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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 17, NUMBER 5 May 2017 ISSUE #160
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
While it goes without saying that a good portion of the news for this
edition of Fascination focuses on VOLTA's premiere, there's plenty of
other news to read about, including a number of Cirque shows
celebrating birthdays and anniversaries throughout the month of April.
Alas, only a few made a note in celebration online. KOOZA was one,
mentioning that On April 29, 2017, KOOZA celebrated its 10th
Anniversary... in Perth! Ever wonder what KOOZA achieved over those
last 10 years? They did too and provided a brief list of facts and
figures:
o) 3,379 shows performed
o) 56 cities in 18 countries visited
o) 7.5 million people amazed
o) 168,000 rotations of our Wheel of Death spectacular
o) 67,000 somersaults by Teeterboard team
o) 675,000 skipping rope jumps on the Highwire.
April 15th was a big day for TOTEM contortionist Oyun-Erdene Senge.
She unveiled her solo act with the show. Over the first weekend in
May, Varekai celebrated 1,000 arena shows. And, also this first week
of May, the Kurios tour had something great to celebrate: the release
of the show's DVD! (We'll have a more thorough review of the disc and
its contents next time, but what I can tell you at this time is... get
it if you can! It's a great recording!)
Meanwhile...
* * * A SNEAK PEEK AT CIRQUE DU SOLEIL AT SEA * * *
MSC Cruises just opened bookings for the second of it's next-
generation Meraviglia-Class cruise ships - the MSC Bellissima - due to
be delivered in 2019. Why should fans of Cirque du Soleil care about
an announcement such as this? Back in November 2015, Cirque and MSC
announced a partnership to create on-board entertainment for MSC's new
class of next-gen smart ships and the first vessel - the MSC
Meraviglia - is due to set sail on its first cruise June 3, 2017. And
that means in just a few short weeks we'll see what CIRQUE DU SOLEIL
AT SEA has been cooking up behind closed doors these past few months.
Gianni Onorato, Chief Executive Officer of MSC Cruises, said: When it
comes to the Meraviglia generation of ships, we are particularly proud
of our unique partnership with Cirque du Soleil who is creating a
total of eight original shows for all four ships."
Wait... EIGHT SHOWS? That's right Cirque fans, two brand-new shows per
ship! Branded as CIRQUE DU SOLEIL AT SEA, details about these new
offerings are just now beginning to trickle out...
As we've discussed before here (http://www.cirquefascination.com/?
p=6801) and here (http://www.cirquefascination.com/?p=6805), the MSC
Meraviglia will feature the ultimate in entertainment, alongside a
broad range of dining options and luxurious wellness choices. The
highlight of on-board entertainment will be represented by the world
leader in artistic performance, Cirque du Soleil, thanks to the
exclusive Cirque du Soleil at Sea partnership with MSC Cruises. Two
unique Cirque du Soleil shows will be performed on-board in the
evenings, twice every night, 6 nights per week, at the purpose-built
Carousel Lounge. MSC Cruises designed a custom-made entertainment
venue, the Carousel Lounge, for MSC Meraviglia and its three sister
smart cruise ships. Featuring the latest technology, this ground-
breaking venue, which has been designed to meet the needs of Cirque du
Soleil and its performers, will be a stunning circular performance
space with a 180-degree circular glass wall. This custom-built lounge
covers 1,000 square meters and can accommodate up to 450 guests,
including 120 enjoying the full show-and-dining experience.
A piece of fabric can become part of a dream. Cirque du Soleil at Sea
is getting prepared to give you an unforgettable experience,
exclusively on MSC Meraviglia. Get an exclusive behind-the-scenes look
at the Cirque du Soleil at Sea costumes here: (https://goo.gl/IM7FI2).
* * * A NEW TV SHOW ON THE WAY? * * *
Just as we were wrapping up this issue, Cirque du Soleil Casting
shocked us with a new post about a new television series they're
working on: "Montreal-based Elite Casting and the Cirque du Soleil
Casting team are looking for adult performers for a TV show, 'Circus
Kids' (working title), produced by Apartment 11 Productions in
association with Cirque du Soleil.
"Production: Set at an elite boarding school for circus performers,
'Circus Kids' is a half hour telenovela. Fast-paced and high-energy,
the series tells the story of an extraordinary group of young artists
and athletes. Together, they must strive for personal excellence while
learning to work as a team, finding fun, true friends, and a passion
for circus along the way. But the obstacles these kids face are
formidable, the risks are real, the rivalries intense and the stakes
are high. And sometimes, its easier to fly on a trapeze or clown
around than navigate the trials and tribulations of growing up."
According to the casting list (https://goo.gl/znjPxk), some of the
characters for this new series are...
o) Fred - Male (looks over 25) - A professional clown, now the
Headmaster, Fred has a hard time being an authority figure.
Hes just too nice a guy.
o) Sir Rayne - Male (looks over 35) - A perfectionist, a
disciplinarian, a force of nature, a rock star in the gymnastic
world, Sir Rayne puts competition over collaboration.
o) Nadia - Female (looks over 35) - A circus coach, Nadia under-
stands the rewards of taking risks. But after a near fatal
fall, she knows the consequences only too well.
o) Ginger - Female (looks over 25) - Her emotions are a wild as her
look. The artistic coach, she engages the students creative
side enriching their souls as she teaches movement, music and
dance.
Huh. Cirque du Soleil's track record on television variety shows is
mixed at best, in my opinion. The company received numerous accolades
for its reality series FIRE WITHIN, detailing the trials and
tribulations of creating VAREKAI in 2002. But it received an equal
amount of animosity for its follow-up series SOLSTROM for being too
childish and not up to the level of quality not only seen in Fire
Within, but from other Cirque projects. Other television announcements
have so far been left in limbo as well. There's PARADISO, a drama with
20th Century FOX Television, which stemmed from the first-look deal
for scripted series CDS Media inked with 20th TV in January 2015.
PARADISO was said to be in the vein of Moulin Rouge: about a girl
pursuing her dream of performing at the Paradiso, the most glamorous
nightclub in San Lorenzo (a fictional but contemporary city based on
1950s Havana). Alas, we've heard nothing about it since. There's also
ALCHEMY, a Marblemedia / Cirque du Soleil Media co-production
announced back in July 2015, which had even less details than
PARADISO. And, of course, there's LUNA PETUNIA, the animated
children's show which aired its first (and so far only) season on
NETFLIX beginning in December 2016. So, I guess we'll have to wait and
see if "Circus Kids" becomes anything at all.
* * * GOODBYE PARAMOUR * * *
You know what they say... only the good die young. And while many a
fan can be argue that Paramour was a mixed-blessing at best, it's with
a saddened heart that we bid the show adieu. As such here are the last
four weeks of grosses for the show...
Week This Week Potential Difference Seats % Cap
Ending Gross Grosses in Dollars Sold
------------------------------------------------------------------
26-Mar $921,604.25 $1,748,376.00 $12,802.70 12,086 79.68%
02-Apr $837,809.54 $1,748,376.00 -$83,794.71 11,057 72.90%
09-Apr $883,287.70 $1,748,376.00 $155,478.16 12,005 79.15%
16-Apr $1,285,595.51 $1,748,376.00 $292,307.81 13,812 91.06%
Paramour had 397 performances (366 regular / 31 previews) over 53
weeks beginning the week of April 17, 2016 and ending the week of
April 16, 2017. In that time, the show grossed $50,071.359.67 (on a
potential $87,970.399.00), or 56.92% of what it could have earned.
Capacity was at 76.96%, which isn't bad; Paramour sold 579,261 of
752,712 available seats across its run.
* * * WHAT YOU'LL FIND WITHIN * * *
To make an artist for one of Cirques productions, it takes a talented
individual who is open to new experiences and veterans who can guide
the way through those new experiences. Cirque du Soleil has assembled
some of the most well-known and respected collaborators in their
fields coaches, choreographers, creators, composers and others to
help our artists achieve their goals. And through a series of
interviews on their casting website, we meet some of them. Weve
collected all 11 mentor interviews for you to peruse in this three-
part series. In Part One, we met: André Simard (Acrobatic Research and
Development), Bernard Petiot (Vice President, Casting and
Performance), and Boris Verkhovsky (Director of Acrobatics and
Coaching). In Part Two, we continued with: Claude Chaput (Conductor,
Composer, and Arranger), David Shiner (Director and Clown), Dominic
Champagne (Director), and Francois Girard (Director). And now we
conclude by hearing from Laur Fugere (Singer & Stage Coach), Luc
Tremblay (Choreographer and Educator), Mia Michaels (Choreographer),
and Robert Lepage (Director).
Last month we kicked-off our newest feature series - "We're Off and
Running - A Series of Classic Critiques" - that takes a dive into the
archives to examine the first reviews, peeks, and evaluations of
Cirque du Soleil's "classic" touring shows as they took their first
steps across North America. The impetus: How did the press see Le
Cirque du Soleil in 2002, 1998, 1994, 1990, 1987? What I found
extraordinary, and more than I expected. Beginning this month we're
sharing these discoveries here in Fascination through a series of
collections, beginning with the 1987 tournée of Le Cirque du Soleil
(better known today as Le Cirque Réinventé), and continuing on from
there!
Let's go!
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
| |
| At CirqueCast: |
| < http://www.cirquecast.com/ > |
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| Realy Simple Syndication (RSS) Feed (News Only): |
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\----------------------------------------------------/
- Ricky "Richasi" Russo
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CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
* Q&A - Quick Chats & Press Interviews
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* "VOLTA: FREEDOM AS A MOVEMENT"
Texts from the Programme Book
Edited By: Ricky Russo - Atlanta, Georgia (USA)
* "We're Off and Running - A Series of Classic Critiques"
Part 1 of 16: Le Cirque Réinventé, Part 1 (1987)
By: Ricky Russo - Atlanta, Georgia (USA)
* "Casting Q&A's - Meet a Mentor, Part 3 of 3"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
***************************************************************
LA PRESSE -- General News & Highlights
***************************************************************
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VOLTA: Dreamy, Poetic, and Modern
{Apr.17.2017}
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{Translated via Google Translate from the original French}
When they thought of the music of Volta, the designers of the Cirque
du Soleil wanted it dreamlike, poetic and modern. They immediately
thought of Anthony Gonzalez, leader of M83, an electronics group of
international renown. The French composer, recognized for his epic and
grandiloquent pieces, agreed to embark in his very first collaboration
with the Cirque. The Montreal Journal Journal met him.
EPIC AND GRANDILOQUENT
For the past 15 years, Anthony Gonzalez has had a prolific career.
With his band M83, the French first lived a critical success, being
named to the Grammy for the album Hurry Up, Were Dreaming. Then,
recently, his song Midnight City earned him a worldwide success,
having recorded more than 240 million listening on Spotify.
When Cirque du Soleil contacted him, about a year ago, the musician
was slightly drawn. Basically, Im not a circus at all, he admits.
It is a universe that is completely foreign to me. I had seen a few
shows in the Circus, like Kurios and O, and it did not speak to me so
much.
But the director of creation of Volta, Jean Guibert, found the right
words to convince Gonzalez to embark on the adventure. He wanted
something dreamlike, poetic and also something modern, said the
musician. He wanted to try to revolutionize the circus world a little,
that Volta is talking to a new generation of people.
For the creation, Anthony Gonzalez worked with Jean Guibert and the
director of Volta, Bastien Alexandre. We did an artistic exchange,
says the composer.
This work of command, Anthony Gonzalez sees it a bit like the
creation of a film music. Its a team effort, he said. When I work
on an album, I am the master of the game. But here I make proposals
that pass and others do not.
Lovers of M83 should greatly appreciate the music of Volta, according
to Anthony Gonzalez. Theres the M83 sound thats very close to the
albums before Junk, my last record. It is something quite epic and
grandiloquent, but quite cool too. There are also very pop songs. This
really is a combination of full of styles to me. Im pretty excited
about that. I hope that fans of M83, who are not necessarily fans of
Cirque du Soleil, will go to the show and discover a new experience.
At the time of our meeting, two weeks before Voltas first
performance, Anthony Gonzalez said he still had a lot of work to do.
I am very perfectionist on the sound of the marquee, he said. I
think we can do much better. I know it is a structure that is not
obvious to music. This is the first time I work on a marquee. I
realize this is more difficult than expected! Basically, it is a
structure that is not made for sound. I think that having a full room
will really help to make the sound better.
Once the show is well launched in Montreal, Anthony Gonzalez will work
to release an album of M83 with the compositions of Volta. At first,
there will be a live album that will be offered in the marquee to the
public, he said. And in a few months, I will make an M83 version of
the disc in my own way. There may also be tracks that have not been
taken for the show , maybe new releases and vocal guests.
MICHAEL JACKSONS COLLABORATOR ON VOLTA
Zaldy Goco, the costume designer for Volta, is on his third show at
Cirque du Soleil, after working on Michael Jackson IMMORTAL and
Michael Jackson ONE.
The challenge is important here, because I had to design the costumes
with a tighter budget, he said. As it is a smaller show (than the
other two of the Cirque), I had to see how I could maximize what I
wanted to do with the money I had.
In Las Vegas, with ONE, the designer had almost an unlimited budget
for his creations. I was telling people to cover the crystal
costumes! He said, laughing. Each small square inch on a suit had a
crystal. For Volta, I did not put a single crystal, because its too
expensive!
After his collaboration on Volta, Zaldy will continue his work on the
annual Met gala in New York. The designer, who in 2009 designed
Michael Jacksons costumes for the This Is It tour (which never took
place) will also return to work on RuPauls Drag Race. I have been
doing it for nine years, he said. All this keeps me very busy. But
thats what I love!
VOLTA IN FIGURES
o) The show is the 41st original production of Cirque du Soleil
since 1984 and the 18 th presented under the big top
o) The bridge that moves up and down on stage weighs 2268 kg
o) BMX performers drive at a speed of 30 km/h on stage. When
they land on the ramp, they generate a force of 12 g,
equivalent to 12 times their weight.
o) Approximately 1200 costume items were produced for Volta
o) The audience has a view of the stage at 240 degrees
o) The electrical components of the Cube are operated with a 200
amp electrical circuit the equivalent of an average
dwelling
o) The jacket with the laser beams that carries the character
Waz when animating his televised game is equipped with 168
lasers. It contains 90 meters of electrical wires and can
emit laser beams in 115 different configurations
o) Wazs distinctive headdress contains about 1500 blue
feathers.
{ SOURCE: Montreal Journal | https://goo.gl/Hw0lqe }
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The New Cirque Cycles across the Generation Gap
{Apr.19.2017}
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Volta may not be a complete reinvention of the Cirque du Soleil, but
its definitely not the same old Cirque.
Jean-François Bouchard, head of the creative department at the
phenomenally popular Montreal-based circus arts company, hand-picked
two Cirque staffers who were a bit younger than the usual creative
directors and asked them to spice up the troupes approach.
Our creative guide Jean-François Bouchard asked us to take him
somewhere else in terms of esthetics and storytelling, said Bastien
Alexandre, 40, the writer and director of Volta.
He gave us wide freedom to explore what might be meaningful to us or
what might be meaningful today. We just dove inside our experiences as
human beings and came up with the theme of finding your own genius,
and being able to discover that and exploit that and not be afraid of
who you are.
Part of whats meaningful to Alexandre and Jean Guibert, the director
of creation for Volta, is BMX or bicycle motocross racing on BMX
bikes. So thats in the new Cirque show, which opens Thursday under
the Big Top at the Old Port. Theyve also included flatland, which is
freestyle BMX action akin to the performer breakdancing on the bike.
The show also features parkour, which is basically running in urban
environments, often on the top of buildings. Alexandre and Guibert
also throw in some trial bike routines, built around mountain bikes
going over difficult terrain, and rollerskating.
BMX or flatland or parkour, thats probably the last performances you
would think of when doing a theatrical story, said Guibert, 36.
Youd go naturally to dance or ballet.
The challenge of exploring radically unexplored disciplines in the
world of show business is something were really excited about. We see
beauty in everything, and we see great theatrical beauty in these
sports.
But its still the Cirque.
We want to integrate these performances in our story arc, and so they
all mean something in terms of a storytelling vibration, said
Alexandre. The flip side of that coin is that were still under the
banner of the Cirque du Soleil. Were still under the Big Top. Its
the same number of seats. Its a similar configuration to the stage,
though we made it deeper because of these sports. We still have to
honour our heritage. So for us, the challenge was to bring things that
felt new without breaking the spirit of whats made the Cirque du
Soleil great.
This is the 41st Cirque show, and the brain trust that runs this
gigantic entertainment enterprise is always trying to spice up the
formula. But as Alexandre underlines, its a balancing act (play on
words intended). Fans want freshness, but they also want big acrobatic
acts, contortionists, avant-garde clowns and jaw-dropping high-wire
acts. In short, they want the Cirque magic.
You want to challenge people because theyre intelligent, said
Alexandre. They see all kinds of entertainment these days, and the
fact that were pretty young (compared to other Cirque creative
directors), we bring our generational baggage along with us and there
are things that inspire us, like choosing (Anthony Gonzalez from the
French electronic band M83 to write the musical score).
It seems pretty obvious that this is an attempt on the part of
Bouchard and his colleagues to reach a younger generation, to renew
the Cirque fan base.
Clearly there is a desire to be relevant to a new generation, and the
new generation is our generation, said Guibert. We wanted to have a
show that was compelling to us and the world we grew up with. But at
the same time, were not doing a show thats exclusive. Were doing a
Cirque du Soleil show, and its a show thats going to talk to every
generation.
Theres a universal story in there for anyone who wants to partake in
it, said Alexandre.
At a recent media event previewing Volta, Bouchard called Alexandre
and Guibert deux jeunes du Cirque, but theyre hardly kids and both
have been at the Cirque for a long time. Alexandre has been on staff
for 16 years, and Guibert for 11. Alexandre started there as a concept
artist, creating concepts for Cirque events, films, video games and
multimedia projects. Guibert was involved in branding and advertising
before making the move into creation.
The way Guibert tells it, he kept popping into Bouchards office to
offer unsolicited advice about the shows, and Bouchard finally said:
Look, if you have so many ideas, why dont you join the creative
department? Guibert immediately accepted Bouchards offer.
Alexandre and Guibert first worked together directing the opening
ceremonies of the Pan Am Games in Toronto in July 2015. Soon after,
they began work on Volta.
While Alexandre and Guibert have different credits on the show, they
say the collaboration was very organic. Both are thrilled by this
story about a game-show host having an identity crisis.
His story is a universal story, said Alexandre. He was born with
blue feathers for hair, and thats a placeholder for anything that
makes you unique or different. Anything that might have you judged
within a group. He was judged as a kid. Thats the backstory we told
ourselves, and you see it a little bit in the show. And ever since, he
chose to hide his difference.
That led him on the wrong path for his existence, denying who he was,
until he meets the free spirit Ela, who triggers in him the will to go
back to who he could have been and gets him on that journey to change
the outlook of his existence.
{ SOURCE: Montreal Gazette | https://goo.gl/Nz57cA }
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No Fines Issued After OSHA Investigation
{Apr.19.2017}
-------------------------------------------------------
The federal Occupational Safety and Health Administration has found no
major safety violations after an investigation into a Cirque du Soleil
performers fall last year.
Karina Silva Poirier, an aerial silk performer with Cirque at Disney
Springs, was seriously injured after falling about 45 feet during a
practice session Oct. 20.
Based on interviews and the evidence collected during the course of
the investigation, there were no violations identified related to the
accident itself, OSHA spokesman Michael DAquino said in an email.
OSHA issued an other-than-serious citation last week, with no
proposed penalties, noting that employees cleaning up after the
accident did not wear protective clothing to prevent exposure to
blood.
We have only just received the report from the authorities, Cirque
du Soleil spokeswoman Marie-Helene Lagace said in an email. We will
take the time to thoroughly review it before we make any observations.
Of course, nothing is more important than the safety of our employees.
Our priority now is to understand how this terrible accident could
happen and do everything we can to prevent anything like it from
happening again. Though we have the highest safety standards in the
industry, we are always looking for ways to further improve them.
According to social media posts from her husband David, Poirier has
been improving. She was initially in a coma, but pictures show her
sitting up and smiling. David Poirier said in a social media post that
after three surgeries, his wife is recovering fast.
The Cirque show La Nouba will end Dec. 31. Cirque du Soleil has not
announced a replacement.
{ SOURCE: Orlando Sentinel | https://goo.gl/TspLZB }
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Paramour Still Up for a Tony
{Apr.26.2017}
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Nobody does musicals like Broadway. Every Broadway season feels chock
full of big-hearted, big-singing shows that all compete for that final
trophy on Tony Awards night: the one engraved with perhaps the two
most important words in showbiz: Best. Musical. But have you noticed
the 2016-2017 season has more musicals than almost ever before hoping
to grab that spinning mantel must-have?
Since Hamilton monopolized the 2016 Tonys, Broadway brought us 13 new
musicals, the final one opening tonight, just under the wire of the
April 27 cut-off for Tony Award eligibility: the 1940s-set Bandstand,
a completely original American musical set in the years following
World War II.
In terms of numbers, this makes the 2016-2017 season the richest for
new musicals in 36 years, since the robust 1980-1981 season, which
brought hits like 42nd Street, Woman of the Year and Sophisticated
Ladies as well as many quick closers that have long been forgotten
like Fearless Frank, Its So Nice to Be Civilized and The Moony
Shapiro Songbook.
In that busy season, 42nd Street won Best Musical, kicking off an
eight-and-a-half year run on Broadway, making it one of the biggest
hits of the 80s. In the 1990s, musical theater fans didnt have so
many shows to cheer onthe number of new musicals never hit double
digits and in 1995, Sunset Boulevard only had to beat out one other
show for the trophythe sexy and shimmying revue Smokey Joes Cafe.
This season, theres not even a revueat one time the safest of
Broadway venturesin the batch of eligible shows. In fact, theres
plenty of risk and originality. Natasha, Pierre and the Great Comet of
1812 turned Tolstoys War and Peace into a high-brow spectacle, Cirque
du Soleils closed Paramour introduced a hybrid entertainment that
combined balancing acts with belters
And even if its plot didnt feel
daring, the dearly departed a capella musical In Transit had its
talented stars make all the music with their mouths!
Although no Broadway season lately is without popular movie titles
making the leap to musical formAmelie, Anastasia, A Bronx Tale,
Charlie and the Chocolate Factory, Groundhog Day and Holiday Inn all
fit the bill this yearthere are just as many untested titles in the
mix, most notably the first smash of the season, Dear Evan Hansen, and
the 9/11-themed Come From Away.
Of course, more musicals mean more snubs, so producers all over town
are anxiously awaiting the 2017 Tony nomination announcement on May 2.
Thirteen shows fighting for four slots make the chances of a
nomination slimmer than ever. (Tony nominators canand did in 2016add
a fifth nominee if voting is close.)
Well-loved by critics and audiences, the emotional Dear Evan Hansen is
a virtual lock for one of the slots. The Great Comet has been a box
office favorite since opening late last year and is the kind of big,
dazzlingly designed entertainment that tends to do well during awards
season. Another big contender is Groundhog Day, which earlier this
month won the Olivier award for Best Musical and is gaining steam as a
late-season favorite.
But there plenty more shows to consider, many of which would be locks
in a less-competitive year. The big-hearted Come From Away built great
word-of-mouth during its journey to Broadway, which took the show to
the West Coast, Washington, D.C., Canada and even Gander, Newfoundland
before getting positive reviews in New York. A Bronx Tale has been a
crowd-pleaser since opening at the Longacre Theatre in the fall and
hits all the classic musical buttons. War Paint is wildly creativean
engaging musical about make-up?!and features top-tier creative team
talent crafting an original musical featuring two adored stars,
Christine Ebersole and Patti LuPone. With its emotional story and
beloved songs, Anastasia has all the makings of an audience favorite,
and will seemingly have a healthy run whether nominators deem it
worthy or not.
Years from now, the industry will look back and everything will seem
incredibly obvious. Of course, those musicals got nominated. Of
course, that musical won the trophy on Tony night. But from where
were standing today, 13 shows are up for a hell of a fight.
{ SOURCE: Broadway.com }
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Club Med to re-open revamped Opio en Provence property
{Apr.27.2017}
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Club Med is to re-open its revamped 120-acre resort in the south of
France on June 22. The resort is the venue for the 2017 Advantage
conference which takes place on May 12-15.
All 437 rooms at the Opio en Provence site have been refurbished as
Provencal-style bungalows grouped together in ten separate areas. Four
suites have been built, with panoramic views of the French
countryside.
The all-inclusive operator is introducing the first CREACTIVE
playground in Europe following its debut in Punta Cana in the
Dominican Republic. Dedicated to the arts of circus, the facility is
designed to offer a Cirque du Soleil experience, offering adults and
children the chance to learn new skills.
Seven-night stays start at £739 per adult and £441 for children, with
no charge for those aged under six years old.
{ SOURCE: Travel Weekly UK | https://goo.gl/7Q8tIV }
-------------------------------------------------------
VOLTA Speeds Past Simplicity, Running on Adrenaline
{Apr.28.2017}
-------------------------------------------------------
The word Volta, the title of Cirque du Soleils latest show, can refer
both to a sudden about-turn and a return to the past. Co-directors
Jean Guibert and Bastien Alexandre draw on both these meanings to tell
the story of a game-show host who turns his back on gold-plated super
celebrity to search for inner meaning and authenticity. It could
almost be a dream-yearning of Cirque du Soleil itself, which in its
ever-evolving enlargement into a world-conquering behemoth has had to
contend with sniffy remarks that its shows have tended toward the
bloated, the overproduced, the soullessly corporate.
But you would hardly expect this gigantic revenue-generating machine
to go back to its 1980s roots, which would mean Guy Laliberté and his
fellow founder, Gilles Ste-Croix, passing around the hat to fickle
street crowds. And so Volta achieves the nifty juggling act maybe a
contortionists feat would better describe it of throwing out red-
meat spectacle (towering hydraulic ramps, blazing LED light shows,
giant videos, laser-emitting costumes), backed by a synthed-up
stadium-rock soundtrack from French electronic outfit M83, all in the
service of a narrative about shedding the outer trappings to find the
simplicity within.
Despite the companys valiant attempts to marry jaw-dropping skills to
a meaningful narrative, the latter is definitely not Voltas strongest
suit. It concerns WAZ (Joey Arrigo), a blue-haired game-show host who,
like the title character of the old Joseph Losey film, The Boy With
Green Hair, grew up enduring ridicule from his peers (conjured up in
an aural flashback of jeering kids). Childhood trauma notwithstanding,
WAZ wallows in nostalgia for those simpler times, depicted on giant
video screens, when he would cycle across sun-dappled fields in the
company of his loving mother.
As WAZ mopes over his hard luck at finding himself with both fame and
fortune a bit like the self-pitying rock god in the recent Another
Brick in the Wall opera the stage is suddenly flooded with brightly
coloured characters called Free Spirits. In contrast to the
superficial, dead-eyed Greys (at least theyre not called squares),
they know how to live life to the full.
Its sheer hokum and is likely to secure rather than shed Cirques
reputation for kitschy New Age storytelling. What it does quite
successfully, though, is provide lots of pretexts for the customarily
incredible displays of superhuman skills. The game show, which seems
to be some kind of a cross between Canadas Got Circus Skills and The
Hunger Games, kicks off with some ultra-fast double dutch rope-
skipping, the winner getting to graduate from dullard Grey to gilded
Elite status.
Providing some much-needed comic relief from the ambient earnestness,
WAZ is given a clownish co-host, played by Wayne Wilson, who gets to
perform two skits. The first, involving some errant washing machines,
strains for laughs, but the second, in which the munching of a
hallucinatory flower transforms Wilson into a love god, is a more
successful bout of absurdity. It also leads to a magical moment in
which a meditating female sitting cross-legged suddenly levitates,
suspended by her hair, and rises all the way up to perform a
beautifully fluid aerial dance.
The Free Spirits express their spirit of freedom through an enthusiasm
for extreme sports. And so we get some fantastically energetic
parkour, some hoop-diving mixed with hip-hop moves and some heart-
stopping, plummeting bungee rope tricks. These last are delivered
during a pull-out-all-stops pre-intermission sequence as singers
Camilla Bäckman and Darius Harper belt out an anthemic M83 number atop
a moving bridge.
Other highlights include a unicyclist balancing his partner in
impossible positions and a woman hurling and twirling a luminous baton
50 feet into the air with all the ease of a diner casually twiddling a
toothpick.
WAZs Citizen Kane-like nostalgia for his childhood bike leads to a
mesmerizing pas de deux involving a ballet dancer and a BMX rider who
echoes her pirouettes. As astonishing as this scene is, its merely a
taster for the climactic scene which sees the stage transformed into a
BMX park in which four riders soar, somersault and spin their way,
surely, into the ledger of Cirque du Soleil highlights from its 33-
year history. Its an exhilarating, adrenaline-flooding way to end the
show and whatever the shows message about the importance of going
back to basics, the gob-smacked audience rose to its feet, clearly
happy to see it delivered with such big, brash, intoxicating panache.
{ SOURCE: Jim Burke, Montreal Gazette | https://goo.gl/ja5eYj }
-------------------------------------------------------
Le Journal de Montreal Reviews VOLTA
{Apr.29.2017}
-------------------------------------------------------
{The following text was translated from its original French using
Google Translate, then cleaned up for republication}
Current, modern, futuristic, daring. There are no shortage of words to
describe VOLTA, the newest creation by Cirque du Soleil. Bathed in the
world of action sports, in addition to being propelled by the music of
Anthony Gonzalez (M83), VOLTA shows us a younger and more dashing
Cirque than ever. A breath of freshness that should join a new
generation.
YOUNG AND FUTURIST
The inspirations in Volta are numerous. From the game show opening one
finds similarities to Hunger Games. Later, characters addicted to
technology make us think of the series Black Mirror. And the show has
some futurist elements that are reminiscent of Blade Runner. A very
lively universe!
FEATURED SPORTS OF ACTION
The sports action segments steal the show. The bicycle is used in
three numbers: a poetic duo of BMX flatland and ballet, an
impressive number of climbing with a trial bike and, most
importantly, the final number where BMX Velocross rotates in a
stunning roulodrome. Stunning!
THE MUSIC OF M83
If there is one aspect about VOLTA that will be remembered for a long
time is to what extent the music of Anthony Gonzalez meshes with the
acrobatic numbers. The French artist, who has enjoyed a global success
with M83 for a few years, has composed pieces that are sometimes
catchy, sometimes enthralling, which make the show even more
captivating. Its been a long time since weve enjoyed the music of a
Cirque du Soleil show. Voltas music can be listened to independently
of the show.
WEEK MOMENTS ARE RARE
The weak moments in the show are very rare. Even the clown numbers
turn out to be hilarious. What can be criticized is a lack of
diversity in two of its numbers, presenting almost the same type of
segments with parkour and hoops. The effect of surprise the second
time is not very great after seeing the prowess of parkour artists
earlier.
THE VERDICT
Cirque du Soleil has often been criticized for staying true to its
formula. This is far from being the case with VOLTA. The company takes
several risks with this electrifying show that could shake a more
conservative audience. M83 enthusiasts are strongly advised that if
theyve never seen Cirque du Soleil get tickets! The composers
music is worth a visit.
# # #
And check out some pictures of VOLTA here:
< http://www.cirquefascination.com/?p=10075 >
{ SOURCE: Le Journal de Montreal | https://goo.gl/U74oQB }
-------------------------------------------------------
Tony Nominations Paramour Snubbed...
{May.02.2017}
-------------------------------------------------------
The Tony nominators spread the joy to 25 of 37 eligible shows this
morning, giving multiple nods to box office smashes that included the
shoo-ins Bette Midler in Hello, Dolly!, check. Ben Platt in Dear
Evan Hansen, check. Patti LuPone and Christine Ebersole in War Paint,
check. while still managing to cause some pain in several quarters,
including those occupied by a few of the seasons biggest audience
pleasers.
(And dont forget that three of the most acclaimed performances of the
season werent even in the running: Glenn Close, reprising as Norma
Desmond in Sunset Boulevard, already won for her original Norma
Desmond; Jake Gyllenhaal and Annaleigh Ashford, the stars of Sunday In
The Park With George, were out of the running because the producers
pulled the revival from awards consideration.)
It was no surprise that the nominators ignored the mostly reviled
Paramour, which marked Cirque du Soleils first made-for-Broadway
venture. Also shut out among the new musicals: Charlie and the
Chocolate Factory, Amélie (along with its star, Phillipa Soo, who left
Hamilton for the adaptation of the hit indie film) and A Bronx Tale,
which has been a high-grossing musical despite critics indifference.
In the musical revival category, both of Andrew Lloyd Webbers entries
Cats and Sunset Boulevard went away empty-handed.
{ SOURCE: Deadline | https://goo.gl/lmKw9W }
***************************************************************
Q&A - Quick Chats & Press Interviews
***************************************************************
-------------------------------------------------------
Meet Seth Stachowski, Paramours Musical Director
{Apr.22.2017}
-------------------------------------------------------
Seth Stachowski hunches to duck a low rafter, turn a sharp corner and
settle into a gray swivel chair.
Its a tight squeeze in here, he said, slipping a set of fat black
headphones over his nearly bald head. Theres not a trace of apology
in his voice; hes proud of this closet-sized pocket beneath the stage
at Broadways Lyric Theatre.
Stachowski is walled in: To his left is a pair of computers loaded
with musical cues. To his right are a banjo, electric guitar and the
professional grade German-made saxophone he bought during his senior
year at Clarence High School. In front of him sit a set of keyboards
and stands stacked with penciled and highlighted sheet music. Wires
twisted like Twizzlers snake along the floor.
Behind him is a black curtain; Stachowski is wearing a shirt to match.
He needs to look as nondescript as possible for the overhead camera
that will catch his every beat and sway as he conducts the eight-
player band for Cirque du Soleils Broadway musical Paramour.
To most, this place would be cramped and claustrophobic. For
Stachowski, who has a constant churn of melodies and arrangements
flying through his brain, this place is his creative cockpit.
For now.
Stachowski, 39, is an 11-year veteran of Cirque du Soleil. Hes toured
North America with the Canadian-based entertainment company, which is
known for its acrobatic circus shows, working as a player, director
and composer. Stachowski ascended to the rank of musical director for
Paramour, which opened one year ago in New York.
The musical, which is Cirques first, tells the love-triangle story of
woman longing for fame as an entertainer, a has-been director vying to
once again reach the top of Hollywood, and a young man looking to
establish himself as a songwriter.
Reviews for Paramour were mixed at best, but business was steady.
Stachowski, who works on a show-to-show contract with Cirque, was
hoping to settle in New York.
Hes lived long-term with Cirque in Los Angeles and Las Vegas, and had
lengthy tour stops in cities around the continent. But ever since
leaving Buffalo in 2006 to join the circus, as Stachowski puts it,
hes never been anchored.
That is a musicians life; till now, hes been OK with it. But
Stachowski and wife Katrina have a 7-year-old son, Henry, who was born
on a Cirque tour in San Diego, and was only two weeks old when the
Stachowskis drove up the coast to Portland for Cirques next stop.
Hes an adventurer from the very beginning, Stachowski said. But now
Henry is in first grade. Hes settled into a school, making friends,
and feels at home amongst the parks, museums and subways of the city.
Henrys grandparents are just a quick flight away, too; he spends many
of his school breaks in Buffalo.
On one trip, Seth had to get back to New York quickly for a show, so
he flew with Henry to Buffalo, met his parents outside the gate,
simultaneously said hello and goodbye, then headed back through
security. He grabbed a quick beer at the airport Anchor Bar, took the
next JetBlue flight back to New York, and soon enough was in the Lyric
Theatre pit.
Its still a whirlwind existence, but one that gives Henry a sense of
home. That nearness to normalcy, combined with the obvious
professional benefits of being a Broadway music director, are two of
the reasons why Stachowski planned to stay with Paramour for as long
as possible.
Its an open run, as far as I know, Stachowski said in September,
chatting in the pit during the intermission of a Sunday matinee. As
long as theyll allow me to keep performing here, Im going to stay.
Then Harry Potter flew on in.
* * *
Broadway was not part of the plan.
Did I ever envision this? Not really, Stachowski said on a recent
afternoon inside his two-room brick-walled apartment on Manhattans
Upper West Side. Henry was playing a xylophone and zooming a toy
subway train around the kitchen and living room, which are separated
by a small table where Seth composes music.
I never set out to be a Broadway music director, said Stachowski,
whose parents were teachers. I remember thinking when I was younger
it would be really interesting and cool to do that job, but it was
never a goal.
I kind of did, in a certain way, said Katrina, with a soft laugh.
She was sitting across from her husband as they snacked on cheese and
crackers. I saw his talent and his capacity for music. Id never seen
anyone like Seth before.
In May 2001, when they were dating, Seth and Katrina took a trip to
New York City. They bought tickets to the musical Rent, where the
primary musician is positioned onstage. Katrina remembers saying to
Seth, See that guy up there playing the piano? I can see you doing
this.
As his wife reminds him of the story 16 years later, Stachowski says
drily, Oh, so this has been your plan all along? Now I know!
He cracked a smile. Shes got a very long-term view that Im not
aware of.
I just had this vision of him being able to do anything he wanted to
do, Katrina said.
Back then, Katrina and Seth came from starkly different places in
life. He was a young, single guy who left SUNY Fredonia College when
he realized he wanted to play music rather than teach it.
Katrina, who is now 46, was then the young mother of two daughters:
Sara, who today is 26, and Marley, who turns 22 this month. Katrina
had a teaching degree and a passion for fitness. She met her future
husband in 2000 when they were both working at the former Buffalo
Athletic Club. They married in 2002, and Katrina got a full-time
teaching job in the West Seneca schools.
Seth, meanwhile, kept playing and writing. As a kid playing music in
the Clarence schools, he developed a knack for quickly learning
different instruments. As a young man, he put that talent to good use.
He found work directing and performing for local theater, DJing
electronic music at downtown clubs, and playing weddings, dances, jazz
gigs and for a salsa-merengue band. He did some freelance film work,
and also finished his degree at the University at Buffalo.
But he wanted something bigger. In 2006, with the help of friends at
the Buffalo production company Full Circle Studios, Stachowski shot a
video that showcased his playing and writing ability. He sent it off
to Cirque, and after an audition in New York City, was offered a job
on a then-new show called Kooza.
The gig would require Seth to move to Montreal in November 2006.
Katrina, who in the middle of a school year, would need to stay
behind.
Katrina told her husband to go.
It was a no-brainer, she said.
This, Katrina knew, is what it would take for Seth to realize those
dreams he held, and make real the visions she had for him.
He goes off to Cirque, she said.
Seth added: I ran away to the circus.
* * *
Seth and Katrina lived apart for more than two years as he toured
North America. In early 2009, she moved from Buffalo to Atlanta, where
Seth was on a lengthy tour stop, and theyve lived together since.
Katrina describes it as an unconventional life, moving from city to
city, and jetting back to Buffalo for her daughters high school
musicals, proms and graduations.
That life became more conventional one year ago. The Stachowskis moved
to New York, found Henry a good school, and what they hoped might be a
long-term job for Seth. Katrina, meanwhile, started working on
Broadway too: Shes a part-time costume assistant for Aladdin.
As musical director of Paramour, Stachowski became the boss of a
group of veteran Broadway musicians. He earned their respect quickly.
Violinist Paul Woodiel, a 25-year-veteran of Broadway, calls his boss
an ironman, a workaholic (which, in show biz, is a term of
endearment), and a really modest guy who is only interested in the
music.
There isnt another Seth in all of New York City, Woodiel said on a
recent afternoon in the Lyric Theatre pit. He was sitting in the
string section, adjacent to a human-size tube called the toaster
that catapults actors to the stage above.
If Seth needs to be out, we absolutely have to have at least two guys
to come in and replace him, Woodiel said, nodding to Stachowskis
section of the musicians quarters, where his keyboards, sax, guitar
and banjo were at the ready. Hes a real original.
Now, Stachowski is marketing that originality unexpectedly soon. In
late fall, the Paramour cast and crew learned the show would be
closing early. The Ambassador Theater Group, which owns the Lyric
Theatre, were hungry to convince the producers of Harry Potter and
the Cursed Child to stage the surefire-smash show there. The Lyric,
which the New York Times described as cavernous, is a natural for
Potter its one of the few Broadway venues roomy enough to allow for
the broomstick-flying wizardly theatrics.
Though Cirque spent $25 million to launch Paramour, AGT gave the
company good reason to move the show out and take it elsewhere (which
likely wont be Broadway).
They made us an offer we couldnt refuse, Cirque executive Scott
Zeiger told the Times. They have some plans for the venue, and they
incentivized us to go.
Paramour closed on Easter, which meant as of April 17, Stachowski is
out of a job.
Hes been here before. In 2011, Stachowski began work in Los Angeles
on a Cirque show called Iris that was expected to run for a decade.
Instead, it lasted 16 months, and closed with only a few weeks of
notice.
That, Stachowski said, was shocking and very difficult to process.
Since then we have learned a lot, and we have adapted to the ebb and
flow of life in the entertainment business
Its not the end of the
world like some might think!
Among performers in New York, Stachowski said, hes found a real
sense of fellowship, and they support one another in a different way
than we experienced in Los Angeles. Its been very reassuring.
To that point, people like the violinist Woodiel have been actively
introducing Stachowski to other New York musicians.
Were happy to have him in town, Woodiel said. I think hes going
to do well.
In the meantime, Stachowski is planning to focus on Reality Tune LLC,
a publishing company he started in 2013 to provide custom music for
television. Hes also planning to volunteer at Henrys school and
chaperone some field trips something his former six-day Broadway
workweek didnt allow.
Hes also writing some music with Henry. In the apartment, Stachowski
opens his laptop and hits play on a buoyant tune with Henrys
reverbing do-do-dooos bouncing off the circus-like tune.
Henry, who is rolling his subway around the floor and playing a
harmonica, stops to listen. Hes smiling.
Thats our little creative collaboration, said his dad.
Stachowski was proud of that prime pit space in the shadows of
Broadway. But hes even prouder of this music. And not even Harry
Potter can get in the way.
* * *
Why you know him: If youve seen a Cirque du Soleil production in the
last decade, theres a good chance youve listened to Stachowskis
work. Since 2006, hes been a musical director, composer and player
for the Canadian-based circus-entertainment company.
Career: Stachowski is the music director for Cirque du Soleils
Broadway show Paramour, which closes this weekend after a yearlong
run. He joined Cirque in 2006 and has worked on shows including
Kooza (music director, player, writer of additional music),
Zarkana (player), Iris (music director, player) and One Night for
One Drop (composer).
He has also written music for individual performers, circus acts, film
and television. His company Reality Tune LLC provides custom music to
television companies that produce shows including Pawn Stars and
Counting Cars.
Age: 39
Residence: New York City
Family: Married to Katrina Stachowski. Together they have a 7-year-old
son, Henry. Stachowski is stepfather to Katrinas daughters Sara, 26,
who is graduating from SUNY Brockport with her masters degree, and
Marley, 22, who is finishing her undergraduate work at SUNY Buffalo
State.
WNY Roots: Stachowski is a 1995 graduate of Clarence High School. He
attended SUNY Fredonia and later finished his degree in 2006 at the
University at Buffalo. He grew up in Clarence and was raised by his
father, Paul Stachowski, who taught math and English in Pembroke, and
his stepmother Claudia Stachowski, who was a speech therapist in the
Clarence schools and now has a private practice. Paul recently
published a science fiction novel, Not Even Light.
Stachowski on his musical mind: I can sit and do the same thing, play
an instrument for hours the repetitiveness and Im completely fine
with that. I think I definitely have a non-traditional wiring. Its
made me a musician.
Broadway violinist Paul Woodiel on Stachowski: I imagine him growing
up in Buffalo with all that lake effect snow or whatever and just
holing himself up in his room and practicing. Hes clearly, I would
say, an autodidact. He learns from everything he sees and hears and
hes constantly listening to music, but nobody can teach you to do all
the things he does.
Brenda Vongova, president of the United Nations Chamber Music Society,
which performed Stachowskis Cirque arrangements for a 9/11 concert
last fall: Hes not Russian style, where you do it by scaring people.
(Note: Vongova is a Russian-trained pianist.) His style is very
nurturing. Hes very supportive and nurturing and also at the same
time, directive
I love Seth. I want to work with him forever!
{ SOURCE: The Buffalo News | https://goo.gl/1wDgxv }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia, Totem & Volta}
o) ARENA - In Stadium-like venues
{Varekai, TORUK, OVO & Séptimo Día}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
MJ ONE, & JOYÀ}
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:
Rome, IT -- Apr 30, 2017 to May 28, 2017
Asuncion, PY -- Jul 26, 2017 to Aug 6, 2017
Montevido, UY -- Aug 30, 2017 to Sep 10, 2017
Sao Paulo, BR -- Early Oct to End Dec, 2017
Rio de Janeiro, BR -- Early 2018
Koozå:
Perth, AU -- Apr 13, 2017 to Jun 11, 2017
Singapore, SG -- Jul 12, 2017 to Aug 13, 2017
Shanghai, CN -- Oct 1, 2017 to TBA
China City #2 -- TBA
China City #3 -- TBA
China City #4 -- TBA
China City #5 -- TBA
Kurios:
Houston, TX -- Apr 6, 2017 to May 21, 2017
Winnipeg, MB Jun 2, 2017 to Jul 9, 2017
Edmonton, AB -- Jul 20, 2017 to Aug 13, 2017
Portland, OR Aug 24, 2017 to Oct 8, 2017
Vancouver, BC Oct 19, 2017 to Dec 31, 2017
Luzia:
Seattle, WA -- Mar 30, 2017 to May 21, 2017
Denver, CO -- Jun 1, 2017 to Jul 9, 2017
Chicago, IL -- Jul 21, 2017 to Sep 3, 2017
Atlanta, GA -- Sep 14, 2017 to Oct 15, 2017
Totem:
Sendai, JP - Apr 6, 2017 to May 21, 2017
Sochi, RU -- Jul 1, 2017 to Jul 30, 2017
Brussels, BE -- Aug 31, 2017 to Oct 29, 2017
Madrid, ES -- Nov 10, 2017 to Jan 14, 2018
Seville, ES -- Jan 25, 2018 to Mar 11, 2018
Barcelona, ES -- Mar 23, 2018 to Apr 15, 2018
Munich, DE -- TBA 2018
Port Aventura, ES -- TBA 2018
VOLTA:
Montreal, QC -- Apr 20, 2017 to Jul 23, 2017
Gatineau, QC (Ottawa, ON) -- Aug 3, 2017 to Aug 27, 2017
Toronto, ON -- Sep 7, 2017 to Nov 26, 2017
Miami, FL -- Dec 15, 2017 to Feb 4, 2018
Tampa, FL -- Feb 15, 2018 to Mar 25,2018
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Varekai:
Bucharest, RO -- May 3, 2017 to May 7, 2017
Budapest, HU -- May 12, 2017 to May 14, 2017
Prague, CZ -- May 19, 2017 to May 21, 2017
Sofia, BG -- May 26, 2017 to May 28, 2017
Ljubljana, SL -- Jun 2, 2017 to Jun 4, 2017
Vilnius, LT -- Jun 8, 2017 to Jun 10, 2017
Oslo, NO -- Sep 1, 2017 to Sep 3, 2017
Malmo, SE -- Sep 6, 2017 to Sep 10, 2017
Tallin, EE -- Sep 14, 2017 to Sep 17, 2017
Riga, LV -- Sep 20, 2017 to Sep 24, 2017
Minsk, BY -- Sep 28, 2017 to Oct 1, 2017
Helsinki, FI -- Oct 5, 2017 to Oct 8, 2017
Stockholm, SE -- Oct 11, 2017 to Oct 15, 2017
TORUK - The First Flight:
Manila, PH -- Jun 23, 2017 to Jul 2, 2017
Taiwan -- Jul 6, 2017 to Jul 18, 2017
Bangkok, TH -- TBA 2017
Japan -- TBA 2017
Australia -- TBA 2017
New Zealand -- TBA 2017
China -- TBA 2018
OVO:
Cincinnati, OH -- May 11, 2017 to May 14, 2017
Columbus, OH -- May 17, 2017 to May 21, 2017
Pittsburgh, PA -- May 24, 2017 to May 28, 2017
Toledo, OH -- May 31, 2017 to Jun 4, 2017
Hamilton, ON -- Jun 7, 2017 to Jun 11, 2017
London, ON -- Jun 14, 2017 to Jun 18, 2017
Brooklyn, NY -- Jul 5, 2017 to Jul 9, 2017
Sunrise, FL -- Jul 13, 2017 to Jul 23, 2017
Miami, FL -- Jul 28, 2017 to Jul 30, 2017
Jacksonville, FL -- Aug 2, 2017 to Aug 6, 2017
North Charleston, NC -- Aug 9, 2017 to Aug 6, 2017
Fairfax, VA -- Aug 16, 2017 to Aug 20, 2017
Baltimore, MD -- Aug 23, 2017 to Aug 27, 2017
Uniondale, NY -- Aug 30, 2017 to Sep 3, 2017
Boston, MA -- Sep 6, 2017 to Sep 10, 2017
Zurich, CH -- Oct 5, 2017 to Oct 8, 2017
Geneva, CH -- Oct 11, 2017 to Oct 15, 2017
Salzburg, AU -- Oct 18, 2017 to Oct 22, 2017
Leipzig, DE -- Oct 25, 2017 to Oct 29, 2017
Hamburg, DE -- Nov 1, 2017 to Nov 5, 2017
Berlin, DE -- Nov 8, 2017 to Nov 12, 2017
Mannheim, DE -- Nov 15, 2017 to Nov 19, 2017
Cologne, DE -- Nov 22, 2017 to Nov 26, 2017
Stuttgart, DE -- Nov 29, 2017 to Dec 3, 2017
Nuremberg, DE -- Dec 6, 2017 to Dec 10, 2017
Munich, DE -- Dec 13, 2017 to Dec 17, 2017
London, UK -- Jan 7, 2018 to Feb 11, 2018
Hanover, DE -- Mar 14, 2018 to Mar 18, 2018
Oberhausen, DE -- Apr 5, 2018 to Apr 8, 2018
SÉPTIMO DÍA NO DESCANSARÉ:
Buenos Aires, AR -- Mar 9, 2017 to May 14, 2017
Cordoba, AR -- May 25, 2017 to Jun 3, 2017
Lima, PE -- Jun 17, 2017 to Jun 25, 2017
Santiago, CL -- Jul 19, 2017 to Aug 6, 2017
Bogota, CO -- Sep 3, 2017 to Sep 23, 2017
Monterrey, MX -- Oct 19, 2017 to Oct 29, 2017
Guadalajara, MX -- Nov 8, 2017 to Nov 18, 2017
Mexico City, MX -- Nov 28, 2017 to Dec 22, 2017
Select US Cities -- 2018
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
2017 Dark Dates:
o May 6 - 10
o July 12
o September 9 - 13
o November 8
Special Performance Dates:
o Thu, 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 Sat, Jun 17 | 7:00 pm
o Sun, Aug 13 | 7:00 pm
o Sun, Oct 01 | 7:00 pm
o Fri, Oct 20 | 7:00 pm
o Sun, Oct 22 | 7:00 pm
o Fri, Dec 08 | 7:00 pm
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 9:30pm (as of Aug 12, 2015)
2017 Dark Dates:
o April 5 - 9
o June 11
o August 2 - 6
o October 8
o November 29 - December 12
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
*** CLOSING DECEMBER 31, 2017 ***
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Two Shows Nightly - Dark: Wednesday/Thursday
Schedule: 7:00pm & 9:30pm on Friday, Saturday, Monday & Tuesday
4:30pm & 7:00pm on Sunday
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) WEBSERIES -- Official Online Featurettes
o) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
WEBSERIES: Official Online Featurettes
---------------------------------------------------
*) VOLTA - "FREEDOM MOMENTS"
"Freedom Moments" is a new series about how the artists from
Cirque du Soleil's NEW 2017 Big Top show, VOLTA, found their
free. VOLTA is a story about the FREEDOM to choose and the
thrill of blazing your own trail. Get up close and personal
with VOLTA's artists, discover their "Freedom Moments and
share yours with #FindYourFree!
o) EPISODE 6 - PAOLA FIGURE SKATER
New week, new "moment of freedom" with Paola, our figure
skater on wheels! Discover her way of expressing herself
in skating!
LINK /// < https://goo.gl/EbM1WK >
o) EPISODE 7 - JOEY MAIN CHARACTER WAZ
And if freedom was passing by the acceptance of itself?
This is in any case the definition of freedom of Joey
who plays the main character of VOLTA
LINK /// < https://goo.gl/UaQLNA >
o) EPISODE 8 - Nikita - Parkour
Nikita is one of the Parkour artist of VOLTA He expresses
his freedom by exploring the world!
LINK /// < https://goo.gl/2twWPO >
*) LUZIASELF - THE WEBSERIES
LUZIAself is a collection of portraits highlighting the unique
stories, passion and dedication of some LUZIA artists.
o) EPISODE 8: AERIAL STRAPS
April 12, 2017
In episode 8, fly away with Benjamin, the Aerial Straps
artist of LUZIA by Cirque du Soleil! Learn all about his
passion and the fun of working with water.
LINK /// < https://youtu.be/LhmrMZC56T4 >
o) EPISODE 9: RUSSIAN SWINGS
April 26, 2017
In episode 9, LUZIAself with our artist Oksana! Find out
how she got into swinging her world around with the Russian
swing!
LINK /// < https://youtu.be/xnocH8LNhng >
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
*) CIRQUECAST
CirqueCast is a Vodcast (thats video podcast) for Cirque fans
by Cirque fans featuring artist interviews, Cirque headlines,
and the inside scoop to your favorite Cirque du Soleil shows!
Join your hosts José Pérez (TheChapiteau), Richard Richasi
Russo (Fascination!), Ian Rents (Hardcore Cirque Fans), and Dario
Shame (a big 'ol fan), as we bring you a behind-the-scenes look
into Cirque du Soleil, complete with discussions and the latest
Cirque news.
o) EPISODE 16 - Behind the scenes at OVO
April 5, 2017
On this episode of CirqueCast, we bring you a behind-the-scenes
look at OVO! Dario visited the Budweiser Events Center in
Loveland, CO for a backstage tour, and Jose met up with Russian
Cradle artists Camille Santerre and Nansy Damianova at the H-E-B
Center in Cedar Park, TX for an exclusive interview!
LINK /// < https://youtu.be/gs98ZcJp1kU >
o) EPISODE 17 CirqueCast Visits Kurios
April 21, 2017
On this episode of CirqueCast, we visit KURIOS Cabinet of
Curiosities! We attended the premiere of Kurios in Dallas, TX,
where he had the opportunity to interview Karl LEcuyer, who
plays Microcosmos, and Kit Chatham, the drummer in the show!
Watch now to learn more about Karl and Kit, and to find out
what Dario and Jose rate the show!
LINK /// < https://youtu.be/ToU649D-g-Q >
*) OTHERS...
o) TOTEM Artist Makeup Application
April 3, 2017
In this step-by-step makeup application video, watch Cirque
du Soleil artist Nicolas Pires from the show TOTEM get
transformed into character.
LINK /// < https://youtu.be/16a0KvQA5ng >
o) SQUATS - Cirque Workouts
April 6, 2017
Eric Saintonge gives us training tips to improve our workout
sessions. This video focuses on different types of squats. Be
careful, before starting an exercise program that includes any
of these exercises.
LINK /// < https://youtu.be/X5Cq-NivMMs >
o) The Story Behind VOLTA
April 7, 2017
Take a first look at VOLTA, Cirque du Soleils new big top
show! Weve got exclusive interviews with the cast and
creators about what you can expect.
LINK /// < https://youtu.be/IiQaBoe32pA >
o) Makeup Showdown #1: Black and White vs. Color
April 14, 2017
In this NEW series, Cirque du Soleil's Makeup artists'
skills are being tested in a face-off challenge. Who will
have what it takes to defy imagination and create the most
innovative designs in make-up artistry? VOTE for your
favorite look by commenting below and find out who the
winner is in the next episode of Cirque du Soleil Makeup
Showdown!
LINK /// < https://youtu.be/RhdrwC-LdO8 >
o) A-Z of Cirque du Soleil
April 17, 2017
Aerial, Banquine, Contortion
thats how we say our ABCs the
#CirqueWay. This World Circus Day discover the many sides
of Cirque du Soleil from A Z.
LINK /// < https://youtu.be/0IUvIb6SlXE >
o) Electric Bike on a Russian Bar?!
April 19, 2017
In this episode, an electric bike rides a Russian bar - a
first at Cirque du Soleil. Watch how Cirque's 45 DEGREES'
team tests variations for the upcoming show REFLEKT at Expo
Astana 2017 in Kazakhstan from June 16th to September 10th.
LINK /// < https://youtu.be/5oSDrbHTEGc >
o) HOW VOLTA'S ARTISTS GO HOME
April 21, 2017
TGIF! Its been a beautiful week for VOLTA and this is how
our artists are getting back home the #CirqueWay!
o) VOLTA in 360 Degrees!
April 22, 2017
Practice makes perfect! Last weekend before VOLTA World
Premiere in Montreal! VOLTA's artists have been training
hard in our studios at our International Headquarters to
be ready! Watch their training in this 360-degree video.
LINK /// < https://youtu.be/rNJZBCrVmr0 >
o) Exclusive Workshop: Christopher Scott
April 22, 2017
In honor of the 10th Anniversary of 'A Choreographer's
Showcase', we're kicking it off with insider access to a
workshop hosted by renowned choreographer and dancer
Christopher Scott. A collaboration between Cirque du Soleil
& Nevada Ballet Theater, A Choreographers' Showcase's focus
is in the artistic growth of both companies. With a unique
diversity of choreographers, it promises to be an incredible
year. Come and support our 10th year - October 8 ,14, 15!
PART 1 /// < https://youtu.be/YgvZpaEKAow >
PART 2 /// < https://youtu.be/8WpGgjzrX0Q >
o) OVO Artist Makeup Application
April 24, 2017
In this step-by-step makeup application video, watch Cirque
du Soleil artist Gerald Regitschnig from the show OVO get
transformed into the Flippo character.
LINK /// < https://youtu.be/YIG6UrKabrA >
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "VOLTA: FREEDOM AS A MOVEMENT"
Texts from the Programme Book
Edited By: Ricky Russo - Atlanta, Georgia (USA)
o) "We're Off and Running - A Series of Classic Critiques"
Part 1 of 16: Le Cirque Réinventé, Part 1 (1987)
By: Ricky Russo - Atlanta, Georgia (USA)
o) "Casting Q&A's - Meet a Mentor, Part 3 of 3"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
"VOLTA: FREEDOM AS A MOVEMENT"
Texts from the Programme Book
Edited By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
On April 28, 2017, Cirque du Soleil presented in Montreal the world
premiere of its latest production, VOLTA. Normally I'd be walking down
the cobblestone-lined pathways of the Jacques Cartier Pier in the
Vieux Port of Montreal with a couple-thousand Québécois in celebration
of this feat. But not this year. It's just not in the cards (or the
budget). Although I was unable to attend the premiere of VOLTA with
fellow fans and friends of Cirque du Soleil as I normally do, thanks
to one of them - Doug Metzger - I was able to get a little more
insight into the show through the texts printed in the show's
programme book, which Doug was so gracious enough to get for me while
there.
Here's what we know so far...
In poetry, the volta, or turn, is a rhetorical shift or dramatic
change in thought and/or emotion. Here VOLTA refers to that sudden
about-face, but it also speaks to the jolt of energy delivered through
the show. With this new creation, Cirque du Soleil is once again
pushing the boundaries of circus arts by integrating several action
sports disciplines that are presented for the first time on a Cirque
stage, including BMX acts, Parkour and BMX Flatland.
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
acrobatics into a visually striking world driven by a stirring melodic
score. VOLTA is a story of transformation. It is about being true to
oneself, fulfilling ones true potential, and the power of the group
to make that possible. It celebrates freedom as a movement.
There to celebrate the premiere with the entire VOLTA team, Jean-
François Bouchard, Creative Guide and Chief Creative Officer of Cirque
du Soleil, said: We are pleased to pursue our tradition to present
our most recent creation to the Montreal public first. With VOLTA, we
wanted to continue to reinvent ourselves and surprise our audience and
our fans. The marriage of disciplines in the purest Cirque du Soleil
tradition with contemporary dance and action sports makes this show
really fresh and current. We hope that the public will have as much
fun discovering VOLTA as we had creating it.
Now is when it gets interesting...
* * * * *
FINDING YOURSELF IS THE ULTIMATE RUSH
I am Waz and this is my story. It is a story about the courage to
blaze your own trail. It tells of a lost soul who has veered off
course and has fallen completely out of sync with his inner self. It
is a journey about facing your fears - the fear of rejection, the fear
of failing. It's a journey about laying bare your soul, achieving your
potential, and daring to spread your wings for the good of the many.
It's a story about breaking free.
The Trap: Fame is My Armor
--------------------------
People are drawn to me like moths to a flame, but I am impenetrable -
flamboyantly hidden, conspicuously invisible. I am the King of the
QUID PRO QUO TV Show, and this is my kingdom: QUID PRO QUO is the
hottest show on TV. Every week, the whole city tunes in to gawk at
lost souls scrambling for a chance to become part of the ELITES, to be
a star! But QUID PRO QUO is a trap more than a game show. It's a
masquerade, a trickery, a ploy I invented to not bear my burden alone.
Tonight, I am celebrating QUID PRO QUO's 1,000th episode with my
faithful sidekick, SHOOD KOOD WOOD. But something's been eating away
at me lately, and I have a strange feeling that things are about to
change.
My blinding ego conceals my flaws, or so I like to believe. To the
faceless hordes - my admirers - I have no history, no past: I am an
unfathomable mystery. But in truth, I am but a fraud, a false idol, a
black hole. For there's a secret I keep buried deep inside, like an
old wound...
The Unspooling
--------------
When you wear a mask for so long, you forget who you were beneath it.
But my tightly wound world is fast unspooling. I've grown weary, and
my head is filled with static, like a radio in between channels. When
you've come this far out on the edge of yourself, there's no place
left to go but inside. When I retreat to the Cube - my dressing room,
my fortress, my refuge - I am lulled by memories of my youth, like a
soothing balm in a jaded world.
The Awakening
-------------
My childhood memories always evoke another version of myself, that of
an innocent boy, radiant and pure, full of hopes and dreams - my own
guardian angel. Doubts creep into my dark, sheltered world, like
glimmers of light shining through the tattered shutters of my soul. I
was one Waz, and now I am the King of QUID PRO QUO, two personalities
that are poles apart.
The little red bicycle from my childhood days is like a ship with all
my hopes and dreams on board: it's a launching pad. I began to feel
brave and guided, clairvoyant and strong. My facade flakes away. I can
show my face. I can shed my cloak. Behold, the real Waz is back!
Catharsis: The Breakthrough
---------------------------
To rise from its ashes, the phoenix must first burn its wings. To find
yourself, you must first lose yourself. It is not enough to merely
survive; you must realize your potential and follow your dreams at all
costs. It's never too late. Your heart is a muscle as big as your
fist. It's a wondrous, powerful thing, if you listen to it. Let it
throb, let it burst out. Time to get real!
* * * * *
THE WORLDS OF VOLTA
The Elites
----------
The Elites are bloated, self-important royalty wannabes. Fitting in is
all they aspire to. Instant stardom is the name of the game! Self-
knowledge, awareness of others, open mindedness, and curiosity are the
least of their concerns. They are conformists who look down on the
GREYS - even though they were once GREYS themselves - and they utterly
despise and fear the FREESPIRITS, because they find their freedom
deeply unsettling. They are slaves to judgment. They are power hungry
and ruled by fear. Another thing ELITES have in common: they idolize
me, for I am their king and savior, which makes them nothing more than
brave little soldiers.
The Memories
------------
MEMORIES are the embodiment of my childhood dreams, at a time when
everything was still possible, when I still held my destiny in my own
hands. A time when fear and not yet taken root in my gut. MEMORIES are
the rays of light in my dark world, lifelines to my true self. They
reveal the blue feathers under my armor in all their cerulean
splendor.
The Greys
---------
The GREYS are the everyman, city dwellers who have accumulated the
dust of inertia over time. Like the ELITES they aspire to become, the
GREYS are out of sync with their true selves. Lost in the fog of
misguided hopes, they have a tendency to look for happiness in the
wrong places. They live their lives permanently glued to their cell
phones and screens. Mostly cut off from one another, they settle for
their everyday routine, the tedium of repetition. GREYS come to the
QUID PRO QUO TV show for a chance to bathe in instant celebrity. If
they win, they are transformed into ELITES. But what they don't
realize is that they're merely switching from one false promise to
another. Like me, the Greys have faded over time, letting fear get the
best of them.
The Freespirits
---------------
The FREESPIRITS personify the glorious rejection of "good enough."
They are not bound by rules or expectations - not because they are
lawless, but because they are free. They are driven by impulses and
dreams: freedom is a movement. For them, there are no walls or
barriers. They are benevolent, life-loving individuals who see beyond
their own nose and care deeply about others. They travel the world,
collecting and sharing experiences. They are real and genuine, always
seeking to fulfill their potential and that of others. The FREESPIRITS
and the ELITES are polar opposites. To a FREESPIRIT, originality is
strength. My encounter with the FREESPIRITS led to my redemption. They
inspired me - particularly ELA - to embrace my true self and find my
free.
* * * * *
BEHIND THE SCENES
Set Design
----------
VOLTA's stage has a pulse and a life of its own. In a heartbeat, it
can turn from a dark, stone-dead quarry into a cathedral of light.
Stone, light, mechanics, and the human element are the bedrock of the
story of VOLTA. The landscape - a granite quarry - looks like it was
mined out of a gigantic rock. It is a geometrically variable
environment, constantly changing and adapting to the storyline.
The outer ring of the circular stage is a revolving plate with
footlights that illuminate the performances. It is used to generate
kinetic energy on stage as well as move props and artists. Three
articulated hydraulic lifts emerge from the stage floor to populate
the space above the stage. Higher up, a bridge that spans two of the
Big Top's four masts can move up and down to modulate the audience's
focus and serve as a second stage.
The Cube, Waz's refuge where he keeps treasured childhood mementos,
represents the duality of the main character. It is a 13,000-pound,
highly versatile mechanical device - one of the iconic symbols in the
world of VOLTA. The Cube can pivot and move upstage and downstage. Two
of its movable panels are used for delivering video content.
Acrobatic Equipment
-------------------
From the dynamic acrobatic Parkour act to the high energy BMX, Trial
and Flatland numbers to the Highline and Wingsuit evocations, the
performances in VOLTA require a complex array of state-of-the-art,
meticulously designed acrobatic equipment and rigging.
For the breathtaking BMX act, a full-fledged roulodrome (skate park)
is mounted on stage in front of the audience's very eyes. Because of
space constraints under the Big Top - the VOLTA stage is exceptionally
deep - the six massive ramps are of increasing size and slip one
inside another, like Russian dolls, when stowed away. The ramps are
made of thick, heavy-duty polycarbonate - a material used to make
bulletproof glass - and are fully transparent so as not to block the
view of spectators sitting in the front rows, who will see riders
through the ramp coming at them full out at more than 30 km/h. And the
material must be strong and resistant, because a rider landing on a
ramp generates a force of 12 Gs: twelve times its weight!
In the Parkour act, artists execute a cavalcade of moves and jumps in
a fluid and poetic choreography, leaping from freestanding structures
spread out on the stage onto three hydraulic lifts, and then onto the
bridge and back. The route the acrobats take is meticulously mapped
out, taking into account a series of biomechanical parameters.
Video Content
-------------
VOLTA is a luminous world chock-full of LED-clad objects. Waz's Cube
is equipped with two panels made of 4-mm LED tiles that deliver film-
quality video content. The stage is ringed with LED lights and lined
with a forest of movable lampposts that focus the audience's attention
on the performance. The production's video control system is 100%
interactive and can be triggered by the simple kick of a drum or the
sound of a voice. Five cameras capture the action on stage as well as
audience reactions, and the images are played back on the screens in
real time. There is even a camera mounted on Waz's microphone.
Costumes
--------
The stunning costumes of VOLTA echo the themes of alienation and self-
realization, and embody the fatuity and overindulgence of self-
realization that have gone awry. They also reflect the DIY mentality
of those who seek and find their free.
In the world of VOLTA, the GREYS represent the Everyman. They are
apathetic city dwellers. In multiple shades of grey, the prints and
patchwork-type patterns and textures of their outfits mimic the
bleakness of the landscape and blend with the stage.
Clad in gold metallic and black, the ELITES are wannabe royals,
"blinged" up beyond ridicule. Metallic glitter gives their flamboyant
neo-Baroque costumes a hard shine that underscores their self
importance.
FREESPIRITS are open-minded, life-loving travelers who won't hesitate
for a moment to veer off course for the sheer sake of adventure. On
their travels, they collect meaningful objects and trinkets, which
they attach to their costumes. Their complex, richly colored outfits
evoke handmade techniques such as macramé and crochet.
The MEMORIES emerge during the dreamlike, cinematic sequences that
portray Waz as happy child full of promise. Printed with delicate
forest and tree motifs, the MEMORIES' costumes have a mystical,
ethereal feel and convey transparency, sheerness and flow.
Creative Team
-------------
VOLTAs creative team comprises 15 creators under the artistic
guidance of Jean-François Bouchard:
Bastien Alexandre Writer and Director
Jean Guibert Creation Director
Anthony Gonzalez Composer and Musical Director
Bruce Rodgers Set Designer
Zaldy Costume Designer
Julie Perron Choreographer
Martin Labrecque Lighting Designer
Thibaut Duverneix Video Content and Interactive Designer
Jean-Michel Caron Sound Designer
Anne-Séguin Poirier Props Designer
Rob Bollinger Acrobatic Performance Designer
Philippe Aubertin Acrobatic Performance Designer
Jaque Paquin Acrobatic Equipment and Rigging Designer
Eleni Uranis Make up Designer
Manon Beaudoin Character guide
* * *
"VOLTA is a show about the thirst for freedom and the path to self-
realization for the good of the many, in a world where the cult of
celebrity sometimes consorts with technology to isolate us from one
another. It is also a dazzling ode to the courage it takes to blaze
one's own path.
"VOLTA was born out of a desire to create an utterly modern and
contemporary show. We wanted to take our devoted fans into new,
uncharted territories and touch the hearts of new followers without
ever losing track of the Cirque du Soleil DNA. Up-and-coming creators
from Quebec combined their talents with those of other renowned
creators from around the world to explore new vocabularies -
particularly that of action sports - to pay tribute to 'free spirits'
who live their wildest dreams to the fullest in a spirit of
brotherhood." - Jean-Francois Bouchard
Bon spectacle!
------------------------------------------------------------
"We're Off and Running - A Series of Classic Critiques"
Part 1 of 16: Le Cirque Réinventé, Part 1 (1987)
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
A few weeks ago, as I was flipping through a few classic Cirque du
Soleil programme books (as is my wont), I was happily caught off-guard
by a brief history of the company that it had written about itself in
Saltimbancos original European Tour programme, published sometime in
1996. Not because the historia was in English, French, and Spanish,
but rather I found the wording a bit more colorful
haughty
than what
youd find from the company today. Something about its whimsical and
heady nature spoke to the way Cirque du Soleil saw itself then (think:
the voice-over narration in Alegría: The Truth of Illusion
documentary video: When the time has come and when the time is right,
somehow you know. Time after time and time again, you've seen the
signs and wondered what it was out there, deep in the river. Was it
hell on earth and fading into the sky? Was it the garden of delights?
In the heart of the night, you've seen the moon and the shadow of
light, the spirit of creation, the spirit of dream... youve seen the
truth of illusion
), containing a youthful verve and arrogance that
is simply no longer present. When did Cirque lose this dynamic sense
of self, this liveliness, and vivacity about its past, present, and
future? Unfortunately, not long after. Thereafter the speak becomes
less joie de vivre and more lié aux affaires, and Cirque du Soleil
turns from a rag-tag band of street performers into a bona fide
corporate entity right before our very eyes. This is not a new
revelation far from it in fact but this re-discovery struck a
chord of curiosity within
How did others see Cirque du Soleil during this period?
Think about it: as Cirques multitude of shows travel around the globe
in either arenas or under the big top, at each stop, in each city,
there is a write-up in the local press. Sometimes the coverage is just
a brief blurb about the show and its theme, occasionally theres a
short interview with a performer, a stage hand, or creation director,
and other times its an assessment of the show itself, evaluating its
technical and acrobatic merits with what had come through before. But
the reviews we see today are too current, discussing these shows
through a contemporary lens; shows that have/had 15 to 20 years
touring the globe, shows we would refer to as classic or
signature. What Id become interested in knowing was what some of
the first reviews, peeks, and evaluations of these shows were as they
took their first steps across North America. How did the press see Le
Cirque du Soleil in 1998, 1994, 1990, 1987?
It was time to peck through the archives.
What I found was extraordinary, and more than I expected. Beginning
this month we're sharing these discoveries here in Fascination through
a series of collections, beginning with the 1987 tournée of Le Cirque
du Soleil (better known today as Le Cirque Réinventé), and continuing
on from there!
# # #
TWO BRITS TRADE IN DESKS FOR TRAPEZE
by Michelle Sheaff | Quebec Chronicle-Telegraph
July 22, 1987
In March 1984, they walked out of their office jobs and walked into
the circus school in London. Now the British duo the Andrews fly 40
feet above the ring in the Cirque du Soleil in a breath-taking aerial
acrobatics routine.
What moved them to do it?
"Boredom," says Andrew Watson, 27, a former import byer.
"Snap! adds Jacqueline Williams, 23, who worked in income tax. "It was
a boring and petty job. The system seems to encourage them"
After three years, both say they have no regrets even though circus
life has both good and bad sides.
"It's really a free life," Watson says. "You make your shows, which
you have to do. But they're pretty fun to make anyway."
They both love to travel, and they have performed in Moscow, West
Germany, Paris, and soon in California. But they say being on the road
has a lot of drawbacks.
"I like to have a base camp to keep all my things in," says Williams.
"Now Im scattered all over the place and I don't feel good about
that."
Watson says he's tired of having only new friends. "Just when you get
to know somebody you have to move on again," he says.
Although making rapid foot and hand changes on the stationary trapeze
and swinging from stunt ropes is dangerous, the Andrews say they are
never afraid when they are performing.
"When you haven't worked for a while, it starts creeping into your
mind that it's dangerous," Watson says. "I start wondering what it
would feel like to fall. But when you're doing it, you don't think
about it."
The Andrews work without a net or safety lines because they say it
affects their performance.
"You start thinking you can rely on your safeties instead of
yourself," Watson explains.
Although they have experienced minor problems like ropes slipping
before their time, they have never had any accidents.
The best moment of their career was at the Festival mondial du cirque
de demain (World Circus of Tomorrow Festival) in Paris. Having just
started, they went on to win the bronze medal in the aerial acrobats
contest.
"We expected to make the first round and get knocked out, and then
watch the rest of the festival," Watson says. He took the trapeze down
five times because he didn't expect to win the round.
It was in Paris that the Andrews met Guy Caron, the artistic director
of the Cirque du Soleil, the Zhaos, and Swiss slack-wire artist Masha
Dimitri. By coincidence, the artists all ended up becoming part of the
Cirque du Soleil.
"The circus festival was our lucky break," says Williams.
Watson says another of their greatest moments was the first standing
ovation they received at the premiere in LaSalle.
Williams says they have been building gradually their routine.
"When you try something new, you have to give it 100 percent, even if
you do it wrong," Watson says. "If you try half-heartedly, you'll
never succeed."
An interesting part of the Andrews' routine is when Williams supports
Andrew's weight.
Williams says they do it because it's more unusual to have the woman
holding up the man. "It's funny when there are a lot of feminists in
the audience, you can really tell," she says, although she doesn't do
it to mark a point for women's liberation.
The switch permits Watson to be more creative. "In most acts, the man
is just part of the trapeze," he says.
* * * * *
YOU ARE NOW ENTERING THE TWILIGHT CIRCUS
by: Michelle Sheaff | Quebec Chronicle-Telegraph
July 22, 1987
No lions, tigers, or elephants roam the ring of the Cirque du Soleil.
But the absence of animals is largely made up for in amazing acrobats,
loveable clowns and magical special effects.
As soon as the trapdoors open and mystical silhouettes climb out in
clouds of colored mist, the spectators are carried away into an
enchanted dreamland.
The Cirque du Soleil is a sci-fi circus - a modern-day, uniquely
Canadian re-invention of the original-style circus.
Three hundred twenty tons of equipment is required to create this
high-tech fantasyland. Baroque elves creep out of the floor,
iridescent parasols float in the air, dumpy old maids transform into
beautiful fairies. All that's missing is Rod Sterling's creepy voice:
"You are now entering the Twilight Zone..."
Artistic Director Guy Caron's and Producer Franco Dragone's ethereal
creation is enhanced by a truly effective musical score by composer
René Dupéré. The soundscapes he creates move the spectator and mark
the tone of the acts: eerie, light, lilting, or laced with suspense.
Acrobats from around the world join under the Big Top to perform
breath-taking acts. Each number is as unbelievable as it is beautiful.
Difficulty of execution is matched by aesthetic research. Whether on
bikes, chairs, slack wire, teeter boards, or 30 feet up in the air,
every hair-raising stunt becomes a human sculpture.
Comedy relief is amply provided by Benny Le Grand, an adorable clown
with many faces, and an absolutely hopeless magician. He merrily
involves his audience and ruthlessly pokes fun at his victims. Benny
is joined in his shenanigans by many other clowns who keep the action
going between acts.
The Cirque du Soleil began with a handful of street performers earnest
to keep their art alive. They formed the Club des Talons Hauts (High
Heels Club) in 1981 and organized fairs in Baie-St-Paul for three
seasons. In 1984, in the cadre of the 450th anniversary celebration of
Jacques Cartier's discovery of Canada, the club was given a mandate to
form Canada's own traveling circus.
The blue and yellow big top, 150 feet in diameter and six-stories
high, went up for the first time at the Old Port. Since then, the
circus has performed across Canada, in Ottawa, Toronto and Vancouver
at Expo'86, and won the bronze medal at the World Circus of Tomorrow
Festival in Paris.
For the fourth consecutive year, the Cirque du Soleil returns to the
Vieux Port de Quebec, with a new program. Afterwards, the circus is
off the make its first appearance in the United States at the gala
opening of the Los Angeles Festival.
* * * * *
BRIGHT LIGHTS: ALL FIRED UP
by: Mark Abley | Toronto Saturday Night
August 8, 1987
If you were president of an expanding firm with 85 full time
employees, more than 300 part time workers, and a budget of 5.4
million, you might worry about the distance separating you from your
company's daily production. Many executives accept such alienation as
a natural consequence of success. But if you're a Montrealer by the
name of Guy Laliberté, you take immediate corrective action. You leave
your office (a stone Victorian firehall overlooking the St. Lawrence
River) and head down to a section of the Old Port given over to
entertainment. There you strip off your normal business attire - a
green safari shirt, white slacks, and somewhat disreputable sneakers
and outfit yourself in baggy Oriental trousers, a sleeveless vest, and
a white headband. Then you run barefoot, into a tented arena and, as
the spotlight narrows on your blond head and chattering crowd falls
silent, you breathe a column of flame twenty feet into the air.
Guy Laliberté is the cofounder, chief executive officer, and
occasional fire breather of Le Cirque du Soleil, a Montreal troupe
that enriches the standard North American concept of a circus with
European artistry, Chinese discipline, and Quebec verve. Laliberté is
an example of Quebec's new generation of audacious businessmen; he's
also an accordion player, a stilt walker, a magician, and a juggler.
Like the jongleurs of medieval Europe, he can improvise a wealth of
amusements. He tempers his smoldering romanticism with shrewdness:
"Everything is possible - as long as you work for it. People are so
much in need of happiness, and at Le Cirque, we define ourselves as
the merchants of happiness."
This year Le Cirque du Soleil expects to market happiness to about
280,000 customers. Yet its boss was never one of those kids who yearn
to run away with the circus. "Basically," he claims, "I don't like
circuses. What I like is the art of performance." Bon in 1959 in
Quebec City, he grew up near Mont-St-Bruno, an extinct volcano east of
Montreal. His father, a vice president of Alcan, provided Laliberté
with pragmatism and entrepreneurial flair; his mother, a gifted
pianist, instilled in him her perfectionist spirit and her love of the
arts. "When I was a boy," he says, exhaling the spoke of a Gitane, "I
used to climb up the mountain and watch the red sun setting behind
Montreal. It was so beautiful! Then at night, I'd have this recurrent
dream of the city disappearing under the St. Lawrence. Sometimes, and
I can't explain it, I have that dream still."
As a teenager, Laliberté expected to become a scientist. Buy the year
he spent travelling around Europe, 1978-9, hooked him on street
performing, and during a Hawaiian winter he mastered the art of fire-
breathing. "For a lot of people," he observes, "fire is synonymous
with death. But you can also use it as a friend. I was never a great
performer, but I had the facility to learn things fast." Laliberté
admits that after breathing fire, his mouth feels like an old motor.
"Yet to do it well," he says," is a thrill - and also a meditation."
To his father's dismay, he abandoned all thoughts of a university
education or a conventional career. In 1981, he helped to found Le
Club des Talons Hauts: the "High Heels Club," an itinerant troupe that
toured Quebec in an old school bus and performed on stilts. A year
later, in Baie-St-Paul, he and a former teacher named Robert Lagueux
organized a festival of street entertainments and circus acts. A wild
dream was growing in Laliberté's head: to create a new breed of
circus, spectacular yet poetic, for adults and children alike.
The dream took flesh in 1984, when Laliberté and Lageux won a contract
from the Quebec government to organize the best street performers in
the province. The High Heels CLub became the basis of a full-fledged
circus. "I knew," Laliberté recalls, "that I had to choose a name that
would last forever, a name that would suggest energy and youth and
power. So I thought: why not the sun?" From the beginning, Le Cirque
du Soleil made bold symbolic use of light and fire, shunned animal
acts, and set out to redefine the circus as blood brother to theatre.
Nurtured by Laliberté, the company toured Ontario for the first time
in 1985, and last year was a smash hit at Expo 86 in Vancouver; in
September it will open the Los Angeles Festival, which also features
work by such celebrated artists as Peter Brook, Ingmar Bergman, and
John Cage. "Everything is possible," Laliberté insists: "it's just a
question of working for it." His only major setback was an attack of
meningitis, which forced him to cut byack on his fire-breathing. While
Laliberté continues to hire most of his performers from Quebec, Le
Cirque now employees acrobats and jugglers from as far afield as
Argentina, Poland, and China.
It's rapid development in three years has amazed almost everybody
except Laliberté. "Growth was one of my targets," he says calmly. "I
didn't know exactly how he would do it, but I always knew it was
possible. And who knows maybe Le Cirque du Soleil will only be the
seed of something else?" For a moment, the expert fundraiser gives way
to the boyish visionary: "I want to spend two years on a sailboat
going around the world. Then I want to meet some extraterrestrials..."
he stops and grins, his imagination kindled. "I'm still after the big
dreams."
* * * * *
NOT YOUR GARDEN-VARIETY CIRCUS
By: Janice Arkatov | LA Times
September 02, 1987
The Los Angeles Festival officially opens Thursday with a very '80s
update of an antique entertainment form--the Big Top.
But not your average, everyday three-ring circus. Within the confines
of its 1,550-seat tent on a downtown lot at 1st and Alameda streets,
the 30-member French-Canadian circus troupe Cirque du Soleil hopes to
reshape the roadshow-and-sawdust tradition of the circus with modern
technology.
It is circus as drama, with a story from beginning to end, original
music and special effects along with the traditional clowns, bicycle
acts and wire walkers.
"It is a circus show in a theatrical dimension, played in the
universal language of mime, movement and music," said comic
"conductor" Denis Lacombe, 30, during a break last weekend from the
troupe's preparations for Thursday's debut.
Joining Lacombe were Masha Dimitri, 23 (who performs on the slack
wire), Amelie Demay, 19 (who with partner Eric Varelas does a
balancing act and a "very sexy" tango), Cirque general manager Normand
Latourelle, 31, and publicist Jean Heon, 27.
"In some ways, it's hard to explain who we are, because we are
defining ourselves as we go," said Latourelle. "We formed around four
years ago, when a group of street performers--jugglers, fire-eaters,
rope-walkers--decided to put a show together. There was no tradition
for the circus in Canada.
"We became very popular, mostly because there was no precedent for it.
The show is self-contained and very modern, but also close to the
circus of the 1920s, because discovery is all. We want to spread
colorful thought, young thought. We always say, 'We're a circus, but
we're not a circus.' "
In all, seven countries are represented in the group, an eclectic
match that manifests itself in performance and decision-making.
"Rehearsals take months and months," Latourelle said, "trying to
create something new with 30 people. When you write a play, someone
sits down, writes it and gives it to the actors. But for us, there is
no scenario at the beginning of rehearsals. We have to work
collectively; try to find our way with all the other artists. This is
the hard part. So when we tell people that we reinvent the circus, I
feel it's true."
Is the circus dead? Demay shrugged. "Everyone says the circus is dead-
-but here it's alive."
Added Lacombe, "There are two ways to look at it: first that
television killed the circus, because everyone stayed home to watch it
on TV. And there's nothing worse than looking at circus on video. The
other thing is that circus is a tradition: It's what your father did,
so you don't change it--you put on the same costume, the same music,
the same act; you don't change. Meanwhile, all around you TV and
cinema are changing." And still, he claims, old ideas are hard to
break. "People ask me what I do. I say 'I'm a clown.' They say,
'Clowns aren't funny. Everybody knows that.' "
One evening in their big top, they claim, will reform even the worst
circusphobe.
"The most thrilling emotion you will have will be the poetical, the
magic," said Lacombe. "You will be scared, you will laugh. You will
pass through many emotions."
Adults are definitely included. "It happens all the time," Heon said.
"Parents come in with a kid on each side; they're doing their duty.
The kids are sitting there with their eyes wide open. Suddenly the
father and mother are as amazed as the kids. Sometimes more so."
Said Latourelle, "Whenever the public comes, educated or not educated,
2 years old or 99, everyone has a smile on their face when they
leave."
And the troupe? Do the highs of circus life--the camaraderie, the
thrill of performance, the roar of the crowd--outweigh the lows?
"Some people miss having friends, because we are always one to two
weeks in a city, then we leave and never see them again," said
Dimitri. "And it is important once in a while to go away (from the
company), have your own life."
For Demay, the worst part is "when you want the show to be good, but
your body can't--the muscles are still tight. You want it in your
head, but . . . the good part is travel, friends, all the time being
in a new town. A friend told me, 'Stay with the circus as long as you
can.' "
For Lacombe, it's more of a stop-off point. "I'd like to go on to the
next sphere of the entertainment business," he said. "My next goal is
cabaret--and then I would like to do cinema, of course."
In the meantime, all have been kept very busy adjusting to the rigors
of life in Los Angeles.
"I can give you two impressions," said Latourelle. "We've been working
harder here than in all the other cities put together. All the red
tape, the bureaucracy. . . . Life-wise, I think there are too many
cars." (His own rented Mustang convertible is very popular with the
troupe.)
"There are too many cars," said Heon, "And Los Angeles is not easy to
get; it's not obvious. There's not a precise downtown, a place where
things happen. It's all spread out. But I'm getting around, getting to
know the places, having fun."
The word beach pops up often. Demay, who'd just arrived the day
before, has already seen the sand. Dimitri (who "almost got to the
beach yesterday") marveled that "everything is so far away. Also, you
think of downtown as businesses, people walking around. But this"--she
said gesturing at the gray, empty vista around her--" this is
downtown?"
As for Lacombe, "I'm amazed by all the publicity," he said with a
grin. "'Come to our restaurant and taste our scrumptious meals!' And
Hollywood: I drive in wanting to see the stars, and all my California
dreams are bursting-- pop pop pop. It's a town like any other one."
* * * * *
CANADA'S SUN TROUPE SHINES LIKE NOTHING ELSE YOU'VE SEEN
By: Richard Stayton | Los Angeles Herald Examiner
September 5, 1987
Once upon a time kids ran off to join the circus.
But those were more innocent times. Nowadays kids run off to join rock
bands. Or the Army. No trend-conscious kids with stars in their eyes
would ever seriously dream about a circus today.
Or would they?
Beware: Le Cirque du Soleil has come to town - and no one's safe,
including grownups. So consider this a consumer's warning.
Bolt your doors. Set your alarms. Close the drapes. Plug in a video.
Whatever. Just resist the temptation to go in the tent at the corner
of Alameda and First in downtown Los Angeles. Ignore the fact that
this is the opening production of the Festival. Trust me. Leave town.
Now.
You don't believe me? You say a circus is kids stuff?
Granted, their tent isn't even a big top. It's a little top. But such
simplicity just shows how devious these wily Canadians can be.
For instance you take a seat in the bleachers surrounding their only
ring. Everything looks puny by Broadway and Ringling Bros. standards.
You note a couple of goofy clowns playing obnoxious, obvious tricks on
unsuspecting patrons. One clown caries a bottle of "free Canadian
Spring Water". Anyone int he audience who says he'd like a drink gets
drenched. Crude stuff. Easy to see through.
When the ringmaster finally appears in traditional circus garb to
begin the show, it could be a pint-sized "Jumbo". So you yawn. Circus
of the Sun? Ha. Circus of Mediocrity is more like it.
But think again. These French Canadians are sly pied pipers. Such
amateur routines are designed to make you drop your guard. Even the
intimacy - the single ring, the average-sized tent, the unimaginative
tricks - is part of their conspiracy.
Soon a green mist drifts across the arena. Shy peasants in modified
comedia-del-arte masks emerge from trapdoors and awkwardly examine the
ring. Five musicians orchestrate their silhouettes with seductive,
haunting synthesizer jazz. Colored lights probe and illuminate the
billowing clouds of fog.
And there we are, lost among the clouds. The traditional circus has
vanished. Suddenly these baffled peasants are transformed into figures
wearing surreal costumes. We recognize the bells of a medieval jester,
the bright striped leggings of a Renaissance Harlequin, the plumage of
a French Revolutionary. We think of Ariel in Shakespeare's "Tempest"
and Pierrot in Marcel Carne's haunting film, "Children of Paradise".
The visual tableaux recall Picasso's sad clowns and Hockney's glorious
opera backgrounds. Too late, you understand: These aren't
"entertainers" - these are extra-terrestrials.
And you're a goner.
You see, Le Cirque du Soleil is Close Encounters of the Circus Kind.
Consider that blue-and-yellow tent to be a flying saucer capable of
taking you on long-distance journeys to other galaxies where everyone
lives happily ever after.
You don't believe me? Explain how 12 human beings ride a single
bicycle? What briefcase-carrying businessman would allow himself to be
catapulted from a teeter-board? Why would four attractive young people
choose to balance themselves on seven unbalanced chairs? How can a
conductor merely wave batons at a tape-recorder playing the "1812
Overture" and make us laugh so hard? How can two acrobats named Amelie
Demay and Eric Varelas do a tango that is simultaneously erotic,
sensual, romantic, tender, heartbreaking - and breathtakingly
acrobatic?
These aliens from outside our borders have a hidden agenda. They want
to enchant us. To make us forget ourselves, our troubles, the times we
live in. They want us to be happy.
Beware: They succeed beyond our wildest dreams.
* * * * *
LE CIRQUE DU SOLEIL: SOMETHING NEW UNDER THE SUN
By: Dan Sullivan | LA Times
September 5, 1987
The advance word on Le Cirque du Soleil, the New-Wave French-Canadian
troupe which opened the Los Angeles Festival in high style on Thursday
night, was that they had "reinvented the circus."
There was something a little worrying in the phrase. On the one hand,
we've had it with tired elephants, unfunny clowns, sullen trapeze acts
and morbid sideshows. On the other hand, a circus that isn't earthy,
even a bit coarse, isn't a circus. You didn't want some high-minded
group in mime makeup reinventing it out of existence.
Not to worry. There's nothing precious about Le Cirque du Soleil. This
is a lean, muscular, one-ring traveling circus playing "under canvas,"
as the old-timers did. (The company will be camped on the edge of
Little Tokyo for the duration of the festival--big top, cook-tent and
all.)
The old-timers knew what they were doing. Something about being under
a tent loosens audiences up. You saw, Thursday night, how much went
out of the circus experience when the big shows switched to playing
sports arenas back in the '50s.
One thing was missing from the old days: smells. Le Cirque carries no
livestock. But its acrobats drip real sweat, you can buy real popcorn
in the outside tent, and those seated ringside may get squirted with
real Canadian water by a clown named Benny LeGrand. (Some of the
people at Thursday's invitational opening didn't find this too
amusing.)
So it's a little raucous, as a circus ought to be. And it obeys our
prime command as a circus audience: Astonish me. It also obeys our
hidden command: Scare me. There's a moment when a female high-wire
artist seems to lose control, 60 feet up in the air, and, oh, God, you
can't look. But you do.
Le Cirque du Soleil speaks to the lower centers, the impulse to gasp,
to gawk and to wonder how they do that. Rather than riding horses
around the ring, the show has a bicycle act, with the performers
leaping from bike to bike and doing incredible "wheelies."
At one point, 13 people are rolling around the ring on one bike,
suggesting some kind of living tree. How do they do that? How much
practice did that take?
They make it look easy. But they're smart enough not to make it look
too easy. The chair-balancing number builds slowly, one chair at a
time, like a house of cards going up--one breath could bring it all
down, and with it the man on top. So you hold your breath.
The focus is much more intense than it would be if this were a sidebar
act in a Ringling Brothers extravaganza, with its blaring band and its
welter of concurrent skills. Here Le Cirque returns to the European
tradition of circus, where one thing happens at a time--and it had
better be good.
Nothing mentioned so far, however, gets to the company's central
quality. One hesitates to call it "poetry," but that's what it is.
Even as a child, I never saw a circus that showed you why Toby Tyler
wanted to run off to the circus. This one has it.
Not only do we see the traditional performing skills, executed in a
particularly upfront way (as when Eric Varelas and Amelie Demay do
their double handstands: pure muscle, pure concentration. We tighten
our own neck muscles as they take each other's weight).
We also see the wonder of possessing such skills. The show has a
theatrical frame that's not just a gimmick. A bunch of ill-coordinated
yokels like ourselves blunder into a circus ring and are transformed
(smoke effects here) into circus performers--graceful, glamorous,
above the laws of gravity.
It's a whimsy that could be overplayed. It isn't. There's an undertone
of eeriness here, as there is to many of the show's images. The chair-
balancing number, for instance, features a chair so huge that anyone
who clambers onto it shrinks to child size.
Not necessarily a reassuring notion. Again, it's funny when Denis
Lacombe steps up to conduct the "1812" Overture and discovers that his
podium is a trampoline, but it's also the conductor's nightmare
including losing his pants.
René Dupéré's synthesizer music also has a dark streak, not playing
against the danger of some of the high-wire acts, as the cheerful
blare of the traditional circus band does, but playing on our nerves.
So do the lights. Circus lighting is traditionally rather plain. Le
Cirque du Soleil molds its performers, throws rainbows on them, back-
lights them.
My loudest gasp in fact involved a light change. Not a light trick.
Masha Dimitri lay back on the slackwire, the lights switched to a new
position from high up and behind, and you suddenly were aware of her
as floating in air--only one filament bearing her up.
Interesting that Le Cirque's directors, Guy Caron and Guy Laliberté,
think that their show has "demystified" circus. Actually they've
remystified it, without taking out the fun. How did they do that?
* * * * *
LE CIRQUE DU SOLEIL
By: Unknown | Daily Variety
September 8, 1987
The Los Angeles Festival played one of its trump cards early in the
game last Thursday, opening the fest with "Le Cirque du Soleil", a
highly dramatic one-ring circus that deftly combined acrobatic skill
with theatrical presentation.
Artistic director Guy Laliberté offered an enthusiastic crowd an
evening that not only showed a grounding in what may be thought of as
traditional circus, but also took the concept much further with a
flair for the theatrical and even mysterious. The Canadian import
opened on a note of being both an evening of dreams and an evening of
the bizarre as a small horde of grotesquely masked patrons entered the
stage from behind a white fog. The show made good use of dry ice as
much of its stage work was partially shrouded, which not only added to
the mysterious appeal but also provided a good groundwork for some
optical illusions.
Acts varied from the clowns (Benny LeGrand, Catitan Cactus) to the
aerial acrobatics of Andrew Watson and Jacqueline Williams. There was
no descrimination between the sexes in this presentation, as women
often took as physically demanding roles as men, especially in the
tango sequence between Eric Varelas and Amerlie Demay. These two lithe
performers alternatively picked each other up, proving feats of
incredulous strength. Adding to the fun were the briefcase-toting
acrobats along with some gravity-defying bicycle wizardry. Show also
made good use of music in each presentation, setting the stage for
both lighter moments along with the more mysteriousinterludes.
The street performing roots of many of these performers were apparent
as even the clowning was sophisticated. It nonetheless had an appeal
for all ages and opened the L.A. Fest on a positive note.
* * * * *
SIMPLY CIRCUS: LE CIRQUE BLENDS THEATER AND PAGEANTRY
By: Daniel B Wood | Christian Science Monitor
September 18, 1987
There are no elephants wearing tutus in Le Cirque du Soleil. There are
no high-heeled women in bikinis, sprouting ostrich-plumed tiaras.
There is only one, small performance ring in a 1,700-seat not-so-Big
Top. There is, partly for just those reasons, subtlety, mystery,
intimacy. Perhaps most to the point, there is theater. The chair
balancing, bicycle pyramids, teeter-board flips, aerial acrobatics,
and clowning support a single, performance-long story. Lighting,
special effects, costumes, and live music unify this disparate
phantasmagoria into one luxurious tableau. The organizers of the first
international Los Angeles Festival were so taken with the slick
otherworldliness of this young Canadian circus that they made it the
centerpiece performance event for opening night and a month's worth of
avant-garde festivities. And sold-out audiences give every indication
of wanting to run away with Le Cirque du Soleil (Circus of the Sun)
when it leaves town Sept. 27.
This was the United States debut of the small (30-member) Montreal
troupe in its fourth season that is trying to enrich the standard
North American concept of a circus by combining European artistry,
Chinese discipline, and a return to the pre-Barnum, one-ring circuses
of old.
"You appreciate how difficult and dangerous these acts are because you
are not watching them from 5,000 feet away," says Andrew Watson, one-
half of the Andrews, a high-flying trapeze act.
Cirque also tries to give audiences an alternative to the cliches of
circusdom. "We don't pretend to invent the human performance of the
circus," says artistic director Guy Caron, "but the wrapping, the form
and presentation, then tie it together into one theatrical whole
like the opera."
To begin the evening's performance, eight shabbily dressed commedia
dell'arte personages (characters) appear in kaleidoscopic mist at the
tent's entrances. They wander into the main ring, seemingly astonished
to find a waiting audience. As they begin to take turns at amateur
entertaining, with handstands and somersaults, a "King of Fools"
appears in a pyrotechnic flash, creating a dream in which the
participants are turned, one by one, into real acrobats. The show that
follows charts the various turns of fate encountered by each.
The theatrical threads that unite these miniplots are lighting, music,
costume, and choreography. Masha Dimitri's slack-wire routine, for
instance, is performed as a complement to the whole troupe dancing the
tango. The balancing feats are subtle: A young girl seems to discover
the delights of the high wire, rather than trying to impress with
bravado.
The Planche Sautoir team of teeterboard performers is also
painstakingly choreographed. The eight members hop in unison to the
music, performing flips while wearing hats and formal tails - and also
seem to be just discovering their craft.
Like most circuses, Cirque has its clowns. Probably the hit of the
entire show is Denis Lacombe's "Le Chef D'Orchestre," which won him a
bronze medal at the World Circus of Tomorrow Festival in Paris in
1985. As a crazed music director whose score will not stay on its
stand, Mr. Lacombe mounts a rigged stage which allows him to conduct
while swaying wildly from side to side, bending forward far enough to
touch his nose to the ground without falling over.
Cirque also uses the technology of the '80s. Music director Rene
Dupere works with nine synthesizers and two electronic drums,
composing, arranging, and performing original scores for each act as
if it were a film short. Selections span jazz, classical, tango, and
rock.
Part of what makes Le Cirque du Soleil's forays into circus
metamorphosis so interesting, says Mr. Caron, "is that there is no
tradition for the circus in Canada. We're trying to create it
ourselves." The Canadian government gave it its start: In 1984, Cirque
was 97 percent government-subsidized; now that's only 10 percent of
its $6 million budget.
Le Cirque du Soleil began in 1982 as a group of street artists
performing in the village of Baie St. Paul, near Quebec City. Guy
Laliberté, a fire breather who had worked in Europe and Hawaii,
organized them in 1982 into Fete Forrain, a traveling troupe. Three
years later, when the Quebec provincial government wanted such a
troupe to celebrate the 450th anniversary of the discovery of Canada,
they debuted as Le Cirque du Soleil. In 1985 and '86, the circus
toured Canada and last year played at Expo '86 in Vancouver and at the
Vancouver Children's Festival.
About the time of the 1984 tour, artistic director Caron, a graduate
of the highly acclaimed Hungarian Circus School, joined the troupe. In
1980, he had returned home from Hungary to found the 'Ecole Nationale
de Cirque (National Circus School) in Montreal. He handpicks the
Canadian performers for the troupe from the school of about 150
students. He tours Europe to find the others.
"When I find them, I tell them they can keep their act the way it is,
but they will have to let me package it to fit," says Caron. "Then we
integrate them into the story - it's not just one day of rehearsal
before tours, like the other circuses, but five weeks."
"This is a very different circus, in that you have to be willing to
let the whole performance be the star, not just your own act," says
Masha Dimitri, the slack-wire artist from Switzerland. "It makes for a
much better show, though - no one goes back to their caravan to watch
TV until it's time for them to go on, because everyone is helping with
the other acts - rolling up carpeting, whatever. It's more like a
theater troupe that way."
* * * * *
CIRQUE DU SOLEIL CASTS SPELL OF ENCHANTING ILLUSIONS
By: Robert J. Hawkins | San Diego Tribune
October 3, 1987
They stumbled out of the eerie light and mist in twos and threes,
gawking, gaping, and clinging to each other like gentle escapees from
some asylum. Not quite right and not quite all there. They were
dressed like a tour group from the Land of Bumpkin, ill-fitting
clothes made more so by nervous tugs.
The mist thickened and rolled out into the seats. So did the music, a
spellbinding blend of synthesizers and horns. The castaways found each
other in the mist and light and darkness, in the center of the ring.
What a strange crew.
What an enchanting way to begin a circus.
What an enchanting circus.
Cirque du Soleil made its San Diego debut last night, with the first
of 37 performances in Balboa Park. Under the spell of Marc Proulx
part jester, part sorcerer, part faun, and part Pan - this rag-taggle
band undergoes a miraculous transformation to jugglers and acrobats,
wire walkers and trick cyclists.
This spell is nothing like the cast on the 1,700 who gathered under
the blue-and-yellow striped big top. For nearly three hours, all other
worlds ceased to exist.
A reporter looks at a nearly empty notebook and wonders if this night
happened at all. So absorbed was he in the beauty of this mystical
panopy that note-taking seemed an irritating diversion.
How, he wonders now, do you reconstruct so diaphanous an illusion?
You can't. How do you describe magic? What words could adequately
relay the gamut of emotions that course through the body? The slack-
jawed awe, the wide-eyes amazement, the deep belly-laughs, the wince,
the startle.
Ah, Cirque du Soleil, you have won still another convert, if not 1,700.
Perhaps it was Amelie DeMay and Eric Varelas and their stunning hand-
balancing routine. There's Eric, flat on his back, hands outstretched.
There's Amelie, upside down, rising perpendicular from the end of his
hands. How is that she kept her position as he rolled over onto his
stomach, then slipped his body through the opening created by their
hands to rise vertically until perpendicular with Amelie?
Perhaps it was Masha Dimitri as she cavorted on the slack wire.
Perhaps it was when she lay down on the wire and juggled that silk
parasol with her feet.
Perhaps it was Andrew Watson and Jacqueline Williams as they hurtled
each other through space while dangling from a bar a hundred feet
above the ground, with only the grasp of a wrist to keep them from an
ugly plunge.
Perhaps it was the Zhao trio on their twin chrome bikes. More than 20
times around the circle and not once did they repeat the same maneuvers.
And the "Tower on Wheels" - how many people climbed aboard that single
bicycle? One person said 12, another counted 11, I swore there were 15
aboard.
Perhaps it was Catitan Cactus and his hilarious karate routine; or
Denis LaCombe as the mad, mad, mad conductor; or Benny LeGrand's no-
so-successful escape trick.
Perhaps it was the Devo-esque teeterboard routine.
Perhaps it wasn't the featured performances at all but the way they
were fused together by the acrobatic ensemble of jesters, clowns and
innocents. It could have been the richly colorful and imaginative
costuming, decidedly European, though not necessarily of this century.
Or the stage lighting and music, both contributing textures and
sensual landscapes that provide a continuity through the nearly three-
hour experience.
No, it is a conversion that comes from all these elements for,
obviously, extraordinary attention has been given to each.
Cirque du Soleil starts slowly, gently, with the most fundamental of
performances, a little juggling and spoofing by clowns. From there it
builds seamlessly, relentlessly, toward a climax that rivals fine
theater. It is a ride not to be missed. But if you enter into this
mystical world, hang onto your seat.
Cirque du Soleil comes to San Diego after a triumphant US Debut at the
Los Angeles Festival. The circus is in Balboa Park; performances have
been scheduled through Oct 18.
* * * * *
CIRQUE DU SOLEIL RETURNING TO TOWN
By: Don Shirley | LA Times
December 16, 1987
Le Cirque du Soleil will return to Santa Monica for at least 15
performances in February.
The French-Canadian circus will perform at the same site, on the beach
just north of the Santa Monica Pier, where it appeared in November.
Although the run is scheduled for Feb. 4-14, "we don't know how long
we'll stay," said Le Cirque's general manager, Norman Latourelle.
However, Le Cirque is scheduled to perform indoors at the Calgary
Olympic Arts Festival in late February, and may take its big top to an
undetermined site in San Francisco in early March, so prospects for a
long extension of the Santa Monica run are doubtful.
The show will not be an exact re-run of its earlier incarnation (which
also played the Los Angeles Festival and San Diego's Balboa Park as
well as the previous engagement in Santa Monica).
Slack wire artist Masha Dimitri has returned to her home in
Switzerland and will be replaced by contortionist Angela Laurier. A
group of seven Chinese children will do "rola-bola" stunts, a form of
balancing, replacing the Zhao Family, three cyclists who have returned
to their home in China. And clown Denis Lacombe will perform a couple
of new acts, in addition to his "conductor" routine.
* * * * *
LE CIRQUE EMBROILED IN CONTROVERSY DOWN UNDER
By: Don Shirley | LA Times
December 24, 1987
California's gain is Australia's loss.
Le Cirque du Soleil's return to Santa Monica in February, announced
last week, was made possible only because Le Cirque, citing increased
travel costs and a less than cordial welcome from some Australians,
withdrew from its scheduled appearance in January at the Festival of
Sydney. Le Cirque also pulled out of a tour through the rest of
Australia that would have lasted through May.
The Festival of Sydney may take legal action.
"This was one of the bitterest experiences I've ever had," said the
Sydney Festival's general manager Stephen Hall, adding that Le Cirque
was featured in programs that had been printed and in an advertising
campaign that had already begun. Last week, the festival's board met
to consider its legal options, but decided to await Le Cirque's
response to a letter sent by the board.
Earlier, "they (Le Cirque) did make an offer of reparations to us,
$100,000 (in Australian currency)," said Hall, speaking prior to the
board meeting. "But we didn't think it was adequate."
"It was our last offer," Le Cirque's marketing director Jean David
said by phone Wednesday. He added that Le Cirque never signed a
contract with Sydney.
"A contract can exist without a document being signed," responded
Hall.
The brouhaha began when the Australian Actors Equity and the country's
Circus Oz, the politicized new-wave outfit which was seen at the 1984
Olympic Arts Festival in Los Angeles, objected to Le Cirque's plans,
especially one week in which Le Cirque's appearance in Sydney would
have coincided with a Circus Oz run.
"We were very vulnerable to comparison with them," said Circus Oz
administrator Susan Provan, "and we thought we just couldn't compete
with their promotional campaign." For example, Provan cited a Circus
Oz engagement in Canberra that was scratched when the impresario heard
of Le Cirque's tour and "felt that they would take all the circus
dollar there was."
So Circus Oz asked Le Cirque "to revise their dates and not appear
until four to six weeks after we did in any city," said Provan. When
Le Cirque wouldn't budge, "we lodged a request with the immigration
department to put pressure on them to alter their dates."
The Australian government finally overruled the objections and granted
Le Cirque the necessary visas, but by then the air fares had doubled
in price (from what Le Cirque had expected to pay), said Le Cirque
general manager Norman Latourelle.
Also, "we knew we were not 100% welcome," he added. "And we didn't
want to compete with them (Circus Oz). Many of our artists used to be
competitive athletes, and this is a choice we've made: no
competition." Le Cirque's use of one ring illustrates this attitude;
no one has to compete for the audience's attention.
As for the Australian government, "we would still like the Canadians
to be there," said spokesman Terry Bransdon. "We would welcome them to
Expo 88," which will be held in Brisbane, Australia from April 30 to
Oct. 30.
# # #
That's all I have room for in this issue, but there's plenty more to
come!
o) Issue #161, JUN 2017 Le Cirque Réinventé, Part 2 (1988)
o) Issue #162, JUL 2017 Le Cirque Réinventé, Part 3 (1989)
o) Issue #163, AUG 2017 - Nouvelle Expérience, Part 1 (1990)
o) Issue #164, SEP 2017 - Nouvelle Expérience, Part 2 (1991)
o) Issue #165, OCT 2017 - Saltimbanco, Part 1 (1992)
o) Issue #166, NOV 2017 - Saltimbanco, Part 2 (1993)
o) Issue #167, DEC 2017 - Alegría, Part 1 (1994)
o) Issue #168, JAN 2018 - Alegría, Part 2 (1995)
o) Issue #169, FEB 2018 - Quidam, Part 1 (1996-1997)
o) Issue #170, MAR 2018 - Quidam, Part 2 (1998)
o) Issue #171, APR 2018 Dralion, Part 1 (1999-2001)
o) Issue #172, MAY 2018 Dralion, Part 2 (2001-2003)
o) Issue #173, JUN 2018 Varekai, Part 1 (2002)
o) Issue #174, JUL 2018 Varekai, Part 2 (2003-2004)
o) Issue #175, AUG 2018 Varekai, Part 3 (2005)
------------------------------------------------------------
"Casting Q&A's - Meet a Mentor, Part 3 of 3"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
To make an artist for one of Cirques productions, it takes a talented
individual who is open to new experiences and veterans who can guide
the way through those new experiences. Cirque du Soleil has assembled
some of the most well-known and respected collaborators in their
fields coaches, choreographers, creators, composers and others to
help our artists achieve their goals. And through a series of
interviews on their casting website, we meet some of them. Like the
Meet the Artist series of Q&As we recently published, the Meet a
Mentor set are equally fascinating reads even more so! Weve
collected all 11 mentor interviews for you to peruse in this series,
which, due to the page count, weve published in three parts. In Part
One, we met: André Simard (Acrobatic Research and Development),
Bernard Petiot (Vice President, Casting and Performance), and Boris
Verkhovsky (Director of Acrobatics and Coaching). In Part Two, we
continued with: Claude Chaput (Conductor, Composer, and Arranger),
David Shiner (Director and Clown), Dominic Champagne (Director), and
Francois Girard (Director). And now we conclude by hearing from Laur
Fugere (Singer & Stage Coach), Luc Tremblay (Choreographer and
Educator), Mia Michaels (Choreographer), and Robert Lepage (Director).
# # #
LAUR FUGÈRE
Singer & Vocal Coach
Laur has been singing professionally for over 30 years and has held
leading roles in such major productions as Les Misérables, Cats and
Jesus Christ Superstar. A Cirque du Soleil partner since 1993, she is
currently musical director of a show in creation slated to be
presented at Expo Zaragoza in Spain over the summer of 2008.
Musics energy fascinates me; it force of attraction and power to
inspire have led me to sample the wide range of musical genres. On
those nomadic wanderings through the world of sounds, I learned to
master several styles. Then, by improvising, I was able to explore
virgin territory and unknown continents.
In the course of those travels, I developed a unique and very personal
approach to singing. Science explains sound in terms of vibratory
strength, but I believe that its also a physical force capable of
transforming the invisible and transcending never-before-heard notes
that are hidden deep within every living being so they can become
perceptible.
I have practiced meditation for several years, and I am interested in
how the voice was used in ancient civilizations in rites of passage,
initiation ceremonies and sacred gatherings. Producing a sound or
finding your voice" puts someone in touch with his innermost nature
and fosters an awakening. The voice is a reflection of our deepest
essence that binds us to the Source.
In 1988 I founded the company Sonomusa, and in 2003 I received a
bursary from the Conseil des arts et des lettres du Québec to fund
research and development for my work The Vibration of Wisdom, a trip
through the world of sounds and an invitation to get back in touch
with breathing, both a symbol and the source of life. That research
also led me to produce the album First Take, in which I took immense
delight in interweaving my voice with the unique sound of one of the
worlds oldest instruments, the didgeridoo.
My interest in the nature of vibrations and the transforming powers of
sound led me to study polarity with John Beaulieu, author of The
Healing Power of Sound. I also trained with Gabrielle Roth, a shaman,
dancer and theatre director who is well known for her five rhythms"
system, which helps people find their true voice.
I am currently working as musical director for the Cirque du Soleil
show Le Réveil du Serpent (Awakening of the Serpent), which will be
presented at Expo Zaragoza in Spain throughout the summer of 2008 as
part of an international exhibition on water and sustainable
development. My collaboration with Cirque, which dates back to 1993,
has given me the opportunity to travel to the four corners of the
globe, primarily as a singer, but also as a vocal coach, evaluator and
consultant.
As a universal language and a source of inspiration, voice has an
inescapable place in the fabulous journeys that Cirque du Soleil shows
represent. By drawing inspiration from folklore around the world,
Cirque requires its singers to demonstrate open-mindedness and
flexibility in both body and spirit. Singers must be disciplined and
have a lifestyle conducive to the best vocal performances possible.
But while singing at Cirque du Soleil is a great challenge, it also
offers a unique opportunity for artistic and personal development.
I adore sharing my passion with audiences, and I am delighted to
contribute to the progress and fulfillment of those whom I have the
privilege of helping to train by sharing the lessons I have learned."
* * *
LUC TREMBLAY
Choreographer and Educator
From 1986 to 1996, Luc Tremblay was artistic director and official
choreographer of Danse Partout. Under his direction, the company
realized many creative projects and made a number of tours, and at
Québec Citys Arts and Culture Awards Ceremony in 1991 it received the
Prix Ville de Québec. Luc Tremblay was appointed general manager of
the company in 1994, and began laying the groundwork for Québec Citys
centre for contemporary choreography, La Rotonde, which officially
opened in 1996.
Since 1980, Luc Tremblay has produced over forty choreographic works
for professional dance, theatre and circus companies, and for dance
schools. A number of these works have toured in Canada and abroad. His
choreographies La Débâcle, Mirages and Le charme persiste mais n'opère
plus for Danse Partout, and his theatrical and choreographic direction
of ÉCHOS for the new circus company les gens dR, in particular, have
helped to establish his reputation with international audiences and
critics.
Also respected as an educator, Luc Tremblay has taught at many
nationally and internationally renowned institutions. In the period
since 1999, Luc Tremblay has been Artistic Coach, Artistic Training
Supervisor, and Artistic Director, in turn, for the shows La Nouba,
DELIRIUM and KOOZA.
Q. WHAT APPROACH DO YOU TAKE WITH THE DANCERS IN THE PROJECTS YOURE
INVOLVED IN AT CIRQUE?
Since I myself come from the dance community, Im always looking for
better ways to highlight dancers in Cirque du Soleil shows, and to
help them fit comfortably into the circus world.
Q. WHATs THE MOST INTERESTING THING ABOUT WORKING WITH DANCERS WHO
COME FROM SUCH A VARIETY OF BACKGROUNDS AND NATIONALITIES?
In my view, blending nationalities has always helped generate a rich
creative brew at Cirque du Soleil, and that applies for dance as well.
Internationally, were also seeing more and more dialogue between
cultures, between artists, between the various creative styles. Thats
tremendously conducive to the emergence of new artistic forms.
Q. HOW WOULD YOU DESCRIBE YOUR CREATIVE PHILOSOPHY?
I find it essential to observe the artists Im working with very
closely, to get a clear picture of their personalities and become
thoroughly familiar with their strengths and weaknesses. That lets me
make the most of the unique assets each can contribute to the creative
process.
Q. HOW DO YOU SEE THE ROLE OF DANCE AT CIRQUE DU SOLEIL?
Dance is playing an increasingly important role in our shows. Were
casting more dancers, whereas before, most of the troupe would be
acrobats. In a show like DELIRIUM, for instance, dancers are the
largest group in the cast. From a creative standpoint, dance gives us
a richer, more diverse palette; it adds complexity to the vocabularies
of movement we use in our shows.
Q. WHAT DO YOU FIND MOST STIMULATING ABOUT WORKING FOR CIRQUE DU SOLEIL?
At Cirque du Soleil, excellence is a daily affair. You have to know
how to keep your work fresh, stay creative; you have to be able to
work in a team. Also, Cirque du Soleil is in the process of becoming a
truly major artistic crossroads, a forum where artists and acrobats
from all backgrounds can share experiences.
* * *
MIA MICHAELS
Choreographer
From stage to screen, Mia has turned dance into inspired works of
passion and beauty. Some of her credits include the choreography for
Céline Dions "A New Day" (2004 Emmy Nominee for "Celine in Las Vegas:
Opening Night Live!" on CBS), Céline Dions "Taking Chances" World
Tour (segments), and Cirque du Soleils "DELIRIUM" World Tour.
Additionally, she has created works for numerous recording artists,
including Madonna, Ricky Martin, Gloria Estefan, Anna Vissi and
Prince.
On television, Mia is a judge and contributing choreographer for the
Fox TV show "So You Think You Can Dance." She recently won an Emmy
award for her work "Calling You" on SYTYCD. Other work in film and
television includes "Cool Women" for AMC/DreamWorks Television and
commercials for Visa, Bacardi, Ziploc, Coldwell Banker, Philadelphia
Cream Cheese, Pepsi and Star TV.
Mias theatre and concert credits include being the Founder, Artistic
Director, and Choreographer of "Mia Michaels RAW," the Paper Mill
Playhouses production of "Hello Dolly" and the off-Broadway
productions of "If These Shoes Could Talk" and Fort Chaffee. Mia has
also created works for Les Ballet Jazz de Montreal, Jazz Dance
Chicago, Oslo Dance Ensemble, Joffrey Ballet, Kirov Academy and Jazz
Theater of Amsterdam.
Q. WHAT WAS YOUR CREATIVE APPROACH WITH THE DELIRIUM DANCERS?
Each project has its own unique heartbeat that forces me to adopt a
different approach. With DELIRIUM, the creative approach stemmed from
working within the deadline, stage shape and limitations, music, the
talent of the dancers, and direction from the directors. Together,
this information presented the guidelines for the creative process.
Q. WHAT DID YOU FIND INTERESTING IN WORKING WITH DANCERS FROM
DIFFERENT BACKGROUNDS?
The individuality it provided. Working with dancers having such
different backgrounds in training, style and culture was challenging,
but it broadened my natural instinct. It forced me to go in a
different direction than I would have ordinarily gone.
Q. HOW DO YOU SEE THE MIX BETWEEN DANCE AND CIRQUE DU SOLEIL? HOW DO
THEY BLEND TOGETHER?
I think the way in which Cirque is bringing more dance into its
productions is a great addition to what was already monumentally
entertaining. It adds another dimension, and because dance has
recently undergone such a major reinvention, it is multiplying the
audiences visual experience.
Q. WHAT DID YOU FIND STIMULATING IN WORKING WITH CIRQUE?
The size of the project is so massive and larger than life. Its like
being a kid in a candy store. Anything you dream is possible.
Q. WHAT ADVICE WOULD YOU GIVE TO DANCERS WHO WOULD LIKE TO JOIN
CIRQUE?
Go in with an open mind. It is not the typical creative process. It is
much more intertwined with the choreographer, director and the total
Cirque du Soleil vision. Be prepared for a lot of hard work, a lot of
growth (mentally and physically) and a lot of challenges. You will
meet a lot of great people and be a part of a great final product, and
Cirque will become part of your creative family for a long time.
* * *
ROBERT LEPAGE
Director
Multidisciplinary artist Robert Lepage is not only a masterful
playwright, but also a renowned stage director, actor and producer.
Internationally acclaimed by critics for their originality, the works
he creates and brings to the stage push the boundaries of theatrical
performance, notably through the use of new technologies. His works
have garnered numerous prizes, including the distinguished Europe
Theatre Prize in 2007.
Q. WHAT WAS YOUR APPROACH WITH THE ACTORS WITH WHOM YOU WORKED IN
COLLABORATIVE PROJECTS WITH CIRQUE DU SOLEIL?
The approach was very different to what I am used to in the theatre
because actors coming from Cirque work in a primarily non-verbal way
things are evoked rather than named. It requires a much more poetic
level of acting; psychology or dramatic framework rarely comes into
play. That means the actors have to be receptive, multi-skilled and
fired by a desire to surpass themselves.
In KÀand at Cirque du Soleil more generallywere in the realm of
hyper-theatre, not unlike opera. Everything is larger than life:
gestures, distances to be covered and the strength all of this takes,
not to mention the volume needed to express anything vocally
So were
confronted with hyper-humanity. For the artistsactors or otherwise
this requires being able to surpass oneself and a far more wide-
ranging awareness.
Actors come to Cirque du Soleil with a wealth of training and
experience combined with work on naturalism and research into the
characters they play. When they first get here, they mostly need to
work on their characters energy with respect to interacting with
other characters. Energy is a very peculiar thingwhile it can
destabilize actors, it remains the vehicle of choice for communicating
emotions. Basically, it has a lot in common with Japanese kabuki
theatre, Greek drama and physical theatre like commedia dellarte. So
contemporary actors must adjust to such physical acting.
Q. WHAT DO YOU FIND MOST INTERESTING ABOUT WORKING WITH ACTORS WITH
DIVERSE BACKGROUNDS AND NATIONALITIES?
This universal community reflects the beauty of Cirque du Soleil
shows. The language barrier, the clash of cultures and ways of doing
thingsall this forces people to be diplomatic, to agree with and
listen to one another.
Joining forces to create a show with Cirque, despite differing faiths,
nationalities and languages, is succeeding in conveying the impression
that we all come from the same place: the world depicted by the show
itself. What you get is shows that have a universal rather than local
flavour, shows that all spectators can relate to.
Q. HOW WOULD YOU DESCRIBE YOUR CREATIVE PHILOSOPHY?
Ive always believed that a creation is a work in progress and in
guided collective efforts imbued with a vision, because the material,
the ideas and the humanity of the work come from the group. Cirque du
Soleil has an organic way of working that closely resembles that of
Ex-Machina, my production company, which is that the material is
developed jointly with the artists. Thats why I feel at home here. Of
course, it all starts with a storyboard, but you have to take it
further. Meeting the artists forces you to travel down different paths
and byways you might never otherwise have ventured on. Because, to
create order, you first need chaos, and that order will be coloured by
the workgroup. For all this to work, you need a stage director who is
open-minded and knows which way the wind is blowing.
Q. HOW DO YOU SEE THE ROLE PLAYED BY ACTORS AND ACTING AT CIRQUE DU
SOLEIL?
Cirque has a special way of talking to the audience, of forging a
relationship and transmitting its energy, and the actor plays the role
of narrator. The actor is a bridge between the acrobatic aspect of the
show and the spectator. Actors form a dividing wall, such as you find
in big opera houses, where the players are centre stage, between the
singers and the dancers, linking oral expression with the physical
aspect. Actors are also good mediators. During the creation of KÀ, the
actors helped me a lot to convey my ideas, to get across a characters
performative or dramatic aspect to certain other artists. I think
their presence in Cirque shows is important.
Q. WHAT DO YOU FIND MOST STIMULATING ABOUT WORKING WITH CIRQUE DU
SOLEIL?
The all-prevailing desire to surpass oneself. As a general rule, it is
always difficult to reconcile a love of sports with a love of culture
people usually like one or the other. Cirque, however, manages to
reconcile the two camps. The most stimulating aspect of my work here
is this idea of surpassing oneself that you find among performers.
With all these people trained in gymnastics, you find great discipline
and concentrationsometimes even beyond understanding. For a stage
director, being able to bring all these sportspeople and stage artists
together is really exciting.
Q. WHAT ADVICE WOULD YOU GIVE A FUTURE CIRQUE DU SOLEIL ACTOR?
Approach acting without any preconceived ideas about the craft. In the
same way that acrobats must be open to theatre, actors must expect the
game to be different and to take it to entirely new levels. Being very
open-minded is also a must. Because in a group where people speak
different languages and come from different cultures and disciplines
and therefore hold different ideas about what a show should beyou
find total chaos. To contribute to the work, actors need to be
antennas; they need to come up with ideas and carve out their place.
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COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 17, Number 5 (Issue #160) - May 2017
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2017 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination! Newsletter." By
sending us correspondence, you give us permission (unless otherwise
noted) to use the submission as we see fit, without remuneration. All
submissions become the property of the "Fascination! Newsletter."
"Fascination! Newsletter" is not affiliated in any way with Cirque du
Soleil. Cirque du Soleil and all its creations are Copyright (C) and
are registered trademarks (TM) of Cirque du Soleil, Inc., and
Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
{ May.09.2017 }
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