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Fascination Issue 154
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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 16, NUMBER 11 November 2016 ISSUE #154
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
The biggest news to share this month comes out of Montreal with the
introduction of Cirque's newest big top show for 2017 - VOLTA - which
was announced to the world via social media on Friday, November 4th.
In addition to the name, we were also enlightened to the show's story
and theme: "WAZ, a popular gameshow host, has lost touch with his inner
self in the pursuit of fame, pulling others in the trap of instant
glory. But as doubt sets in, WAZ is enlightened by childhood memories
as he encounters 'free spirits' who open doors to his inner soul he has
long kept shut. On his high-voltage search for meaning, will WAZ find
the courage to relinquish his fame, reconnect with his true self, and
shine bright? VOLTA tells a spellbinding story about the freedom to
choose and the thrill of blazing your own trail. Inspired in part by
the adventurous spirit that fuels the culture of action sports, the
show weaves the adrenaline rush of acrobatics into a visually striking
world driven by a stirring melodic score. VOLTA is a story of trans-
formation. It is about being true to oneself, fulfilling ones true
potential, and the power of the group to make that possible. It cele-
brates freedom as a movement."
Interesting, no? We've heard the rumors now for weeks/months that the
theme for Cirque2017 - VOLTA - would revolve around extreme sports in
some way. I've accepted this as an potential fascinating creative leap,
but I'm not sure hanging the storyline on a gameshow character -
especially one named WAZ - was a good creative choice. However, we're
still in the development phase and it's possible some of the material
unveiled will change between now and April. After all, in poetry, the
volta, or turn, is a rhetorical shift or dramatic change in thought
and/or emotion. So anything is possible! Also interestingly to note
is VOLTA, much like it's most recent brethren (Septimo Dia, Luzia,
TORUK, and Kurios), comes with a tagline: FIND YOUR FREE (ENVOLE-TOI
in French). I'm not sure these taglines - such as "No Descansare"
for Septimo Dia, "A Waking Dream of Mexico" for Luzia, "Cabinet of
Curiosities" for Kurios, and "The First Flight" for TORUK - are really
necessary, but the trend continues. What do you think? And perhaps
more importantly, what do you think a tagline for earlier Cirque
shows could have been had they included one? What would Mystere's
be? Or Quidam's? La Nouba? "O"? (Varekai is excluded... as it received
a tagline as part of its arena revamp in 2014: "Tales of the Forest")
All I could come up with was... "QUIDAM: FIND YOUR FAMILY", "MYSTERE:
ROAM THE UNIVERSE", and, a little tongue-in-cheek, "KA: MARTIAL THOSE
ARTS" and "CORTEO: TEARS OF A CLOWN" Hmm... what about you?
VOLTA comes under the direction of Bastien Alexandre (Director) and
Jean Guibert (Director of Creation), Quebec designers who worked
together on the opening ceremony of the Toronto Pan American Games
last year. And if you're a member of CirqueClub you can purchase
tickets today! (Get'em here: https://goo.gl/Azp1up) VOLTA premieres on
the quays of the old port of Montreal on Thursday, April 20, 2017!
Speaking of Luzia, on October 9th, LUZIA celebrated its 200th show
since the World Premiere back in April. "Thank you to more than
400,000 audience members who have attended one of our performances
since then!" Congratulations Luzia! And, in case you missed it, JOYA
has a new Bungee Straps act! Yoann Benhamou, previously of KOOZA, has
joined the show as of October 10th. "With a high level of difficulty,
Yohann needs to manage his strength, gravity, speed and dance all at
the same time during his act!" (https://goo.gl/FMKjU9) Additionally,
the cast of LOVE will be attending The Royal Variety Performance for
a special anniversary presentation. The RVP will take place on Tuesday,
December 6th and will be screened on ITV later in the month.
The other really exciting development this past month came out of
Mexico, with the leak of even more artwork from the Cirque du Soleil
resort project now under development from Grupo Vidanta & The Goddard
Group - and Theme Park University website, which has covered the park
since it was first announced, was one of the first to release these
new images. "This place is jaw dropping," they said. How exciting!
The water park will open with the first phase of the park. The Garden
Of The Nature Spirit, which is described as a hidden cove nestled
around The Cascades Resort, a giant stone sentinel presides over formal
pools and statuary gardens. In a first-of-its kind themed attraction,
guests are able to take a wild ride down the living vines emanating
from the giant statues jeweled crown." What is most unique about this
water park is that it will be performance based. (Yes, you read that
correctly.) Cirque du Soleil will have shows in and around you as you
splash around this part of the park. Nothing like this has ever been
done before in a water park setting. Make no mistake about it, this
will be the most unique water park experience on the planet and it
goes far beyond slides and wave pools! This would not be possible, of
course, without Vidanta. The Cirque du Soleil theme park will be
surrounded by several hotels / timeshares, which Vidanta has several
of scattered around Mexican hotspots. The hotels are also Cirque themed
and are inspired / look equally as impressive. Check out the new art-
work here: < http://www.cirquefascination.com/?p=9205 >
Although I've neglected to mention it due to time constraints and
other issues, CirqueCast continues to produce wonderful episodes for
fans - and I'm excited to still be part of it! Since I last spoke
about the project back in Issue #151, three more episodes have been
released to the public. Check em out below!
o) EPISODE 7 LUZIA REVIEW PART 1 + ARTISTS INTERVIEW
Join us this episode as we review Luzia, Cirque du Soleils
newest Big Top production. And for our feature this month,
we interview Luzia artists Kelly McDonald (Adagio), Devin
Henderson (Hoop Diving), and Rachel Salzman (Cyr Wheel).
LINK /// < https://youtu.be/fOaENCBCtYI >
o) EPISODE 8 LUZIA REVIEW PART 2 + BACKSTAGE TOUR
Join us this episode as we continue our review of Luzia. And
for our feature, Heather Reilly, Luzias Company Manager,
gives us a backstage look at some of the shows costumes
and props!
LINK /// < https://youtu.be/UiKyOZ7xrSo >
o) EPISODE 9 - DAVID RESNICK INTERVIEW
David Resnick is an acrobat currently touring with TOTEM,
currently in Japan. Watch our exclusive interview where
David shares his experience with Cirque du Soleil, including
how he made it to the famous circus. Want to know what
Cirque show David is going to next? Watch to find out!
LINK /// < https://youtu.be/PGZ_WjI8sKM >
We'll have another discussion episode out shortly, so please follow us
on FACEBOOK (https://www.facebook.com/CirqueCast/), and YOUTUBE
(https://www.youtube.com/CirqueCastShow) to be notified about our next
exciting episode!
And last, but certainly not least (in this abbreviated introduction),
is our monthly look at Paramour grosses.
Week This Week Potential Difference Seats % Cap
Ending Gross Grosses in Dollars Sold
------------------------------------------------------------------
04-Sep $890,754.60 $1,592,392.00 $337,331.90 10,218 76.99%
11-Sep $892,797.05 $1,805,456.00 $2,042.45 11,122 73.33%
18-Sep $999,384.45 $1,805,456.00 $106,587.50 12,739 83.99%
25-Sep $800,590.15 $1,805,456.00 -$198,794.30 9,744 64.24%
02-Oct $796,008.80 $1,805,456.00 -$4,581.35 9,903 65.29%
09-Oct $929,646.25 $1,805,456.00 $133,637.45 11,024 72.68%
16-Oct $942,631.85 $1,805,456.00 $12,985.60 11,261 74.24%
23-Oct $1,060,597.10 $1,805,456.00 $117,965.25 12,650 83.40%
30-Oct $1,005,388.40 $1,805,456.00 -$55,208.70 12,437 81.99%
06-Nov $884,873.95 $1,805,456.00 -$120,514.45 10,981 72.40%
The show seems to be doing A-OK. Join us within as our friend Douglas
Metzger has reviewed PARAMOUR again following the show's revamp and
has some pretty good things to say about it. Check it out!
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) Fascination! Features
* "Paramour Revamped - Impressions 2.0"
By: Douglas Metzger - Long Island, New York (USA)
* "Robin Leach on Upcoming One Night for One Drop 5"
A Special to the Fascination! Newsletter
* "Casting Q&A's - Meet an Artist, Part 3 of 6"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
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LA PRESSE -- General News & Highlights
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Gilles Ste-Croix Joins Céline Dions Team
{Oct.04.2016}
-------------------------------------------------------
Aldo Giampaolo, CEO, is proud to announce the nomination of
Gilles Ste-Croix as Artistic Adviser at Feeling Productions and
CDA Productions. Mr. Ste-Croix will develop new artistic
concepts and harness the necessary resources to produce them
while reporting directly to Mr. Giampaolo.
I have known Gilles for many years. When I was at the Cirque du
Soleil, I worked with him on a number of projects. I admire his
audacity, his flair and his ability to bring people together
around a common vision. His approach, experience and extensive
network of contacts around the world make him a valuable ally
for Céline and I. We are very pleased that he is joining our
team, said Mr. Giampaolo.
I eagerly accepted Aldos invitation to take on this exciting
challenge. It is an honour for me to work with Céline Dion, a
unique artist with an exceptional voice and unlimited
potential, said Gilles Ste-Croix.
Co-founder of Cirque du Soleil along with Guy Laliberté, Gilles
Ste-Croix spearheaded the creation of numerous shows that
thrilled both international audiences and critics alike
including Saltimbanco, Alegría, Mystère, Quidam, O and LOVE. He
just published his biography (Ma place au soleil) in which he
tells his exciting life story, marked by daring and by the
strong desire to transform dreams into reality.
{ SOURCE: Canada Newswire | https://goo.gl/tUnmTx }
AD Daniel Ross keeps La Nouba looking sharp
{Oct.12.2016}
-------------------------------------------------------
Seth Kubersky of the Orlando Weekly Magazine spoke recently with
Cirque du Soleil artistic director Daniel Ross, discussing how
he keeps Cirques long-running La Nouba production at Disney
Springs looking sharp and about introducing two new acts into
such a tightly integrated show.
We were mandated to make some changes to the show, and we all
felt that it was well needed, so the first thing that we did was
look at the positions we wanted to fill, Ross told me, spelling
out the steps behind adding new segments to a Cirque show. We
looked at the creative context and the initial impulse at
creation with the director and writers and choreographer. We
really needed to find something that would complement that and
respect the concept of the show.
Replacing the opening jump-rope routine, La Noubas first new
troupe members are an international trio of breakdancers: Josh
Incredible Josh Ortiz, Jean Carlos Bebo Lloret and Dmytro
Flying Buddha Li.
The opening of La Nouba is the cleaning lady who opens up a
magic world, Ross says. The first act is really about
urbanity, as if shes found herself in the traffic of the city
where there is a lot of people that are not paying attention to
her. We really needed that city grit, that city-street feel, and
we felt that breakdancing was a good idea.
La Noubas first half reaches a peak (literally and
figuratively) with its high-flying second addition. It used to
be a high wire act tightrope, Ross says. The director really
wanted to bring up the traditional circus, as if the cleaning
lady was reliving memories of her childhood, remembering the
time she went to the circus with her mom or her dad, seeing this
beautiful lady and man up there. And at the same time, because
we are in the city there was a bit of a tribute to Philippe
Petit, the wire walker that walked across the Twin Towers. We
wanted to preserve that, so we knew we wanted an aerial act.
Rosss answer was found in acrobatic aerialists Alexander and
Ekaterina Abramov, who perform on a suspended pole-shaped
apparatus known as a bamboo. We fell upon this, which was an
act we had before in a show in China. You dont see [aerial
bamboo] around much anymore; looking for it, we only found this
one couple. So its something that doesnt really roam the
streets so much, even in the European circus. We still wanted a
love story so we decided to go for the aerial bamboo, so we
could keep that traditional aerial character, but at the same
time provide something special to the audience that they rarely
see.
{ SOURCE: Orlando Weekly | https://goo.gl/LqIz3V }
Turkish court orders injunction against Cirque,
blocks departure
{Oct.12.2016}
-------------------------------------------------------
The Turkish customs authority has seized 23 trucks from the
world renowned Cirque du Soleil, following a court ruling on
Tuesday, the Middle East Monitor reports. The ruling related to
financial losses accrued due to a number of cancelled
performances during the failed coup attempt on 15 July.
A Turkish court in the northwestern border province of Edirne
has passed an interim injunction ordering the seizure of 23
trucks belonging to the world-renowned Quebecois performance
group Cirque du Soleil after the circus organizing firm decided
to cancel an agreement with Turkish counterparts for a special
show despite receiving advance payments.
Cirque du Soleil canceled 40 performances of 45 DEGREES show
Blüm, which was scheduled from August 16 to September 17, 2016.
Blüm was custom designed for EXPO 2016 an international
horticultural exposition in Antalya, Turkey, running until
October 30. We were not able to ensure the safety of our
employees to our satisfaction. Marie-Hélène Lagacé, Senior
Public Relations Manager of the Cirque du Soleil said at the
time. A total of 70 people were involved in the show, many of
whom are employees of Cirque du Soleil. This is a decision for
their safety, repeated Marie-Hélène Lagacé.
The EXPO 2016 said that it lost more than $5 million as a
result. Harun Guzel, the Cultural Programs Editor for EXPO 2016
said Cirque du Soleil unfairly canceled the contract.
Therefore, an Edirne court on Oct. 6 ordered the injunction
against the group and blocked the departure of its trucks
through the border gate of Ipsala into Greece on Oct. 12 due to
the legal dispute.
According to the agreement sealed by Événements 45 Degrees Inc.
and Turkish ESO Organizasyon on March 10, Cirque du Soleil was
paid 2,250,000 euros in cash to perform. On July 26, however,
the Quebecois firm notified its Turkish counterparts that it was
unilaterally canceling the agreement, citing security concerns
in Turkey that arose from the failed July 15 coup attempt. The
company also indicated that they would not make any refund for
the 40 shows.
While the dispute between the parties remained unsolved despite
efforts by the Turkish side to reach a reconciliation with the
firm, the Turkish side was informed that the Cirque du Soleil
team was scheduled to perform in Istanbul between Oct. 1 and 9.
Upon this information, the Turkish party involved in the dispute
applied to an Edirne court, demanding an interim injunction for
the performance groups materials which were to be transported
over land with 23 trucks. Going into effect early on Oct. 12,
the court resulted in 18 of the trucks being prevented from
leaving Turkey for Greece. Five of the trucks, however,
reportedly left the country before the decision went into
effect.
The lawyer of the Turkish company, Eylem Akkayal, said
Événements 45 Degrees Inc. failed to abide by the terms of the
agreement by citing the state of emergency in Turkey. We are
always ready for reconciliation. Our customer is also always
ready for reconciliation. If they make the payment, of course we
can lift the decision and come to an agreement. This situation
has somewhat turned into an issue of national pride. Thus we
demand that our losses be reimbursed, said Akkayali.
The Beatles Love Invites Guests to Rehearsals
{Oct.14.2016}
-------------------------------------------------------
Following on the heels of its 10th anniversary celebration and a
reimagining of the show, The Beatles Love by Cirque du Soleil
has announced an opportunity for fans to see the shows inner
workings.
Starting Oct. 14, the production began welcoming visitors to
open rehearsals, offering a chance to see both new and old acts
practice their routines before the evening show.
The rehearsals are free to attend, and guests will also get
access to special deals on tickets for the full performance.
We are opening our doors to show fans exactly what it takes to
bring Love to life, Melanie Lalande, the shows artistic
director, said in a release. When you experience something as
extraordinary as this show, you cant help but wonder how our
artists are able to do the things they do, whether its Lucy
flying over the audience or acrobats flipping through the air
during the trampoline act in Revolution. Its an amazing
opportunity to fall for Love in a totally new way.
The Beatles Love opened at the Mirage in 2006, and marked the
first time Cirque du Soleil built a show around a catalog of
music. It features a cast of 70 artists, dancers and acrobats.
The open rehearsals take place at the Love Theater inside the
Mirage every Friday from 4:15 p.m. to 4:45 p.m. and Sunday from
3 p.m. to 3:30 p.m., but are subject to cancellation. For more
information and to confirm rehearsals, call the box office at
(702) 792-7735. All ages are welcome.
{ SOURCE: Travel Weekly | https://goo.gl/ZC17Cl }
Paramour eligible for 2017 Tony Award!
{Oct.14.2016}
-------------------------------------------------------
The Tony Awards Administration Committee met yesterday for the
first time this season and confirmed the eligibility of two
Broadway productions, Paramour and Cats, for the 2017 American
Theatre Wings Tony Awards. The two productions are consistent
with opening night billing.
Broadway World has confirmed that Andy Blankenbuehler, who
choreographed the show (based on the original choreography by
Gillian Lynne), has been deemed ineligible in the category.
Additionally, the Committee determined that the newly renovated
Hudson Theatre will be deemed a Tony eligible theatre, beginning
in the 2016-2017 season. The theatre, located on West 44th
Street, will have a minimum of 970 seats without the use of the
orchestra pit and 948 seats when the orchestra pit is utilized
by a production.
The American Theatre Wings 71st Annual Tony Awards will air on
the CBS Television Network on Sunday, June 11, 2017 (8:00-11:00
PM, ET/delayed PT). The Tony Awards, which honors theatre
professionals for distinguished achievement on Broadway, has
been broadcast on CBS since 1978. The Tony Awards are presented
by The Broadway League and the American Theatre Wing.
The official eligibility cut-off date will be April 27, 2017,
for all Broadway productions opening in the 2016-2017 season.
Productions which meet all other eligibility requirements and
open on or before the eligibility date are considered eligible
for 2017 Tony Award nominations. The Tony Award Nominations will
be announced live on May 2, 2017.
The Tony Awards Administration Committee meets a total of four
times throughout the 2016-2017 season to decide the eligibility
for the 71st Annual Tony Awards
{ SOURCE: Broadway World | https://goo.gl/vJIUOv }
Truck Dispute over Canceled Shows Settled
{Oct.16.2016}
-------------------------------------------------------
The trucks of the world famous circus Cirque du Soleil seized by
Turkish customs authorities have been allowed to pass after a
dispute between the organizers of EXPO 2016 Antalya and Cirque
Du Soleil was resolved.
On Tuesday, twenty-three trucks belonging to the world famous
circus were seized at Turkeys Ípsala Customs following a court
ruling. The court ordered for an interim injection upon a
complaint by ESO Organization over the financial losses emerged
due to a number of canceled performances during the state of
emergency. We would be pleased to inform you that the dispute
regarding the agreement between ESO Organization and Cirque Du
Soleil for Expo 2016 Antalya, has been compromised on 10.13.2016
by mutual agreement of the parties. The trucks which have been
seized at the Ípsala Customs have been allowed to pass, ESO
Organization later said in a statement.
Organizers of EXPO 2016 Antalya said in a statement that the
Montreal-based world renowned Cirque du Soleil team had already
performed in Istanbul last week but canceled its 40 shows for
the EXPO 2016 due to Turkeys state of emergency. The EXPO 2016
said that it lost more than $5 million, according to the
statement.
Harun Güzel, the Cultural Programs Editor for EXPO 2016 said
Cirque du Soleil unfairly canceled the contract. Güzel added
that canceling shows for EXPO 2016 but performing in Istanbul
was unacceptable and would damage the expos image. Various
shows have been canceled across Turkey this year due to Daish
and PKK attacks as well as the deadly July 15 overthrow attempt.
Backed by Turkeys presidency, EXPO 2016 Antalya will end its
run later this month October on its 121-hectare exhibition site.
EXPO 2016 Antalya adopted the theme, Cultivating a Green Life
for Future Generations, along with the motto. A Green Life for
Future Generations. Millions of tourists from Turkey and abroad
have visited the gardens and enjoyed the cultural and artistic
activities of EXPO 2016 Antalya, during which national and
international congresses, panels, meetings, and seminars have
also been held.
{ SOURCE: Daily Sabah | https://goo.gl/YHn4Ao }
Cirque and the App
{Oct.17.2016}
-------------------------------------------------------
About half of the people who buy tickets to a Cirque du Soleil
production in Las Vegas do so just 48 to 72 hours before the
show, and 25 percent purchase them the day of the show,
according to Cirque Senior Vice President Jerry Nadal.
Armed with that information, the company has been working to
develop technology targeting visitors arriving in Las Vegas with
text messages and updates with special offers such as, Looking
for something to do? How about a two-for-one ticket package for
Zumanity at MGM Grand in four hours?
We see this with Millennials all the time, making these last-
minute decisions, so we have people working on how to reach
them, Nadal said during Saturdays One Drop Walk for Water
charity event that started at Symphony Park and ended at Springs
Preserve. We are working on programming an app for that right
now, targeting those who make last-minute decisions, and were
hoping to have it ready the first quarter of next year.
{ SOURCE: John Katsilometes, LVRJ | https://goo.gl/H1txNb }
45 Degrees + Level Kids = New Event
{Oct.18.2016}
-------------------------------------------------------
45 Degrees posted this up to their Facebook page yesterday: We
are super excited to announce that well be producing an
exclusive Cirque du Soleil performance for the grand launch
event of Level Kids, the sensorial retail destination for
childrens designer clothes, located at City Walk in Dubai.
Check out the image associated with this blurb here:
< http://www.cirquefascination.com/?p=9193 >
{ SOURCE: 45 Degrees }
Cirque du Soleil woos Chinese investors in Montreal
{Oct.18.2016}
-------------------------------------------------------
The Cirque, which has made expansion into Asia a priority,
welcomed Chinese businessmen to its headquarters in Montreal
Monday afternoon. Projects the circus troupe is considering
include a theme park and dinner-show concept.
The first visit of the very exclusive China Entrepreneur Club
often called the club of billionaires offers unique
opportunities for businesses here. It comes on the heels of a
visit to China by Prime Minister Justin Trudeau, who seeks to
forge links with politicians and businesspeople.
It could not have come at a better time for us, said Daniel
Lamarre, president and CEO of the Cirque.
The Chinese conglomerate Fosun has a 20% stake in the Cirque and
has brought very concrete benefits to the business, Lamarre
said. Other shareholders include U.S. investor TPG (60%) and the
Caisse de dépôt et placement (10%). Cirque founder Guy Laliberté
holds a 10% stake.
Fosun helped the Cirque open a business office in Shanghai, the
first step in penetrating a market of more than one billion
people, where the middle class has seen fabulous growth.
Lamarre said seven or eight projects are in serious
development. He expects to have two shows on tour in China soon,
including Toruk, which is inspired by the movie Avatar. Toruk
should be up and running by the end of 2017. The Cirque plans to
have a permanent show in Hangzhou by 2018. This one, a meeting
between East and West, was designed specifically for the
Chinese public and will premiere there.
These shows will help raise awareness of the Cirque in China,
Lamarre said. The Cirque hopes to have shows in a dozen cities,
with five permanent shows in the country in the next five to
seven years, he said.
Chinese investors have expressed interest in the dinner show
Joya, which was designed by the Cirque du Soleil and is running
in Mexico. Lamarre said many of the Chinese businessmen saw the
show in Mexico, while others went to see shows in Las Vegas.
There is a momentum that is being created between China and the
Cirque, he said.
Lamarre is enthusiastic at the prospect of a theme park and said
that although some discussions have already taken place, the
meeting in Montreal provided a unique opportunity with so many
potential partners and investors in one place. He said he
intended to use the forum to pitch different types of projects
and performances.
The Cirque is already involved in a theme park in Nuevo
Vallarta, Mexico, that is slated to be ready by the end of 2018.
The circus is developing all the content, narrative, and
artistic aspects. But with this sort of artistic license, there
is little financial risk, and he said a similar approach should
be used in China.
For now, the company does not plan to grow by acquiring other
circuses, Lamarre added, but they will continue to seek out
partnerships for some projects.
The Quebec-based circus has been trying for some time to break
into China, a country that already has a strong circus tradition
and where circuses are too numerous to count. Performances were
presented in 2007 in Shanghai, and a permanent show was
installed in 2008 in the Chinese territory of Macau, but ended
prematurely in 2012, as developers struggled to fill the room.
Macau, this is not China, Lamarre said. It is an isolated
place where people go mostly for the casinos, he said. Mainland
China is a true consumer market.
The China Entrepreneur Club began an eight-day visit to Canada
on Sunday.
{ SOURCE: Montreal Gazette | https://goo.gl/BriOLb }
---------------------------------------------------
Q&A - Quick Chats & Press Interviews
---------------------------------------------------
Reed Kelly of Broadways Paramour
{Oct.05.2016}
-------------------------------------------------------
The new Broadway production of Cirque du Soleils Paramour marks
dancer Reed Kellys fourth Broadway show. No stranger to the
Lyric Theatre, he last flew around that stage in Spider-Man:
Turn Off The Dark. He also took flight as a monkey in Broadways
Wicked and danced in The Addams Family. In addition to
performing, Reed continues to interact with a legion of reality
show fans from his stint on CBSs Survivor: San Juan Del Sur in
2014. A champion for Broadway Cares/Equity Fights AIDS, hes
raised generous donations from fans through his active social
media presence. Read what Reed has to say about Paramour,
training as an aerial artist, and super soapy showers.
Moment I look forward to every night in Paramour:
When the iris opens onstage to reveal our opening number. The
music is in full swing, the set is gleaming, everyone is dressed
to the nines, and were about to take our audience on a
spectacular journey. Its full of promise and excitement and is
a thrilling moment night after night.
What I love about our diverse cast:
Everyone comes from such different walks of life and each has a
very unique specialty. Its incredible getting to learn and grow
by sharing skills with one another and just simply being around
artists who are truly at the very top of their game. Plus, I get
a chance to practice my French, Spanish, Russian, and Polish on
a daily basis!
Seeing myself on Paramour ads all over New York City:
Whats not to love? Paramour has such beautiful ad campaigns!
Its an honor to get to represent Cirque du Soleil and Paramour
on buses, taxis, billboards, and commercials all over the city,
not to mention the jumbotrons in Times Square.
Musicals that inspired me to make dance my profession:
All the old classic movies like The Wizard of Oz, Singing In
The Rain, Top Hat, and especially White Christmas were
hugely influential in inspiring me from a very early age.
Three things about training for aerial:
Practice, practice, practice. Oh, and persistence. (Ok, thats
four. #sorrynotsorry) Some days wont feel as good as others.
Some days you may not be nailing something you were sailing
through the day before, but these are the days that you actually
learn the most. You figure out how to make things happen in
potentially less than optimal conditions. All that matters is
that you continue to try. (This is a lesson my coaches Kevin and
Andrew Atherton continue to patiently beat into my head when I
am being too hard on myself during training.)
The most surprising thing about being a cast member on the CBS
reality show Survivor: San Juan del Sur:
Ive been surprised by how many fans from around the world have
genuinely opened up about very personal and important moments in
their lives that have been inspired or influenced by my time on
Survivor. I was seen as a strong physical and strategic
competitor on my season who also happened to be gay. Im
grateful to CBS for not playing heavily into stereotypes in
their editing process in terms of my story. It could have been
easy to try to pigeonhole me as just a musical theater gay
with no dimension. In fact, they were nominated for a GLAAD
Award for their fair and accurate portrayal of the LGBT
community on my season.
Coolest interaction with a fan:
Ive honestly had so many amazing interactions with fans,
especially my FoRKs [fans who have named themselves Fans Of Reed
Kellys] that its hard to pick just one. I do have to say that
I am still humbled to this day that anyone even cares about what
I do or who I am, let alone go out of their way to do some of
the most amazing things or thoughtful gestures that they have.
Though over the years I have been able to work with my fan base
to personally raise over $150,000 for Broadway Cares/Equity
Fights AIDS. If that isnt cool, I dont know what is.
Favorite thing to do after a show:
Shower. I love showers, especially after doing Survivor; I have
a whole new appreciation for the blessing of being clean after a
hot shower. I come off stage, strip down, and enjoy some
relaxing soapy goodness post-show before anything else.
What growing up in a dance competition studio taught me:
It helped reinforce my parents teaching that if you want
something, you have to put in the hard work and the effort to
get it. Larkin Dance Studio (the studio I grew up in) refuses to
settle for mediocrity. They encourage you to be disciplined,
committed to your craft, and to always strive to be a better
version of yourself daily. Ive integrated these lessons now as
strong, second nature principles to live by.
My advice for young dancers considering a professional career:
If youre moving to New York City with a goal to be on Broadway
you have to sing! Starts today, dont wait. Focus on it the same
way you would focus on taking jazz, tap, ballet, contemporary
and hip hop. Its essential. Ive known far too many incredible
young dancers who moved to the city thinking that their dance
talent would be enough, only to come to the realization that
they were missing an important tool in their belt. The more
well-rounded you are as a performer with a wide array of skills,
the more desirable you will be to those behind the table at
castings.
{ SOURCE: Rob Rizzo, Broadway World | https://goo.gl/Wd1wwL }
Meet Maya Kesselman Luzia Hummingbird
{Oct.13.2016}
-------------------------------------------------------
Maya Kesselman spent the last year traveling the globe cloaked
in a beak and wings running on a treadmill and diving through
hoops while the stage below her spun.
The Burlingame High School graduate now stands on the brink of
bringing her circus act home, as she will return to the Bay Area
next month as a cast member of Luzia, the newest Cirque du
Soleil show.
Kesselman, 27, joined the internationally recognized troupe in
late 2014 after honing her skills as a youngster in San
Francisco and then later as a burgeoning talent at training
programs in Canada and Belgium. With her local debut in the
Latin American accented show just around the corner, Kesselman
said she is ready to share her talent before an audience filled
with friends and family. When they come to see me perform in
this show, it will be a big deal for me and a big deal for
them, she said. Im excited. Im ready to show people at home
what Ive been up to.
What she has been up to is a nonstop global tour, most recently
in Toronto, with more than 120 other cast and production members
often doing a show per night, and sometimes two. After
completing about 200 shows, Kesselman said she is beginning to
feel comfortable in her role as a bird, despite the high degree
of danger and unpredictable nature of live performance. I know
what I need to do and I can have more fun, she said.
Adding to her enjoyment is being able to perform alongside Marta
and Devin Henderson as well as Dominic Cruz, three cast members
who Kesselman made friends with years ago while a student at the
San Francisco Circus Center.
The show, slated to be performed under a tent set up near AT&T
Park in San Francisco from November through January, serves as
the most recent highlight in a professional circus career which
has been the dream of Kesselman since her mom signed her up for
her first trapeze lesson at 10. Since the day I started, it was
what I wanted to do, Kesselman said.
As an athlete who also appreciated performing before large
crowds, Kesselman said the circus offers her the opportunity to
enjoy her favorite part of both endeavors. I liked that I could
have the performance aspect without the competition, but I could
share the stage with others who were like my teammates, she
said.
As she has reached the proverbial big leagues in her craft,
Kesselman said she still finds great joy in the unique exposure
granted by her career. At a normal job, no one is on their feet
applauding you. At my job, they do that and it is really
rewarding. You have given happiness to people and you can see it
in their faces, she said. Compounding the enjoyment she draws
from performance is the ability of Cirque du Soleil cast members
to collaborate in developing their roles, she said.
Her first seven months on the job were spent working with other
elite professionals in creating the vision of her performance
and tweaking ways to make it work best for the big stage. We
kind of had to figure out to our best capacity what we could
do, she said. There is a vision for the whole show, but it is
a very organic process.
It is an evolution as well, she said, as cast members are
granted the ability to continuously change and improve on their
role throughout the life of a show.
She said being a part of a performance which she feels is in
some way a reflection of her input and character makes it even
more rewarding. Ive put so much into this show and I was
allowed to, she said. People listened to me and that is really
nice to be able to perform a show that Ive put myself into.
With the shows debut locally approaching rapidly, Kesselman
said she is ready to bring her talents back to the place where
her passion was born. Im so excited to go home and perform,
she said.
{ SOURCE: San Mateo Daily Journal | https://goo.gl/ikxdUY }
Meet Paramours Jeremy Kushnier
{Oct.15.2016}
-------------------------------------------------------
Paramour, Cirque du Soleils first venture on Broadway, finds a
cast of actors, singers and acrobats filling the voluminous
Lyric Theatre with that old-fashioned razzle-dazzle, catchy
songs and high-flying theatrics. At the center of the narrative
is Jeremy Kushniers character of AJ Golden, a man who presents
a few obstacles to the leading ladys meteoric rise in Golden
Age Hollywood.
Kushnier is not new to Broadway. The leading man is best known
for his roles as Ren in Footloose, Roger in Rent and Tommy
Devito in Jersey Boys. However, the actor is new to the unique
family of Cirque du Soleil, a Canada-based company that has
revitalized and revolutionized circus performances throughout
the world.
For Kushnier, his entry into this strange and fascinating world
began like so many other theatrical jobs: with an audition. I
guess its the same way that anybody gets attached to a show,
the actor said recently in a phone interview. I auditioned and
came into it. It was kind of a fast-paced, hectic start.
I
came in about two weeks before we started previews to join the
company.
The role of AJ Golden is a unique one. On stage, he come across
sometimes as the bad guy of the musical, but deep down theres
something different and redemptive about the character.
No one ever casts themselves as the villain in their own life
story, so I kind of figured out the reason this guy acts the way
that he does, Kushnier said. Why is he the way that he is? I
guess thats sort of the first way that I approach any
character, and I think
at the beginning of the show [hes]
this guy in an art vs. life competition that art always wins.
And I think by the end, he sort of changes his tune a little
bit. He sees true love exists, and it exists outside film. And I
think he walks away a little bit changed.
When first signing up for Paramour, which is in an open run at
the Lyric Theatre on 42nd Street, Kushnier was excited rather
than hesitant. He admitted that hes probably past the point of
performing any death-defying acrobatics, so he leaves those
high-flying routines to the professional circus performers. But
the promise of molding theater with circus inspired him.
I think there are certain things that Im really excited
about, he said. Im really excited about the inspiration, the
sort of the storytelling through circus.
My very first
entrance is about as circus-y as I get physically in the show.
Spoiler alert: I get shot out of the floor on this thing called
the toaster lift, which is exactly what it sounds like. Its
basically this telephone booth sort of thing that they stick me
into underneath the stage and then shoot me out of the stage
pretty fast.
Because of the added circus elements, the rehearsal process for
Paramour was complex and extensive. That allowed Kushnier and
the cast, which also includes Ruby Lewis and Ryan Vona, to dig
deeper into their characters.
A lot of these acts came out of nothing, he said. Then you
sort of get into a room, and you start playing around. And you
see what people are good at what things, and you start [to go],
OK, lets make this. Some of the acts come not premade, but
they have an idea of the kind of things theyre going to do.
Theres these twins that do an aerial act, and they have been
involved with Cirque. So they sort of knew generally that they
were going to do this aerial act, but then theres some stuff
that just gets created on the spot.
It was three months before
they even hit the stage, and then they had another two months of
rehearsals on the stage. And thats way longer than any Broadway
show, but thats purely because youre creating new things. Then
once you create an acrobatic act, then you have to make sure
its safe.
The company of Paramour seems to be more like an extended
family. They hold one another up sometimes literally for
every performance, and Kushnier said hes so happy to be part of
the team. We have such a great group of people both on and off
stage, he said. Its a real pleasure to go to work every day.
When it comes to the acrobats, Ive never seen a group of people
that are harder working, that have less ego, that just enjoy
being there and quite honestly put their lives at risk everyday.
It really is a lesson, and it also makes coming to work so
exciting and so fun. Then at the same time, theres no lack of
playing around that goes on backstage, before the show and after
the show. Were definitely a group of people that like to have
fun.
Much like Kushniers toaster-jump entrance on the Paramour
stage, his career on Broadway began with a quick, showy
entrance. His role of Ren in Footloose is a highlight of his
resume and a memory that sticks with him this many years later.
It was an amazing experience, he said. It was the thing that
brought me to New York. It was my first starring role anywhere,
especially creating a role. It was my introduction to Broadway,
so its pretty exciting. It also raised the bar a little bit. I
definitely created a false sense of security as far as what I
should assume the rest of my career would be like immediately.
You know what I mean, as a 23-year-old going, Well, OK, you got
the lead on Broadway, and then you just keep going that way. It
doesnt really work that way, but that being said, I feel so
lucky and so blessed to have had that moment in my life. And now
looking back on it, I wouldnt change anything.
Kushnier has always enjoyed the project-to-project, character-
to-character nature of the theatrical life. The variety and
ability and to create a role from scratch sustains him
creatively. Getting a chance to open up that script for the
first time, and sitting down with other actors, and talking
about what this means and really finding it is incredible, he
said. I think the thing that attracts me to it is just that
thats what I love to do. I love making something. I love
finding these characters.
On the horizon are several other projects, in addition to his
demanding schedule at Paramour. He recently completed a movie
with his brother, who is a filmmaker. The Idea of Manhood is in
the editing stage right now and will hopefully make the festival
circuit in a few months.
Kushnier also writes his own music and is working on two new
albums; this is in addition to releasing his most recent albums.
Im also working with some friends, and were trying to
make/produce some more classical theater, he said. Just this
past year I got to do my first Shakespeare, and just fell in
love with it and sort of Jonesing to do the next one. So got
together with a couple of friends that are very talented and
definitely know more about classical theater than I do, and
were sort of in the process, very early, early stages of maybe
mounting some interesting things in the city.
Paramour was also keeping him busy these past few weeks with a
refresh on the show. This might be somewhat new to Broadway
musicals, but its a tradition of Cirque shows around the
nation, especially with their residencies in Las Vegas. After
opening night, a Broadway musical is typically set in stone and
made permanent. However, Cirque likes to evolve their shows, and
Kushnier has been involved in the process.
I think its a great thing, the actor said.
But he also conceded: Its a lot of hard work.
{ SOURCE: Hollywood Soapbox | https://goo.gl/DVcTNV }
Meet Mahesh Vinayakram, LUZIAs Indian Singer
{Oct.26.2016}
-------------------------------------------------------
Mahesh Vinayakram, son of the well-known Ghatam Master Vikku
Vinayakram, is the first Indian to perform in a Cirque du Soleil
show, LUZIA, coming to San Jose in early 2017. I am happy and
proud to say that I am the first Indian male singer from the
entire Karnatic music fraternity to ever be cast by Cirque du
Soleil.
The creators of the show wanted to add a spiritual element to an
act that has a contortionist depict Alebrijes, a creature from
Mexican mythology, which scares the nightmares away, as it is
scarier than them. My accentuations lead the reactions of the
audience as they see him contort in positions we didnt know
could even be possible, describes Vinayakram.
Vinayakram is not unfamiliar with contortions himself, musically
speaking. He has worked with several styles and genres of music/
musicians, such as beatboxing, Bulgarian choirs, African
percussionists, and Reggae. A rivetting youtube video shows him
jamming with Dub Fx, a street performer and studio recording
artist out of Melbourne, Australia. His JOY with Georg Gratzer
& Klemens Bittmann is an exihilarating homage to the band
Shakti, made famous by his father and Ustad Zakir Hussain, among
others.
Cirque du Soleil is a performance act like no other. The new
show LUZIA was inspired by the natural beauty, modernity,
surrealism, and mythology of Mexico. Composer Simon Carpentier
said in an interview that he wanted to, at the point in the show
where the Carnatic music is introduced, to creatively
destabilize whatever has been constructed in the storyboard up
until then. Vinayakram was chosen to render this creatively
disruptive force, and the raaga he has chosen is Keeravani.
India Currents caught up with the musician to understand how it
all came to be, as well as get to know the man behind the
musician.
Q. How did it all come about?
I was traveling with a big group Charishnu with the Kalakshetra
director Leela Samson who asked me whether I was ready to go for
a session with Cirque du Soleil. I said ok and did a 10-minute
presentation of singing, Konnakol (vocal percussion), Moorsing
(Jews harp), Kanjira (tambourine). I didnt hear from them
afterwards. But apparently they were following my journey on
Facebook and four years later, to my complete surprise, I get a
message from Andre Faleiros (circus talent scout) asking if I
would be interested to join in their new production. They flew
me to Burlington for a final recording/audition in December
2015. I was in Montreal joining the creation process of LUZIA 45
days later!
Q. LUZIA is performance art how do you feel about singing for
it?
LUZIA is a bit like musical theatre. There is stage acting,
acrobats, live music
Its a dream-come-true to take part in a
show like this! It gives me wider scope to exhibit Carnatic
music, especially to a worldwide audience that would never have
heard it before.
Q. How have you been preparing for LUZIA?
Indian classical music needs a lot of quality time of practice
of melody and rhythm control, Every student has to do it for
years. For LUZIA, I had to learn western music chords & scale
system, for example, we dont attempt singing falsetto in Indian
classical, but after coming to LUZIA, I have been trying head
voice.
Q. Who have been your role models?
Obviously my Dad, he is a simple human being yet powerful, he
has conquered the entire world with his small instrument!
Q. Growing up with a living legend, your father- was it tough?
Yes kind of
because expectations are high. That I had to match
them, made me always conscious about quality
I have been
travelling and sharing the stage with my father for more than 15
years now.
Q. What is your earliest memory of watching your father perform?
Watching SHAKTI band in Madras IIT when I was in school in the
90s
I still cant forget how my father enthralled an audience
of 2,000 people in open air theatre
it had a memorable impact on
me not only as a listener, but it also sparked an ambition in me
to achieve big.
Q. What is your philosophy as a teacher?
Being human and staying with values of life/ enjoying the
moment. Yesterday is history, tomorrow is mystery, today is a
gift
I follow this principle.
Q. What next, as a personal goal/ aspiration?
I would like to sing with a philharmonic orchestra featuring
Carnatic music- I want Carnatic music to be taken to all kinds
of possibilities, I am working on that mission to break the
barriers. I want to be the bridge between musical cultures and
like the many masters from India who have been an inspiration, I
want to give back respect to my India. I want to spread harmony
using music.
{ SOURCE: India Currents | https://goo.gl/Lt6dfy }
---------------------------------------------------
CirqueTech -- The Technical Side of Cirque
---------------------------------------------------
Cirque Launches KÀ VR Experience, With O on the Way
{Oct.06.2016}
-------------------------------------------------------
Cirque du Soleil and Felix & Paul Studios released the 13-minute
3D virtual reality experience KÀ The Battle Within and reported
that O is in post-production during the Oculus Connect 3
developers conference in San Jose, Calif.
Available now for Samsung VR Gear before expanding to other
platforms, KÀ is the second project in a VR production pact
between VR studio Felix & Paul, Cirque du Soleil and Samsung.
Based on KÀ, the martial arts-themed Cirque du Soliel show at
the MGM Grand in Las Vegas, It was first previewed last month at
the Toronto International Film Festival.
The third, based on the water-set O show, was shot last summer
in Las Vegas and is currently in post-production (a late-2016
release is expected), while additional Cirque du Soleil-themed
VR experiences are being planned.
Also at the annual Oculus developers conference, Felix & Paul
will preview a clip from a planned 40-minute VR narrative,
Miyubi, which is a collaboration with Funny or Die and part of
Felix & Pauls multi-project production agreement with Oculus.
The scripted comedy is set in 1982 and told from the perspective
of a toy robot.
CHECK OUT A PREVIEW HERE:
< https://twitter.com/Cirque/status/784076788083326976 >
KÀ: The Battle Within features horizontal and vertical
choreography, performed on whats billed as the worlds largest-
moving hydraulic stage. To film the production, Felix & Paul
attached its proprietary VR camera system to the platform in
order keep viewers in motion as the action surrounds them,
according to directors and company co-founders Félix Lajeunesse
and Paul Raphaël.
Its a gravity-defying experience, Lajeunesse says, adding
that in working on the production we realized the beauty and
power in how to use [VR] to immerse the viewer in a different
way. You feel more physically a part of the experience because
you are moving in space with them.
He said the experience includes portions of existing acts in the
production, in addition to some new acts that were created with
VR in mind.
Thats the same approach that Cirque du Soleil and Felix & Paul
took with their previous collaboration, Inside the Box of
Kurios, which was released earlier this year and won a Daytime
Emmy Award in the outstanding interactive media, original
daytime program or series category.
{ SOURCE: The Hollywood Reporter | https://goo.gl/YbcM0l }
McLaren Helped with Creative City Project Performance
{Oct.19.2016}
-------------------------------------------------------
McLaren Engineering Group, a full-service engineering firm with
offices throughout North America, including Orlando, adapted
Cirque du Soleil La Noubas Bamboo Aerial Act for use in a
stunning outdoor performance. The Orlando-based show took its
new dynamic act to the streets of downtown Orlando for the
Creative City Project event last week.
The Bamboo Aerial Act is an acrobatic performance where two
artists, Ekaterina and Alexander Abramova, use a ladder-like
apparatus to demonstrate a spellbinding mix of acrobatics and
romantic storytelling. Originating from China, this moving art
form involves fluid choreography and bold tricks performed while
dangling in the air.
McLaren was proud to provide the initial structural review of
the acts equipment, rigging, and supporting structure in the
gridiron for La Noubas theater, and the follow-up review for
the crane, forklift, and rigging components for the Creative
City Project, said Andrew Habel, Florida Regional Director,
McLaren Engineering Group.
To bring the show safely to the streets of Orlando, a crane was
used to suspend the act. Loft blocks attached to the cranes
boom suspended the rigging. The performers apparatus was hung
from steel cables at a winch attached to a forklift at ground
level, acting as an anchorage point. The winch raised and
lowered the acrobats prop for the performance.
McLaren reviewed the acts rigging, the supporting cranes
capacity and the crane boom angle and length providing 25 feet
of clearance below the performance during the act.
One of the most challenging aspects of this project was
determining the dynamic forces on the acts show components and
rigging due to the performers acrobatics, said Habel. For
performer safety, we wanted to minimize any changes to the feel
of the equipment during the performance to ensure that performer
interaction with modified equipment would be as smooth as
possible.
This fantastic act can also be seen as part of the show at the
Cirque du Soleil La Nouba theater (www.lanouba.com) at the Walt
Disney World Resort.
McLaren has collaborated with Canadian-based Cirque du Soleil
for years, working on various scenery, mechanized effects, and
show-action equipment in many theaters and designing entire sets
for traveling shows.
McLarens entertainment division has been responsible for some
of the biggest shows all over the world. From Broadway to Vegas
to Orlando, were extremely proud of the creative ideas weve
helped to become reality, said Malcolm G. McLaren, CEO of
McLaren Engineering Group.
McLarens entertainment work includes structural and mechanical
design of touring show sets and stages for The Rolling Stones,
Rihanna, Blake Shelton, Tina Turner and Paul McCartney, as well
as structural and mechanical design for scenery and rides in
theme parks around the world.
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia & Totem}
o) ARENA - In Stadium-like venues
{Varekai, TORUK, OVO & Séptimo Día}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
MJ ONE, JOYÀ & Paramour}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Amaluna:
Dusseldorf, DE -- Nov 11, 2016 to Dec 29, 2016
London, UK -- Jan 12, 2017 to Feb 26, 2017
Vienna, AT -- Mar 9, 2017 to Apr 17, 2017
Rome, IT -- Apr 30, 2017 to May 7, 2017
Koozå:
Sydney, AU -- Aug 25, 2016 to Nov 13, 2016
Brisbane, AU -- Nov 24, 2016 to Jan 8, 2017
Melbourne, AU -- Jan 20, 2017 to Mar 26, 2017
Perth, AU -- Apr 13, 2017 to May 7, 2017
Manila, PH -- Jun 25, 2017 to Jul 30, 2017
Kurios:
New York City, NY -- Sep 29, 2016 to Nov 27, 2016
Miami, FL -- Dec 10, 2016 to Jan 29, 2017
Dallas, TX -- Feb 17, 2017 to Mar 26, 2017
Houston, TX -- Apr 6, 2017 to May 21, 2017
Winnipeg, MB TBA 2017
Portland, OR Aug 28, 2017 to Oct 8, 2017
Vancouver, BC Oct 19, 2017 to Dec 31, 2017
Luzia:
San Francisco, CA -- Nov 17, 2016 to Jan 29, 2017
San Jose, CA -- Feb 9, 2017 to Mar 19, 2017
Seattle, WA -- Mar 30, 2017 to May 21, 2017
Denver, CO -- Jun 1, 2017 to Jul 9, 2017
Chicago, IL -- Jul 21, 2017 to Sep 3, 2017
Phoenix, AZ -- Sep 22, 2017 to Oct 22, 2017
Totem:
Nagoya, JP - Nov 10, 2016 to Jan 15, 2017
Fukuoka, JP - Feb 3, 2017 to Mar 19, 2017
Sendai, JP - Apr 6, 2017 to May 21, 2017
Brussels, BE -- Aug 31, 2017 to Oct 29, 2017
Paris, FR -- Nov 2017
VOLTA:
Montreal, QC -- Apr 20, 2017 to Jun 11, 2017
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Varekai:
Bologna, IT -- Nov 03, 2016 to Nov 06, 2016
Turin, IT -- Nov 10, 2016 to Nov 13, 2016
Nantes, FR -- Nov 16, 2016 to Nov 20, 2016
Toulouse, FR -- Nov 23, 2016 to Nov 27, 2016
Strasbourg, FR -- Nov 30, 2016 to Dec 4, 2016
Paris, FR -- Dec 7, 2016 to Dec 11, 2016
Lille, FR -- Dec 14, 2016 to Dec 18, 2016
Lisbon, PT -- Jan 5, 2017 to Jan 15, 2017
Seville, ES -- Jan 18, 2017 to Jan 21, 2017
Gijon, ES -- Jan 25, 2017 to Jan 29, 2017
Sheffield, UK -- Feb 2, 2017 to Feb 5, 2017
Dublin, IR -- Feb 8, 2017 to Feb 12, 2017
Newcastle, UK -- Feb 15, 2017 to Feb 19, 2017
Leeds, UK -- Feb 22, 2017 to Feb 26, 2017
Birmingham, UK -- Mar 1, 2017 to Mar 5, 2017
Nottingham, UK -- Mar 8, 2017 to Mar 12, 2017
Glasgow, UK -- Mar 15, 2017 to Mar 19, 2017
Lyon, FR -- Apr 13, 2017 to Apr 16, 2017
Amsterdam, NL -- Apr 20, 2017 to Apr 23, 2017
Bratislava, SK -- Apr 27, 2017 to Apr 30, 2017
Budapest, HU -- May 12, 2017 to May 14, 2017
Sofia, BG -- May 26, 2017 to May 28, 2017
Ljubljana, SL -- Jun 2, 2017 to Jun 4, 2017
TORUK - The First Flight:
Ontario, CA -- Nov 2, 2016 to Nov 6, 2016
Los Angeles, CA -- Nov 11, 2016 to Nov 13, 2016
Phoenix, AZ -- Nov 16, 2016 to Nov 20, 2016
San Diego, CA -- Nov 23, 2016 to Nov 27, 2016
Sacramento, CA -- Nov 30, 2016 to Dec 4, 2016
Portland, OR -- Dec 7, 2016 to Dec 11, 2016
Vancouver, BC -- Dec 14, 2016 to Dec 18, 2016
Edmonton, AB -- Dec 22, 2016 to Dec 26, 2016
Inglewood, CA -- Jan 12, 2017 to Jan 15, 2017
Las Vegas, NV -- Jan 18, 2017 to Jan 22, 2017
Wichita, KS -- Jan 26, 2017 to Jan 29, 2017
New Orleans, LA -- Feb 1, 2017 to Feb 5, 2017
Guadalajara, MX -- Feb 10, 2017 to Feb 12, 2017
Mexico City, MX -- Feb 16, 2017 to Feb 19, 2017
Monterrey, MX -- Feb 23, 2017 to Feb 25, 2017
Cleveland, OH -- Mar 3, 2017 to Mar 5, 2017
Philadelphia, PA -- Mar 8, 2017 to Mar 12, 2017
Hartford, CT -- Mar 15, 2017 to Mar 19, 2017
OVO:
Erie, PA -- Nov 17, 2016 to Nov 20, 2016
Quebec City, QC -- Nov 23, 2016 to Nov 27, 2016
Montreal, QC -- Nov 29, 2016 to Dec 4, 2016
Kingston, ON -- Dec 7, 2016 to Dec 11, 2016
Grand Rapids, MI -- Dec 14, 2016 to Dec 18, 2016
Detroit, MI -- Dec 22, 2016 to Dec 25, 2016
Kansas City, MO -- Dec 28, 2016 to Jan 1, 2017
Sioux Falls, SD -- Jan 4, 2017 to Jan 8, 2017
Loveland, CO -- Jan 11, 2017 to Jan 15, 2017
Colorado Springs, CO -- Jan 18, 2017 to Jan 22, 2017
Tulsa, OK -- Jan 25, 2017 to Jan 29, 2017
Spokane, WA -- Feb 16, 2017 to Feb 19, 2017
West Valley City, UT -- Feb 22, 2017 to Feb 26, 2017
SÉPTIMO DÍA NO DESCANSARÉ:
Buenos Aires, AR -- Mar 9, 2017 - May 14, 2017
Cordoba, AR -- May 25, 2017 - TBA
Lima, PE -- June 2017
Santiago, CL -- July 2017
Bogota, CO -- September 2017
Mexico City, MX -- October 2017
Guadalajara, MX -- November 2017
Monterrey, MX -- December 2017
Select US Cities -- 2018
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
2017 Dark Dates:
o January 7 - 19
o February 5
o March 8
o May 6 - 10
o July 12
o September 9 - 13
o November 8
Special Performance Dates:
o Fri, Dec 30, 2016
o Fri, Jan 20, 2017 | Dress Rehearsal 7:00 pm
o Thu, Apr 6, 2017
o Thu, Aug 17, 2017
o Fri, Nov 24, 2017
o Fri, Dec 29, 2017
o Sun, Dec 31, 2017 | 4:30pm & 7:00pm
2017 Single Performance Dates:
o Fri, Jan 20 | 9:30 pm
o Sun, Jan 29 | 7:00 pm
o Fri, Mar 03 | 9:30 pm
o Sat, Mar 11 | 7:00 pm
o Sun, Mar 26 | 7:00 pm
o Sun, Apr 02 | 7:00 pm
o Sun, Apr 09 | 7:00 pm
o Sun, Apr 16 | 7:00 pm
o Sat, Jun 17 | 7:00 pm
o Sun, Aug 13 | 7:00 pm
o Sun, Oct 01 | 7:00 pm
o Fri, Oct 20 | 7:00 pm
o Sun, Oct 22 | 7:00 pm
o Fri, Dec 08 | 7:00 pm
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 9:30pm (as of Aug 12, 2015)
2016 Dark Dates:
o November 28-December 13
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
2016 Dark Dates:
o November 23
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
One/Two Shows Daily:
2:00pm (Wednesday)
7:30pm (Thursday & Monday)
8:00pm (Friday)
2:00pm & 8:00pm (Saturday)
2:00pm & 7:00pm (Sunday)
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "Paramour Revamped - Impressions 2.0"
By: Douglas Metzger - Long Island, New York (USA)
o) "Robin Leach on Upcoming One Night for One Drop 5"
A Special to the Fascination! Newsletter
o) "Casting Q&A's - Meet an Artist, Part 3 of 6"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
"Paramour Revamped - Impressions 2.0"
By: Douglas Metzger - Long Island, New York (USA)
------------------------------------------------------------
As a recap to my last review of this wonderful show, Im lucky enough
to be a Passionate one of those people who have followed Cirque
for many years. Through those years Ive made many cirque-adjacent
friends as well as with cast and crew alike. Paramour is no exception.
I had previously related my fascination (unrelated to the naming of
this publication) with Kurios and how it too has gone through revamps
and tweaking between the time it premiered and through its various
touring locations and most notably imposed financial constraints.
These changes noticeably tightened the show and in some cases trimmed
well respected elements.
In the case of Paramour, lengthy initial previews were used to test
audience response and flow. This finally led to opening night and the
formal launch of the show.
Going back to my opening above, Im enthusiastic about Cirque in
general and the group of friends I have formed that are similarly
inclined to travel widely to see shows and gather. Some travel great
distances China, France, Japan, Mexico, Europe in general, South
America, and certainly long distances in the US as well. In July of
this year a few of us got together s decided to further meet again in
NYC. We planned this knowing two (2) cirque productions would be in
town together: Paramour and Kurios. These friends are passionate about
Paramour and Kurios similarly having personal friendships within cast
and crew alike. What better a day to be spent than seeing two shows,
one mid-afternoon, one in the evening. Wed leave one show, have
dinner (and celebrate a birthday Hi Heather Smith!) then travel a
few short miles to see Kurios on Randalls Island.
One dot naught, and Two dot naught...
In mid-August Paramour announced it would go dark for a few days and
re-tool. This announcement preempted scheduled performances where
tickets had been sold. These tickets were refunded or exchanged for a
future performance. As of the last Sunday show that week (August 21st)
Paramour went dark until the immediately following Thursday evening
(August 25th). During this time an extensive and, mind you, very
expensive, re-tooling took place. Operationally speaking this was a
very costly undertaking in many ways. As a note: prior to opening on
Broadway Cirque entered negotiations with various Broadway unions.
Since not all show talent was part of these unions, Cirque needed a
waiver. This waiver though prevents Paramour from using off-site
rehearsal facilities while the show is being actively staged.
Financially speaking one would have preferred to use the lower cost
off-site rehearsal facility at Long Islands Grumman Studios for such
a retool. (This facility hosted original production development and
rehearsals.) Because of this union limitation, the Lyric Theater was
used including all the associated supporting talent, crew, house,
facility and orchestra teams.
Social media storm - It should be noted, again, that the launch of 2.0
was continually promoted in social media. Most cast and crew members
maintain individual, if not professional, based social media accounts.
These seemingly went into overdrive, and have remained at a very
heightened state of use ever since. Most days you can find numerous
new postings on Instagram, Facebook, Twitter, Tumblr, and the now
closed Vine. Cast and crew even go out of their way to post self-
produced and interesting bits unrelated to the show. These grab
numerous behind the scenes aspects of the show itself and make for
attractive and informative alternate content supporting an eager
audience. It becomes a veritable PR bonanza at times. Its also
heartening to see Tweets acknowledged by cast and crew alike. Audience
members tagging the theater or cast member will typically get a note
of thanks or like at the end of each day. The new dawn of social
interaction is being wholeheartedly embraced by this production, at
the request of Cirque corporate.
Print and TV media - The 2.0 rework was also covered in Broadway
media, such as Playbill, TheaterTimes, and the local arms of national
print press, all in a favorable manner. Performers were also
dispatched to a lengthy list of daytime and evening talk /
entertainment shows as well. This included the likes of Today, Kelly
Ripa, The View, Entertainment Tonight, etc.
To this reviewer 2.0 has been much better received than its original
incarnation. Show consistency, balance and structure are vastly
improved. The storyline is also communicated in a more broadway-esque
styling. All of these changes should help to bring this production
towards 21st century audience expectations, previously not met.
The most notable change to the show was the overall story structure.
This changed storyline arc places the narrative of the lead, AJ, front
and center, literally. This narrative comes and goes throughout the
show helping to fill gaps as well as assisting the audience with the
explanation of artistic interpretation.
Storyline aside, other significant changes have taken place with the
addition of new components such as Unicycle, German Wheel, and
introducing the shows namesake song - Paramour. Reworked existing
components include modified Banquine, use of Korean Plank, Teeter and
Pole/Lamp post use. High expectation existing acts were expanded as
well, sometimes appearing to run a full double of their original
iteration. These include the Atherton strap segment in Cleopatra and
the acrobatic representation of the love triangle - Hand to Trap. Each
of these changes is wholly welcomed. In the case of Unicycle, its the
first heavily acrobatic performance of the show; the cycler and
assistant glide effortlessly around the stage in seemingly impossible
scenarios. This act ends with the audience raring to jump to their
feet in appreciation. German Wheel is introduced in a supporting role
as well. Its become a staple of Cirque, with its inclusion into this
show not going unnoticed. The title song Paramour (first introduced
underlying television adverts and then suspiciously dropped from 1.0
in its entirety) is a welcome addition. To those that had previously
noticed, there was no namesake song in the original production. This
new inclusion places a nice artistic bow on the show when hearing it,
especially since its an immensely well-formed song.
With respect to reworked acts, the established show stoppers: Atherton
straps and Hand to Trap are practically doubled in length as
previously mentioned. At times this extension might seem repetitive.
The nightmare street number including Lamp Posts is a feat for
certain. How the performers toss themselves about - in sometimes
death-defying manipulation - astounds. The context of this act,
though, remains fraught. Zombies. I just dont get this inclusion. It
feels disturbingly whimsical in its misplacement.
One component I continue to enjoy is the use of drone technology. I
believe it represents a new vision for Broadway and cirque alike.
Having seen audience reception to their use during a duet I do believe
the audience doesnt really understand what theyre watching until the
very last moment. At that time a single drone flies through a hoola
hoop, then the technology truly sets itself apart. It might be
suggested to launch the drones from the two center isles and fly them
to the stage. In this manner the audience will have an immediate
immersive connection with the flighty craft.
One notable, but unfortunate, detraction for me was the dumbing down
of lead female, Indigo. In 1.0 her mid-western hick upbringing was
immediately quieted after introduction. The historical iteration of
such a character being that of ditzy brunette just off the bus on the
Great White Way, ready to be descended upon by scrupulous producers/
casting agents. In 2.0 they embrace this classic stereotype. In 1.0
she was more quick-witted and full of moxie from almost the outset.
This change unfortunately plays well to support the newer storyline
and eventual reveal near shows end, but it could be better
interpreted. Strong women characters are positive to progressive
expectations.
Last notable change to the show was the saloon dance act. This brings
out all of the characters for an epic western style dance number. In
1.0 this was the large opening number, with it now moved deep into the
2nd act, lending complexity to the acidic love triangle. This triangle
culminates its arc in the shows ending number, Rooftops.
Rooftops is artistically interesting though continues to be
conceptually stunted. From the use of elevator and stair tower
projections to implementation of a chase, its juvenile and harsh.
Most worrying, the number is outwardly choreographed to become a
parody of itself. Its the most oblique and forced act of the show,
though athletically impressive, at times using poles, tramps, and
elevated platform to support shear madness. The only way this reviewer
would know how to properly incorporate the staging would be to draw
upon previous incarnations of West Side Story fight scenes. The set
used for the act is impressive, huge and certainly expensive. No
wonder they wish to keep it, at any cost.
In closing, my first review assessed a production 70% complete. Id
now say 2.0 is 90% complete. If slight changes are made it can
certainly be a sustaining production throughout Broadway and live on
quite well through 2017-2018, and possibly beyond. The reworked show
has a vastly superior Broadway flavor to it than did 1.0. Its
captured the essence of true Broadway, but with a 21st century view.
Incorporating extreme athletics, as well as technological innovations,
will certainly drag a stunted and somewhat entrenched Broadway into
bigger and better things. This is certainly something Broadway needs
right now and well into the future in order to capture those critical
dollars. With this concept cirque has resoundingly placed itself as a
force within this theater community and they should be represented for
quite some time to come. At the end of the day, even if this show
doesnt capture needed viewership in Times Square, it's comforting to
know it can leave and go on a world tour to become a standard bearer
for the company.
------------------------------------------------------------
"Robin Leach on Upcoming One Night for One Drop 5"
A Special to the Fascination! Newsletter
------------------------------------------------------------
PART 1: We want to bring back the blood, sweat and tears
The new One Night for One Drop benefit performance in March from
Cirque du Soleil promises to be radically different than the previous
four one-night-only productions that have raised millions of dollars
for the water charity One Drop Foundation. Husband-and-wife creators
Nicky and Laetitia Dewhurst, working alongside director Krista Monson,
the creator of the first One Drop, promise that it will be more
dangerous and daring than ever before.
Were actually going smaller than year one as in smaller cast,
smaller theater. This will be more about the individual talent of
circus artists and performers. We want to bring back the blood, sweat
and tears. We want the audience to really feel what it is to be a
performer, and because were going back in time, we can go back to the
traditional circus where the acts were a little more risky as in a
danger aspect to the show. A little more jaw-dropping, much smaller,
more intimate and thus more dangerous, Laetitia said.
On Monday, the trio make the final cut of just 60 performers who will
appear in their production. Auditions ended last Monday, and 16 weeks
of rehearsals begin Tuesday as tickets go on sale for the March 3 show
at Zumanity Theater in New York-New York. The tax-deductible VIP
tickets are $1,500 for the show and post-show extravaganza with
performances and Cirque-themed festivities. Show-only tickets start at
$100.
Go to Onedrop.org/onenight or call 1-844-33-WATER. Proceeds benefit
One Drops global-water initiatives, with a portion locally benefiting
our Springs Preserve. It will be a little more dangerous, Laetitia
continued. Were really pushing the boundaries in the sense that
were looking at the planet as a whole. I know that the charity is
about water, but if it wasnt for the planet, we wouldnt have water.
Were trying to look at the broader issues of whats going on with
the planet right now. The previous four shows have all focused on the
search for water. Theres no searching for water this time around. We
wanted to make this show very different from the ones in the previous
years but still focus on the broader issues with the planet rather
than draw attention to the one particular subject.
We talked as auditions from dozens of volunteer Cirque show performers
and artists from our Las Vegas community ended. Along with Las Vegas
Review-Journal photographer Jason Ogulniks rehearsal photo gallery,
we have an exclusive inside look with the new One Drop producers.
For the first time, dancers from our Nevada Ballet Theatre will
perform onstage with Cirque.
DAMAGE TO THE PLANET
--------------------
Laetitia revealed: Basically we have two main characters. One
represents mankind and the other represents Earth. Man treats Earth
really poorly throughout the whole show. The metaphor throughout the
show is the damage were doing to the planet we call home. Were doing
it with characters rather than actual physical things and visuals. We
have reached out to guest stars and singers, and were in conversation
with a couple of solo artists. This year we really bring them into the
show as a real part of it as actual characters.
The husband-and-wife team who perform in Zumanity submitted a
similar idea for this years show performed at The Smith Center for
the Performing Arts last spring. Their hope to present extraordinary
aerial excitement couldnt be achieved there, so Cirque officials who
had long wanted to use the Zumanity Theater for One Drop decided
that the fifth production would be there. That meant the duo had to
redesign their production for the smaller-scale theater.
It let us go back farther in time with more of a cabaret vaudeville
show, so its completely different to what we envisioned at The Smith
Center and a completely different concept from past productions, said
Nicky. (Cirque founder) Guy Laliberte had always wanted to use the
Zumanity Theater for One Drop. He doesnt know anything about the
show until the night we present it. He only knows that were directing
it.
Laetitia added: We know the theater. I was literally born here. Ive
been with Zumanity since it opened. The roof wasnt even on when I
first came here. I was an original dancer on straps and pole, and now
I back up the clown character played by my husband. We thought that we
knew the theater from performing here nightly, but weve discovered a
lot more. Weve had a lot of meetings in the lighting booths, and as
artists we never really had to go there.
Were really going backstage. We know every nook and cranny in the
theater, how it works, and it works perfectly for our One Night
vision. There was a toss-up between the Mystere Theater, and we
prayed for this one for our concept because of the intimacy, and its
such a stunning showroom. Its the smallest of all the Cirque theaters
on the Strip, but its what we wanted originally.
After The Smith Center production this year, there was talk of using
a circus tent, but they wound up giving us the choice of the
Zumanity or Mystere theaters, and we pushed for Zumanity. Its a
beautiful theater, and for our concept this fits beautifully. We would
have had to make the Mystere Theater more intimate somehow.
I pushed them to reveal at least one dangerous aspect of the new
production. We have an act that does straps but not holding on with
their hands, said Laetitia. They hold on by their teeth. She holds
him, a 130-pound guy, with her teeth. Thats pretty intense. Theyre
from Uzbekistan, friends of friends of ours, and they sent us the act
and said theyd love to be part of the show.
At first you think its a normal strap act, but then it just gets
crazier and crazier and crazier. They will be one of our guest
performers. She holds him in her teeth, and he hangs and flies and
does a bunch of strength moves with her holding him in her teeth. We
have to keep their name secret for now, but they illustrate what were
transforming our Zumanity Theater into: A nonstop traditional
circus. Were physically transforming the theater into a broken big
top.
The show is very surreal, like a dream where our character goes back
in time, a little like the story of A Christmas Carol with Scrooge
where he goes back in time. They cant see him, but he can see himself
and he sees the mistakes hes made and how he treated people. It
underscores how we treat Earth. If we could go back in time, what
would we do differently? Our two main characters are the two
ringmasters, one old and one younger.
SHATTERED BIG TOP
-------------------
Laetitia confirmed my earlier exclusive that her father-in-law,
Nickys 84-year-old dad, Brian Dewhurst, the clown Brian Le Petit in
Mystere at T.I., will play the older ringmaster: He will go back in
time to see his younger self in the circus. Brian began his 50-plus-
year circus career when he joined the circus at age 13. The younger
ringmaster will be played by Lorenzo Pisoni, who was the original pink
character in Mystere that my husband also played.
Nicky said: Weve all had a long history with Cirque, so we wanted
that element brought in because this will be the fifth anniversary of
the One Drop shows and the 10th anniversary of the One Drop
Foundation launched by Guy in October 2007. (The Cirque and One Drop
founder personally pledged a $100 million donation over 25 years.)
So in the shattered big top, the older ringmaster gets taken back
like the Ghost of Christmas Past, Nicky continued. He gets to see
his younger self and how he behaved and how he screwed up Earth.
Thats the message to everybody: Take care whats in front of you and
realize the beauty of what you have.
Last year we had 120 performers, but in making this production more
intimate, we have cut it in half and will have about 60 performers. As
theres not a lot of money involved in a one-night-only show, we
wanted to give the designers an opportunity to really focus on the
production. They have wonderful ideas, but it becomes difficult
financially, so the whole cast throughout the whole show will wear the
same costume, but theres more detail in those costumes.
A lot of acts from around the world have submitted videos, and we had
50 more volunteers than we needed from Cirque wanting to be in the
show. Theres a lot of interest this year already.
They were excited that it was at Zumanity Theater, too, because it
is such an intimate theater. You want to give the opportunity to as
many Cirque performers as you can, but we wanted to reach out to the
Las Vegas community, so were striking the right balance now that our
audition process has ended.
LIVING, BREATHING TIME MACHINE
------------------------------
The ballerinas will be a living, breathing, working part of the time
machine inside it as the cogs and wheels and springs. They are more
fairies than ballerinas because Cirque isnt ballerina-driven. Its
acrobatic character performance-driven. Krista summed up: Nicky and
Laetitias concept is fantastic. Each of the dancers will have his or
her own language as opposed to a corps ballet.
Well actually have a couple of human animals in the circus and
many visuals of animals. Our new production goes back in time with a
time machine from the influence of Charles Dickens, and the acts are
dangerous and very daring. Were going to really focus on that
individual artist and bring the focus to them.
Nicky explained: So much of what we do sometimes gets lost if theres
something else happening onstage. We want to try to reintroduce the
focus on the performer. You see the beads of sweat. You see the
tension as they fly. You see that energy that theyre really putting
into the concentration.
As much as Cirque is wonderful and we love the shows, the massive
spectacles, our side of the intensity does not always show itself. Our
One Drop audience will experience that close up; they wont miss a
thing. Well know the performers a lot more than we have in previous
shows. Thats why this Zumanity Theater works so well. It can only
really work in this theater.
* * *
PART 2: The paint comes out now to make our masterpiece
Nearly five years ago, Krista Monson created the first One Night for
One Drop show for Guy Lalibertes commitment to the One Drop water
charity he founded. Now shes returned as the overall director of
creation for the next spectacular production March 3 at Zumanity
Theater in New York-New York.
Tickets go on sale today as preparations begin for rehearsals now that
auditions have been completed. The tax-deductible VIP tickets are
$1,500 for the show and post-show extravaganza with performances,
Cirque-themed festivities, cocktails and hors doeuvres. Show-only
tickets start at $100. Details: OneDrop.org/OneNight and 1-844-33-
WATER.
Krista said as auditions ended and the trio began the final cut to 60
performers: It is an awesome responsibility to be back and awesome in
another way for me because, after the first year, I left Las Vegas for
four years. I did a show in Italy. Ive been doing other things with
different producers. I always knew about the collective expertise of
Cirque du Soleil, but coming back I realized just how unique, how
extraordinary the people are, the individuals are, the international
flavor, the sense of caring. I worked with the United Nations as the
creative director of the first world humanitarian summit in Istanbul.
I became really allied to that humanitarian spirit, and our One Night
for One Drop show is a fusion of that sublime. We have the
humanitarian spirit with extraordinary circus acts and performances,
so its a real privilege, and Im very proud to work with everybody.
A LOGISTICAL NIGHTMARE
------------------------
Krista masterminds the entire, complicated logistics of the
production, including maneuvering a cast thats scattered around the
world. She explained: Basically, we had our cast assembled yesterday
(Monday), so we now have a rehearsal schedule this month, December,
January and all of February, just 16 weeks.
Were working with casts from seven shows, all of which have a two-
week dark period during that time, so we have to respect people going
home, then our guest artists, plus three major holidays. Some of them
are coming in December, and they wont come back for another seven
weeks.
We really have a logistical nightmare. This is not producing a show;
its producing a jigsaw puzzle. I take away all the headaches of the
creative directors and give them all the space they need to write the
show and direct it. I give them the tools, the place and the artistic
inspiration so that they have the freedom to create it.
I make sure all the pieces fall into place perfectly. I didnt just
age the first year I did this; honestly, I had nothing left in me. But
I watched the One Drop shows that followed on video while I was away
overseas. It broke my heart not be here for them. Theres nothing like
seeing it first hand in the seat. Its pain and punishment, but I had
to return to do this one.
Its radically different, but theres a momentum to it already. I
think were ready, its delicate to say, were ready to laugh even
though this is a very serious cause. Its a delicate dance between
moving people and entertaining people, and I think the concept that
Nicky and Letitia have this year is going to move and entertain but in
ways that are unique and extraordinary.
So, in that way, theyre flying thousands of feet higher looking at
the planet. Of course water is a huge part of that, but theyre really
daring in terms of all thats happening, and what is universal is the
idea to try to right Earths wrongs.
A HUGE CHALLENGE
------------------
Its a huge challenge. Weve had the walk for water, we had the water
in the show at O, and we have to have a spectacle, not a brochure,
to make the message resonate. Its amazing when you think Ill have
300-plus people all volunteering extraordinary amounts of time for a
one-night production.
The budget is minuscule; they dont get paid, and theyll never
perform it more than the one occasion. Its no cabaret, I assure you.
Its an extraordinary commitment, the very best. You will see that
commitment this time. As Nicky said, The blood, sweat and tears no
apologies.
In the old circuses, the elite performer helped put up the tent, and
were going to see a part of that, that community of spirit of putting
something together, a show within a show. Its going to be really fun.
We went around to all the Cirque shows in Las Vegas and presented it
to all the artists, the entire staff, to see who wanted to be
involved.
From the makeup people, the wardrobe costumers to the performers,
they all rushed to the stage. They now want to be involved with
something they can celebrate. The cause itself is not something to
celebrate because people are dying every 90 seconds due to lack of
water or sanitation while we are in our plush seats.
That is simply not acceptable. But we reconcile it with the show that
makes people question the situation on the really important basis of
how they can help solve it. The show fulfils the mission. Laetitia and
Nicky had the vision to introduce classical ballet into their
production, so we have incorporated some of the dancers with Nevada
Ballet Theatre.
Cirque has a great partnership with Nevada Ballet from nine years ago
with Choreographers Showcase, which this month is Nov. 13, 19 and 20
at Mystere Theater. This is the first time we have the local
community involved in our production: Nevada Ballet is part of our
family.
The first year when I did it, there were 230 people. That was crazy.
We had trucks outside, we were using hallways, corridors and banquet
rooms for makeup. This year we are at 60 onstage performers. I would
say half are from active Cirque shows here, and the other half are
guest artists, a mix of former Cirque stars, new Cirque stars and
ballet dancers.
Many of the guest artists were with Cirque previously or on tour
elsewhere, but we know of them all. Well add A-list talent and
singers as we get closer. Theres also a creative team of 30, all the
designers, lighting designers, sound designer, assistants, and out of
them 25 are currently working with Cirque du Soleil, so most of the
creative team is from here, too.
When we have a meeting, it fills our entire conference room. The
communication is all about setting goals. We already have a beautiful
storyboard and a mood board that takes us through, picture by picture,
scene by scene, tableau by tableau. The rigging team knows what they
have to do and how to set up.
As tickets go on sale and rehearsals start, the paint comes out now,
and we make our masterpiece.
{ SOURCE: Robin Leach, LVRJ | https://goo.gl/CvYASJ,
https://goo.gl/X8rf6q }
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"Casting Q&A's - Meet an Artist, Part 3 of 6"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
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Ever wonder what it would be like to become a Cirque du Soleil artist?
Of course you have! Who hasnt? Wonder no longer! Through a series of
interviews on their casting website, Cirque du Soleil invites us to
get to know some of their performers (past and present), and discover
how each of them went from a career as an athlete, circus performer,
instrumentalist, singer, dancer, actor, clown, or in another specialty
to becoming a Cirque performer. Theyre fantastic reads if youve had
the pleasure, and if you havent, well, dont despair. Weve collected
all 30 artist interviews for you to peruse in this series, which, due
to the page count, well publish in six parts. In September, we began
with Q&A's from Anthony Gatto, Claudel Doucet, Denise Stefanie
Gonzalez, Eric Scribner, and Eve Castelo Branco. We continued last
month with Hassan El Hajjami (Hip-hop & Breakdance), Jean-François
Houle (Bandleaders), Jeanne Dioman Gbou (Ethnic & Traditional dance),
Julia Lopatkina (Acrobatic gymnastics), and Kristin Allen
(Gymnastics). And now here in Part three: Lionel Hamel (Stringed
instruments), Lisa Skinner (Artistic gymnastics), Marco De Santi
(Extreme sports), Melissa Urbano (Martial arts), and Michael Joseph
Hachey (Stringed instruments).
# # #
LIONEL HAMEL
Canada | Guitar, Singer, Computer programmer
Q. WHAT WAS YOUR BIGGEST ARTISTIC ACHIEVEMENT PRIOR TO JOINING CIRQUE
DU SOLEIL?
Guitar, voice and sound engineer for Dralion and Solstrom.
15 years of music for Radio Canadas "Londe de choc musique et
son"
Q. PLEASE TELL US ABOUT YOUR ARTISTIC BACKGROUND BEFORE JOINING
CIRQUE.
I did music for TV shows, commercials and movies and toured with
Sylvain Cossette, Marc Dupré, Sono, Zébulon and Marc Déry.
Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL?
I began in 2004.
Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION?
It was very good
cool and relaxed.
Q. HOW DID YOUR INTEGRATION GO IN THE SHOW?
My integration took nearly 3 years, but everything is very good
now.
Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL?
I love having the possibility to grow with such a great company.
Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR
CURRENT CIRQUE CAREER?
It has been very good so far.
Q. HOW IS IN LAS VEGAS?
Expensive!
* * *
LISA SKINNER
Australia | Artistic Gymnastics - Power Track
Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL?
I began in April 2006.
Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION?
I bumped into a member of Cirques Casting department while
competing in Athens in 2004.
Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION?
Unlike any other! It was a comprehensive and intense blend of
acrobatics and artistry, fantasy and reality, and everything in
between. You never knew what to expect each day!
Q. HOW DID YOUR INTEGRATION GO IN THE SHOW?
Quite fast yet quite smooth. One minute I was watching the show
and the next I was in the show! As soon as I arrived everyone
was so incredibly welcoming and extremely helpful.
Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS
YOURSELF IN YOUR DISCIPLINE?
You really get to show off what you do best. Its an amazing
feeling to be able to perform in front of an audience that is in
awe of every little move you make!
Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL?
I love waking up in the morning and really looking forward to
going to work every day. In fact, it doesnt even fell like work
to me!
Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR
CURRENT CIRQUE CAREER?
The transition was fine. I think its fantastic that Cirque
provides the opportunity to turn the acrobatic and artistic
skills that people have spent so much effort perfecting into a
career.
Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE?
Its an amazing experience youll never forget or regret.
Q. HOW IS LIFE ON TOUR?
Unreal!
* * *
MARCO DE SANTI
Brazil | Rollerblading
Q. WHAT WAS YOUR BIGGEST ARTISTIC OR ATHLETIC ACHIEVEMENT PRIOR TO
JOINING CIRQUE DU SOLEIL?
Gold Medal in Latin American XGAMES in 2002 & 2003, Ranked #2 in
the World in 2004; Silver Medal for XGAMES 2004; Gold Medal in
Asian XGAMES 2004
Q. PLEASE TELL US ABOUT BACKGROUND PREVIOUS TO JOINING CIRQUE:
I was a competitive professional in-line skater. And when I
wasnt on skates I liked to learn tricks like back flips,
handstands, and various other types of flips.
Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL?
I started in September 2005, in Montreal for the creation of
LOVE. Good times!
Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION?
In 2000 I did an audition at a skate park in Brazil. Then Cirque
invited me (and some of my friends) to a second audition where I
had to imitate really funny characters while skating.
Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION?
In my audition, I had to do a lot of crazy acting that I had
never done before and never thought I would have to do. The
training at Cirque was crazy from a skaters perspective
I felt
like I was a Ninja. Also, we did free running, trampoline and
acting.
Q. HOW DID YOUR INTEGRATION GO IN MONTREAL AND IN THE SHOW?
I really felt like I was in the right place surrounded by a lot
of energetic people with different talents. Also, I really
learned a lot as a performer and improved my skating abilities
as well.
Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS
YOURSELF IN YOUR DISCIPLINE?
In skating competitions I had to perform, but its definitely
not like acting. Here I can do whateverbe silly and have fun on
stage.
Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL?
I love being around so many good people with different talents
and to be able to learn and grow as an acrobat.
Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR
CURRENT CIRQUE CAREER?
I miss competing but this is a new and different challengeIm
competing with myself and pushing my own limits.
Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE?
Cirque is an amazing company to work for and will open doors for
your future!
Q. HOW IS LIFE IN LAS VEGAS?
Las Vegas is open 24 hours so you can have fun any time of the
day!
Q. ANYTHING ELSE YOU WOULD LIKE TO SHARE WITH US?
Cirque is much more fun than I ever thought it would be. And as
an artist, you are contributing to making an incredible show
that much better!
* * *
MELISSA URBANO
Australia | Wushu
Q. WHAT WAS YOUR BIGGEST ATHLETIC ACHIEVEMENT PRIOR TO JOINING?
I won 4 karate World Championship titles in 2009 and in 2013 in
different events in Point Fighting, Traditional and Extreme
Forms.
Q. PLEASE TELL US ABOUT YOUR ATHLETIC BACKGROUND PREVIOUS TO JOINING
CIRQUE?
I started karate at the age of 6 and competed professionally at
a high level at the age of 17. One year earlier, I got into
acrobatics, which complemented my martial arts skills. I began
teaching different skills to people of all ages at martial arts
seminars. I was managing 3 martial arts schools in my hometown,
Melbourne. Getting into stunt work and training specifically for
film fighting lead me to perform in some short films and having
interest in KÀ.
Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL?
In September 2013
Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION?
My husband Phil Kismartoni and his brother Peter where already
working as performers in KÀ. This show was the first Cirque show
I ever saw and I was blown away by it. I never imagine that I
could be a part of something so extraordinary at the time.
Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION?
I was visiting my husband in Las Vegas after competing at the
ISKA US Open World Championships in Orlando (FL), when the
Casting team emailed my husband to check if I was interested in
doing an audition. I was leaving to go home to Australia the
following day, but since I was interested they were able to
arrange a specific audition on my way to the airport. Just after
landing in Australia, I got a call from them announcing me that
I had been selected. Not long after, I was back in Las Vegas to
start my dream job.
Q. HOW DID YOUR INTEGRATION GO IN THE SHOW?
At times, it was nerve-racking to learn acrobatics acts and to
be performing at 60 feet in the air was something completely new
to me. I never thought I would learn so much, thanks to that the
integrating was a success.
Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS
YOURSELF IN YOUR DISCIPLINE?
In KÀ, a fight scene is not just kicks and punches. There is a
story to be told. Character and intentions are vital to bring a
scene to life; therefore it allows us to express ourselves on a
deeper level.
Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL?
It feels very much like a family environment, which helps since
a lot of us are so far from home. I also love to perform and
inspire audiences.
Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR
CURRENT CIRQUE CAREER?
It was a big change from running a martial arts school, coaching
and competing to performing on stage 2 shows per night, 5 days a
week. By working with high level performers form all around the
world, my skills improved, I learn a lot about entertainment and
also about other cultures.
Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE?
The experience of performing on stage with a strong team working
together to entertain an international audience is a unique
feeling. Performing a live show every day is challenging but at
the end of a representation when you hear the applause, it is
very rewarding.
Q. HOW IS LIFE IN LAS VEGAS?
I love my life here. I am happy and healthy, I have a dream job
and I get to perform on stage with my husband every night.
Besides the bright lights and casinos, there are many outdoor
adventures nearby.
* * *
MICHAEL JOSEPH HACHEY
United States | Strings/Bass Guitar Bass/Double bass
Q. YOUR BIGGEST ARTISTIC ACHIEVEMENT IN YOUR PRE-CIRQUE CAREER?
Performing in Neil Bergs Broadway review show Holiday On
Broadway.
Q. TELL US ABOUT YOUR ARTISTIC BACKGROUND BEFORE JOINING CIRQUE.
I started playing the French horn at age 11, which gave me an
orchestral background. Soon after, I discovered bass through
friends and community programs, and began performing as an
upright and electric bassist playing many different styles in
many different groups.
Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION?
I joined Cirque du Soleil in 2011. I was actively searching for
jobs and found an open call for an audition for bass players on
Craigslist. I recorded a couple of songs and sent in my video
demo. I waited patiently for over 2 years and finally received a
call from a Talent Scout seeking me to practice the rockabilly
style of upright playing in order to prepare for a live audition
in Las Vegas for the Viva ELVIS show.
Q. HOW WAS THE AUDITION EXPERIENCE?
In the live audition, I was treated like royalty. I met a few
members of the Cirque family and everyone had big smiles on
their faces the whole time I was playing. Just auditioning was a
really rewarding experience. Everyone was so receptive. It was
amazing.
Q. WHAT WAS IT LIKE INTEGRATING INTO THE SHOW?
It was a pretty easy process making the transition into the
show. Even from day one, everyone on the team was very helpful
and welcoming. The main idea is to concentrate on your art and
what you are bringing to the show. The band and the entire cast
came to me with open arms when I arrived.
Q. IS WORKING AT CIRQUE DIFFERENT FROM WHAT YOU HAD IMAGINED?
It wasnt exactly like I was thinking
I thought I was going to
be hidden behind a curtain with a music stand. However, one of
the greatest things about Cirque is how live musicians are
incorporated into their shows. Its so special to have the
interaction between artists and musicians; getting cues, reading
whats going on in the show and getting to play into it. Cirque
really respects live musicians and performers.
Q. HOW HAS BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOWED YOU TO
EXPRESS YOURSELF IN YOUR DISCIPLINE?
For me, performing with Cirque du Soleil as a musician has been
unique and very different from anything I have ever done before.
I really enjoy this style of work and the schedule of
performances. I feel as if I have a character in the show, and I
get to have a personality on stage. Its challenging and
rewarding. Seeing this whole other world of circus arts, dance
and acrobatics is incredibly inspiring and exciting to be a part
of.
Q. WHAT DO YOU LIKE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL?
Being a part of the family and learning from everyone around me.
They are all specialists and they really are the best at what
they do. I have learned so much from the diverse cast.
Q. WHY WOULD YOU RECOMMEND THAT AN ARTIST JOIN CIRQUE?
We get to share our musical voice while having the chance to
work with the best people in the business. From the sound crew
to the technicians to the artists, everyone brings their
specialty to the table to collectively make the show an amazing
experience. Cirque offers a unique show experience unlike
anything out there today.
Q. WHAT WOULD BE YOUR ADVICE OR SUGGESTION TO YOUNG MUSICIANS?
Hold on to your passion for music and your art, whatever it may
be. Give Cirque a chance and go for an audition; you never know
if your unique talents will fit perfectly in a show. Cirque du
Soleil is actively looking for talented musicians too, not just
acrobats and dancers. After over two years of waiting, I was
sure that they had forgotten about me. But Cirque and Casting
have shown me that they really do look at every applicant and I
was finally chosen for a show. If you are a specialist with a
unique background in music and you are passionate about what you
do, send in your application.
Q. WHAT OPPORTUNITIES HAS CIRQUE GIVEN YOU?
Cirque gave me a tremendous opportunity to make a fulfilling
career out of my unique skills as a musician. Becoming a part of
this family has been such a rewarding experience for me. As a
musician, it really is unlike anything else!
# # #
Stay tuned for more pieces of this series coming soon! In Part Four:
Miho Kono (Synchronized swimming), Miro Lacasse (Physical Actors),
Noriko Takahashi (Diverse abilities), Odmaa Bayartsogt (Other
disciplines), and Oleksandr Pylypenko (Athletes). In Part Five: Paulo
Lorador (Balancing), PJ Bogart (Diving), Raphaël Sanchez (Keyboards),
Ross Gibson (Tumbling), and Sabú Alegría (Wheels). And in the final
installment: Suo Liu (Martial arts), Tumelo Michael" Moloi (Other
dance styles), Vanessa Convery (Jazz & Tap dance), Zara Tellander
(Female vocals), and Zeng jiao Jian (Martial arts).
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 16, Number 11 (Issue #154) - November 2016
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2016 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination! Newsletter." By
sending us correspondence, you give us permission (unless otherwise
noted) to use the submission as we see fit, without remuneration. All
submissions become the property of the "Fascination! Newsletter."
"Fascination! Newsletter" is not affiliated in any way with Cirque du
Soleil. Cirque du Soleil and all its creations are Copyright (C) and
are registered trademarks (TM) of Cirque du Soleil, Inc., and
Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
{ Nov.10.2016 }
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