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Fascination Issue 153
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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 16, NUMBER 10 October 2016 ISSUE #153
=======================================================================
Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
On September 29th, Cirque du Soleil asked fans to hang on to our
tight ropes and put up our jazz hands because the October 3rd episode
of Dancing With the Stars was Cirque du Soleil themed! Acrobats,
aerialists, dancers, and fire-stick performers from six of Cirque's
shows was part of one of the biggest episodes ever of ABC's Dancing
with the Stars program. Each of the remaining 11 couples performed
big-spectacle dances inspired by a specific Cirque show while the
company's amazing acrobats performed alongside. It was an amazing
two hour spectacle that our very own Keith Johnson caught live on
air. And he'll tell you all about it within!
Speculation about Cirque2017 has heated up, as a number of artists
are leaving their posts for the new creation, which is still Extreme
Sports themed. Joey Arrigo has left Kooza for the new show (Mike Tyus
has arrived at Kooza to take over the Trickster role), Thomas Hubener
who was most recently cast in TORUK has joined the new show too. Darius
Harper of Kinky Boots (tour) and The Book of Mormon (Tour) fame has
also joined the 2017 production as well. There are new artist finds
each day (mostly on Instagram) so it should be interesting what 2017
shapes up to be!
In other artist news, Betina Quest has joined TOTEM as its new singer.
(https://youtu.be/QAUL7DnLEd4). She'll get a new costume to boot!
(https://goo.gl/eCiybG). And Gilles Ste-Croix, who spearheaded the
creation of numerous shows that thrilled both international audiences
and critics alike including Saltimbanco, Alegría, Mystère, Quidam, O
and LOVE, has just published his biography ("Ma place au soleil") in
which he tells his exciting life story, marked by daring and by the
strong desire to transform dreams into reality. Unfortunately for me
it's available only in French, but if you're so inclined, check it out
here: < https://goo.gl/CTm5Qq >. It's $24.95 for the print edition
(ISBN: 978-2-89705-454-0) and $17.99 digital (PDF: 978-2-89705-456-4;
EPUB: 978-2-89705-455-7). You can even browse a preview of the book's
232 pages!
And last, but certainly not least (in this abbreviated introduction),
is our monthly look at Paramour grosses.
Week This Week Potential Difference Seats % Cap
Ending Gross Grosses in Dollars Sold
------------------------------------------------------------------
07-Aug $910,341.70 $1,805,456.00 -$71,126.40 10,245 67.54%
14-Aug $997,867.25 $1,805,456.00 $87,525.55 11,360 74.89%
21-Aug $936,761.55 $1,805,456.00 -$61,105.70 11,376 75.00%
28-Aug $553,422.70 $1,166,264.00 -$383,338.85 6,519 68.77%
04-Sep $890,754.60 $1,592,392.00 $337,331.90 10,218 76.99%
11-Sep $892,797.05 $1,805,456.00 $2,042.45 11,122 73.33%
18-Sep $999,384.45 $1,805,456.00 $106,587.50 12,739 83.99%
25-Sep $800,590.15 $1,805,456.00 -$198,794.30 9,744 64.24%
02-Oct $796,008.80 $1,805,456.00 -$4,581.35 9,903 65.29%
09-Oct $929,646.25 $1,805,456.00 $133,637.45 11,024 72.68%
Well, that's all I have time for this month. Let's get to the rest!
/----------------------------------------------------\
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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
* CirqueTech - The Technical Side of Cirque
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Fascination! Features
* "Two Great Tastes: Cirque Takes Over Dancing With the Stars"
Written By: Keith Johnson Seattle, Washington (USA)
* "Casting Q&A's - Meet an Artist, Part 2 of 6"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
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LA PRESSE -- General News & Highlights
---------------------------------------------------
Cirques Mitch Garber calls for end of two
solitudes dividing Quebecers
{Sep.20.2016}
-------------------------------------------------------
Montreal businessman Mitch Garber called for Quebecs
francophone and anglophone communities to expand their horizons
and put an end to the two solitudes that has divided them for
nearly 40 years.
The refusal of some members of my Jewish and anglophone
community to learn and live in French is embarrassing, he said
in a bilingual speech Monday to the Canadian Club of Montreal.
The Cirque du Soleil chairman and CEO of Caesars Acquisition
Company also said that francophone Quebecers shouldnt only
limit themselves to speaking the language of Moliere.
Garber, 52, said former premier Rene Levesque was correct to
make French the predominant language of Quebec. But that doesnt
mean that francophones shouldnt also learn the language of
Shakespeare.
The failure on the French side to see the global and cultural
benefits for their children to speak at least two languages
including the worlds working, business and Internet language
is paralyzing the potential of generations of French Canadians,
he said.
Criticizing Quebecs high level of student dropouts, Garber said
business concepts need to be taught in elementary grades for the
success of business people to be valued.
If its important for our children to know (Habs goalie) Carey
Prices statistics, we should also tell them who is Alain
Bouchard, he said, referring to the founder of Alimentation
Couche-Tard, whose convenience store chain is worth $50 billion.
Garber also criticized the opposition Parti Quebecois and the
Coalition for Quebecs Future for their rhetoric following the
sales of home renovation company Rona to U.S. retailer Lowes,
and the St-Hubert restaurant and food-manufacturing business to
Ontarios Cara Operations Ltd.
In a free market its normal that companies are sometimes sold
to foreigners, just as some Quebec companies expand through
foreign acquisitions, he said.
{ SOURCE: Julien Arsenault, Canadian Press | https://goo.gl/1260FF }
Cirque at the 2016 World of Wearable Art Awards Show
{Sep.23.2016}
-------------------------------------------------------
New Zealand designer Gillian Saunders has scooped the Brancott
Estate Supreme Award at the World of Wearable Art Awards Show.
Saunders, who had entered 15 garments before her winning entry
Supernova has won eight awards prior to 2016, but this is
the first time she has taken the top prize.
The World of WearableArt, known as WOW, is a renowned
international design competition that attracts hundreds of
entries from all over the world. Finalists compete for over
$165,000 in prize money plus internships with leading creative
companies such as Weta Workshop and Cirque du Soleil. Using the
human body as a blank canvas designers create works of wearable
art to be exhibited in the annual Awards Show. Designs are
brought to life in this spectacular stage performance a world
where theatre, fashion and art collide. Held each year in
September in New Zealands capital city, Wellington, this unique
event draws an audience of over 55,000.
Supernova was inspired by Thierry Muglers Chimera dress [from
the autumnwinter 19978 collection],
the iridescent spiny
fins of the Hippocampus from the Percy Jackson movie The Sea of
Monsters, and some incredible NASA images taken by the Hubble
Telescope, she noted. Once all these elements were combined,
Supernova was brought to life. The large gems represent new
stars being born and the dark shadows represent deep space. Each
scale has been individually cut, shaded with marker pens and
then hand-sewn on to the garment. Each gem has had its sticky
backing removed and then glued on by hand.
CHECK OUT IMAGES HERE:
< http://www.cirquefascination.com/?p=9033 >
The Cirque du Soleil Performance Art Costume Award, chosen by
Denise Tétreault, Costumes, Lifecycle, and Creative Spaces
Director of the Cirque du Soleil, was won by Dylan Mulder for
Digital Stealth Gods. Mulder receives prize money, flights and
accommodation for a one-month internship at Cirque du Soleils
headquarters in Montréal, Québec. Digital Stealth Gods also
won the Wearable Technology Award.
The World of WearableArt competition has encouraged an explosion
of creative activity, inspiring designers from a wide range of
backgrounds including art, fashion, textile and industrial
design, jewellery, architecture, law and home making, to name a
few. The range of garments produced for the event is simply
breath taking, as the rules of competition mean that anything
that is in any way wearable can find a place on stage, as long
as it is original, beautifully designed and well-made. WOW gives
entrants freedom of expression without the constraints of
commercialism it encourages lateral, original thinking and
provides the opportunity to be innovative and inventive.
WOW runs in Wellington, New Zealand, through to October 9, and
will be seen by 58,000 people live during its run. It employs
over 350 cast and crew. This year, 133 entries by 163 designers
(some worked in pairs) were received, competing for a prize pool
of NZ$165,000.
{ SOURCE: Lucire | https://goo.gl/PevcxF }
Daniel Lamarre to give ISE 2017 Closing Keynote
{Sep.28.2016}
-------------------------------------------------------
Daniel Lamarre, the president and CEO of Cirque du Soleil, will
present the Closing Keynote speech at Integrated Systems Europe
on Friday 10 February 2017.
For over 30 years, Cirque du Soleil has been at the cutting edge
of live entertainment creation and production with shows such as
Varekai, Amaluna, TORUK The First Flight (inspired by James
Camerons Avatar), The Beatles LOVE and Michael Jackson ONE
combining stunning acrobatics, theatrics, visuals and music.
Cirque du Soleil has consistently shown how creative expression
can benefit from the adoption of the latest audiovisual
technologies when used to enhance and complement a shows key
storylines. Today, the company operates across five continents
and is the worlds largest theatrical production company.
Before taking on his current role Lamarre enjoyed a long and
distinguished career in international business development in
the creative industries, including time spent with the TVA
Broadcast Group, National Public Relations and Burson
Marsteller.
Lamarre is currently responsible for Cirque du Soleils business
strategy and financial growth. He balances this with maintaining
the integrity, culture and values of the company alongside
overseeing Cirque du Soleils creative department and the
creation of all news shows. He believes that creativity is the
key to successful commerce and cites his ability to alleviate
fear for business people who look to operate on a global scale
as one of his key attributes.
Two of Lamarres greatest business achievements involve the
music icons Michael Jackson and The Beatles. Cirque du Soleils
production of LOVE, based on The Beatles music, is the only
live show ever agreed upon by the group. The celebration of
Michael Jacksons work ONE was produced after fierce competition
with other entertainment giants working with the performers
estate. Both accomplishments highlight Lamarres highly
developed business skills and his ability to connect and
establish a close rapport with the giants of the creative
community. In 2012 he collaborated on the creation of the C2MTL
Conference, a one-of-a-kind coming together of leading creative
and business professionals.
Lamarre said: As emerging technologies continue to grow their
influence on live entertainment, it is timely for me to
participate in ISE 2017. I will have an opportunity to share my
vision on how new technologies will have a huge impact on
artistic content.
Mike Blackman, managing director of Integrated Systems Events,
commented: ISE and its co-owners CEDIA and InfoComm
International are proud to welcome Daniel Lamarre as our Closing
Keynote for ISE 2017. It will be fascinating to hear the inside
story of Cirque du Soleil from such a respected and successful
business development expert.
ISE 2017 will take place at the RAI, Amsterdam from 7-10
February 2017. Registration to attend ISE 2017 opens on October
1st 2016.
{ SOURCE: Installation International | https://goo.gl/EKYJga }
Its Official Janecek a World Records Title holder!
{Sep.29.2016}
-------------------------------------------------------
Luzias juggler Rudolf Janeck is now officially a juggler-
extraordinaire! He achieved the Guinness World Records title for
the Most individual juggling rotations in 30 seconds with five
clubs! And he did it with 429 rotations!
Janecek put his superior eye and hand coordination to the test
when he attempted - and succeeded - in setting a Guinness World
Record for the fastest juggler on the planet. Performing with
Cirque du Soleils LUZIA, Janecek took on the challenge during a
live sanctioned event Wednesday, Sept. 28 in the west wing of
Torontos Union Station, 65 Front St. W.
Under the watchful eye of official Guinness World Records
adjudicator Andrew Glass, he set the benchmark for the most
individual juggling rotations in 30 seconds with five clubs. He
became the first person to achieve the recognition of fastest
juggler in the world in an all-new Guinness World Records
category.
But he's not the only Guinness World Records holder on Luzia.
Luzia's Football Freestyle specialist Laura Biondo is also
featured in the Guinness World Records 2017 Book! Go LUZIA!
Check out the videos here:
o) < https://youtu.be/6MGllE2UlII >
o) < https://goo.gl/wdOPI6 >
{ SOURCE: Cirque du Soleil }
Time Out: Taking NYC the Cirque Way
{Sep.30.2016}
-------------------------------------------------------
What happens when the worlds most famous exporter of oohs and
aahs takes on the Broadway musical? The arrival of one of the
most magical, fun-packed and thrilling evenings of entertainment
to hit New York City in decadesand an evolution of what live
theater can offer. Cirque du Soleils first Broadway show,
Paramour features all the gasp-inducing acrobatic feats you
expect from the Montreal troupe, plus the show-stopping song-
and-dance numbers you expect from the best of musical theater.
And at the center of it all is a talented collection of musical
theater actors and daring Cirque acrobats from all over the
world. This cast can roll, tumble and flyand belt out high
notes that will bring you to your feet. With the talented cast
of Paramour doing Broadway the Cirque Way, Time Out tasked them
with putting the Cirque stamp on other iconic New York landmarks
and institutions. And so, this is our citythe Cirque Way.
Times Square | Featuring: Ruby Lewis, Amber van Wijk, Ryan Vona,
Jeremy Kushnier.
Times Square is a home away from home for the cast of Cirque du
Soleils Paramourthey rehearse there, eat lunch there and,
eight times a week, they sing, dance, tumble and fly there
during each performance of the show at Broadways Lyric Theater.
For many in the cast, Times Square had long been a great shining
light drawing them to a career on Broadway. Ruby Lewis, who
plays Paramours leading lady, Indigo, remembers first seeing
the bustling square as a nine-year-old when she was in town
competing in Petite Miss Dance of America. My stomach was
churning, she says, recalling the time she first gazed out at
the lights from her hotel room. I was from a tiny town in
Kentucky. I wanted badly to live in the middle of it, to dive
right in and be a part of it. Today she says she thrives on the
energy of the area. You can plug into it and really energize
yourself in a way you cant anywhere in the world. For her co-
star, Ryan Vona, Times Square is at its best when it is at its
quietest. My favorite time in Times Square is 3am after a show,
after a night out with the cast, walking through seeing all of
its beauty. You really appreciate how colorful and how bright
and just like a beacon it shines through New York.
The American Museum of Natural History | Featuring: Bret
Shuford, Rafal Kaszubowski, Tomasz Wilkosz and Mélanie DuPuis.
It felt appropriate to bring the multitalented and infinitely
malleable cast of Paramour to the Upper West Sides American
Museum of Natural History: Cirque du Soleils latest show is an
exciting evolution of what Broadway can be; the museum is an ode
to the worlds evolution from the time of towering dinosaurs to
the peaks of modern science. Paramour stars Mélanie DuPuis and
Bret Shuford reached their own peaks inside and outside the
institution as they did the AMNH the Cirque Way in front of Time
Outs cameras, shaping themselves into stunning tableaux against
the backdrop ofand insidethis NYC favorite. I feel so close
to nature at the museum, says DuPuis, whose trapeze and hand-
to-hand acrobatic work will leave you breathless during the
show. Its like I travel to other worlds, other times, other
placessometimes I feel like an explorer. Actor Shuford is
inspired by the museums connection to the city. Theres so
much history here, not just of the natural world, but of New
York. And to be able to walk across the street to Central Park
what could be better?
Brooklyn Botanical Gardens
Featuring: Ruby Lewis, Amber van Wijk, Ryan Vona.
The Brooklyn Botanic Gardenwith its tranquil waterways, verdant
hills and explosions of colorful flowerscould not be further
from the hustle and lights of Times Square, where the cast of
Cirque du Soleils Paramour spend most of their days. And that
is in part what they like about it so much. For Belgian acrobat
Amber van Wijk, whose stunning displays of flexibility pulled
focus from the flowers on our trip to the garden, the sprawling
landscape is a reminder of home. It reminded me of just walking
around in my own backyard [in Belgium], she says. Theres so
much nature where I live. Paramour lead Ruby Lewis, on only her
second trip to the Botanic Garden, felt a similar connection to
nature. Having lived in L.A. for six years, she says Ive been
without seasons for a while, and the Botanic Garden is a way to
acknowledge the seasons. She loved seeing the cherry blossoms
in the spring, and will be back to see the changing of the
leaves in the fall. Its a truly poetic placeand its so close
to Manhattan.
Brooklyn Bridge Park and DUMBO | Featuring: Chelsey Arce, Connor
Patrick Houlihan, Marie-Lee Guilbert, Philippe Belanger.
For Cirque du Soleil performer Chelsey Arce, Brooklyn Bridge
Park is the place to be if you want to absorb the full scale of
New York City. Its a place where you look at New York, she
says. You think about coming here from another place and you
see how vast it is. Finding success in New York is such an
incredible thing. She and a slew of other talented actors and
acrobats are living out their own New York dreams as part of
Cirque du Soleils Paramour, itself a Big Apple success story
for the celebrated Canadian companyits first all-singing, all-
dancing, all-trapezing Broadway show. Arce joined Cirque
acrobats Marie-Lee Guilbert, Connor Patrick Houlian and Philippe
Belanger to stun onlookers as they bent and contorted magically
against the Manhattan skyline and on the famous Janes Carousel.
While some of the performers were as overawed by the vista as
Acre, it was the carousel that brought Houlihan down to size.
When we got to the carousel it made me think of Mary Poppins,
he says: The scene where the ride the horses in their cartoon
land. Getting onto the carousel made me feel like a kid again.
Its a feeling the cast says many audience members will get when
they take their seats at Paramour.
CHECK OUT THEIR PHOTOS HERE:
< http://www.cirquefascination.com/?p=9108 >
{ SOURCE: Time Out | https://goo.gl/D2VTl4 }
---------------------------------------------------
Q&A - Quick Chats & Press Interviews
---------------------------------------------------
Meet Rob Laqui TORUK Puppeteer
{Sep.07.2016}
-------------------------------------------------------
Cirque du Soleils new touring production, Toruk: The First
Flight, is inspired by the Avatar world created by legendary
filmmaker James Cameron. Set among the unique flora and fauna of
Pandora, the spectacle is drawing packed crowds throughout North
America. The shows story follows the perilous future of the
Navi people who live on Pandora. A pending catastrophe
threatens the sacred Tree of Souls, according to a press release
for the show, and two Omaticaya boys team up to find Toruk, a
mystical red and orange predator that flies above the skies of
the Floating Mountains. Rob Laqui is one of the puppeteers who
bring the flora and fauna of Pandora to life every night. His
job is a tough, physical one, but the actor is living his dream
on the road with Cirque du Soleil.
I auditioned for Cirque about 10 years ago, and I auditioned as
an actor for their clown auditions, Laqui said recently in a
phone interview while riding in a car in Indiana in between
Toruk shows. Then I thought, hey, Im going to work for Cirque
like tomorrow, and then over 10 years later, they called. And
they had a position that sort of matched my profile because I
had gotten into puppeteering and full-body and full-size, full-
scale puppets. So they called me up for another audition, and I
didnt know that they were looking for specifically a puppeteer.
And I just fit, and it worked. And they called, and I said, Of
course, a dream come true. And here I am in Indiana.
Laqui is a fan of Camerons prolific film work and said its a
huge honor to be attached to this visionarys project. The world
in Toruk should be familiar to people who have watched the box
office hit Avatar, but the story actually takes place thousands
of years before the movies events. So theres a sense of
familiarity and novelty in the air during Toruk performances.
The puppeteers in the highly advanced and complex production
take care of the many creatures and plants that populate the
expansive Cirque stage. Were always busy, and were always
doing something, Laqui said of his performance. Were all of
the animals that you see in the production, so its really
thrilling.
In Toruk, there are six main puppets. These are full-scale,
full-body creations that drain much of the energy of the
performers. Laqui and his fellow puppeteers are top-level
athletes and artists, and thats good because the show demands a
lot of them. What audiences might not realize is how much
physicality and strength goes into the puppet work. Laqui said
his job requires stamina and fortitude. Sometimes he needs to
sit in awkward positions for a long time, and other times he
needs to move rapidly around the set. His movements are
sometimes un-humanlike, and he needs to learn how to change his
bodys instinctual posturing and gesturing.
I think Im the only puppeteer that actually puppeted all six
on stage at one point, so its really cool to be able to embody
these animals, he said. They each have a different
personality. Every puppet, every creature has its own kind of
way of thinking and way of moving, so
it keeps our interest
definitely to be able to do it every night and to sort of
perfect what these animals are like.
He added: The puppeteers have their own sort of training
regimen that keeps them on our game and in top physical
condition, he said. We have also a great team of people that
support our physical well-being from the catering staff to make
sure that were getting the right nutrition to our physio
department that makes sure that we can manage injuries or manage
any issues that are happening with our body.
Laquis role in Toruk is a professional dream come true;
however, the role requires so much of his time that there are
sacrifices while out on the road. Being a working artist is not
the easiest job, although it is creatively fulfilling. I think
what people realize or dont realize necessarily is that they
see sort of the glamorous side of what could be deemed as
entertainment, but in terms of living it every day, it does take
a certain amount of dedication, Laqui said. Theres sacrifice
that comes with what we do, but also, as we continue doing it,
[we] realize that that sacrifice is worth it because its such a
rare opportunity to get to do this.
One of the challenges of Toruk is the intense touring schedule.
Taqui said its still cool to get paid to travel, but the busy
road trip keeps him away from family and friends. It definitely
takes a little bit of fortitude to sort of keep your sanity on
the road sometimes, he said. I think the challenge is that you
do move so much. Sometimes you kind of forget, especially if
youre staying in a hotel thats sort of the same brand. You
kind of forget where you are, but whats cool is to be able to
experience each city because we dont have necessarily tons of
time in between. So I think a lot of us are very savvy at trying
to find something in the city to experience. Like I know for me
personally I want to do at least a couple of things in each city
to get a flavor of what that city has to offer, so there is a
benefit to moving around so much.
As far as performing in a show time and time again, Laqui loves
the challenge. The chance to take part in a long-term touring
project affords him the opportunity to perfect his puppeteering.
When making a movie, an actor has a few takes, and then the
scene is put away, never to be augmented again. In live theater
and circus performing, theres a chance to add nuance each
night.
The audience is going to get the best that I can deliver that
day, but just by the nature of doing it live and doing it over
and over again, its going to develop into something over time,
he said. Im going to find ways to be able to express more
efficiently what needs to be expressed over a longer amount of
time the more I do it, so I really really love having an
opportunity to do a show multiple times to be able to get it
right.
Its more about the process and developing the absolute
sort of journey of the expression versus the goal of it. Its
definitely a challenge, and I think some days its tougher. If
youre sick, if youre injured you have to get there some way,
but thats why we get paid the big bucks because thats part of
what we do. Thats part of our job as well is to be persistent
at the highest possible level of artistry.
{ SOURCE: Hollywood Soap Box | http://goo.gl/Q6gUgh }
For its Next Act, Cirque Goes to China
{Sep.09.2016}
-------------------------------------------------------
FTER entertaining millions of people in dozens of countries over
the years, China offers a new realm of possibilities for
acrobatic dance troupe Cirque du Soleil.
During his visit to China earlier this month, Cirque du Soleil
CEO Daniel Lamarre confirmed the entertainment companys
expansion plans in China. In April, Fosun, Chinas leading
investment group, joined American investment firm TPG to become
one of Cirque du Soleils largest strategic partners in a deal
that will facilitate its global business development. This
strategic partnership will enable Cirque du Soleil to access the
Chinese market more quickly with unique, high-quality
productions.
Only a year after joining Cirque as a strategic partner, Fosun
has already opened several doors for us in the Chinese market,
allowing us today to announce the next phase of our
international growth, Lamarre said while in Shanghai.
Cirque du Soleil, the worlds leading producer of spectacular
live entertainment, also provided an update on the creation of
its first permanent show in China. The production, which is
being created and produced by Cirque in partnership with
Hangzhou Xintiandi Group Co Ltd, will bring together creative
elements and artists from the East and the West in an immersive
experience that will surround and surprise the audience.
The production will offer spectators the possibility of two
different experiences, depending on where they sit in the
theater, which is currently under construction in the Xintiandi
District of Hangzhou. The show is expected to premiere in
November 2018.
In addition to its permanent show in Hangzhou, Cirque du Soleil
confirmed an upcoming China tour for its show Toruk The First
Flight, inspired by James Camerons film Avatar. The show,
which has been touring in North America since its world premiere
in Montreal in 2015, will come to China in early 2018.
As President and CEO of Cirque du Soleil Canada Inc, Lamarre is
in charge of strategies at both the business development and
operations level. He also oversees the organizations financial
sustainability and the perpetuation of its culture and values.
Prior to joining the company, he worked for nearly a decade as a
journalist while pursuing his studies in communication.
He was kind enough to sit down for an interview with Shanghai
Daily during his recent visit to the city.
Q: In what aspects will you cooperate with Fosun in the Chinese
market?
A: Fosun is now a shareholder of Cirque du Soleil, which is
going to become an accelerator for our growth in China. We will
have a lot of projects that will come up in the next few months.
The first one is going to be the opening of our permanent show
in Hangzhou. We have developed a concept for the show. We are
hiring artists and developing the design of the theater, and
hopefully we will open by the end of 2018. The other thing is
that we are also planning to come out in early 2018 with Toruk
The First Flight, our touring show that was done with
(Avatar), and now with Fosun. They help me see China with
Chinese eyes. And they have a good understanding of the country.
Now we are trying to identify all the cities where we can tour
with our big shows, and we are also trying to identify the
cities where we can have a permanent show. Hangzhou is great,
but we also think there is potential in cities like Shanghai and
Beijing. We have been talking to people in Xian, Sanya and
other cities as well. So right now we are developing and
clarifying our strategy in China with the support of Fosun.
Q: There are some Chinese performers in your circus. What is
your comment on them?
A: First of all, they are the best. So much so that Chinese
artists account for 20 percent of all artists in Cirque du
Soleils 19 shows worldwide. Chinese artists have contributed in
a big way to the success of Cirque du Soleil. Compared with
other artists, they have better discipline, they train harder
and they are just the best performers in the world.
Q: With so many entertainment options today, traditional
performances like acrobatics and circuses are facing new
challenges in many countries, including China. What are your
suggestions for artists and producers?
A: First of all, we are not a traditional circus, we are a
spectacle. What I mean by that is that we use a lot of new
technologies, we have original music, we have original costumes,
we do original choreography, and we bring something that is very
different from a traditional circus. We are much more
theatrical, and we spend more money on the production of our
shows because we want to attract a broader audience,
particularly here in China where there are a lot of good
traditional circuses. We dont want to compete with them. They
have their own market, and thats good. We want to offer
something else, and bring diversity in terms of content to the
Chinese audience.
Q: In your view, what makes your company so successful and so
popular?
A: We have grown our company market by market, you know. We
started in Canada, then in the US and then in Europe; and now in
emerging markets like Brazil, Russia and in Asia. We became a
global brand by developing country by country. Obviously a lot
of international tourists are going to Vegas, so Vegas has also
contributed to our reputation by having the most spectacular
shows presented there. That is how we have built the brand, and
now we are hoping to build our brand in a much faster way in
China.
Q: As president and CEO, what kind of experiences do you enjoy
most from your work? Could you share with us some of your
thoughts on management?
A: I think I have been blessed to have the opportunity to deal
with the Beatles for a Beatles show in Vegas, to deal with
Michael Jackson for a Michael Jackson show, and to deal most
recently with best producer in the movie business, James
Cameron. That, for me, brought the brand of Cirque du Soleil
to the next level. Thats the first thing. As for my experience
of management, I think it is very important that if you manage a
cultural organization, then you are not a traditional business
guy. You have to love artists, you have to love creators, you
have to love shows. Again I am very lucky because I love the
artists, I love our creators, and that is what makes my
management role different from that in a traditional business.
Q: You used to work as a journalist. Was that a rewarding
experience for you?
A: You know the best thing about journalism
is that you have
the opportunity to see a lot of different types of people, and
you are learning all the time. What I did during my years as a
journalist was learn, learn and learn and that helped me
decide what I wanted to be in the future. It was very helpful. I
would advise everybody who has the opportunity to be a
journalist first. It is an experience that will help you become
a good manager after.
Q: Do you like Chinese arts and theater? What kinds of art in
China have amazed you?
A: I love China in general, so that is why I am spending so much
time here. I love Chinese art, and I have been very impressed by
the director of the opening ceremony of the Beijing Olympics
(Zhang Yimou). Yeah, Ive met with him, this guy is amazing, and
he is bringing the movie business and the entertainment business
to world recognition.
{ SOURCE: Shanghai Daily | http://goo.gl/Y5PX9Q }
Eirini Tornesaki: Behind the Scenes of KURIOS
{Sep.11.2016}
-------------------------------------------------------
The internationally renowned Cirque du Soleil productions are a
beautiful sight to behold, but the process behind the scenes is
as fascinating and mysterious as the shows themselves. The
company now has 18 different active shows around the world,
employing almost 4,000 people from over 40 countries, yet little
is known about how people become part of the company or how the
shows are created. Eirini Tornesaki, part of the touring
production of Kurios Cabinet of Curiosities opened up to us
about what working for one of the most prestigious artistic
companies in the world is like, as well as her singing career
and dreams.
Q. How did you get started in your music career?
I grew up in a very musical family with my two sisters
everyone was talented and played music, and we always played
music together. We sang since I can remember, and I studied
classical piano, classical cello. In addition, I was part of the
choir of the Municipality of Heraklion and played in the string
orchestra. So I was completely surrounded by music growing up.
Because of that I always knew I wanted to be a singer. Of course
people try to change your mind along the way, but they didnt
manage to change my mind.
Q. Where did you study music?
I decided I wanted to study modern singing so I moved to England
when I was 18 and studied there for three years. My school was
called BIMM The British and Irish Institute of Modern Music
so I did my bachelors there and I was also performing
professionally all over the UK since my second year. Slowly I
started doing auditions, taking part in vocal groups or bands,
you know, always looking for ways to perform professionally. So
I started building that up and before I graduated I auditioned
for Cirque du Soleil.
Q. What was it like to audition for Cirque du Soleil?
They came to London, and a friend of mine sent me the e-mail
about it so I thought I would try it. At that moment I didnt
think that is what I wanted to do, but I thought auditioning
would be a great experience. You never know when its going to
be the right time because Cirque du Soleil has thousands of
applicants every year. You go through quite a tough process just
to be in their database. Its very competitive, but also its a
little bit of a matter of luck, because you dont know when
there will be a position where you could potentially fit in. At
the audition they tell you if you are at the level that they are
looking for and if they will put you in their database, but the
database has thousands of people. So you may do your audition
and then wait for up to ten years. You never know when you will
hear back from them.
Q. So what is the audition process, step by step?
The first step is to send in videos of what you do, along with
some repertoire that they ask you to perform. You go online and
you pick songs if youre a singer, for example, from the list of
materials they provide. Then if they like your submission, they
call you to their next live audition, which they do all over the
world. I submitted my videos and they invited me to the London
audition. After the live audition, they put me in the database
but I didnt hear from them for a job until just over a year
later. I knew this is usually what happens, so I just put it
aside and continued my life in England. I moved to London at
that point in time and spent a year being a freelance singer
when I suddenly heard from them. After that, there were a few
more steps where they asked for more specific videos. And then
the last audition was in Montreal, after which they gave me the
contract for Kurios.
Q. How is your rehearsal/work schedule for Kurios?
Its a very intense schedule, especially for the touring shows.
There is always a creation period. Kurios was being created for
about two years before it opened in April 2014. I joined the
creation period about three months before opening. So those
three months were extremely intense; we would rehearse all day.
When the actual shows began we have 8-10 shows per week, and we
perform every day except Mondays. We also have to rehearse for
the replacements, because if someone doesnt sign for the
following year or we have injuries, we need replacements. In
addition to all that, the show changes slightly very often, so
we have to rehearse to perfect the adjustments there are
always things to work on!
Q. Whats your role and where do you fit into the story?
Im the only singer of the show. I wear a gramophone on my head,
actually my costume is quite cool. My character is called
Chanteuse de la Rue (street singer) and I sing throughout the
whole show. I sing for around 85% of the length of the show, so
Im just always somewhere you will always hear the voice.
Q. Whats the biggest pro and the biggest con of a touring life?
Biggest pro: at first it is quite exciting because you know you
are going to experience and actually live in so many places,
since we get to stay for two months in each place. I feel like
Ive really lived in most of the biggest North American cities
since 2014, and thats quite cool. On the other hand, its a
nonstop touring schedule and we get one annual leave (2-3
weeks), so thats the only time we get to go home. If your home
is far away, that means you only get to go back once a year.
Touring all year round can also be a little confusing in terms
of practicalities, like what clothes youre going to take with
you, so for me I just have everything that I need all year
round. I took three suitcases with winter clothes, summer
clothes, and all the things that will allow me to have a normal
life on tour my keyboard and microphone and everything I need
to get a sense of home and normalcy.
Q. W do you see your singing career going?
I would like to keep performing, so the longer I can make my
living this way the better. But my dream is to at some point
present my own music and my own project. So now Im writing
songs, continuing to study music, and I always try to learn and
get better as a musician.
Q. Do you get to go back to Greece?
I grew up in Heraklion and it was wonderful Crete is one of
the most beautiful islands of Greece. Going back is always
interesting, because you feel a type of comfort, with the
familiar people and places and the sea. I do my best to spend
some time there, though sometimes its not possible because of
the tour schedule. But I try to keep in touch with my parents
and my friends no matter what.
{ SOURCE: Greek Reporter | http://goo.gl/44pSZO }
5Qs w/Toruks Rob Laqui
{Sep.26.2016}
-------------------------------------------------------
5Q is an online-only column featuring five questions about
stage productions in the Metro Area with a special focus on the
GLBTQ communitys relationship to the production. Periodically,
5Q will take the form of an interview with actors, directors,
writers, etc. to shed some light on the production process.
Narrated by a Navi Storyteller and populated by unforgettable
characters, Toruk The First Flight is a mythical tale set
thousands of years before the events depicted in the film
Avatar, and before any humans ever set foot on Pandora. When a
natural catastrophe threatens to destroy the sacred Tree of
Souls, Ralu and Entu, two Omaticaya boys on the brink of
adulthood, fearlessly decide to take matters into their own
hands. Upon learning that Toruk can help them save the Tree of
Souls, they set out, together with their newfound friend Tsyal,
on a quest high up in the Floating Mountains to find the mighty
predator that rules the Pandoran sky.
Rob Laqui is a first generation Filipino American, born and
raised in Minnesota. Based out of NYC, Rob has performed with
numerous theater and dance companies and was also on the first
national North American tour of War Horse and was asked to be
one of the puppeteers as Joey appearing in the Royal Edinburgh
Military Tattoo in Edinburgh, Scotland. He first auditioned for
Cirque du Soleil over a decade ago, but after being accepted
into the companys performer database it wasnt until fall 2014
when he was approached for the creation of Toruk The First
Flight.
Q. Having done puppetry before, how does the style and movement
of a Cirque show heighten and challenge your puppetry?
Even though Toruk is such a different kind of Cirque du Soleil
show, being so large-scale and immersive, my approach to
puppetry is the same. We, as puppeteers, embody all the
creatures and animals of Pandora so we are very much a part of
the visual world that the audience experiences. Our challenge is
to make these full-size puppets live and breathe and come alive
every night. Its a wonderful experience as a puppeteer to work
with such an amazing company that creates such evocative space.
The visual design of the show is so vibrant and detailed that
its very easy to believe you are on Pandora with the Navi. I
suppose one of the challenges of puppeteering full-size
creatures of Pandora is the playing space is large enough that
running around it definitely takes some energy!
Q. James Camerons Avatar took the world by storm when it
premiered. How does the iconic Cirque du Soleil style mesh
with the stunning visuals of Avatar?
The great thing about our show is that you dont have to be
familiar with Avatar or Cirque du Soleil to enjoy our unique
hybrid of a show. Of course, if you are a fan of Avatar and
Cirque du Soleil, then youll definitely appreciate all the
details from the Avatar world filtered through the incredible
artistry of Cirque. Working with Cirque du Soleil has been such
an inspiration because the level of talent and attention to
detail is incredible. Its such a good match for Avatar because
James Cameron and his team created such a rich and complete
world that lends itself beautifully to Cirque du Soleils style.
Q. What does Toruk add to the story of Avatar, and what
expectations should people have going into the show?
Toruk takes place thousands of years before the events of
Avatar. You get to see the Navi in their natural world without
the influence of the sky-people. The audience experiences the
flora and fauna of Pandora as well as getting to meet different
tribes of Navi. Audiences should expect to be immersed into the
world of Pandora and the Navi tribes that inhabit it. They
should expect to see some incredible visuals as well as the
physical artistry of the Cirque du Soleil artists. And they
should definitely expect to see some life-size creatures of
Pandora!
Q. Last time Cirque was in town, it was under the big top in the
Mall of America parking lot. How does changing the venue to
an arena alter or enhance the viewing experience?
As I mentioned earlier, this is a different kind of Cirque du
Soleil show. Its larger in scale and more narrative than most
shows and we for sure use every inch of space we have to fill
the arena with Pandora and the world of Toruk The First
Flight. Another reason this is a unique show is because it was
created specifically for arenas so its been built large to fill
the space.
Q. The openness and inclusivity of Cirque for performers from
around the world with various identities, including GLBT, is
well-known. What does that openness mean for the individual
performer and overall performance?
Art has traditionally been the refuge for the disenfranchised
and circus arts is no exception. Cirque du Soleil started over
30 years ago from street performers and has grown to be the
premier company for circus in the world. One of the reasons for
this is the inclusiveness and open quality the company has for
its employees and artists. How can an artist be at their best if
they are second guessing their own identity within the company?
How can an acrobat or aerialist perform their incredible
physical feats if their focus is split about being accepted by
their peers? Cirques primary focus is fostering and developing
the artist to be the best they can be and that couldnt be
possible if the company didnt have an open policy toward people
of all backgrounds and identities.
{ SOURCE: Shane Lueck, Lavender Magazine | https://goo.gl/CkzF9O }
---------------------------------------------------
CirqueTech -- The Technical Side of Cirque
---------------------------------------------------
Masque Sound On Cirque Du Soleils Paramour
{Sep.14.2016}
-------------------------------------------------------
When Cirque du Soleil Paramour, the organizations first show
created expressly for Broadway, took flight at the Lyric Theatre
on May 25, Sound Designer John Shiver and Associate Sound
Designer David Patridge were putting the finishing touches on a
custom audio equipment package provided by Masque Sound for
Cirque du Soleils first musical.
Cirque du Soleil marks its Broadway debut with a glamorous tale
of the quest for fame in the Golden Age of Hollywood. This
groundbreaking event transports you to a sublime world of
emotion and awe as it walks the exhilarating tightrope of the
heart.
In designing the sound for Paramour, the duo wanted to ensure
the audio was evenly distributed while maintaining its
transparency. The principles of sound design are the same
regardless if you are doing something super simple or very
complicated, says Patridge. We want to provide every seat in
the house with a clearly audible sonic experience. One of the
luxuries on Paramour was that we had the band for almost six
weeks with the cast on stage. This is very unusual, as typically
we get the orchestra at the last minute and for a very short
time before going into performances. This allowed us to really
get things dialed in and we were able to achieve what we set out
to do.
The biggest challenge faced by the designers was the acoustics
of the venue itself. The Lyric Theatre is one of Broadways
largest houses with more than 1700 seats, adds Patridge. The
theatre has been beautifully renovated but did have some
acoustical hindrances. There are many surfaces of flat
reflective plaster in the theatre that are not ornamental, which
makes the sound coming out of the speakers bounce around on the
walls and ceiling. This is where we found difficulty in
balancing intelligibility while also making sure we had enough
fill speakers to overcome the reflective energy. I think in the
end we managed to meet the challenge and every seat in the
theatre has good sound.
With the theatres acoustical obstacles, speaker selection was
critical. The team relied on Masque Sound to provide a custom PA
system from Czech Republic-based, KV2 Audio. According to
Patridge, We went in a new direction with our speaker selection
for Paramour by using KV2 Audio speakers. We were exposed to
them when we did a show in Germany a few years ago and really
liked the sound. They make point source speakers as opposed to
line arrays. They are large and therefore have a lot of low-
frequency information in addition to detailed highs and mid-
ranges; they sound like a high-fidelity speaker. We asked Masque
Sound to make a large purchase of KV2 equipment for this show
and we were very happy they obliged. We have a variety of KV2
boxes in the show including most of the main PA, surrounds,
delays and fills. They are a newcomer to Broadway and the sound
is incredible.
For the console, Masque Sound provided the designers with the
tried-and-true Broadway main staple, DiGiCo SD7 with theatre
software and Waves audio plug-ins. Another interesting component
to the custom audio package was the use of Lectrosonics SSM
Micro Belt Pack Digital Hybrid Wireless audio for compandor-free
digital quality. The form factor of the SSM is really excellent
for theatre work, says Patridge. It fits very well under a
costume or wig without feeling bulky and is quite a bit smaller
than what we have been using. It sounds really good and has
great battery life. We paired those with Lectrosonics Venue 2
six-channel single rack receivers.
The designers also used Clear-Coms HelixNet intercom system for
the first time. The system is one of the larger, if not the
largest on Broadway. Its fairly new to the Broadway market and
allows for multiple channelization over a single XLR. It does a
lot of things that traditional partyline intercoms dont do
without going into digital intercom, which can be a more
complicated and expensive set up.
In addition to the HelixNet system, we also utilized Clear-
Coms FreeSpeak II digital wireless intercom system, adds
Patridge. It uses Wi-Fi type frequencies and operates in a
different manner then we have been using, which is the standard
UHF type Telex wireless intercom. It was not entirely risky
because we had good reports before we put it on the show. There
was a small learning curve, but we managed to push it to its
limits. We used 16-20 wireless intercoms and it ended up working
really well; everyone is very happy with it. The Clear-Com
products are new to Masque Sound as well and they were very
interested in following the set up and learning from it. Masque
Sound treated us very well and provided lots of support.
Rounding out the sound package was a selection of microphones
including DPA d:screet 4061s for the cast, and DPA d:dicate
4011s and Neumann TLM 102s for the orchestra. Paramour also
marks the first time the designers have ever had to put a
wireless microphone in a vacuum cleaner.
Scott Kalata at Masque Sound continues to be a go-to person for
us, adds Patridge. He brings it all together in a big picture
sense and we certainly call upon all of Masque Sounds technical
expertise when putting the show together. We love working with
Masque Sound. In addition, our Second Engineer Lucas Indelicato
and longtime Production Engineer Kevin Kennedy both did an
incredible job as did John Gibson, head of sound at the Lyric
Theatre. John has been a pleasure to work with and turned out to
be a vital asset to us. Thanks to this wonderful collaboration,
Paramour looks and sounds great.
Paramour is currently playing at The Lyric Theatre (214 W. 43rd
Street, New York, NY). For more information and to purchase
tickets, please visit www.cirquedusoleil.com/paramour.
About Masque Sound
Founded in 1936 by a trio of Broadway stagehands, Masque Sound
evolved into one of NYCs most successful theatrical sound
reinforcement, installation and design companies specializing in
theatrical, house of worship, sporting, corporate, TV broadcast
and live concert events. Celebrating more than 75 years in the
industry, the company is led by Vice President Geoff Shearing.
The company also operates Florida-based Professional Wireless
Systems, a leader in the development and implementation of
wireless technology. Credits range from major Broadway shows and
tours including Phantom of the Opera, MAMMA MIA!, Lion King,
Jersey Boys, The Book of Mormon, Once, Kinky Boots, Aladdin and
Fun Home to yearly Super Bowl broadcasts and installations of
varying sizes, including Western Connecticut State University,
the Jim Wise Theatre at the New Jersey Institute of Technology
(NJIT) and the historic St. Patricks Cathedral. Masque Sounds
70,000 sq. ft. corporate headquarters and main assembly facility
is located at 21 East Union Ave., East Rutherford, NJ, 20
minutes from midtown Manhattan. For more information, call (201)
939-8666 or visit www.MasqueSound.com.
{ SOURCE: Live Design | https://goo.gl/hDcqdN }
Varekai: Color and Cirque
{Sep.21.2016}
-------------------------------------------------------
Sound & Stage speaks to Eric Gerard, production manager for
Cirque du Soleils visually captivating show Varekai, ahead of
its Dubai arrival.
After three years of absence, Cirque du Soleil is set to make a
welcome return to the United Arab Emirates with one of its
signature productions, Varekai. The show tells the story of a
solitary young man, parachuted into the shadows of a magical
forest and a kaleidoscopic world filled with adventures both
absurd and extraordinary. The acrobatic spectacular has wowed
close to 10 million audience members all around the world since
its first premiere back in 2002, and now the colorful world of
Varekai will come to life at Dubai World Trade Centre from
Friday, September 16th to 24th.
With such a demanding production to organize, Sound & Stage
managed to grab a few minutes of production manager Eric
Gerards time before the show arrives in Dubai, where he
explained just a few ofthe key factors involved in bringing the
circus spectacular to the UAE stage.
Logistics
The first stop before our run in Dubai is Beirut, where the
show has been loaded into 23 40-foot sea containers transferring
in from our time in Spain. With only a few days in between our
last show in Beirut and our premiere in Dubai, we will transport
the entire show with two Boeing 747 cargo planes. As the last
show is underway in Beirut we start to load the 75 plane
pallets, weighing in at about 206,000kg total of gear to make
the show happen. This includes everything from the office
printer cases to the four 10m long carts holding the 300
individual trees that make up the Varekai forest.
Set-Up
Depending on the venue, the show has various timelines for set-
up. In Dubai specifically, we will spread the setup over several
days. The venue itself is not designed to hang the entire weight
of the show. In this case, we will hang parts of the show from a
ground-supported structure from StageCo. This itself takes a day
to set-up even before the show arrives. Once the ground support
is in place it will take 15-20 hours to fully load in the show
once the planes arrive and are unloaded.
Safety
At Cirque du Soleil, we operate in a fast paced environment,
but safety is always a top priority. Our technicians and staff
are trained with first aid qualifications, as well as our
continual training in show specific conditions and scenarios. We
work together as a team to ensure that at any point in the
operation of the show the scenarios are controlled and planned
out.
Technology
Varekai is a very colorful show. Between the color pallets
used in the costume, lighting, and projection designs, it really
creates a wonderful visual experience. The show uses various
technologies to ensure the audience is always visually
captivated in what their experiencing. One technology
specifically is the use of BlackTrax. Its a technology worn by
the artists to allow their position to be tracked around the
stage. This information is then translated by a computer to
allow the automated lighting system to make sure the performer
is followed and lit without the use of a manual spotlight
wherever they go. Its really innovative technology.
{ SOURCE: Sound and Stage | https://goo.gl/WwZULc }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia & Totem}
o) ARENA - In Stadium-like venues
{Varekai, TORUK, OVO & Séptimo Día}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
MJ ONE, JOYÀ & Paramour}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Amaluna:
Manchester, UK -- Sep 7, 2016 to Oct 9, 2016
Dusseldorf, DE -- Nov 17, 2016 to Dec 18, 2016
London, UK -- Jan 12, 2017 to Feb 4, 2017
Vienna, AT -- Mar 9, 2017 to Apr 9, 2017
Koozå:
Sydney, AU -- Aug 25, 2016 to Nov 13, 2016
Brisbane, AU -- Nov 24, 2016 to Jan 8, 2017
Melbourne, AU -- Jan 20, 2017 to Mar 26, 2017
Perth, AU -- Apr 13, 2017 to May 7, 2017
Manila, PH -- Jun 26, 2017 to Jul 30, 2017
Kurios:
New York City, NY -- Sep 29, 2016 to Nov 27, 2016
Miami, FL -- Dec 9, 2016 to Jan 29, 2017
Dallas, TX -- Feb 17, 2017 to Mar 26, 2017
Houston, TX -- Apr 6, 2017 to May 21, 2017
Winnipeg, MB TBA
Portland, OR Aug 28, 2017 to Oct 8, 2017
Vancouver, BC Oct 19, 2017 to Dec 31, 2017
Luzia:
Toronto, ON -- Jul 27, 2016 to Oct 16, 2016
San Francisco, CA -- Nov 17, 2016 to Jan 29, 2017
San Jose, CA -- Feb 9, 2017 to Mar 19, 2017
Seattle, WA -- Mar 30, 2017 to May 21, 2017
Denver, CO -- Jun 1, 2017 to Jul 9, 2017
Chicago, IL -- Jul 21, 2017 to Sep 3, 2017
Phoenix, AZ -- Sep 22, 2017 to Oct 22, 2017
Totem:
Osaka, JP - Jul 14, 2016 to Oct 12, 2016
Nagoya, JP - Nov 10, 2016 to Jan 15, 2017
Fukuoka, JP - Feb 3, 2017 to Mar 19, 2017
Sendai, JP - Apr 6, 2017 to May 21, 2017
Brussels, BE -- TBA
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Varekai:
Istanbul, TR -- Oct 5, 2016 to Oct 9, 2016
Milan, IT -- Oct 20 2016 to Oct 23, 2016
Florence, IT -- Oct 27, 2016 to Oct 30, 2016
Bologna, IT -- Nov 03, 2016 to Nov 06, 2016
Turin, IT -- Nov 10, 2016 to Nov 13, 2016
Nantes, FR -- Nov 16, 2016 to Nov 20, 2016
Toulouse, FR -- Nov 23, 2016 to Nov 27, 2016
Strasbourg, FR -- Nov 30, 2016 to Dec 4, 2016
Paris, FR -- Dec 7, 2016 to Dec 11, 2016
Lille, FR -- Dec 14, 2016 to Dec 18, 2016
Lisbon, PT -- Jan 5, 2017 to Jan 15, 2017
Seville, ES -- Jan 18, 2017 to Jan 21, 2017
Gijon, ES -- Jan 25, 2017 to Jan 29, 2017
Sheffield, UK -- Feb 2, 2017 to Feb 5, 2017
Dublin, IR -- Feb 8, 2017 to Feb 12, 2017
Newcastle, UK -- Feb 15, 2017 to Feb 19, 2017
Leeds, UK -- Feb 22, 2017 to Feb 26, 2017
Birmingham, UK -- Mar 1, 2017 to Mar 5, 2017
Nottingham, UK -- Mar 8, 2017 to Mar 12, 2017
Glasgow, UK -- Mar 15, 2017 to Mar 19, 2017
Lyon, FR -- Apr 13, 2017 to Apr 16, 2017
Budapest, HU -- May 12, 2017 to May 14, 2017
TORUK - The First Flight:
Minneapolis, MN - Sep 28, 2016 to Oct 2, 2016
Winnipeg, MB - Oct 5, 2016 to Oct 9, 2016
Fresno, CA -- Oct 27, 2016 to Oct 30, 2016
Ontario, CA -- Nov 2, 2016 to Nov 6, 2016
Los Angeles, CA -- Nov 11, 2016 to Nov 13, 2016
Phoenix, AZ -- Nov 16, 2016 to Nov 20, 2016
San Diego, CA -- Nov 23, 2016 to Nov 27, 2016
Sacramento, CA -- Nov 30, 2016 to Dec 4, 2016
Portland, OR -- Dec 7, 2016 to Dec 11, 2016
Vancouver, BC -- Dec 14, 2016 to Dec 18, 2016
Edmonton, AB -- Dec 22, 2016 to Dec 26, 2016
Inglewood, CA -- Jan 12, 2017 to Jan 15, 2017
Wichita, KS -- Jan 26, 2017 to Jan 29, 2017
New Orleans, LA -- Feb 1, 2017 to Feb 5, 2017
Guadalajara, MX -- Feb 10, 2017 to Feb 12, 2017
Mexico City, MX -- Feb 16, 2017 to Feb 19, 2017
Monterrey, MX -- Feb 23, 2017 to Feb 25, 2017
Cleveland, OH -- Mar 3, 2017 to Mar 5, 2017
Philadelphia, PA -- Mar 8, 2017 to Mar 12, 2017
Hartford, CT -- Mar 15, 2017 to Mar 19, 2017
OVO:
San Juan, PR -- Oct 20, 2016 to Oct 23, 2016
Santo Domingo, DO -- Oct 27, 2017 to Oct 30, 2016
Erie, PA -- Nov 17, 2016 to Nov 20, 2016
Quebec City, QC -- Nov 23, 2016 to Nov 27, 2016
Montreal, QC -- Nov 29, 2016 to Dec 4, 2016
Kingston, ON -- Dec 7, 2016 to Dec 11, 2016
Grand Rapids, MI -- Dec 14, 2016 to Dec 18, 2016
Detroit, MI -- Dec 22, 2016 to Dec 25, 2016
Kansas City, MO -- Dec 28, 2016 to Jan 1, 2017
Sioux Falls, SD -- Jan 4, 2017 to Jan 8, 2017
Loveland, CO -- Jan 11, 2017 to Jan 15, 2017
Colorado Springs, CO -- Jan 18, 2017 to Jan 22, 2017
Tulsa, OK -- Jan 25, 2017 to Jan 29, 2017
SÉPTIMO DÍA NO DESCANSARÉ:
Buenos Aires, AR -- Mar 9, 2017 - May 14, 2017
Cordoba, AR -- May 2017
Lima, PE -- June 2017
Santiago, CL -- July 2017
Bogota, CO -- September 2017
Mexico City, MX -- October 2017
Guadalajara, MX -- November 2017
Monterrey, MX -- December 2017
Select US Cities -- 2018
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
2016 Dark Dates:
o November 9
Special / Limited Performances:
o December 29, 2016 (Two Shows)
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 9:30pm (as of Aug 12, 2015)
2016 Dark Dates:
o October 9-11
o November 28-December 13
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7:00pm on the following days in 2015: January 20,
May 8, May 15, May 19, May 20, and December 31)
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7 pm performances on May 9, 16 and June 21)
2016 Dark Dates:
o November 23
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7:00p.m. on May 15-16, June 19-21, December 31)
(Only 4:30p.m. & 7:00p.m. performances on July 4)
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Two Shows Nightly - Dark: Wednesday/Thursday
Schedule: 7:00pm & 9:30pm on Friday, Saturday, Monday & Tuesday
4:30pm & 7:00pm on Sunday
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
PARAMOUR:
Location: Lyric Theater, Broadway, New York City
Performs: Wednesday through Monday, Dark: Tuesday
One/Two Shows Daily:
2:00pm (Wednesday)
7:30pm (Thursday & Monday)
8:00pm (Friday)
2:00pm & 8:00pm (Saturday)
2:00pm & 7:00pm (Sunday)
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "Casting Q&A's - Meet an Artist, Part 2 of 6"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
o) "Two Great Tastes: Cirque Takes Over Dancing With The Stars"
Written By: Keith Johnson Seattle, Washington (USA)
------------------------------------------------------------
"Two Great Tastes: Cirque Takes Over Dancing With the Stars"
Written by: Keith Johnson - Seattle, Washington (USA)
------------------------------------------------------------
It was quite the bombshell (and a well-kept secret) when it was
announced that the USA version of Dancing With The Stars would host a
night of ballroom dancing inspired by the music and shows of Cirque du
Soleil. Coming, seemingly, out of the blue, reactions ranged from
Yeah! to WTF?.
For those unaware, Dancing With The Stars (DWTS) is one of the most
popular syndicated reality shows in the world. The idea is simple
professional ballroom dancers (all champions in some way) are paired
with celebrities with varying levels of dance experience, to compete
against each other in ballroom dancing, their efforts judges by 3-4
judges and audience voting. Originating with the BBC in Britain as
Strictly Come Dancing, it has been franchised into 42 countries.
The US version is now in its 23rd season (with seasons in fall and
spring) and has consistently been a top 15 network show for the last
10 years. An average episode is watched by between 10-11 million
people, with the franchise global audience standing at more than 250
million people worldwide.
To me it sounded like a good fit, but rife with the possibility of
cant-look-away train wrecks, depending on the synergy between
celebrity, Cirque show and music. The idea was intriguing but posed
questions how do you bring the Cirque ethos into a ballroom dancing
competition show? What music do you pick for what dances? Does the
in-house band (Ray Chew Live) play the music, and how close will it be
to the original band sound, or do they use pre-recorded tracks? How
successful will the professionals be in crafting routines that arent
overshadowed by Cirque-ish elements?
Theme nights are common on DWTS. My Most Memorable Year, TV night,
Movie night, Halloween night, and the corporately-synergistic-Disney
night (as DTWS is broadcast on the Disney-owned ABC network). Cirque
has had exposure on DWTS before to be sure a Love-infused dance in
November of 2015. But this is the first time an outside brand has
been chosen as the theme for an entire show.
Both sides benefit. DWTS gets to incorporate the intellectual property
of a content-rich brand whose product is imagination. What Cirque gets
is much more. 10.5 million people watched the Monday, October 3, 2016
broadcast. Consider that in order to reach 10.5 million people, by our
approximate calculations, every Cirque show (resident, touring and
arena) would have to play two shows a day, seven days a week with 100%
sold out houses for over four months! And Cirque reaches that many
people for two solid hours with this one show, with a demographic rich
with the people Cirque would most like to reach people with an
appreciation for the arts!
With popcorn in hand my wife and I sat to watch the broadcast end to
end, as well as the following days results show and the DWTS All
Access Webcast that broadcasts to the Internet simultaneously with
the main show. We watched the great, the almost-great, the OK, and the
not-great. And Im here to give a quick run-down of the show with
particular emphasis on how the performances incorporated the Cirque
magic. In the tradition of the show, my Cirque Score will look at
this aspect exclusively, on a 10-point scale.
What we were expecting to see, in general, we got. No retired show
music (people cant buy tickets for shows that arent playing). All
the US-based resident shows covered except Criss Angel Mindfreak Live.
Three songs from the Beatles and Michael Jackson shows that didnt
feel too Cirque-ey. A song from Kurios, but no other touring shows,
which left out Luzia, Ovo, and Toruk-The First Flight (which might
have mixed branding and metaphors anyway).
Right off the top of the show, judge Bruno Tonioli invoked the creedo
of the evening: We want to be transported into the mesmerizing,
magical world of Cirque du Soleil. So free your imagination, and let
the show begin. (Wonder who wrote that for him.) The stars entered
to logos of the shows they represented blasted on the ballroom big
screen. The opening features several characters from Cirque shows,
from the Red Bird of Mystere to the Green Bird of La Nouba, KA
warriors, and others.
In order of performance, they were:
1 - Football Star Calvin Megatron Johnson Jr. & Lindsay Arnold
Jive to Bella Donna Twist from Kurios
The scene was set with a control panel prop from the scientists lair
(that host Tom Bergeron tried to use to make a latte later). The
costumes were very evocative of the show, with gears on Johnsons
jacket and goggles for Arnold. Projections on the floor made it look
like the Kurios stage, and Anne, the upside down aerial bicyclist from
the show swung in the air above the ballroom floor. A nice opening to
the show with lots of Cirque ambiance. And here we must mention the
music. The score for many of the acts was played by the in-house
band, Ray Chew Live. It was a nice arrangement and sounded very much
like the show. To these ears, though, it was just different enough to
catch the ear as being different and not what we were used to. But it
was being played live in front of 10+ million people!
DWTS Score - 23 | Cirque Score - 9
2 - Brady Bunch actress Maureen McCormick & Artem Chigvintsev
Argentine Tango to High Bar from Mystère
With the Red Bird bounding about upstage, and Taiko Drums downstage,
the dance was involved and connected with the show. The drama of the
show was well incorporated into the choreography. Though they had
trouble during the week, the couple pulled off a very nice tango.
DWTS Score - 24 | Cirque Score 7
3 - One Tree Hill actress/singer Jana Kramer & Gleb Savchenko
Foxtrot to Here Comes the Sun from The Beatles LOVE.
This couple visited the Love Theater in Vegas for some training. The
music track was pre-recorded original Beatles. While there was a
graphic similar to the sun LED ball used in the show, there really
was very little Cirque influence here.
DWTS Score 23 | Cirque Score - 5
4 - Taxi Actress Marilu Henner & Derek Hough
Pasa Doble to Battlefield from KÀ
With decoration of a Wushu warrior and 4 flag bearers, the arrangement
by the band was a nice approximation of the original music. Hough
played a villain who gets stabbed by a flying(!) spear at the end of
the dance. Henner struggles with being in her head so has trouble
appearing smooth and giving over to the dance. The set, however, was
very nice, with flames and graphics of the theater.
DWTS Score 21 | Cirque Score - 9
5 - VH1 talk show host Amber Rose & Maksim Chmerkovskiy
Tango to Tickle Tango from Zumanity
This Tango was hot and sexy, inspired by Zumanity but with no real
Cirque content. This was right in Ambers wheelhouse, as she was an
exotic dancer in her youth. A large amount of TV time was taken with a
possible body-shaming comment made by one of the judges during last
weeks show, where both sides aired their views but neither side
apologized. With her ample top and bottom set off against a thin
middle, looking on the TV screen like an exaggerated hourglass, her
awareness of this issue must have been a part of much of her life.
DWTS Score 24 | Cirque Score - 5
6 - Rio Olympic Gold Medal swimmer Ryan Lochte & Cheryl Burke
Viennese Waltz to Jeux dEau from O
This couple also went to Vegas, with Lochte spending time in the O
pool learning from some of the shows synchronized swimmers. The
headless Elizabethan costume and a carousel horse provided set
decoration. The music was a beautifully played version of the O CD
opening track, with Ray Chew onstage playing a white piano in front of
raindrops falling from the ceiling. The couple wore contrasting half-
black, half-white outfits that I initially thought were inspired by
the Zebra costumes (Lochte later said his character was based on Le
Vieux (Eugen) though I dont see the resemblance). The performance,
especially the music, was fantastic, described by one blogger as, A
sophisticated, content-rich waltz that beautifully paid homage to the
water-based show. I couldnt agree more.
DWTS Score 22 | Cirque Score - 10
7 - Musician/Producer Kenny Babyface Edmonds & Allison Holker
Tango to Come Together from The Beatles LOVE
From the sublime to the ridiculous. The dance concept involved a
series of spotlights lighting up sections of the dance floor. But the
spotlights were on a timer, and it was up to the couple to move from
one lit area of the floor to the next by a deadline, otherwise they
would be in the dark. They got off to a bad start and never recovered.
The music again was a pre-recorded Beatles original track. The
darkness also meant there were no Cirque elements I could, um, see.
Sorry.
DWTS Score 18 | Cirque Score 4
8 - Little People: LA star Terra Jolé & Sasha Farber
Samba to Tzelma from O
Again, the sound of the band was a very close approximation of the
shows music. This is the first little person the show has had, and she
has improved steadily week-to-week, though the height differential
between her and her partner and her different body mechanics continue
to be a challenge. Though the dance was good, it missed the beauty and
longing present in the show, that was better incorporated by Lochte.
DWTS Score 25 | Cirque Score - 7
9 - Gold Medal Gymnast Laurie Hernandez & Valentin Chmerkovskiy
Jazz dance to The Way You Make Me Feel from Michael Jackson ONE
Gymnast Hernandez has been a leaderboard top performer since the
beginning. There is something about the dedication and practice
towards perfection that athletes are used to (as well as body
awareness and ease of movement) that often helps them stand out in
this competition. The 16-year old is also a big Michael Jackson fan,
having costumed as him for 2 Halloweens. The dance is an
interpretation of the video, with Val playing the part of Jackson. He
has also done two routines to Janet Jackson songs, so is no stranger
to Jackson-family music. With those factors in play (a favorite artist
of the contestant, a familiar dance style and song, and a partner
experienced in video dance interpretation) it was as if the producers
had set her up for success. It was HOT, best dance of the night, and
earned the first perfect score of the season. It was really great,
but Cirque presence was missing.
DWTS Score 30 (Perfect Score) | Cirque Score - 5
10 - Singer Vanilla Ice (Robert Van Winkle) & Witney Carson
Viennese Waltz to La Nouba from La Nouba
The new ladder aerobatic act and Green Bird added atmosphere to this
act, with Ice dressed as a ring-maker in a costume I couldnt see as
being very Cirque-related. The music was another great rendition and
the dance was good but not great. Ice pointed out during the video
package that he had five concerts to perform that week, so would only
have a couple of hours between sound check and show-time to practice
with Carson each day. Complaining about outside commitments has often
been the kiss of death to voters, who figure if youre not devoting
all or much of your time to the competition you shouldnt stay.
DWTS Score 23 | Cirque Score - 8
11 - Indy Car driver James Hinchcliffe & Sharna Burgess
Quickstep to The Hollywood Whiz from Paramour
A great way to end the show. Driver Hinchcliffe has been the surprise
of the season, a true non-dancer (unlike many DWTS celebrities who
have had prior dance training of some sort) who is coming into his
own. His Hugh Jackman-like good looks and good-humored nature have
endeared him to voters, as has his improvement as a dancer.
Hinchcliffe plays director AJ Golden, with red-maned Burgessn
perfect to play Indigo. They visited the show in New York to meet the
cast and get pointers. This is a more straight-up interpretation of
the opening number of the show, incorporating show acrobats Chris and
Remy. It sparkles, dazzles and entertains.
DWTS Score 28 | Cirque score - 10
The Tuesday night results show was a double elimination, with Babyface
Edmonds (who had the lowest judges score of the night) and Vanilla
Ice being eliminated. We are still in the early going where the worst
dancers are eliminated before voting blocs, name recognition, and
personality and character appeal become more important toward the
middle of the competition. What, you thought they were just judged on
their DANCING?
Several times during the show a character or prop would make an
appearance. The boot tricycle and bubble piano from LOVE, the Green
Bird from La Nouba interacting with the judges. There was no attempt
during these pieces to attach the object/character to a particular
show. In this context it worked it was all CIRQUE and I think
brand awareness in general was the goal here.
Though doing so might have made it feel like an infomercial, there was
little context given to the theme of the show the contestants were
inspired by. Something quick in the behind-the-scenes video package
that explained this show involves a scientist who unlocks a turn-of-
the-century steam-punk-ey world of incredible visitors from another
realm (in the case of Kurios) would have been fine.
As it was they were presented visually with no explaining context.
The video package showed Lochte practicing in the O pool. Why is
there a pool, what does it have to do with the theme of the show? Why
is that half-naked red bird fella flipping about on the stage during
the Mystere number, whats he all about? There was next to no effort
expended to explain that all these shows are different from one
another, so they all ended up looking no different from one another.
As my mother is happy to explain, Ive seen Cirque du Soleil once
already. That felt like a missed opportunity, but perhaps the TV show
structure didnt allow for it. I thought there would be a 30 or 60
second advertisement by Cirque, something to the extent of
(beautiful shots of acrobats and circus acts doing impossible things
in the background) all these shows youre seeing interpreted here?
Theyre all different, all beautiful, and all worth seeing, and you
can see them by going to CirqueduSoleil.com or calling this number for
tickets. Which might have brought the point home a bit more, but
again risked the infomercial concern.
While being interviewed on the DWTS All Access webcast, longtime
Mystere Red Bird Ross Gibson revealed that plans for the Cirque/DWTS
mash-up had been in process for several years. And that is likely an
understatement. The amount of negotiation between Cirque, DWTS, and
ABC over what Cirque shows to feature, what songs from those shows,
clearances for the Jackson and Beatles songs, what pieces of Cirque
intellectual property to include in the show, how to design costumes
similar to but not exactly like Cirque costumes, even how the Cirque
and DWTS logo would mesh must have been daunting. Add to that
scheduling Cirque artists to perform at the show and the amount of
prep with rigging, lights, costumes, makeup, stage management, safety,
the list goes on. Ill bet the cast list of people involved from the
Cirque end is a long one (and deserves to be published - which wed be
happy to do if you want to contact us, Cirque)!
This was an interesting foray for Cirque du Soleil, as it was for
Dancing With The Stars. While it certainly raised Cirque awareness
among millions of people with one show, I dont think it did much to
convince viewers to see multiple shows. That will now be their next
challenge.
Highlights from the show can be found on the Dancing with the Stars
YouTube channel: < https://www.youtube.com/user/ABCDWTS > under Week
4.
------------------------------------------------------------
"Casting Q&A's - Meet an Artist, Part 2 of 6"
Edited By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
Ever wonder what it would be like to become a Cirque du Soleil artist?
Of course you have! Who hasnt? Wonder no longer! Through a series of
interviews on their casting website, Cirque du Soleil invites us to
get to know some of their performers (past and present), and discover
how each of them went from a career as an athlete, circus performer,
instrumentalist, singer, dancer, actor, clown, or in another specialty
to becoming a Cirque performer. Theyre fantastic reads if youve had
the pleasure, and if you havent, well, dont despair. Weve collected
all 30 artist interviews for you to peruse in this series, which, due
to the page count, well publish in six parts. Last month we began
with Q&A's from Anthony Gatto, Claudel Doucet, Denise Stefanie
Gonzalez, Eric Scribner, and Eve Castelo Branco. We continue now with
Hassan El Hajjami (Hip-hop & Breakdance), Jean-François Houle
(Bandleaders), Jeanne Dioman Gbou (Ethnic & Traditional dance), Julia
Lopatkina (Acrobatic gymnastics), and Kristin Allen (Gymnastics).
# # #
HASSAN EL HAJJAMI
France | Dance, popping" style
Q. YOUR BIGGEST ARTISTIC ACHIEVEMENT IN YOUR PRE-CIRQUE CAREER:
Juste Debout 2007 #3 in the World, European Champion 2004, World
Champion Battle of the Year in 2003 (Pokemon Crew), Champion
France 2003
Q. PLEASE TELL US ABOUT YOUR ARTISTIC BACKGROUND.
Dancer, Performer, Choreographer and Artistic Director of the
Lyon Opera
Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL?
September 2005
Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION?
Cirque called and asked me to do an audition in Paris along with
about 10 other poppers".
Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION/TRAINING/WORKSHOP?
The audition lasted a whole day but thankfully I was in good
shape and in the end I had a lot of fun competing for the role
of Walrus"!
Q. HOW DID YOUR INTEGRATION GO IN MONTREAL AND IN THE SHOW?
I had to do dancing and acting workshops, and learn English!
Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS
YOURSELF IN YOUR DISCIPLINE?
I get a lot of satisfaction from my role in LOVE. My solo act is
fun and I get to play one of the most important characters in
the show.
Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL?
Having a solo in one of the most important shows in the world is
an honor.
Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR
CURRENT CIRQUE CAREER?
Being around so many other talented artists helped my transition
and helped me increase my own level as an artist.
Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE?
Its one of the best experiences Ive ever had. I was able to
learn a new language and meet new people
and to be a part of
such a creative force is magical.
Q. HOW IS LIFE IN LAS VEGAS?
Vegas is filled with lots of fun people and things to do. The
creator of the Electric Boogaloo lives here and in my spare time
we hang out and dance together!
Q. ANYTHING ELSE YOU WOULD LIKE TO SHARE WITH US?
Peace and love!
* * *
JEAN-FRANÇOIS HOULE
Canada | Music
Q. PLEASE TELL US ABOUT YOUR ARTISTIC BACKGROUND.
I was producing music and touring professionally as a bass
player, bandleader and electronic noise-maker for 20 years.
Q. WHEN DID YOU JOIN CIRQUE?
In 1996 I joined Cirque as a bass player/bandleader on the Asian
tour of Alegrìa and in 2001 joined in the creation of ZUMANITY.
Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION?
In 1996 Cirque was looking for a musical director for the
Alegrìa tour in Asia and a friend, who was the bandleader for
Mystère, referred me.
Q. HOW DID YOUR INTEGRATION GO (EITHER IN MONTREAL OR IN A SHOW)?
Very well. My second integration, during the creation of
Zumanity, was very cool because everything had to be created
from scratch for my role.
Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS
YOURSELF IN YOUR DISCIPLINE?
I like being able to perform music that supports an acrobats
live performance, anything can happen
Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL?
Being part of one of the most prestigious companies in the
entertainment industry and, at the same time, being part of a
large family. I like the friendships between artists and how we
are all motivated by the same thing: to make each show the best
show possible!
Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR
CURRENT CIRQUE CAREER?
As I had always worked in similar projects that included many
musicians and technicians, my integration went very smoothly.
Q. HOW IS LIFE ON TOUR AND IN LAS VEGAS?
I liked touring because it gave me a chance to see Asia and
Europe. Now that I live in Vegas, I love that too
the city is
so dynamic!
Q. ANYTHING ELSE YOU WOULD LIKE TO SHARE WITH US?
I very much liked being part of the creation of Zumanity. It was
a very unique experience and Im proud of what we did with it.
* * *
JEANNE DIOMAN GBOU
Côte d'Ivoire | African Dance
Q. HAT WAS YOUR BIGGEST ARTISTIC ACHIEVEMENT PRIOR TO JOINING CIRQUE?
F.I.T.D. My dance group won the International Theatre Festival
for Development in Africa
Q. PLEASE TELL US ABOUT YOUR ARTISTIC BACKGROUND.
I was a member of the Ballet national de Côte dIvoire", a
traditional dance group and an African contemporary dance troupe
called Terzo
Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL?
I began with Dralion in April 1999.
Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION?
Some people from the Cirque casting department came to the Ivory
Coast in 1998 to see my group perform and videotape the show.
Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION/TRAINING/WORKSHOP?
The taping of my performance in the show was sort of my
audition. Soon after, Cirque called to ask if I would like to
work for them.
Q. HOW DID YOUR INTEGRATION GO (EITHER IN MONTREAL OR IN A SHOW)?
My integration into the role was a little difficult because the
type of dance I was required to perform was different from the
very traditional dance style I was used to.
Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS
YOURSELF IN YOUR DISCIPLINE?
My role in Dralion allowed me to express my inner energy with a
lot of fast movement and big facial expressions.
Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL?
I enjoy being able to work and live with people from many other
cultures and disciplines, something I would not be able to
experience in the Ivory Coast.
Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR
CURRENT CIRQUE CAREER?
It went very smoothly. The only difference is now I do the same
dance every day.
Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE?
Cirque allows you the opportunity to do what you love and to
learn from a lot of different people.
Q. HOW IS LIFE ON TOUR?
I love it. Life on tour is fun and fabulous! The only thing is
we dont always have enough time to do all personal stuff we
like to.
* * *
JULIA LOPATKINA
Russian Federation | Acrobatic gymnastics
Q. WHAT WAS YOUR BIGGEST ATHLETIC ACHIEVEMENT PRIOR TO JOINING CIRQUE?
I won the World Championships in 1999, 2000, 2002, 2004,
European Championships in 2001 and 2003, World Games in 1997 and
2001, and the National Championships in 1997 and again from 1999
to 2004.
Q. PLEASE TELL US ABOUT YOUR ATHLETIC BACKGROUND.
I have been in Acrobatic gymnastics since I was 7 years old and
my main discipline was Womens Pair. Over seven years, my Pairs
partner Anna Mokhova (who works on Quidam now) and me won
repeated World and European Championships as members of the
Russian National Team. We were very lucky to work and interact
with the best coaches and athletes throughout our athletic
careers. In addition, I graduated from University with a
Bachelors degree as a coach of Sports Acrobatics. I can
definitely say that acrobatics is my life!
Q. WHEN DID YOU JOIN CIRQUE DU SOLEIL?
I joined Cirque du Soleil during the general formation period in
Montreal in 2005. Soon after, in 2006, I was invited to join O"
in Las Vegas.
Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION?
The first time I heard and learned about the organization was in
1999. At the time I was actively training and didnt think that
at some point I would become a Cirque du Soleil artist. However,
six months after I finished competing as a professional athlete
in 2005, I found myself accepting an invitation to the general
formation in Montreal.
Q. WHAT KIND OF AN EXPERIENCE WAS YOUR AUDITION/TRAINING/WORKSHOP?
To be a performer and not just an athlete was the most difficult
skill I had to acquire. Learning to combine tricks and emotions,
to express more than just acrobatics and opening myself to
something so new was most challenging for me. Also, developing
my acting, dancing and vocal skills, as well as learning make-
up, were very new and interesting to me.
Q. HOW DID YOUR INTEGRATION GO IN MONTREAL AND IN THE SHOW?
In the beginning, I was just watching and learning everything
around me. The next step was to slowly learn new tricks,
choreography and cues. It was only after that, that I finally
took part in the show. I think that the formation in Montreal
was a very helpful experience for me.
Q. HOW DOES BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOW YOU TO EXPRESS
YOURSELF IN YOUR DISCIPLINE?
When you are working in any Cirque show, you are taking on a
huge responsibility to be the best in what you do. I am always
reaching for new knowledge and trying to learn things from the
performers around me.
Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL?
For me, it is being part of a big circus family" and having the
opportunity to work with professionals in my field, to
communicate with interesting people from different countries and
doing something I love to do.
Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR
CURRENT CIRQUE CAREER?
When your sport career comes to an end, you think you will never
feel such strong emotions as the feeling you get standing with a
medal. But it is not true! Cirque gave me a possibility to
continue my career, only in another role. The transition was not
that hard, as I continued to be engaged in my favorite activity.
Q. WHY WOULD YOU RECOMMEND AN ARTIST TO JOIN CIRQUE?
It is a wonderful opportunity to try new things, to discover new
emotions, skills and impressions, and to begin a new and
interesting life!
Q. HOW IS LIFE IN LAS VEGAS?
Las Vegas is a big and beautiful city. It is not the same as
other cities in which I have been. There are a lot of people
from all corners of the world and it charges the city with a
special power. I like to live and work here!
* * *
KRISTIN ALLEN
United States | Acrobatic gymnastics
Q. WHAT WAS YOUR BIGGEST ATHLETIC ACHIEVEMENT PRIOR TO JOINING CIRQUE?
Right before my partner, Michael Rodrigues, and I joined Cirque
du Soleil, we won the 2010 Acrobatic Gymnastics World
Championships in Poland. Becoming World Champions was our
biggest achievement and our ultimate goal. Also, in 2009, we
made history by becoming the first American acrobatic gymnasts
to win a gold medal at the World Games.
Q. TELL US ABOUT YOUR ATHLETIC BACKGROUND BEFORE JOINING CIRQUE.
I started acrobatic gymnastics when I was 9 years old, and I
competed in the sport for 10 years.
Q. WHAT WAS YOUR FIRST CONTACT WITH THE ORGANIZATION?
I joined Cirque in 2010. We were approached by a Talent Scout.
He contacted us two weeks after we sent in our letter of
retirement to FIG (International Gymnastics Federation) to offer
us a position in the show Viva ELVIS. It was the perfect
transition. We were in Las Vegas just a month after we finished
competing.
Q. WHAT KIND OF EXPERIENCE WAS TRAINING TO PERFORM FOR VIVA ELVIS?
We worked with an acrobatic coach and a dance choreographer to
create our act in Viva ELVIS. They helped us develop our
characters in the show. We were already playing characters in
our regular competition routines, so it's been rewarding to be
able to push our acting even further. I've loved having the
opportunity to embody the essence of Priscilla Presley every
night.
Q. WHAT WAS IT LIKE INTEGRATING INTO THE SHOW?
I think that we started to do the skills that are very
traditional to Acrobatic gymnastics but in a new context. It's
very cool since it's really similar to a competition routine in
a way but with more acting and more dance and performance. It
allowed us to grow in that aspect.
Q. HOW HAS BEING PART OF A CIRQUE DU SOLEIL SHOW ALLOWED YOU TO
EXPRESS YOURSELF IN YOUR DISCIPLINE?
Our act is similar to a competition routine in a way, but with
more acting, more dance, and more performance. We were able to
do traditional acrobatic gymnastics skills in a new context. For
many years we trained to be consistent for competition, and I
believe this has helped us to be consistent every night in the
show. We take pride in giving our best performance to each and
every audience.
Q. WHAT DO YOU LIKE THE MOST ABOUT BEING PART OF CIRQUE DU SOLEIL?
There are so many things I love about working for this company,
but if I had to pick one thing, I would say that I love the
performance aspect. Every audience brings a new energy. Even
though I am doing the same acts every night, they feel fresh and
exciting every time.
Q. HOW DID THE TRANSITION GO BETWEEN YOUR FORMER CAREER TO YOUR
CURRENT CIRQUE CAREER?
Cirque du Soleil has been the best transition from competition
to a professional career. I believe it's the biggest thing you
can do after a competitive career in acrobatic gymnastics.
Working on a Cirque stage gives you credibility and takes you to
the next level as an athlete and performer.
Q. HOW IS LIFE IN LAS VEGAS?
As in any move to a new city, there is an adjustment period.
However, there is something very special about immersing
yourself in a new place. Las Vegas has a unique and wonderful
performance community that I am so grateful to be a part of.
Q. WHAT WOULD BE YOUR ADVICE OR SUGGESTION TO YOUNG PEOPLE FROM
ACROBATIC GYMNASTICS?
Keep being passionate about the sport and develop the
performance aspect of your routines. Also, consider taking some
acting and dance classes on the side, because it will help your
performance within the sport as well as in a future career.
Q. WHAT OPPORTUNITIES HAS CIRQUE GIVEN YOU?
A lot of amazing experiences! We were able to travel and do many
guests appearances at various special events, including live TV
performances. One of my favorite opportunities was going to
Graceland to perform at Elvis Week.
Q. WHY WOULD YOU RECOMMEND THAT AN ARTIST JOIN CIRQUE?
I think Cirque du Soleil takes incredible care of their artists.
All you have to do is focus on performing, and everything else
is taken care of. The creativity that you are around is unlike
anywhere else. It is so inspiring. Acrobatically and
artistically, I believe it's the best environment you can be in.
# # #
Stay tuned for more pieces of this series coming soon! In Part Three:
Lionel Hamel (Stringed instruments), Lisa Skinner (Artistic gymnastics),
Marco De Santi (Extreme sports), Melissa Urbano (Martial arts), and
Michael Joseph Hachey (Stringed instruments). In Part Four: Miho Kono
(Synchronized swimming), Miro Lacasse (Physical Actors), Noriko
Takahashi (Diverse abilities), Odmaa Bayartsogt (Other disciplines),
and Oleksandr Pylypenko (Athletes). In Part Five: Paulo Lorador
(Balancing), PJ Bogart (Diving), Raphaël Sanchez (Keyboards), Ross
Gibson (Tumbling), and Sabú Alegría (Wheels). And in the final
installment: Suo Liu (Martial arts), Tumelo Michael" Moloi (Other
dance styles), Vanessa Convery (Jazz & Tap dance), Zara Tellander
(Female vocals), and Zeng jiao JIAN (Martial arts).
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 16, Number 10 (Issue #153) - October 2016
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2016 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination! Newsletter." By
sending us correspondence, you give us permission (unless otherwise
noted) to use the submission as we see fit, without remuneration. All
submissions become the property of the "Fascination! Newsletter."
"Fascination! Newsletter" is not affiliated in any way with Cirque du
Soleil. Cirque du Soleil and all its creations are Copyright (C) and
are registered trademarks (TM) of Cirque du Soleil, Inc., and
Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
{ Oct.12.2016 }
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