The vintage circus theme is so bold, imaginative, exciting and
exhilarating that it could well be a new Cirque show in its own right.
Conceived, written and directed by husband-and-wife Cirque performing
team Nicky and Laetitia Dewhurst, they enlisted their family to tell
the tale through time-machine travel of a grumpy old ringmaster played
by Nickys dad, Brian Dewhurst, the 84-year-old star of Mystere at
T.I.
With no signs of retirement looming, Brian represents miserable
mankinds mistreatment of Earths resources, and Laetitias brother,
Perry Ray, is The Timekeeper who teaches the old ringmaster a lesson
he wont forget and one for all of us to remember as to how we need to
care for Mother Nature or wind up trying to start a new civilization
on Mars.
Our thanks to contributing photographer Tom Donoghue for his
extraordinary photo gallery. Hes captured perfectly the images of the
stars appearing in the show: Grammy-winning rapper Redfoo, Americas
Got Talent winner Grace VanderWaal, multiplatinum-selling vocal group
The Tenors, global stars Duo Sky Angels and AGT finalists Malevo
with their high-speed foot-stomping, drum-banging and bolo-twirling
Malambo gaucho act.
Tonight for the one-and-only performance, William Shatner will join
the cast for the finale, a Radio City Rockettes lineup of high kicks
around the entire edge of the Zumanity stage under old-fashioned
cannons firing confetti and the Monty Python-themed closing Screw It,
Were Moving to Mars:
This planet is a huge disgrace
Theres only one solution for the human race
Lets pack and get out of this place
Screw it, were moving to Mars
No passport needed, theres no immigration
Everybodys welcome at this destination
Lets all let go of our daily frustrations
Screw it, were moving to Mars
The circus acts come at a dizzying speed. Your heart has just a second
to settle down after watching incredible derring-do feats of the
teeterboard team before the award-winning aerialists Duo Sky Angels
from Uzbekistan send it racing again 60 feet high in the air held only
by each others teeth! Shes balanced only on the feet of her partner
truly amazing.
Eve Diamond, The Desert Queen of the Sky, is just as extraordinary
and matched by an aerial trapeze artist known as Cuckoo because of
outrageous antics near the rafters. Eves aerial activities are so
death-defying that she has to wear a harness for safety, but my
forehead began to sweat as the safety precaution slid precariously
down her body.
The seaside British crass-comedy duo known as Daredevil Chicken also
entertained with a volunteer from the audience playing the role of
Simba from The Lion King who wound up in a cage with another lion
actor. Totally insane and madcap and welcome relief from the aerial
dramas unfolding from the ceiling above.
GRACE LIGHTS UP THE SKY
-------------------------
Grace, with her ukulele for her solo, Light Up the Sky; The Tenors,
with their beautiful voices on two Queen songs, Bohemian Rhapsody
and Who Wants to Live Forever?; the old ringmaster, who cries about
his awful, past cruel behavior; and Redfoo, for his interruptions, are
standouts, but the audience falls in love with Orbis, a little person
who is badgered and belittled by Mortales, the creepy, wicked
ringmaster of the imaginary Circus Tempest.
Orbis proves the highpoint, the high-flying performer soaring out over
the audience with a barrage of acrobatics on silks. Its
breathtakingly beautiful and visually stunning, and its highly
appropriate that he winds up encased in an out-of-this-world miniature
globe suspended over the cast in the finale as lord and master of all
he surveys.
It all takes place against a kaleidoscope of psychedelic colors and
video backdrops, and one hiccup in the technical flow that triggered a
20-second reset and restart was the only cue that went wrong at
rehearsal. So many things could have misfired in staging this
unbelievable undertaking, and even when a bass struggled to squeeze
into the tiny backstage elevator, the player was in position to pop up
through the stage waiting for the tech mishap to be rebooted.
When you think of everything that could have gone wrong, it was such
a minor mishap, you can safely call it a miracle, Krista told me.
Were still tweaking right until curtain up tonight, and the final
video will be inserted into the projectors less than 30 minutes before
curtain time so that the audience can sing along with the cast at the
finale.
We are so thrilled nothing really went wrong with this massive jigsaw
puzzle assembled around the world. This really was a little glitch, so
what we saw was the heart and soul of people sharing who they are and
their passion for the charity and being onstage. The whole vision with
lighting, projections, performances all the technical everybody
made sure the humanity is what came out first. It looks gorgeous, and
its amazing.
The Tenors chatted with me afterward, as well: Weve been asking
ourselves the question of when we should move to Las Vegas because we
are here so often. Were actually in talks with two hotel companies
and looking at a couple of venues that would work for us to perform
here as residents. Were definitely excited about the possibilities of
having a Las Vegas home and still tour the world, but at some point
were going to be here for a long stay.
Touring is getting old on these bones! Its so exciting to be back
for One Night for One Drop with award-winning artists from around
the world. Its so moving for us to be sharing the stage with these
folks. Cirque is such an amazing brand worldwide, and it started in
our home country of Canada, so were extra-proud.
We performed in the second show after performing at the party for the
first One Drop production. Now were back for show No. 5. I think
that theyve captured the story more this time than they have in the
past. This theater is great; we like the intimacy. This is a little
more in the round, and the audience is really up close and personal
with whats going on at the stage.
To date, the previous four One Drop shows have raised $24 million
for the water charity started by Cirque founder Guy Laliberte. His
execs are hoping that with tonights fifth One Drop show, they will
close in on $30 million.
Cirque clown legend Brian Dewhurst told me about working for his son,
Nicky: For years and years, I would direct him. He learned well from
the master who he is now teaching! They created a very unique and
interesting concept of how I look back on myself as a young person in
the show. It was enlightening especially because I had no input to
their story idea. I sort of rubber stamped my approval to everything
he came up with. I didnt have to change anything.
Hes doing exactly to me what I did years ago with him. Its very
exciting, and I am so proud of them both. They have worked their asses
off for hours and hours. Its going to be a great show. Were a very
open family, so I didnt have to even tell him to not hold back on any
criticism or constructive comment he had on what I have to do.
Were all family, so grandkids dont hold back on feelings. Thats
what keeps us together as a family, keeps us honest and keeps us
loving each other because there are no hidden secrets. I feel very
lucky and very blessed to have them around.
I started as a clown at age 13, so this has been my entire life. I am
84, but I feel great. I have the aches and pains of life, but I
actually feel OK. Mystere is still a priority for me, and Im still
working it. I certainly hope that theres no sign of any retirement
yet!
Tonight six months of volunteer work from around the world comes to an
end in a glorious tribute to the origins of old-time circus to tell a
story of how we must protect Earths resources to provide sustainable
clean water for the world. Its an ambitious creation, and Cirque has
pulled it off again.
Everybody will party hearty afterward at a circus-themed party staged
around New York-New York pool by another Dewhurst family member,
Sally. Then even while basking in its success Monday morning, Cirque
officials will have the first conversations for the next and sixth
One Night for One Drop in 2018.
------------------------------------------------------------
"Casting Q&A's - Meet a Mentor, Part 2 of 3"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
To make an artist for one of Cirques productions, it takes a talented
individual who is open to new experiences and veterans who can guide
the way through those new experiences. Cirque du Soleil has assembled
some of the most well-known and respected collaborators in their
fields coaches, choreographers, creators, composers and others to
help our artists achieve their goals. And through a series of
interviews on their casting website, we meet some of them. Like the
Meet the Artist series of Q&As we recently published, the Meet a
Mentor set are equally fascinating reads even more so! Weve
collected all 11 mentor interviews for you to peruse in this series,
which, due to the page count, well publish in three parts. Last
month, in Part One, we met: André Simard (Acrobatic Research and
Development), Bernard Petiot (Vice President, Casting and
Performance), and Boris Verkhovsky (Director of Acrobatics and
Coaching). And now well continue with Claude Chaput (Conductor,
Composer, and Arranger), David Shiner (Director and Clown), Dominic
Champagne (Director), and Francois Girard (Director).
# # #
CLAUDE CHAPUT
Conductor, Composer and Arranger
At a time when industry trends are moving toward homogeneity, the
music of Cirque du Soleil allows us to break free from traditional
forms and styles."
I started learning to play the piano very early on, at the age of
four. Supported by a family that encouraged the arts, I decided to
devote my life to music when I was just a teenager. For about 20
years, I worked as an accompanist, arranger and conductor for renowned
performers, both onstage and in the studio. At the same time, I
developed a marked interest in audio and MIDI technologies, which
turned out to be a major asset in the career I had chosen. I believe
that all those strengths led me quite naturally to Cirque du Soleil in
1994, when Composer René Dupéré was looking for a conductor for the
show Alegría.
A CAREER TURN WITH POSITIVE RESULTS
It was the first time I had ever signed on for so long a run: over 600
shows in two years. Obviously, such a long engagement makes it
possible to become highly skilled at interpreting the music and
provides greater insight into the world of the performing arts.
Encountering musicians from different cultures and musical backgrounds
was also highly formative, both musically and in terms of
interpersonal relations. At the same time we faced the constant
challenge of adapting the music to the action onstage while
maintaining the musics consistency and thereby our own relevance for
spectators.
At the time, I had the feeling I was practicing my craft as I never
had before, which made me want to try my hand at a new creation. I
therefore offered my services to Composer Benoit Jutras, with whom I
took on Quidam and another North American tour, this one involving
1,000 performances over a three-year period. I introduced a brand new
technology (MIDI) on Quidam which allowed us to modify the music in
real time using pre-recorded material.
Since 1999, I have had a hand in many productions as a music and
technology consultant, and I am involved in a number of Cirque du
Soleil shows in creation along with a few projects for Casting.
THE URGE TO CREATE AND GO WHERE NO ONE HAS DARED GO BEFORE
I believe that Cirque du Soleil has brought the performing arts to a
whole new level, to another dimension, to a place ruled by dreams and
the subconscious. In that respect, there is a perfect compatibility
with the essence of the musical universe. And at a time when industry
trends are moving toward homogeneity, the music of Cirque du Soleil
allows us to break free from traditional forms and styles.
Thats why eclecticism and open-mindedness are important qualities for
candidates who already meet basic criteria such as an impeccable sense
of rhythm, a precise musical vocabulary and the ability to memorize
scores. We should also mention the ability to react quickly to any
last-minute changes while maintaining the quality of their
performance. Its important for every musician to be able to
extrapolate in situations where one section has to be drawn out, for
example, or where another has to be drastically cut short with just a
few measures warning.
During the show creation period, the conductor, musicians and singers
give the composition a sound, a personality, through their
interpretation and their own innovations, which often inspire the
entire production team. Clearly, everyones creative contribution can
make a huge difference to the final outcome for a show of this scale.
But we must not lose sight of the fact that there is a composer who is
responsible for developing the overall vision, and that he leaves it
primarily to the conductor to ensure the musical style is consistent
throughout the show.
At Cirque du Soleil, more than anywhere else, team spirit,
professionalism and respect for the work of others are essential
qualities for taking full advantage of this one-of-a-kind experience.
* * *
DAVID SHINER
Director and Clown
David Shiner started out as a street mime in Paris and his career
really took off in 1984 when he was discovered at the renowned circus
festival Cirque de Demain. He went on to perform with a succession of
well-known companies including the German troupe Circus Roncalli and
the Swiss National company Circus Knie. Between circus engagements he
toured with Cirque du Soleil veteran René Bazinet performing the two-
men show they created.
David ' s first formal association with Cirque du Soleil came in 1990,
when he co-wrote and performed in Nouvelle Expérience, touring for 19
months throughout Canada and the USA. He made his feature film debut
in 1992, playing the part of a clown in Lorenzo's Oil, and the
following year he played straight man to Bill Irwin in Sam Shepard's
Silent Tongue. He and Irwin then created the two-men, wordless show
Fool Moon, featuring music by the Red Clay Ramblers, who had also
performed in Silent Tongue. This evening of 'inspired lunacy' ran
from 1993 to 2001, including three separate runs on Broadway. Fool
Moon won a special Tony Award for Live Theatrical Presentation in
1999, a Drama Desk Award for Unique Theatrical Experience, and an
Outer Critics Circle Special Achievement Award.
In 2000 David originated the role of the Cat in the Hat, the host and
guide of the Broadway stage musical Seussical. Later he toured Europe
and Seattle with his show "David Shiner in the Round". David has
further made several appearances on "The Tonight Show" and is a guest
director at the Wintergarden Theatre in Berlin and the Apollo Theatre
in Dusseldorf.
In 2007, David wrote and directed Cirque du Soleils touring show
KOOZA.
Q. WHAT IS YOUR APPROACH WITH THE CLOWNS ON CIRQUE DU SOLEIL PROJECTS
YOU HAVE TAKEN PART IN?
I try to find people who are talented, funny, interesting in the way
they move, who have interesting faces and I help them develop their
potential. I teach them things like 'pointe fixe', how to develop a
character, how to develop a really good sense of rhythm and timing,
how to improvise with an audience, etc. I give the clowns I work with
a lot of the basic things that I learned over the last 25 years.
People are born clowns usually, its not something you can study to
learn. You can learn certain techniques, but youre either funny or
not funny. So I always try to find people who have something funny
about them. If theyre funny, theres got to be a way to take that
funniness and make it work for them. So Im not always looking for
someone who has great technique or great movement abilities or great
slapstick abilities. Im just looking for someone whos funny. From
there we can start to teach them the techniques. All the different
styles of clowning (Russian, American, European) can work, but we have
to make them modern for a modern audience.
Q. WHAT DO YOU FIND CHALLENGING AND STIMULATING ABOUT WORKING WITH
CLOWNS FROM DIFFERENT BACKGROUNDS?
Giving them all my knowledge. As a mentor, Im there to help them
learn the stuff fast. If I look back at my career, I wish I'd had a
mentor, but I learned on my own. I help them find a style. What makes
you funny? Whats going to make you distinct from another clown? I
teach the clowns the importance of using the body, of communicating
without language. Because someone who learns how to extend their
energy and access their creative core can walk on a stage, do very
little and be very interesting to watch.
Q. WHAT IS YOUR CREATIVE PHILOSOPHY?
As a director or as a mentor, trying to help people discover their own
source of inspiration and creativity. To help them get out of their
head, get into their body and get into their breath. To learn to trust
themselves, trust their ideas, to believe in themselves, to have
confidence. To help them celebrate the joy of performing; the pure
sense of joy out of being on a stage and performing for an audience.
Respecting yourself, respecting the other performers, learning to
give, and give, and give, and to make an audience happy. And most of
all, to know who you are: to find out who you are as an artist, what
your message is, why you are there. Once you know that, the rest is
easy.
Q. WHAT ROLE DO YOU THINK CLOWNS PLAY IN CIRQUE DU SOLEIL SHOWS?
Principal. Without a clown in a circus, theres no circus.
Q. HOW DO THE ART OF CLOWNING AND CIRQUE DU SOLEIL MIX TOGETHER?
Cirque has a great tradition of always having good clowns. The place
they hold in a show depends on the director. As a director, since I am
a clown, the clown has a principal role. Hes the character whos
taking us through the evening. The clown is the one who has the
deepest emotional connection with the audience. All the artists have a
deep emotional connection with the audience, but the clown really
gives us a sense of our humanity, because hes a fool, hes playing
the role of a fool. Hes revealing our human weakness and hes
allowing us to laugh at ourselves. Great clowns have always been
loved, because they allow us to laugh at those parts of ourselves
were the most afraid or ashamed of. The clown helps us to accept
ourselves, as who we are.
* * *
DOMINIC CHAMPAGNE
Director
Over the last 20 years, Dominic Champagne, multi-talented and prolific
artist, playwright, director, scriptwriter and actor, as well as the
co-founder and artistic director of the Théâtre Il Va Sans Dire, has
made his mark on a hundred or more shows, both on stage and on
television. These include theatrical productions such as LOVE,
L'Odyssée (The Odyssey), Don Quichotte (Don Quixote), Cabaret Neiges
Noires (Black Snow Cabaret) and La Cité Interdite (The Forbidden City)
as well as television series Les Grands Procès (The Great Court
Cases) and Le Plaisir croît avec l'usage (Familiarity Breeds
Enjoyment).
For Cirque du Soleil, in addition to LOVE, created in collaboration
with the Beatles in 2006, he has directed Varekai, on tour the world
over since 2002, and Zumanity,showing in Las Vegas since 2003. With
regard to television, as well as adapting several of his own plays,
Dominic has worked on several drama series and variety shows,
including Les grands procès, Le plaisir croît avec l'usage, Saint-
Jean-Baptiste Day celebrations, the opening ceremonies of the
Francophone Games, Tous unis contre le SIDA (United Against AIDS),
the Soirée des Masques theatre awards gala, and more.
Since graduating from the National Theatre School of Canada, he has
won a host of awards and honours for his work, including the Order of
Canada, Gémeau awards (for best direction and best dramatic writing),
Masque awards for best adaptation and audience appreciation, the
Critics' Prize, as well as the Montreal Urban Communitys Grand Prize
for theatre. The CD of LOVE, which he worked on, received two Grammy
Awards, including the award for Best Compilation Soundtrack Album.
He is a member of several arts-based think-tanks, associations and
boards of directors. He has also taught and lectured, in particular at
the National Theatre School , the Conservatoire d'art dramatique de
Montréal, Concordia University , Princeton University and elsewhere.
La Presse newspaper and Radio-Canada recognized Dominic Champagnes
immense talent when they named him Personality of the Year 2006.
Q. WHAT IS YOUR APPROACH WITH THE ACTORS WHEN WORKING ON CIRQUE DU
SOLEIL PROJECTS?
I begin creating my shows by trying to explain the plot of a story or
the procedure of a ritual to myself. The narrative thread of this plot
or procedure becomes my beacon, and the characters who play in it are
my guides. Therefore, the actors are the key to this new universe
waiting to be created.
Q. WHAT IS THE MOST INTERESTING ASPECT OF WORKING WITH ACTORS FROM
DIFFERENT WALKS OF LIFE AND CULTURAL BACKGROUNDS? WHAT ARE THE
CHALLENGES?
The stage at Cirque du Soleil is a meeting place for different
cultures and traditions. Mixing and combining different talents from
different backgrounds creates an infinitely rich tapestry. It is a
place that is full of both surprises and new experiences, but it also
gives you the privileged challenge to become a true citizen of the
world. And the stage becomes the ship that sails through a fabulous
human odyssey.
Q. HOW WOULD YOU DESCRIBE YOUR CREATIVE PHILOSOPHY?
I gather artists around my idea for a show, which is a sort of utopia
to which we all try to give the very best of ourselves; I want to
enchant people with the power of this dream and inspire us all to
become better human beings. I see devoting oneself to a show as both a
duty and a privilege. And theres nothing like giving it your best
shot.
Q. HOW DO YOU SEE THE ROLE PLAYED BY ACTORS AT CIRQUE DU SOLIEL?
When an actor, through his very presence and sensitive interpretation,
manages to deliver as strong a performance as an acrobat, he becomes
the dazzling link in the audiences relationship with the impossible
utopia and the power of the larger-than-life story unfolding on stage.
Q. WHAT DO YOU FIND MOST STIMULATING ABOUT WORKING FOR OR WITH CIRQUE
DU SOLEIL?
The dreams endless possibilities. The privilege of being at the heart
of so many crossroads. The thought of a vast audience demanding a
universal language and... perfection!
Q. WHAT ADVICE WOULD YOU GIVE A FUTURE CIRQUE DU SOLEIL ACTOR?
Creating a role at Cirque du Soleil is similar to climbing Mount
Everest. Its a colossal challenge, an intoxicating journey, a glimpse
of new and boundless horizons, a feeling of pride and satisfaction on
the same scale as the heroic efforts you put into it. But the journey
has to be made one step at a time; the real feeling of vertigo comes
when you look deep inside yourself to let your talent shine through.
So... be yourself and have fun!
* * *
FRANÇOIS GIRARD
Director
François Girards career began with directing art videos. His output
then became increasingly narrative and in time led to full-length
features (Thirty-two Short Films about Glenn Gould, The Red Violin,
Silk). Theatre, opera and now Cirque du Soleil have joined the list.
"Like Cirque, I like to mix media, but my work has remained
essentially the same: I try to rally artists around an idea and
present the results to the public." As stage director, François is
currently working on the creation of a resident show to be presented
in Tokyo starting in fall 2008.
Q. WHAT IS YOUR APPROACH WITH THE ACTORS WORKING ON CIRQUE PROJECTS?
Whether with Cirque du Soleil or elsewhere, my approach is always the
same: I ask myself who they are, how they work and what stimulates
them. But the method differs with every artist, every singer, and so
on. It is the stage director who needs to adapt to the performer, not
the other way around.
Q. WHAT IS THE MOST INTERESTING ASPECT OF WORKING WITH ACTORS WHO COME
FROM DIFFERENT WALKS OF LIFE AND HAVE DIFFERENT ETHNIC BACKGROUNDS?
WHAT ARE THE CHALLENGES?
I am used to working with artists from everywhere. I find it
fascinating to see the many ways people can learn a trade, absorbing
so many different methods and influences. In that respect, I am well
prepared for a Cirque production.
Q. HOW WOULD YOU DESCRIBE YOUR CREATIVE PHILOSOPHY?
I like to start with an idea, a text, or a character that I then
serve. I try to be a gardener who plants a seed and helps it grow with
water and light. I can let the seed become a tree but I can't decide
what that tree will be. All that is encoded in the seed. All you need
to do is dig a little before eventually seeing the light. That's about
it...
Q. HOW DO YOU SEE THE ROLE PLAYED BY ACTORS AND THE ROLE OF ACTING IN
CIRQUE DU SOLEIL?
Cirques greatest success can be attributed to a meeting of acrobatics
and dramatics. Who are the actors? Who are the acrobats? What is their
contribution? In my show, I try to blur the line as much as possible
so that we are left unsure of who is who and who contributed to what.
This is one lesson that I learned from Franco Dragones shows.
Q. WHAT DO YOU FIND MOST STIMULATING ABOUT WORKING IN COLLABORATION
WITH CIRQUE DU SOLEIL?
The sense of celebration; the publics expectation of a magical
adventure; working in Japan, a country that I love, amid a culture I
find most stimulating.
# # #
Stay tuned for the final piece of this series next month! Well hear
from Laur Fugere (Singer & Stage Coach), Luc Tremblay (Choreographer
and Educator), Mia Michaels (Choreographer), and Robert Lepage
(Director).
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COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 17, Number 4 (Issue #159) - April 2017
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2017 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination! Newsletter." By
sending us correspondence, you give us permission (unless otherwise
noted) to use the submission as we see fit, without remuneration. All
submissions become the property of the "Fascination! Newsletter."
"Fascination! Newsletter" is not affiliated in any way with Cirque du
Soleil. Cirque du Soleil and all its creations are Copyright (C) and
are registered trademarks (TM) of Cirque du Soleil, Inc., and
Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
{ Apr.05.2017 }
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