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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 17, NUMBER 10 October 2017 ISSUE #165
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
* * * VEGAS STRONG * * *
On the evening of October 1, 2017, a mass shooting occurred at the
Route 91 Harvest music festival on the Las Vegas Strip. During the
closing performance by Jason Aldean, a gunman opened fire on the
outdoor festival crowd from the 32nd floor of the Mandalay Bay resort
and casino. The shooter, whose motive remains unknown, was 64-year-old
Stephen Paddock of Mesquite, Nevada. He fired into the crowd for
almost eleven minutes and was later found dead in his hotel room with
a self-inflicted gunshot wound. With 59 deaths (including the
perpetrator) and 489 injuries, the massacre is the deadliest mass
shooting by a lone gunman in U.S. history. Following the Sunday night
shooting in the Las Vegas, performances of Cirque du Soleil and Blue
Man Group in Las Vegas were canceled.
As the shooting unfolded on Sunday, all of Cirque du Soleil's Las
Vegas theatres, in cooperation with local authorities, were
immediately placed on lock-down. "For the time being, none of our
employees have been identified among the victims," it said in a
statement hours after the attack. "We are in the process of checking
in with each of them and organizing on-the-ground support for all our
teams." But the hours following that statement, as the body count
climbed and the process of checking into the wellbeing of the 1,500
persons employed by the Cirque du Soleil in Las Vegas continued, had
clearly taken their toll by the following Monday morning.
"It's been a sleepless night," Cirque spokesperson Marie-Hélène Lagacé
told the Montreal Gazette. "So far so good, we're touching wood that
none of our employees or their loved ones have been affected. But we
have yet to get full confirmation. Our priority is to make sure all of
our employees are safe and then to provide them and the community with
support," Marie-Hélène Lagacé said. "Las Vegas is our second home
after Montreal. We want to provide all the support we can to the
community and that's where our focus is."
All of the Cirque's eight productions in Las Vegas scheduled for
Monday night (October 2nd) were cancelled and subsequent performances
were then considered on a "one day at a time" basis. All other shows
were back on Tuesday night, with the exception of Michael Jackson ONE,
who had a normal dark period Wednesday and Thursday, so it's first
scheduled show will be Friday, October 6th.
Cirque du Soleil would later release the following statement: "We are
devastated by the tragic events that occurred last night in Las Vegas.
For this shining city, home to hundreds of our artists and employees,
a tragety of this nature is exceptionally heartbreaking. We are
sending love and light to all those affected. Our deepest thoughts and
sympahties are with the victims, their loved ones and the Las Vegas
Community. / Nous sommes terriblement attristés par les événements
tragiques qui ont eu lieu la nuit dernière à Las Vegas. Une tragédie
de cette ampleur est exceptionnellement douloureuse pour cette ville
rayonnante où résident des centaines de nos artistes et employés. Nos
pensées et sympathies sont avec les victimes, leurs proches et la
communauté de Las Vegas."
And MGM Resorts: "Our hearts are broken and the words are hard to
find. We have always known the Las Vegas community had strength beyond
measure, which has been proven once again. To the brave men and women
of Metro, our community's outstanding medical personnel and all of the
first responders who ran into harm's way to save countless lives. To
the heroes at Mandalay Bay, and the employees throughout MGM Resorts
who acted with courage and kindness. To the Las Vegas hospitality
community who reacted immediately with an overwhelming outpouring of
support and assistance. You have our deepest gratitude and love. While
we are all grieving, and will continue to do so in the days, weeks,
and years ahead, we know Las Vegas will move forward together as a
strong and united community. Together, we are #VegasStrong."
On October 6, 2017, Cirque du Soleil rallied to support victims and
first responders of the Las Vegas Shooting. As announced: Today,
Cirque du Soleil would like to show its support of the Las Vegas
community by making a donation in aid of the victims of Sunday night's
mass shooting, as well as the heroic first responders. "We are heart
broken by the senseless act of violence that has gravely impacted our
community - our neighbors - and we mourn for the victims and everyone
affected by this tragic event," said Jerry Nadal, Senior Vice
President of Cirque du Soleil's Resident Show Division. "Las Vegas is
our home and the people of this incredible city are our family. On
behalf of Cirque du Soleil, we want the community to know that we
stand as one. Entertainment is the foundation of this city and we will
recover, and eventually heal, from this together." Cirque du Soleil
will make a total contribution of $1 million. The company will donate
$500,000 to a Las Vegas shooting victims fund, as well as contribute
5,000 tickets to the eight Cirque du Soleil shows in Las Vegas,
including Blue Man Group. Tickets will be available to first
responders, including police officers, fire fighters and medical
responders, and their families. Finally, Cirque du Soleil plans to
join forces with the Las Vegas entertainment community to raise
additional funds for the victims by participating in an upcoming
benefit concert. Details for that event will be communicated at a
later date.
Stay tuned and remain #VegasStrong!
* * * VOLTA CD RELEASED! * * *
Released September 19, 2016 in Toronto, and September 20th on your
favorite digital platform (iTunes, Amazon, Spotify, etc...), VOLTA is
propelled by a series of atmospheric, epic and poetic musical
landscapes. The vast palette glides from synth-pop to more melodic
lines, from ambient shoegazing to waves of symphonic and orchestral
sounds to which stirring choirs, brass and string textures were added.
Written by composer Anthony Gonzalez (M83), the highly cinematic music
of VOLTA evokes a complex array of emotions and moods that ebb and
flow majestically like the tide, always in sync with the acrobatic
performances on stage. It is a narrative tool in its own right,
echoing the different arcs in the storyline and expressing the
distinct personalities of the worlds of VOLTA the Greys, the Elites,
and the Free Spirits.
01: "To the Stars"............ (7:17)
02: "Dancing Ants"............ (3:47)
03: "The Bee and the Wind".... (5:43)
04: "Man Craft"............... (2:25)
05: "Modern Jungle"........... (3:56)
06: "Inside Me"............... (4:28)
07: "The Change".............. (6:53)
08: "Suspension".............. (2:20)
09: "Elevation"............... (5:27)
10: "Lone Soul"............... (2:14)
11: "Battle of the Man"....... (5:55)
12: "Like Kids"............... (7:54)
You'll find that "To the Stars" is to the Acro Ladders act, "Dancing
Ants" goes with Skates & Basketball, "The Bee and the Wind" with
Flatland Ballet, "Man Craft" is Acro Lamp, "Modern Jungle" is Shape
Diving, "Inside Me" is WAZ's Breakthrough music, "The Change" swings
along with Rings & Bungee, "Suspension" is a transition song between
Skates and Acro Lamp, "Elevation" is aptly named as it goes with the
Hair Suspension act, "Lone Soul" with WAZ's Cube scene, "Battle of the
Man" is the Duo Unicycle piece, and "Like Kids" is the explosive BMX
ending.
Strangely absent is the music to the Rope Skipping number ("Quid Pro
Quo"), Parkour, and Charivari ("Globetrotters").
Run time checks in at 58 minutes, 19 seconds.
* * * CIRQUE DEBUTS ITS FIRST SHOW ON ICE - CRYSTAL * * *
On September 12th, Cirque unveiled a sneak peek of Crystal, its very
first show fusing circus arts and the world of ice. For the occasion,
a preview of this 42nd production was presented with a group number
mixing acrobatic disciplines and skating figures, a high-octane romp
on ramps where extreme skaters perform crazy flips and jumps at
breakneck speed as well as a poetic pas de deux on aerial straps that
completely blurs the boundary between ice and sky. (Sneak peek videos
here: < https://goo.gl/RszizZ > and here: < https://goo.gl/mRxmje >).
Since then, however, the show has made its preview debut in Lafayette,
LA!
ABOUT THE SHOW
Crystal is the first-ever experience on ice from Cirque du Soleil.
World-class ice skaters and acrobats take their new frozen playground
by storm with speed and fluidity as they challenge the laws of gravity
with a flurry of unexpected acrobatics. A new kind of performance as
Cirque du Soleil meets the ice.
Crystal, the show's main character, sets out on an exhilarating quest
to fulfill her destiny as she dives into a world of her own
imagination. She soars through this surreal world at high speed to
become what she was always destined to be: confident, freed, and
empowered.
Crystal is about looking at things from fresh angles, peeking through
the veneer of everyday life, reframing one's daily reality to see what
one might have missed. Sometimes the only way to appreciate things is
to look at them sideways. Discovering one's individuality and
uniqueness requires venturing out on thin ice.
"Crystal breaks the codes of the traditional ice show by creating a
unique form of entertainment. To reach this objective, we brought
together the best experts in their respective worlds. With this new
show, the audience will discover the infinite possibilities that ice
adds to the prowess of circus arts," says Daniel Fortin, Executive
Director, Creation, Crystal.
THE CREATIVE TEAM
o) Stefan Miljevic -- Creative Director
o) Shana Carroll -- Show Director
o) Sébastien Soldevila -- Show Director
o) Fred Gérard -- Acrobatic Equipment
o) Stéphane Roy -- Set Designer
o) Johnny Ranger -- Video Content Designer
o) Maxim Lepage -- Music Composer
o) Éric Champoux -- Lighting Designer
o) Anne-Séguin Poirier -- Props Designer
o) Marie Chantale Vaillancourt -- Costume Designer
o) Véronique St-Germain -- Make-up Designer
o) Geneviève Dorion-Coupal -- Choreographer
o) Kurt Browning -- Skating Performances Senior Designer
o) Benjamin Agosto -- Skating Performances Designer
o) Marilyn Langlois -- Synchronized Skating Designer
o) Raphael Cruz -- Performance Designer
o) Mark Vreeken -- Sound Designer
o) Eisa Davis -- Dramaturg, Text
THE FINE PRINT
Tickets for performances of CRYSTAL are available online:
o) http://www.cirquedusoleil.com/crystal/
Follow Crystal on Social Media:
o) Facebook: facebook.com/CrystalbyCirqueduSoleil
o) Twitter: @Cirque #CRYSTAL
o) Instagram: @cirquedusoleil #CRYSTAL
A New Webseries - "Carving Crystal"
o) VIDEO /// < https://goo.gl/EWKEbY >
* * * AND MUCH MORE * * *
Did you hear that Cirque du Soleil and the corporation of trois-
Rivières events have extended their agreement for 5 additional years?
They did! It seems the Hommage Series will continue for a total of 10
years... through 2024! There's plenty of news items, press interviews,
and other insights this month to take a look at - especially all the
new web-series episodes! In Features this month you'll find a
fantastic review of VOLTA in Toronto by Henry Peirson. We continue our
look back at classic show critiques with 1992's reviews of
Saltimbanco. And there's a new three-part series on JOYA, Cirque du
Soleil's jewel in the Riviera Maya, Mexico.
Okay, so let's go!
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
| |
| At CirqueCast: |
| < http://www.cirquecast.com/ > |
| |
| Realy Simple Syndication (RSS) Feed (News Only): |
| < http://www.cirquefascination.com/?feed=rss2 > |
| |
\----------------------------------------------------/
- Ricky "Richasi" Russo
===========
CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
* Q&A - Quick Chats & Press Interviews
* CirqueTech - The Technical Side of Cirque
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* REVIEW /// "VOLTA in Toronto!"
By: Henry Peirson - Toronto, Ontario (CAN)
* THE BOOK OF JOYÀ - BRINGING CIRQUE TO MEXICO
Part 1 of 3: "A Gem in the Jungle"
Edited by: Ricky Russo - Atlanta, Georgia (USA)
* "We're Off and Running - A Series of Classic Critiques"
Part 6 of 16: Saltimbanco, Part 1 (1992)
By: Ricky Russo - Atlanta, Georgia (USA)
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
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***************************************************************
LA PRESSE -- General News & Highlights
***************************************************************
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Interview with Crystal's Skating Performance Designers
{Sep.12.2017}
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Kurt Browning is the Senior Skating Performances Designer for the show
CRYSTAL. He is a four-time Canadian figure skating champion and a
four-time World champion. He competed at three Winter Olympic Games,
1988, 1992, and 1994 and carried the Canadian flag during the
ceremonies in 1994. Professionally, Kurt has accomplished a lot
including three Canadian Professional Championships and three World
Professional Championships. On March 25, 1988, at the 1988 World
Championships in Budapest, Browning landed the very first quadruple
jump in history. This accomplishment was recorded in the Guinness Book
of World Records.
Benjamin Agosto is the Skating Performances Designer for CRYSTAL.
Benjamin Agosto is a five-time U.S. ice dancing champion and 2006
Olympic silver medallist. With partner Tanith Belbin, Agosto is the
2006 Olympic silver medalist, a four-time World medalist, the 2004
2006 Four Continents champion, and 20042008 U.S. champion.
Marilyn Langlois is the Synchronized Skating Designer for CRYSTAL. A
graduate of the Institut national du sport du Québec and a former
singles and synchronized skater, 2003 World Synchronized Skating
Championships silver medalist Marilyn Langlois is the first figure
skating coach from Quebec to obtain Level-5 certification from the
National Coaching Certification Program (NCCP).
CHECK IT OUT HERE:
< https://youtu.be/2xM8GfVX_3Q >
{ SOURCE: Cirque du Soleil }
-------------------------------------------------------
Montreal Gazette: "Cirque Previews CRYSTAL"
{Sep.12.2017}
-------------------------------------------------------
The last Cirque du Soleil show, Volta, added extreme BMX biking to the
classic Cirque recipe. Now Montreal's incredibly popular circus has
come up with the idea of blending its eye-popping acrobatics and
theatricality with the fast-paced thrills of high-level skating.
The new show, Crystal, is the Cirque's first-ever ice show, but the
creators went to great lengths on Tuesday to underline that it is
anything but a traditional skating show à la Disney on Ice. Local
journalists were given a sneak preview of Crystal at the JC Perreault
sports complex in St-Roch-de-l'Achigan in the Lanaudière region, about
an hour from Montreal. They have been rehearsing the show there for
the past few months.
Crystal will have its first public performances in second-tier U.S.
markets beginning in October, including Lafayette, San Antonio,
Pensacola, Minneapolis, and Worcester before premièring in Quebec in
December. It will play the Videotron Centre in Quebec City Dec. 13-17
and the Bell Centre in Montreal Dec. 20-31.
"The idea behind this was to use the ice as an element of
performance," said Sébastien Soldevila, who is co-directing Crystal in
tandem with Shana Carroll.
"It's not a skating show," said Soldevila. "It's an ice show. It's a
mix between skating and acrobatics and we tried not to compromise one
or the other. We tried to take the best parts of acrobatic circus and
the best parts of skating.
Do you realize the canvas we have? Don't
think about what was done. Think about what we can do."
When I posted a video of the Crystal preview on Facebook Tuesday
morning, a friend commented that it seemed like a desperate attempt on
the part of the Cirque to find a bigger, more mainstream audience.
Carroll, for one, said that reaction is surprising.
"I'm actually shocked that that's the response because I feel it's
really an overdue marriage," said Carroll, who is co-artistic
director, with Soldevila, of the Montreal circus company Les 7 Doigts
de la main.
"It's so similar," Carroll said. "This notion that you have athletes
who also perform artistically. Circus and skating
there aren't many
other disciplines in the world that are artistic performances as much
as athletic performances. I can't believe it's been this long for the
Cirque to do an ice show. With O, they did a water show. So for me,
it's really a perfect marriage. What Cirque did in the '80s with
circus shows, changing the lens and permitting people to see the
circus as something artistic, well, ice shows have been needing that
re-invention."
The 42nd Cirque production really blends the two disciplines. Circus
acts like swinging trapeze, aerial straps and hand-to-hand are mixed
and matched with different forms of skating, including synchro,
freestyle, figure and extreme skating on ramps. The skaters had to
learn circus skills and many of the circus performers had to be taught
how to perform on skates.
Some performers are on skates while others are in shoes fitted with
special crampons created over months of meticulous research by the
Cirque design team in Montreal.
Three acts were previewed at the rink Tuesday. Tempête features
acrobats doing their acrobatics (banquine, hand-to-hand and tumbling),
while the skaters jump, flip and spin. The second piece is a hockey
game that is less like the NHL and more focused on skaters doing high-
octane jumps and flips on ramps on the ice. The last of the three was
a romantic sequence where the main character Crystal performs a pas de
deux with a man who descends on straps from the rafters.
Crystal is a dreamy, misunderstood young woman who goes out skating on
a frozen pond one night and fall through the ice, entering an
imaginary world beneath the surface where she encounters a reflection
of herself.
The skating sequences are being overseen by four-time Canadian figure-
skating champ and Olympic competitor Kurt Browning.
"I think the biggest challenge is knowing when and how to blend the
two worlds," said Browning. "They know Cirque and I've done many
skating shows. This is the first time these two worlds have tried
anything together. Someone asked me what I wished for the show and I
said longevity,' because with longevity will come growth and these
two worlds will start to really learn about each other and more will
happen. We're all potential."
{ SOURCE: Brendan Kelly, Montreal Gazette | https://goo.gl/HQ1go9 }
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45 DEGREES: The Helene Fischer Show Debuts!
{Sep.13.2017}
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Back in December we learned that 45 DEGREES would be designing and
producing Helene Fischer's new tour, which was scheduled to embark in
the autumn of 2017. Well, it's autumn, and Helene Fischer's tour has
begun!
Here are some of the first pictures from last night's Premiere of
Helene Fischer Live Show. Show design by 45 DEGREES a Cirque du
Soleil Company and set design by STUFISH. Stage Director Mukhtar Omar
Sharif Mukhtar. The show opened last night in Hanover and will tour
for the next 6 months. Built by Brilliant Stages at Production Park.
(Be on the lookout for the water dress 45 Degrees designed it! And
yes, it's real water!)
VIDEO /// < https://goo.gl/59NCg8 >
FOTOS /// < http://www.cirquefascination.com/?p=10678 >
{ SOURCE: 45 Degrees }
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VOLTA Opens the Toronto Stock Market
{Sep.14.2017}
-------------------------------------------------------
The cast of VOLTA joined Robert Peterman, Vice-President, Global
Business Development, TMX Group to open the Toronto Stock Market.
VOLTA is a spellbinding story about the freedom to choose and the
thrill of blazing your own trail. Inspired by the adventurous spirit
that fuels action sports, VOLTA features BMX, parkour, shape diving,
roller skating, rope skipping and more. VOLTA runs until November 26
under the Big Top at the Port Lands in Toronto. Waz and the Super
Elites blended in to share the excitement the #CirqueWay
CHECK OUT A COUPLE PICTURES FROM THE OPENING HERE:
< http://www.cirquefascination.com/?p=10639 >
{ SOURCE: CNW, Cirque du Soleil }
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Street Culture Roots Keep Cirque Alive for 33 Years
{Sep.14.2017}
-------------------------------------------------------
Daniel Lamarre is just a "ticket seller".
At least that's how the president and chief executive of Cirque du
Soleil describes himself.
Only he's selling more than 13 million tickets to consumers around the
world every year, and Cirque du Soleil is raking in more than $US1
billion ($1.25 billion) in revenue annually.
"We are in full growing mode right now," says Lamarre, a former
journalist and PR man who joined the business in 2001, and is now
leading the company's move into China in a bid to double ticket sales.
STREET CULTURE
Cirque, which started with a small group of street performers in a
town near Québec, Canada, 33 years ago, now has almost 5000 employees,
including some of the world's best artists and acrobats, and has
entertained more than 180 million spectators in 450 cities around the
world.
Its international headquarters are now in Montreal where its
theatrical productions are developed, costumes are custom-made, and
much of its R&D, including that behind its latest James Cameron-co
created Avatar-inspired show, Toruk The First Flight, takes place.
The company also routinely partners with universities like MIT and
companies such as Microsoft.
The reason Cirque's succeeded for so long, Lamarre says, is that it's
grown out of a street culture that still resonates with audiences. Its
very first show in Las Vegas, Mystère, is still running after 24
years, and is one of six resident shows in Vegas, the others being O,
Kà, Zumanity, The Beatles Love, and Michael Jackson: One. The shows
aim to hit some of the almost 45 million tourists who flock to Vegas
each year.
"I like to see myself like a street guy," Lamarre says. "I go into the
street and try to understand what the consumers want; how they
perceive us. What are the acts that they love. What kind of music do
they love."
C2 MELBOURNE
While Cirque du Soleil remains true to its core business of
entertaining, under its new owners, it has a number of projects on the
go. In April 2015, Cirque's founder Guy Laliberté sold the company
(except for a 10 per cent stake he retains) for $US1.5 billion to a
consortium led by $73 billion private equity firm TPG Capital.
One of its new projects is C2, which turns the traditional conference
format on its head, instead offering activities such as networking
over cake baking or brainstorming while being elevated 3 metres up in
the air. After six years in Montreal, C2 is heading to Melbourne on
November 30.
"It started like many many projects start two guys drinking a coffee
and just chit chatting," Lamarre says.
"I was saying to Jean-François Bouchard [Cirque's director of
creation] that I was tired of attending business conferences, that
they were all looking the same. There was not enough creativity. Two
weeks later he came to me and proposed C2
and it's been growing
every year."
ENTERTAINMENT EXPERIENCES
Cirque's other major projects include the interactive theme park in
Nuevo Vallarta, Mexico, which it is building in conjunction with
resort and tourism developer Grupo Vidanta.
Although construction has barely started Lamarre says the theme park
is unlikely to open until 2020. "It's a huge investment and it will
take a lot of time to put this one to bed there is already interest
from Asia to develop a similar park in their cities."
Cirque is also widening its audience pool with new acquisitions. In
July it took on New-York-based Blue Man Productions, best known for
the Blue Man Group show. It's also moving into new forms of
entertainment. In May it launched its first ice show, Cirque du Soleil
Crystal, which starts touring globally next month.
In November it will launch its NFL Experience in Times Square, which
allows NFL football fans a chance to step into the shoes of an NFL
player using a 4D cinematic experience and augmented reality.
CHINA PUSH
But for all the new projects on the go, Cirque's biggest bet is on
China. The push came under its new consortium owners that include
Fosun Capital Group, one of China's largest private conglomerates.
"The [Chinese] market is so big that it can change the face of Cirque
du Soleil," Lamarre says. He's visited China at least 10 times in the
past 18 months to better understand its people and customs. "We think
that China can help probably represent, if I am optimistic here, 20 to
25 per cent of our company."
China will be the first market outside North America to host the
Avatar show. Cirque will start touring the country in October and
launch its first permanent show in China late next year, which Lamarre
says could potentially double ticket sales.
"The show we are going to open in Hangzhou is going to be the size of
our Las Vegas show [KA], which we think will be our first statement in
China," Lamarre says.
He points out that a small city in China has 10 million residents, and
if Cirque were to capture China's growing middle class, which is
already at 400 million, "then we're in good shape".
{ SOURCE: The Sydney Morning Herald | https://goo.gl/5V21aN }
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45 DEGREES: A Look Back on 5 Years of SCALADA
{Sep.15.2017}
-------------------------------------------------------
Looking back on the 5-year partnership with AndorraWorld that brought
the celebrated #Scalada series to life and brought smiles to
thousands.
VIDEO /// < https://goo.gl/STtEBP >
{ SOURCE: 45 Degrees }
-------------------------------------------------------
45 DEGREES: The Bal du MAC
{Sep.16.2017}
-------------------------------------------------------
Montreal came together, on September 16, to raise money for the Musée
d'art contemporain de Montréal (MAC) Foundation at the eagerly
anticipated MAC Ball. Some 700 guests from the arts and business
sectors attended what is one of the most popular and closely watched
events of the year, and a net profit of $510 000 was raised for the
MAC Foundation.
Orchestrated by Josée Noiseux, Chair of the Ball Organizing Committee,
and staged by 45 DEGREES, the event planning and special projects arm
of Cirque du Soleil, the exclusive event was inspired by George
Orwell's 1984. Guests were invited to step into a world of
surveillance and deprivation of liberties that highlights how crucial
it still is to defend those liberties on a daily basis. In addition,
guests had the chance to participate in the Ball's famous auction,
made possible thanks to the generous artists who donated works to
raise money for the Foundation.
"It is still through art that our society's values are expressed; it
stirs up emotions and makes us think, question things and see the
reality of the world around us. I am greatly pleased to champion this
cause at this year's MAC Ball, which features the theme Liberties.'
Masterminded by the incredible creative team at 45 DEGREES, the theme
is a reminder of how important it is to live in an open and inclusive
society." Josée Noiseux, Chair of the Ball Organizing Committee
A MAJOR FINANCIAL IMPACT
Every year, the MAC Ball, the Foundation's main source of funding,
sells out months in advance. The standout event marking the start of a
new cultural year and its prominent guests help create a strong
community for the MAC while building a network of patrons committed to
local culture. With the 2017 MAC Ball edition, it is close to 3.5
million dollars that were raised over the last seven balls. The event
allows the Foundation to contribute financially and practically to the
MAC's activities. This important contribution is used, most notably,
to support the MAC's educational activities, enrich the MAC's
Collection, extend the reach of contemporary Quebec artists and bring
some of today's leading international artists to Montreal.
SUPPORTING QUEBEC PRODUCERS AND DESIGNERS
Since it is a major event, it was important for the MAC Ball to
support Québec producers, suppliers and designers. As such, the
evening's caterer, Marc-André : Le traiteur, offers high-end,
contemporary, yet accessible food showcasing local talent. Abstaining
from using any processed products, the chef is uncompromising when it
comes to taste, quality, product and his creative process. His
numerous local suppliers include la Ferme de la Petite Nation, which
supplied the Cerf de Boileau, and Lirode, which supplied wild products
of Quebec. The bluefin tuna served at the event was sourced from
sustainable fisheries in Gaspésie. The pastries were created by
Patrice Pâtissier.
The MAC Ball is known for its glamorous red carpet where all the
latest trends are displayed. Many of this year's Ball attendees chose
Quebec designers, such as Frédéric Joncas, UNTTLD (from designers José
Manuel St-Jacques and Simon Bélanger), Xavier Laruelle, DUY and Denis
Gagnon.
The MAC Ball took a decidedly eco-friendly turn this year, namely by
being held at TOHU, where every space, every experience is steeped in
environmental consciousness. Indeed, the TOHU pavilion is green not
only in colour, but also in practice, thanks to its LEED OR
(Leadership in Energy and Environmental Design) certification. To
achieve this certification, strict environmental standards and
requirements must be adhered to during the construction of a building
and sustained through its management. TOHU obtained the certification
through to the required principles and practices, making it one of the
first Canadian projects to attain this level of ecological
performance.
COMMITTED VOLUNTEERS
Organizing such a successful event every year would naturally be
impossible without crucial help from our precious partners and the
Organizing Committee that help strengthen the MAC's philanthropic
tradition and build a new community to support the museum. Putting the
undeniable prestige and glamour of the event aside, the MAC Ball finds
its true purpose in the generosity and commitment of the Organizing
Committee's members who give their time, talent and energy to the
cause. This year's event was co-chaired by: France Margaret Bélanger,
Executive Vice President, Commercial and Corporate Affairs, Montreal
Canadiens Hockey Club, Bell Centre and Evenko; Yanick Blanchard,
Executive Vice President, Head of Corporate and Investment Banking,
National Bank; and Mitch Garber, Chairman of the Board, Cirque du
Soleil.
AN EVENT BY 45 DEGREES
This year the MAC Foundation once again entrusted the task of
surprising its guests to 45 DEGREES, the event planning and special
projects arm of Cirque du Soleil. With its creative expertise and
world-renowned talent in planning events, 45 DEGREES took on the
challenge of creating a custom-designed Ball for the Montreal
community. The theme this year "Liberties" invites guests to
become immersed in a privileged universe deprived of liberty, inspired
by Georges Orwell's work of 1984, to emphasize how essential it is to
defend these freedoms day after day.
"For the second consecutive year, 45 DEGREES has staged the much
anticipated MAC Ball, which is a practical way for us to support
contemporary art, and also an opportunity to offer the Montréal
community a unique experience that reflects our societal issues. Just
like last year, the whole team worked hard to rise to the challenge,"
said Yasmine Khalil, President of 45 DEGREES.
{ SOURCE: Musée d'art contemporain de Montréal, Cirque du Soleil }
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The Rise and Fall of Cirque on Broadway
{Sep.20.2017}
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The early success of Disney on Broadway led other entertainment
companies to believe that conquering the Great White Way was possibly
not that hard. But, as Warner Bros' first foray into the lead
producing game, LESTAT, proved, it's not as easy as opening and
tossing some money at marketing. And now, after a single Broadway
show, PARAMOUR, Cirque du Soleil has essentially shuttered its
theatrical division, Cirque du Soleil Theatrical.
The formation of Cirque du Soleil Theatrical, announced in 2014, was
Cirque's latest attempt to conquer New York. For years, the company
wanted a permanent place in the Big Apple. Cirque founder Guy
Laliberté searched for a location to build a venue, much like the ones
the group has scattered throughout Las Vegas. There was a midtown
location scouted, a spot at the Chelsea Piers. But nothing ever panned
out. The company then turned to established locationsmounting a new
show, BANANA SHPEEL, in 2010 at the Beacon Theatre. BANANA SHPEEL,
which underwent many creative team and cast changes before hitting New
York, was more vaudeville shtick than acrobatics. It was a disaster.
Then came ZARKANA, a more typical Cirque spectacular opening at Radio
City Music Hall in 2011 at outrageous expense. The show was supposed
to last at least five summer seasons at the famed venue. It was there
for two.
Shortly after ZARKANA's first summer, Cirque tried to gain a permanent
foothold in Los Angeles as well. It mounted the $100 million IRIS at
the Dolby Theatre. It paid for at least half of that to produce and
market the show, with the theater owner footing the rest of the bill.
IRIS lasted slightly over a year before closing because of lack of
ticket sales. (Though it was my favorite of all the Cirque shows I've
seen.)
So Cirque clearly needed someone who had some insight into how to
produce a sit-down production somewhere other than Las Vegas, where
Cirque, despite a few stumbles, has proven its mettle. The company
oddly turned to someone whose recent experience was producing in Las
Vegasin 2014, Scott Zeiger, an alum of Clear Channel Entertainment
who came to Cirque directly from BASE, a company responsible for Las
Vegas incarnations of Broadway shows, was tapped to head the newly
formed theatrical division.
The formation of this division was immediately puzzling to some in the
industry. "Here you have this company that laid off all of these
employees in 2013, this company that was rumored to be in serious
financial trouble to the point its founder had to come back a couple
years prior to bring profits back up, and they are announcing a giant
new division, where they've failed in the past," one producer said. "I
never understood why."
Some say it was ego, plain and simple. Cirque wanted a permanent
presence in New York and Laliberté believed he deserved one. From the
start things were never easy. Insiders tell me there was tension
between the theatrical and non-theatrical divisions.
Zeiger apparently wanted the first Cirque show to be THE WIZ. Cirque
had collaborated with NBC on the televised live musical, airing
December 2015, with plans to take the production to a Broadway stage.
However when the Lyric freed up, PARAMOUR was fast-tracked. It was
announced for a June 2016 opening in August 2015. Sources say that
Cirque corporate forced the creative team on Zeiger. Philippe
Decouflé, the director of IRIS who had no Broadway experience, was
tapped to helm. Although the show was pretty much new, the rooftop set
and some numbers were imported from IRIS.
Late into rehearsals the original male lead, Bradley Dean, departed
because of "creative differences." During rehearsals, there were many
other changes, with the finale constantly in flux. Rumors abounded
that many in the cast could not stand Decouflé. The $25 million show,
Cirque's first foray into an original book musical, was not well-
received by critics. Impressively, the company did not give up and put
the show on hiatus during its run to work on it. The idea was not that
it would be re-reviewed, but that word-of-mouth would be better if the
show was better. The admirable strategy didn't seem to work and many
believe the showwhich had been pulling in respectable numbers to that
pointnever would have made its money back. Except Cirque got a little
lucky: the owners of the Lyric needed it out to put HARRY POTTER into
the theater and, as first reported in The New York Post, paid Cirque
upwards of $20 million to make room for their dream tenant.
Meanwhile, while PARAMOUR was running, Zeiger was looking for a home
for THE WIZ. He couldn't get one. The theater owners all rebuffed his
advances, other than Todd Haimes, head of the Roundabout Theatre
Company, who offered Studio 54 up for a year. That year would likely
not be enough to have a profitable WIZ though, so this time it was
Cirque passing.
That wise decision did not help Zeiger however. Sources say he was let
go early in 2017. At that time his division was also working on the
NFL Times Square experience; that project is now being handled by
consumer experience executive (the description from the release) Danny
Boockvar out of Cirque's New York office. As for theatrical endeavors,
a spokesperson for Cirque told me via email: "Cirque du Soleil
Theatrical now operates under our Resident Show Division and is
currently focused on PARAMOUR's transfer to Germany." I've been told
that other projects Cirque had the rights to, including THE WIZ,
Zeiger was able to take with him, but it is doubtful that they will
come to fruition without Cirque.
No one is absolutely sure why Cirque gave up on Zeiger after only one
production, especially because he seemingly did not choose PARAMOUR's
team. Some say he was not helped by the ownership change that occurred
during his tenure at Cirque. In 2015, private equity firm TPG Capital
obtained a majority interest in Cirque from Laliberté, with Chinese
conglomerate Fosun taking a large minority stake. TPG is said to have
less an appetite for expansion than Laliberté. Other insiders state
that Cirque has not changed that much; Daniel Lamarre, who at least a
couple blame for Cirque's floundering in the past 10 years, remains as
President and CEO just as he did under Laliberté. Cirque spent big to
acquire Blue Man Group in July, hardly a conservative move.
What this all means for the future of Cirque in New York remains
unknown. After last year, when three Cirque shows were playing in the
area at once, the market might need time to recover. Other than the
NFL Experience, which is opening in November, and any possible
PARAMOUR transfer, it is likely that whatever the theatrical division
was working on is dead. But we might see a big top show, if Cirque can
just find a place to house it. Without a permanent venue, each touring
show brings its own difficulties. New York is not exactly known for
its empty paved spaces right for a big top. Long stops in the area
have been increasingly difficult to mount. Undoubtedly Cirque will
find a way though. Something tells me they'll be back with more than a
sporting experience.
{ SOURCE: Broadway World | https://goo.gl/fKi2vz }
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REVIEW /// "Wrong kind of retro undermines VOLTA"
{Sep.21.2017}
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As its title suggests, Cirque du Soleil's latest touring extravaganza
is full of youthful, technology-infused energy. As a full
entertainment package it's uneven, a complicated narrative concept
bogging down its greatest asset: a sequence of circus acts as awe-
inspiring and skilful as we have come to expect from this billion-
dollar company.
A new angle here is the addition of sports such as BMX biking and
parkour to the more familiar aerials and acrobatics, which along with
its pop-electronic score by M83 marks a clear attempt to appeal to a
youth demographic. Retro is layered on retro: the show has an '80s
look and feel but also hearkens in its story and design to '60s
counterculture.
This layering of references is fairly successful in making the show
feel trendy but its gender politics are depressingly dated: there's
more chest thumping and testosterone-fuelled war cries than a Tarzan
movie, while women are consistently positioned as assistants and
admirers, literally and figuratively out of the spotlight.
The concept is that the audience is watching the filming of a
televised game show called Quid Pro Quo, in which contestants dressed
in grey compete to become Elites. This is set up through an effective
opening sequence led by the clown Wayne Wilson, who gets the audience
whipped up into quite the competitive frenzy. Wilson is charismatic
and likeable and seems like the star of Quid Pro Quo (and Volta), so
it's a bit confusing when we are then introduced to a character called
Waz (Joey Arrigo) and told that he's the game show's host.
Waz's backstory becomes the driving force of Volta's narrative. He
recalls being mocked in school because he has blue feathers where his
hair should be, and a coming-out story is cued, the feathers standing
in for his queerness. But these hints aren't followed up on as Waz is
enticed into the world of the Free Spirits, cool kids in multicoloured
outfits (costumes are by Zaldy Goco). There are strong echoes of the
musical Hair, as a disaffected outsider joins a hippie tribe and is
liberated from societal expectations.
The circus and sports acts help tell the story: a rope-skipping number
is part of Quid Pro Quo, while a beautiful acrobatic number in which
Pawel Walczewski swoops over the stage hanging onto a light fixture
and wearing a blue feathered wig has something to do with Waz's
memories of the past. Girders and platforms burst up from Bruce
Rodgers' amazing set in a parkour number that also has performers
descending on a huge catwalk.
In the first of several acts featuring BMX, a biker (Takahiro Ikeda)
pirouettes and tiptoes on his front wheel up and down the platforms as
a ballerina (Elena Suarez Pariente) twirls next to him, the unexpected
delicacy of his actions creating a strong synergy with hers. Adult Waz
watching home movies in the background suggests that this is his happy
childhood memory.
A high-energy rings-and-bungee-cord number ends the first act, which
represents some kind of move toward liberation for Waz and locks in
the show's gender dynamics: powerful men show off mad skills and roar
at the audience, while women bounce around overhead decoratively,
anonymously, silently.
An early second-act highlight is a shape-diving number in which male
acrobats run and hurl themselves through hoops placed higher and
higher above the stage (and roar about it).
Wilson's clown has two stand-alone acts, one in which he fights with
malfunctioning washing machines in a laundromat, allowing him to
display his considerable skills in physical comedy (this was the first
time children's laughter became audible in the audience).
In an extended second-act sequence he eats a hallucinogenic flower and
imagines himself as a barely clad god the audience loved this for
sure, but it is also part of the production's unsavoury current of
idealizing non-Western cultures, present also in unspecific references
to indigenity in the costume design.
In the show's most unsettling number, Danila V. Bim is suspended by a
big hook through her hair bun and executes all kinds of flying
acrobatic moves supported only by her hair. Echoes between her costume
and Wilson's as the imagined god suggest she is part of his
hallucination, but the objectification of Bim's body and the
suppressed violence in the act made it more like a nightmare for me.
The show's most esthetically pleasing sequence is a climactic number
choreographed by Julie Perron in which Arrigo reveals extraordinary
skill as a dancer capable also of acrobatic tumbling. This functions
as the fulfilment of the narrative, so that a last sequence in which
a full BMX park of chutes, Plexiglas screens, and nets is assembled on
stage and riders swoop and hotdog comes across as a sort of crowd-
pleasing encore.
Throughout, the live band and in particular singers Darius Anthony
Harper and Camilla Backman help ratchet up the high emotion. Martin
Labrecque's lighting is both spectacular and subtle, enhancing the
excitement of the big numbers but also helping the audience follow
what's happening by highlighting a character's face when their psyche
or imagination is at play.
I will finish by mentioning the performer who pulls the shortest
straw: Paola Fraschini, playing Ela, a pretty roller skater who leads
Waz faithfully to his own fulfilment without ever getting a full act
of her own. If I had daughters I'd take them to see a show about Ela,
but I'd not take them to see Volta, because the show would have
virtually nothing to offer them in terms of positive images and
messages about their place in its dystopic/utopic world.
{ SOURCE: Toronto Star | https://goo.gl/RCP3wf }
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REVIEW /// "VOLTA almost undone by a vague narrative"
{Sep.22.2017}
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The latest Cirque du Soleil show has one of those vaguely suggestive,
peripatetic titles: Volta. But it could just as easily have been
called It Gets Better.
That's the intended spirit behind the lavish, scattered show, which
feels like equal parts bullying parable, Hunger Games homage and
Project Runway challenge.
The conceit is that we're watching the live taping of a reality series
called Quid Pro Quo, in which contestants representing different
sections of the audience compete for the title of "super elite."
Waz, the QPQ host, is a rather glum figure who's trying to come to
terms with his present-day fame and a past that included being teased
for having blue feathers on his head instead of hair.
The subsequent show can be seen as Waz's attempt to reclaim his inner
child quite literally, since a mini Waz takes him through past
chapters of his life. But, as anyone who's seen one of the multi-
million-dollar Quebec company's shows knows, all of this is really an
excuse to showcase a bunch of jaw-dropping spectacles.
These include a skipping rope sequence on steroids, a WTF sequence in
which a woman is suspended in the air by her hair (ouch!) and an
updated version of the old guys-jumping-through-hoops stunt.
Cirque, which has always seemed like a classy, Euro-chic take on
Barnum and Bailey's, has never pandered to a younger audience before,
but perhaps it senses its core audience is aging out.
So much about this show from its reality-show motif to the synth-pop
score to the extreme sports feel (not one but two BMX sequences) to
multiple, meaningless selfie moments feels calculated to woo a
younger crowd. And the fact that several sequences feature two or
three stunts going on at the same time the most bizarre being a bike
sequence juxtaposed with a ballet scene should appeal to a
demographic used to multitasking.
The acrobatics this time around are fine but not mind-blowing. What is
mind-numbing, however, is the narrative. It's not clear how Waz
connects to the narrative; the main star of the show seems to be his
sidekick, a clown named Shood Kood Wood who has a lot more personality
and gets featured in at least three big set pieces.
And some characters, particularly a tie-dye-clad woman on roller
skates, lack a sense of purpose. The show's theme might be that things
get better, but Cirque has done much better before.
{ SOURCE: Toronto Now | https://goo.gl/RLmwnN }
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NYLON: How a Circus Performer Does Beauty
{Sep.26.2017}
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If you've ever been to Cirque du Soleil, you know that those
incredibly talented performers, who pull off some mind-blowing stunts
and tricks, also sport some truly incredible costumes and makeup as
well.
What blows our minds almost as much as all of the flips, contorting,
and other crazy stunts, is that each performer is responsible for
doing his or her own makeupalbeit with a bit of initial guidance.
Unlike what you'll see behind the scenes of a runway show or photo
shoot, there isn't a genius makeup artist backstage painting each
performer's complex faceno, the genius makeup artists are the
performers themselves. So, essentially, on top of being hardworking
and hard-training professional acrobats, they need to have their
makeup application skills down pat.
We were intrigued by this and dying to know more about how these
performers double as makeup artists. I mean, have you seen some of the
makeup at Cirque du Soleil?
That's when we decided to go behind the scenes of Cirque du Soleil's
OVO show, which is one of the Montreal-based circus' many traveling
performances. We chatted with Camille Santerre-Gervais, a Russian
cradle flyer, and Kyle Cragle, hand-balancing contortionist, about all
things beauty.
In case you're not already familiar with OVO, it's all about bugswith
each performer playing a different role in the insect kingdom. And so
the intricate costumes and makeup are just as crazy and exciting as
you'd imagine.
"Every Cirque performer starts by having a professional come up with
our makeup look, and we then take pictures so our makeup looks can
look almost identical to what they created. After that, we get two
sessions with them to learn how we can do it, along with a step-by-
step portfolio," says Santerre-Gervais. However, after that, they're
pretty much on their own.
Both performers say their relationship with makeup started long before
Cirque. For Santerre-Gervais, it all began when she was competing as a
gymnast, keeping it simple with mascara and highlighter. But for
Cragle? It started with binge-watching YouTube tutorials on drag,
Halloween, and costume makeup back when he was 12 or 13. "At that time
and age and where I grew up, it wasn't common for men to wear makeup,
so I would just do it for fun in my house. Then I really got started
as a professional working in circus arts, so I got to wear makeup and
practice it more often."
But what I really wanted to know, as I stared at both Santerre-
Gervais' and Cragle's glowing faces, is how the hell they kept their
skin looking so flawless. Both had perfect complexions, and based on
their hectic travel schedule (they head to a new city every week with
five days of performances per week), I needed them to spill their
secrets, stat.
As you can imagine, being on the road for a majority of the year can
do a bit of damage to your skinespecially when you're putting on a
full face of makeup (metallic foils and face paint, included) each
night. The best way to combat damage, according to these two busy
acrobats? Opting for natural, gentle, and nourishing products. "For
me, I don't like to use any chemicals," says Santerre-Gervais. "The
stage makeup we use has chemicals in it, so when I take it off, I use
coconut oil and other natural products that won't irritate my skin."
She also applies lotion to her face constantly, to keep it hydrated
and combat airport skin, and stresses that it's not always about
having the most expensive products when it comes to good skin.
Cragle agrees, using tons of rich natural oils like coconut, rose
water products, and micellar water to keep his skin on point, and
bringing in tea tree oil and witch hazel when his combination skin
feels too oily.
The hero product? This unassuming "Magic Eraser" towel that you can
buy on Amazon. Both Santerre-Gervais and Cragle swear by it so much
that I've already decided to order one for myself. They're able to
remove all of their heavy stage makeup using it, without having to use
any harsh cleansers and makeup removers. Another hero is Touch In
Sol's No Poreblem Primer. It will completely blur away your pores and
works as the best primer to makeup (stage or every day), according to
Cragle.
Of course, self-care is another way keep their skin (and minds) in
good health. "We do a lot of face masks together," says Cragle. "There
are definitely a lot of girls nights' with masks." He goes on to say
that while they all like to do things together, everyone has their own
form of self-care. "For me, it's more mental and just making sure I
allow myself to relax. Doing face masks is really relaxing, but I
think we just have to do a really good job of disconnecting from the
show on our days off and try our best to get out. And sometimes the
best thing is to just sit in the hotel and relax, or go outdoors to
get Vitamin D." For Santerre-Gervais, yoga is her form of self-care.
"I have my yoga mat here, so it's really just taking some time to
breathe and relax."
Below, learn a bit more about Santerre-Gervais' and Cragle's stories
and how they became the talented acrobats (and makeup artists) they
are today. We've never wanted to run away and join the circus more.
VIDEO /// < https://www.facebook.com/nylon/videos/10154921826716765/ >
{ SOURCE: Nylon }
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VOLTA Has BMX Jumps and a Trials Rider Up in the Air
{Sep.28.2017}
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Canada's Cirque du Soleil has long been renowned for the artistry and
athleticism of its performers. But its new show that debuted this
month in Toronto features another kind of acrobat: trick bikers.
For Volta, a show inspired by action sports, four BMX riders and one
trials rider learned to adapt their skills to the Cirque environment.
It was no easy task. Pro freestylers are used to pulling off
incredible jumps, but in far different conditions: a solo run,
perhaps, with a countdown clock as the only outside factor to
consider.
In this show, they have to do many of the same athletic feats on cue,
set to music, and in coordination with other performers. A Red Bull
documentary that premieres Friday evening follows the riders' training
as they blend jumps and stunts with the choreography required for the
performance.
BMX freestylers aren't exactly used to group practice. "Our discipline
is borderline terrible," laughs AJ Anaya, one of the performers,
during the documentary. Beyond that, the riders had to change their
perspective to become more than just athletes. (Learn what kind of
cyclist you are with Rodale's Bike Tribes.)
"When you're coming from the world of sport, you're in a different
mindset," says Rob Bollinger, Cirque's acrobatic performance designer.
"We worked with the athletes to transfer that mindset into a
performing mindsetturning athletes into artists."
Trevor Bodogh, the trials rider, collaborated with four-time UCI elite
trials World Champion Kenny Belaey on a routine that includes a series
of hydraulic platforms that rise, fall, and tilt as he performs his
stunts.
The BMXersAnaya, Ryan Guzman-Vlug, Kevin Fabregue, and Jeffrey
Whaleyworked with Cirque's directors to create a park routine using
quarterpipe ramps for simultaneous choreographed jumps. As if that
isn't challenging enough, the ramps are transparent. (Good luck
judging your takeoff on Plexiglass.)
Volta plays live in Toronto through November and then goes on the
road, starting inFlorida. An initial review in the Globe and Mail
faulted the storyline but praised the bike routines. If you're more
interested in the backstory, "Inside the Big Top" debuts on Red Bull
TV Friday, September 29 at 5 p.m. EST and is available after that for
streaming.
{ SOURCE: Bicycling | https://goo.gl/Fqc2j9 }
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Q&A - Quick Chats & Press Interviews
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The Family Who Ran Off With The Circus
{Sep.09.2017}
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I, Analiese Long, am the general stage manager for [TORUK-The First
Flight by] Cirque du Soleil. My husband, Mike, often works as a sound
engineer for the circus.
Back when I had just joined Cirque, our three kids were aged four, six
and eight. We wanted them to have both of their parents around so off
we all went to the circus! We packed up our house, had a garage sale
and took the kids out of school. Our first stop was Mexico.
We made sure the kids had lots of excursions and immersions into the
local culture. They didn't have to do a lot of schoolwork, but we
taught them their mathematics and how to read. Since we were both
working full-time, we hired a nanny who taught them Spanish and took
them on archaeological hunts to the pyramids.
We saw Mexico as our "tryout", to see if the process worked. Mike and
I agreed it was hard work but rewarding. So we decided to keep going.
Since then, we've lived in up to 20 countries, including Russia,
Sweden and Lebanon. The kids loved it. They've actually seen more of
those countries than Mike and me as we were working.
We did a bit of distance education through the Queensland system, but
a lot of the time I was creating a curriculum for them. I'd do a whole
day's work, come home at night and write out lessons.
Eight years later, the children are in their teens [12, 14 and 16].
They haven't toured with me for a few years because it's important for
them to stick to their studies at school. Mike and I have agreed to
try to work 12 months on, 12 months off, so only one of us is away at
any given time.
I've been away most recently, so Mike has been at home. He's
absolutely my rock. He does it all. He's mum and dad, housekeeper and
driver. He still works, just in a limited capacity.
We met when I was finishing high school and decided we were going to
be together for the rest of our lives. Before we had kids, so much of
our time and marriage was spent in each other's company.
We worked, lived and grew together. So to be away from one another is
heartbreaking but also supported. That's because of how well we know
each other.
As the kids move through high school, I'm trying to take contracts
with Cirque that allow me to be close to, or in, Australia. But when
they all graduate
who knows? Maybe Mike and I will take off. We'll be
young and carefree again!
{ SOURCE: The Daily Telegraph (Sydney) | https://goo.gl/vPVpru }
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Meet Kristi Wade Toruk Acrobat
{Sep.17.2017}
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For Cirque du Soleil performer Kristi Wade, Sundays typically start in
one city and finish in another. The Australian-born acrobat, who
appears in Toruk, performs two shows every Sunday, before packing up
and heading to the next performance destination.
The first thing I think of is eggs on toast. Sunday is a double show
day for us. It's our earliest day our first show is at 1.30pm so
it's the only day we don't get to sleep in. Opposite to everyone else
in the world. However, we're very lucky in that the catering team
provides us with brunch on a Sunday, which we don't normally get. They
set up an entire kitchen egg station, pastry station, cakes,
cheeses, fruit, nuts, granola, everything you can think of. It's
always a great start to the day.
I see it as adventure day because we're normally moving to a new city.
On top of two shows, we have load out and transfer, all in one day.
So, after our second show which finishes at 5.30, we either get put on
a bus or on a flight, straight to the next city. Sometimes we don't
arrive until early morning the next day. The longest is six hours on a
bus, otherwise we get on a flight. The buses are super fun. It's
something I look forward to. It's a bunch of friends with our dinner
packs, entertaining ourselves for a few hours.
Home for me is in the show. On Sunday morning, we have to check out of
our rooms. I would probably get up at 8.30am, have my bags downstairs
by 9am and walk to the arena by 10am. I pack the night before, because
Saturday nights we finish late about 10.30pm. Home for me is in the
show and out of a suitcase, and in a hotel room. I still feel "at
home" when I go back to Sydney, but it's been really interesting for
me to discover that you can really make home wherever you want it to
be.
I start putting on makeup at 11am. We do our own makeup. It takes an
hour. I have all these creams that go on first. There's quite lot of
layering and a lot of blending, all different shades of blue. Then I
put a powder over the top and then brush it off, which sets the
makeup. After I set it I cover my face in powder forms of all the
makeup I've previously used. Most of the makeup is MAC. We have these
luminescent dots we add to our faces that glow in the dark. There's
Blacktrack, which is this liquid liner I have to use. Makeup is one of
my favourite parts of the day, actually. It's a chilled out, zen
moment. You have to be focused on the makeup you're doing. It's like
doing art every day but different to the art on stage.
Before a show, I like to do cardio to warm up. I might get on the
elliptical for five or 10 minutes. Then I'll go the blue mats and
start stretching top to bottom start from the head and work my way
down to my toes. I generally warm myself up as if I was going to do
quite an acrobatic routine, because at the start of the show I do
quite a bit of tumbling on the floor.
I saw a Cirque du Soleil show when I was nine. I told my parents on
that day, that's what I want to do. Thankfully that worked out. My
biggest memories of Sundays when I was young was it was my dad's only
day off work, so I couldn't have any commitments on a Sunday because
he wanted to sleep in. Sundays were good a family day at home. As I
got older, a lot of my performances were on Fridays and Saturdays, so
Sunday was for relaxing. I would perform until 5am Saturday nights, so
Sunday was a sleep in day.
{ SOURCE: New Zealand Stuff | https://goo.gl/kw8vr3 }
-------------------------------------------------------
Gold Coast Bulletin Catches Up With Daniel Crispin
{Sep.23.2017}
-------------------------------------------------------
When Daniel Crispin has time off, he spends it in Tugun taking in the
sunrise on his longboard. For the most part though, he's a high-flying
circus extraordinaire, with everything from performing at Madonna's
house to a Tim Winton film on his resume. We catch up with the
homegrown star of Cirque de Soleil's new spectacle, Toruk.
Q. Tell us about your upbringing?
I was a pretty spirited teenager and it became quite evident early on
that I needed to be involved in a lot of extra-curricular activities
to be kept as busy as possible. I was never a naturally gifted
athlete, but I was a creative and very, very energetic individual from
early on. My weeks as a teenager were split between Brisbane and the
Gold Coast, and divided up between school sports (swimming,
volleyball, basketball and rugby) and extra-curriculars, particularly
taekwondo, in which I spent many years on the Queensland state team. I
also found my feet in dance and acrobatics; as a teenager, it was
quite a conversation point at an all-boys school. My teachers also
recognised that my creative drive was a lot stronger than my academic
and supported my vocation in ways that I still find incredible. In my
senior years of high school, I was able to spend two days a week on
work placement as a television presenter on Bris 31. While my
classmates were studying their academics, I was filming on location in
southeast Queensland. My weekends were always, always spent in the
outdoors. I was club vice-captain at North Kirra SLSC and would
proudly rack up my 100 plus hours a season. My family are pretty avid
swimmers and excelled in their heyday, but I drew the short straw in
terms of height and natural ability in conventional sports.
Q. How did you first get into acrobatics?
I kind of just fell into it (pun intended). Taekwondo is a very
acrobatic sport and I loved being on the demonstration team. Breaking
wooden boards, screaming and doing flips at the same time perfect
for any overzealous teenager. I knew I wanted to be a performer after
a school production. One of my teachers at St Laurence's College
pulled me aside and said, "How about you come put some of this energy
and flips into the school gala instead of just annoying everyone with
it?" I went to one rehearsal and instantly I knew it was for me. From
that point on I chased any performance opportunity and practised non-
stop. The beach was a wonderful place to practice that and my patrol
team at North Kirra loved watching it too. The Gold Coast has
developed quite the budding circus culture and when I do get to come
home, I'm always so happy to see how far things have developed,
especially with the help of the Gold Coast City Council and the Circus
Corridor program, which is helping to develop young people in the
performing arts from Brisbane all the way to the Spaghetti Circus in
Mullumbimby.
Q. How has your career progressed so far?
I've just turned 30-years-old and I still have to pinch myself some
days. To have been able to perform at Madonna's house and with the
rock band 30 Seconds to Mars, through to being in Tim Winton's feature
film The Turning and being on a first-name basis with Jim Cameron
through the creation of this Cirque du Soleil show, it's just been an
absolute dream. Nothing is more incredible to me than being a
principal character and having my face on the poster of a show as huge
as Toruk.
As soon as I finished high school, I moved to New York to work in a
Circus summer camp. It was during this first overseas trip that I saw
my first Cirque du Soleil show, O. That gave me the laser-like focus
on where I was going to target my energy and where my career was going
to end up
no matter what. I was then accepted into the National
Institute of Circus Arts in Melbourne and I spent three years training
under the world-renowned coach, Guang Rong Lu. I trained eight to 10
hours a day in varying circus disciplines, dance and drama classes,
performances and being totally immersed and saturated in the
performing arts world.
I graduated on scholarship in 2010 and the day after graduation, I was
on a plane to start work in the professional world. This has included
co-founding my own company, Dreamworks/Global Creatures on King Kong,
followed by a career-defining three years at Circa Contemporary Circus
in Brisbane. Under the creative genius and mentorship of Yaron
Lifshitz I was shaped into the performer I am today and we toured like
nuts. I mean, really nuts. Nine months with one bag in 25 different
countries performing different shows. Then, I went to work in Macau in
Franco Dragone's water show House of Dancing Water as a high diver and
straps artist.
I followed with the creation of the live dinner show at Pacha Dubai,
and some short festivals with Brisbane's Company 2 before being signed
by Cirque du Soleil. I'll never forget that phone call. A decade of
hard work culminating in a couple of minutes on the phone; it was
validating and the pay-off of a lifetime. I've always been one of
multiple projects. I completed a Bachelor of Circus Arts and a Master
of Sports Coaching degree while touring. I also undertook my Graduate
Diploma of Teaching and became a schoolteacher, which is an entirely
different circus.
Q. What do you see in your future?
I know I want to remain in the creative arts. I love working as a
coach and a teacher so I am blessed to have options. Cirque du Soleil
has given me a lot of professional development opportunities and study
certifications to advance my coaching skills. Eventually, I'd really
love to be involved in television presenting as well as performing,
but that's quite a lot to juggle (again, pun intended).
Q. What is Toruk all about?
Toruk is a prequel to James Cameron's blockbuster film Avatar. It is a
stand-alone story in the respect that it has no human interaction as
it is set 3000 years prior to the first film. My character is named
Entu. He is a 15-year-old orphan who has been adopted by his best
friend's family. Entu is an intrepid adventurer and sometimes a clown-
like character in the way things don't always land on their feet.
Together, Entu and his best mate Ralu answer the call to adventure for
a quest across Pandora. The preparation for a single show takes me
about two hours. The costumes are truly beautiful but to achieve that
look takes a lot of moving parts and a lot of accessories. Plus,
underneath the costume, the principal characters wear a live
microphone as well as three sensors which allow a digital spotlight to
follow us on stage. This is very important as the show is filled with
projections that guide the journey across unimaginable landscapes. As
well as the costume there is the makeup. This varies in pace from
artist to artist, but ranges from anywhere between 45 to 90 minutes.
Q. What do you enjoy most about your life in the circus?
This is by far the most physical role I have had in my career. I can
honestly say I have never had an easy show as there is just so much
happening. The show is also performed in an arena, which is roughly
1500sq m that's a lot of ground to cover with 40 artists. The
principles spend almost the entire show on stage, which involves a lot
of adventurous movement and a lot of running. I love performing my
solo act the most. It's an enormous amount of pressure and a huge
honour to perform aerial straps as the only artist on stage in a
Cirque du Soleil production in front of audiences that sometimes
surpass 10,000 people. However, I do love when the lights come up at
the end of the show and you see thousands of smiling faces. That's a
really incredible feeling knowing that you've shared something special
and made thousands of people happy while doing what you love most.
Q. What do you miss most about the Gold Coast?
Coming home to the lifestyle on the southern Gold Coast is one of the
things I enjoy most in life. Whenever I have time off, I always try to
make it back to spend at least a few days in Tugun to remember how
amazing and different the life is back home. I must admit that has
been pretty rare recently as I've found myself spending a lot of time
in the northern hemisphere. I've been really blessed to travel and
experience the far corners and cultures of the world over the past 10
years. I still find the disparity between the Gold Coast and the rest
of the world impressive. You have incredible surf along the coastline
and breathtaking hinterland a stone's throw away from the beachfront.
I've never really been one for night-life, I much prefer to enjoy the
sunrise while sitting out the back on my longboard in the morning
surf. It's something I'm really looking forward to sharing with my
friends from the tour when we hit the Australian shore. Plus, I
couldn't be more stoked to get to come home and perform as a principal
character in a Cirque du Soleil show in my home country.
{ SOURCE: Gold Coast Bulletin | https://goo.gl/MjGGZg }
-------------------------------------------------------
Meet Kailah Cabanas TORUK Puppeteer
{Sep.27.2017}
-------------------------------------------------------
When Kailah Cabanas was watching The Muppets and Sesame Street as a
child she loved it but hardly thought of it as a career opportunity.
Yet here she is, at the age of 29, playing with puppets.
Not just any puppets mind you. This Australian is part of the team of
performers bringing together the latest Cirque du Soleil show TORUK
The First Flight.
She admits her introduction to puppetry was completely by accident,
after studying acting in Sydney and then taking on a role as puppeteer
on a children's show The Amazing House.
"I went in and gave it a go, completely winged it," Kailah said.
When she found it came somewhat naturally for her, Cabanas then went
on to the National Theatre's production of War Horse Australia.
Now she's been touring the world with TORUK for the past two years and
preparing for her first shows on home soil.
She's learned new skills since starting with Cirque du Soleil too, and
they've even managed to get her feet off the ground with aerial work,
despite admitting to not being an acrobat by any means.
Fans of Cirque du Soleil are in for a thrill if they head to this
show. "It's so different to other Cirque du Soleil shows," Cabanas
says.
It's the first one that features puppets, large scale ones at that,
but Cabanas says it's the visual aspect, of what has been created,
that is like being part of a special effects movie. "Even our costumes
they glow."
There's also the added bonus for the audience with interaction through
a downloaded app. "The audience feels like they are part of the show."
While the show is inspired by James Cameron's movie AVATAR Cabanas
said you don't need to have seen the movie to follow what is going on.
Narrated by a Na'vi 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.
Cabanas admits to feeling homesick while on the road and she's looking
forward to her parents travelling from Mackay to attend the Brisbane
shows, kicking off from October 5, before they head to Sydney,
Melbourne, Adelaide and Perth.
"There's something very special about performing in front of family
and friends."
TORUK The First Flight is Cirque du Soleil's 37th production since
1984. The company has brought wonder and delight to more than 155
million spectators in more than 300 cities on six continents. Cirque
du Soleil has close to 4,000 employees, including 1,300 performing
artists from close to 50 different countries.
Once the production finishes Cabanas has another special event lined
up for next year her own wedding.
{ SOURCE: Stars at 60 | https://goo.gl/CqzBvK }
-------------------------------------------------------
Meet OVO's Alana Baker
{Sep.29.2017}
-------------------------------------------------------
Ahead of the British debut of Cirque du Soleil's OVO, performer and
choreographer Alanna Baker is telling BBC News that discipline is the
key to surviving the show's intensive touring schedule.
"To me your body is a work of art," she says. "You should love your
body, treat it how you want to be treated. It's what you have to live
in. You wouldn't fuel a car with the wrong gas. So if you give your
body the right fuel, food, the right exercise, you can do whatever you
want."
To most of us, having such a carefully regimented diet and exercise
plan would be a bit of a chore, but Alanna actively embraces it as
her Instagram feed will tell you.
"Yes it takes time, effort, hard work. Nothing worth having comes
easy, if it did everyone would have it," Alanna says. "So it's only
down to you, no-one else can do it for you
but if you have the desire
to be what you want, then you'll make it."
Alanna is a dance captain as well as performer with the Canadian
entertainment company, a role which sees her help new performers learn
the routines.
Being on tour with OVO, which premiered in Montreal in 2009, has taken
her around the world and soon it'll be coming to Europe.
The show invites the audience into a colourful ecosystem, where
insects work, eat, crawl and play together. But their peace is
disrupted by a mysterious egg which appears in their midst. (Hence the
title ovo' is Portuguese for egg'.)
"We like to make the audience feel like they've come into this insect
world, like it's a big Bug's Life," Alanna says of the immersive show.
"There's insects in the audience at the beginning, which gets the
audience involved early, so there's no separation between the stage
and audience
we like to get that interaction."
The tour will stop in the UK for an eight-week run in London's Royal
Albert Hall from January which will be something of a homecoming
show for British-born Alanna.
"I saw my first Cirque show when I was eight years-old, in the Royal
Albert Hall, and I said to my parents, that's what I want to do when
I'm older'," she says.
"So to be doing a full circle 18 years later, living my dream of where
it first started, is going to be incredible, words can't even
explain."
Alanna started training in gymnastics when she was five, a hobby she
became considerably more serious about as she progressed through
school.
"I started competing for Great Britain, went to the European
Championships, where we came first, and then came third in the World
Championships in 2012," she says.
"Then, after I finished competing, I got contacted to join Cirque, and
I did a closed audition at my gym in Heathrow."
Six months after her initial audition, the company asked Alanna if she
could travel to Canada to begin training.
"So I went to Montreal, did three months of training with Cirque, and
then got offered a contract at the end of it, and then I flew to
Australia.
"I ran off with the circus," she laughs, "literally".
But one aspect of Cirque du Soleil has been called into question in
recent years the safety of its performers.
In 2013, the company was fined after a cast member died during a live
show in Las Vegas. Investigators said Sarah Guyard-Guillot fell 28m
(94ft) to the floor when a safety wire became detached due to her
rapid ascent.
Then, last year, Australian Olympic gymnast Lisa Skinner had to be
fitted with a head brace after fracturing a vertebra in a fall during
an aerial hoop routine.
Alanna says: "We live in a life where it's our job, we put our lives
at risk every day, it's going to happen.
"But safety is Cirque's number one priority. They do safety procedures
every week. We have two physios who travel around with us, every city
we go to there's always emergency rescue on site, so they're really
proactive about it all, which is great, and I feel super safe.
"And if there's any time you don't feel safe, you tell them. And then
you either don't do it, or they'll change it, or they make it work.
She adds: "That's always been the case, but maybe things have now
gotten more strict since that [2013] incident.
"But you know, it's the life we live, things are going to happen, life
is horrible sometimes. Some things you cannot control. When we do the
things we do, it's part of our job."
There's certainly no questioning Alanna's dedication to her job and
she takes pride in the fact her route to success hasn't been a
traditional one.
"To those people that said: Oh you need a degree to do well in life',
you don't if there's something you want to achieve, then do it,
fulfil it. Yes it takes time, but if you believe in it, it will
happen."
Cirque Du Soleil's OVO will play at the Royal Albert Hall from 7
January 4 March 2018.
{ SOURCE: BBC | https://goo.gl/1NB9LY }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia, Totem & Volta}
o) ARENA - In Stadium-like venues
{Varekai, TORUK, OVO, Séptimo Día, & Crystal}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
MJ ONE, & JOYÀ}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Amaluna:
São Paulo, BR -- Oct 5, 2017 to Dec 17, 2017
Rio de Janeiro, BR -- Dec 28, 2017 to Jan 17, 2018
Rosario, AR -- Feb 14, 2018 to Feb 18, 2018
Buenos Aires, AR -- Mar 15, 2018 to Mar 25, 2018
Cordoba, AR -- Apr 16, 2018 to Apr 29, 2018
Koozå:
Shanghai, CN -- Oct 2, 2017 to Dec 3, 2017
Beijing, CN -- Dec 15, 2017 to Feb 11, 2018
China City #3 -- TBA 2018
China City #4 -- TBA 2018
China City #5 -- TBA 2018
Kurios:
Portland, OR -- Aug 24, 2017 to Oct 8, 2017
Vancouver, BC -- Oct 19, 2017 to Dec 31, 2017
Tokyo, JP -- Feb 7, 2018 to Apr 8, 2018
Osaka, JP -- 2018
Nagoya, JP -- 2018
Fukuoka, JP -- 2018/2019
Sendai, JP -- 2019
Luzia:
Atlanta, GA -- Sep 14, 2017 to Nov 19, 2017
Los Angeles, CA -- Dec 7, 2017 to Feb 11, 2018
Costa Mesa, CA -- Feb 21, 2018 to Mar 25, 2018
Boston, MA -- TBA 2018
Washington, DC -- April 2018
Monterrey, MX -- TBA 2018
Guadalajara, MX -- TBA 2018
Mexico City, MX -- TBA 2018
Totem:
Brussels, BE -- Aug 31, 2017 to Oct 29, 2017
Madrid, ES -- Nov 10, 2017 to Jan 7, 2018
Seville, ES -- Jan 25, 2018 to Mar 11, 2018
Barcelona, ES -- Mar 23, 2018 to Apr 15, 2018
Munich, DE -- TBA 2018
Port Aventura, ES -- TBA 2018
VOLTA:
Toronto, ON -- Sep 7, 2017 to Nov 26, 2017
Miami, FL -- Dec 15, 2017 to Feb 4, 2018
Tampa, FL -- Feb 15, 2018 to Mar 25, 2018
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Varekai:
Helsinki, FI -- Oct 5, 2017 to Oct 8, 2017
Stockholm, SE -- Oct 11, 2017 to Oct 15, 2017
Allentown, PA -- Nov 9, 2017 to Nov 12, 2017
Syracuse, NY -- Nov 15, 2017 to Nov 19, 2017
Biloxi, MS -- Nov 29, 2017 to Dec 3, 2017
Hidalgo, TX -- Dec 6, 2017 to Dec 10, 2017
Sugar Lands, TX - Dec 20 to Dec 23, 2017 (FINAL SHOW)
TORUK - The First Flight:
Brisbane, AU -- Oct 5, 2017 to Oct 15, 2017
Sydney, AU -- Oct 19, 2017 to Oct 29, 2017
Melbourne, AU -- Nov 2, 2017 to Nov 12, 2017
Adelaide, AU -- Nov 16, 2017 to Nov 19, 2017
Bangkok, TH -- TBA 2017
China -- TBA 2018
OVO:
Zurich, CH -- Oct 5, 2017 to Oct 8, 2017
Geneva, CH -- Oct 11, 2017 to Oct 15, 2017
Salzburg, AU -- Oct 18, 2017 to Oct 22, 2017
Leipzig, DE -- Oct 25, 2017 to Oct 29, 2017
Hamburg, DE -- Nov 1, 2017 to Nov 5, 2017
Berlin, DE -- Nov 8, 2017 to Nov 12, 2017
Mannheim, DE -- Nov 15, 2017 to Nov 19, 2017
Cologne, DE -- Nov 22, 2017 to Nov 26, 2017
Stuttgart, DE -- Nov 29, 2017 to Dec 3, 2017
Nuremberg, DE -- Dec 6, 2017 to Dec 10, 2017
Munich, DE -- Dec 13, 2017 to Dec 17, 2017
London, UK -- Jan 7, 2018 to Feb 11, 2018
Antwerp, BE -- Mar 8, 2018 to Mar 11, 2018
Hanover, DE -- Mar 14, 2018 to Mar 18, 2018
Oberhausen, DE -- Apr 5, 2018 to Apr 8, 2018
SÉPTIMO DÍA NO DESCANSARÉ:
Monterrey, MX -- Oct 19, 2017 to Oct 29, 2017
Guadalajara, MX -- Nov 8, 2017 to Nov 18, 2017
Mexico City, MX -- Nov 28, 2017 to Dec 22, 2017
Select US Cities -- 2018
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Lafayette, LA -- Oct 5, 2017 to Oct 8, 2017 (PREVIEWS)
San Antonio, TX -- Oct 13, 2017 to Oct 15, 2017
Pensacola, FL -- Oct 19, 2017 to Oct 22, 2017
North Little Rock, AR -- Oct 26, 2017 to Oct 29, 2017
St. Charles, MO -- Nov 2, 2017 to Nov 5, 2017
Minneapolis, MN -- Nov 9, 2017 to Nov 12, 2017
Hoffman Estates, IL -- Nov 16, 2017 to Nov 19, 2017
Worchester, MA -- Dec 7, 2017 to Dec 10, 2017
Quebec City, QC -- Dec 13, 2017 to Dec 17, 2017
Montreal, QC -- Dec 20, 2017 to Dec 31, 2017 (GALA PREMIERE)
Windsor, ON -- Jan 3, 2018 to Jan 7, 2018
Detroit, MI -- Jan 10, 2018 to Jan 14, 2018
Pittsburgh, PA -- Jan 17, 2018 to Jan 21, 2018
Topeka, KS -- Jan 24, 2018 to Jan 28, 2018
Colorado Springs, CO -- Jan 31, 2018 to Feb 4, 2018
Cedar Park, TX -- Feb 14, 2018 to Feb 18, 2018
Phoenix, AZ -- Mar 8, 2018 to Mar 11, 2018
Tucson, AZ -- Mar 14, 2018 to Mar 18, 2018
San Diego, CA -- Mar 21, 2018 to Mar 25, 2018
San Jose, CA -- Mar 28, 2018 to Apr 1, 2018
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
2017 Dark Dates:
o November 8
Special Performance Dates:
o Fri, Nov 24, 2017
o Fri, Dec 29, 2017
o Sun, Dec 31, 2017 | 4:30pm & 7:00pm
2017 Single Performance Dates:
o Sun, Oct 01 | 7:00 pm
o Fri, Oct 20 | 7:00 pm
o Sun, Oct 22 | 7:00 pm
o Fri, Dec 08 | 7:00 pm
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 9:30pm (as of Aug 12, 2015)
2017 Dark Dates:
o October 8
o November 29 - December 12
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
*** CLOSING DECEMBER 31, 2017 ***
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Two Shows Nightly - Dark: Wednesday/Thursday
Schedule: 7:00pm & 9:30pm on Friday, Saturday, Monday & Tuesday
4:30pm & 7:00pm on Sunday
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) WEBSERIES -- Official Online Featurettes
o) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
WEBSERIES: Official Online Featurettes
---------------------------------------------------
*) THE WORLD OF...
Each week we're going to get a closer look at one of Cirque
du Soleil's 19 shows that stretch from Las Vegas to Tokyo and
everywhere in between!
o) EPISODE 1 - THE WORLD OF... AMALUNA {Sep.08}
For today's episode we welcome you to set sail on a mystical
Island adventure in Amaluna! Amaluna invites the audience to
a mysterious island governed by Goddesses and guided by the
cycles of the moon. Their queen, Prospera, directs her
daughter's coming-of-age ceremony in a rite that honours
femininity, renewal, rebirth and balance which marks the
passing of these insights and values from one generation to
the next. In the wake of a storm caused by Prospera, a group
of young men lands on the island, triggering an epic, emotional
story of love between Prospera's daughter and a brave young
suitor. But theirs is a love that will be put to the test. The
couple must face numerous demanding trials and overcome
daunting setbacks before they can achieve mutual trust, faith
and harmony.
LINK /// < https://youtu.be/uDTlJNbFalU >
o) EPISODE 2 - THE WORLD OF... KOOZA {Sep.13}
KOOZA is a return to the origins of Cirque du Soleil that
combines two circus traditionsacrobatic performance and the
art of clowning. The show highlights the physical demands of
human performance in all its splendor and fragility, presented
in a colorful mélange that emphasizes bold slapstick humor.
"KOOZA is about human connection and the world of duality,
good and bad," says the show's writer and director David
Shiner. "The tone is fun and funny, light and open. The show
doesn't take itself too seriously, but it's very much about
ideas, too. As it evolves, we are exploring concepts such as
fear, identity, recognition and power."
LINK // < https://youtu.be/tv2EkITPycc >
o) EPISODE 3 - THE WORLD OF... KA {Sep.20}
This is you on the edge of your seat. KÀ, the unprecedented
epic production by Cirque du Soleil takes adventure to an all-
new level. Be awed by a dynamic theatrical landscape, as an
entire empire appears on KÀ's colossal stage. Live at MGM
Grand, Las Vegas.
LINK /// < https://youtu.be/F6yNVcOC9cU >
o) EPISODE 4 - THE WORLD OF... LUZIA {Sep.27}
LUZIA takes you to an imaginary Mexico, like in a waking
dream, where light ("luz" in Spanish) quenches the spirit and
rain ("lluvia") soothes the soul. With a surrealistic series of
grand visual surprises and breathtaking acrobatic performances,
LUZIA cleverly brings to the stage multiple places, faces and
sounds of Mexico taken from both tradition and modernity.
LINK /// < https://youtu.be/BVra4bptTOc >
*) CIRQUE STORIES
"Cirque Stories," an exclusive Cirque du Soleil YouTube series
which highlights artists' journeys to the circus. Follow along
with us every week as we go behind the scenes and discuss the
path to become a Cirque performer. In these first episodes,
discover how some of the Cirque du Soleil artists from our Las
Vegas shows get there in their own unique #CirqueWay.
o) EPISODE 4 - WHO ARE THE BEATLES LOVE KIDS? {Sep.14}
Who are the Beatles LOVE Kids? They are more frequently known
as the Kids of Liverpool. They are the amazing acrobats and
gymnasts that perform in Cirque du Soleil's outstanding the
Beatles LOVE show.
LINK /// < https://youtu.be/3gWGARfULfY >
*) "COME TOGETHER... AGAIN" THE BEATLES LOVE GETS AN UPDATE
o) EPISODE 7: REVOLUTION {Sep.01}
The Revolution act gets some major upgrades during the
refresh to give artists something that they could really
have more fun with. One of those upgrades include changing
the phone booth into a van.
LINK /// < https://goo.gl/MBbb4o >
o) EPISODE 8: A SHOW FOR ALL AGES {Sep.08}
A SHOW FOR ALL AGES! Artists in our show range from 7 to
81 years old. Get to know them in this new episode of
Come Together...Again.
LINK /// < https://goo.gl/7Ky9y7 >
o) EPISODE 9: WHILE MY GUITAR GENTLY WEEPS {Sep.15}
In this episode, get to know artist behind the hand drawn
projections of While My Guitar Gently Weeps. The show also
gets new projections that bring more vibrancy and color to
our show.
LINK /// < https://goo.gl/hm2Ad1 >
o) EPISODE 10: THE ARTISTS {Sep.22}
The clock is ticking. With artists performing ten shows a
week while fitting in rehearsals, our show's refresh starts
to take a toll on the artists. This new episode of 'Come
Together...Again' gives you an inside look on how they're
feeling.
LINK /// < https://goo.gl/vPH322 >
o) EPISODE 11: THE FINAL STRETCH {Sep.29}
It's the final stretch! Check out all the progress we've
made leading up to the big premiere in the latest episode
of 'Come Together...Again.'
LINK /// < https://goo.gl/kmzbci >
*) MUSIC VIDEO w/LYRICS
o) OVO - "Banquete" {Sep.12}
Lyrics:
Meu bem, cadê, cadê você?
had been vim vim vim had
been vim aqui só pra te ver
meu bem cadê, cadê você?
Eu vim eu vim eu vim
eu vim somente pra te ver
meu bem cadê?
Coisinha linda cadê
meu bem, cadê, cadê você?
had been vim vim vim had
been vim aqui só pra te ver
Cheguei
não tinha pronde ir
you olhei
não pude resistir
sonhei
o quanto consegui
agora é meu cê
e não vai me escapulir
OK
agora tá na hora entertained
I love you my love
te amo darling
vamos todos festejar
o amor
que é a coisa bonita but that pod existir
I love you my love
I love you sweetie
vamos comer, beber, dançar
darling cadê, cadê você?
I came here, here,
to find you
honey, cadé, cadé você?
I came here, here,
to kiss you
chu chu, where are you?
Coisa linda cadê?
Honey, cadé, cadé você?
I came here, here, here
for a kiss
o mundo é minha home
your eyes two shining stars
looks mi corazón
que eu tenho tanto pra te dar
você é como has água
não pode faltar me
o meu amor não para
como o rio dà No. Mar
OK
you now know
the time to have fun
Tempo eat, dance tempo
is the time to celebrate
the world is my home
your eyes two shining stars
looking Mi Corazon
who was there with you
you are like water
that falls on the earth
as the waters of a River
that flow into the sea
into the sea
into the sea
LINK /// < https://youtu.be/GEJ1GpgnD28 >
o) VAREKAI - "Lubia Dobarstan" {Sep.26}
Recited text (in Spanish) :
El camino del mundo que
de la arcilla al oro, va
de un mar a otro, une la Tierra entera
la Tierra entera
Sung text (in Grommelot):
Az magoda lubia dobarstan
Obicta nouka luban mèdènoh
Niki yito tchézen polma tchézen
Niki yo matchézen magodan
Hé payavé
Razpéno dayavan
Hé payavé
Razpéno zayanan
Az magoda lubia dobarstan
Obicta nouka luban mèdènoh
Niki yito tchézen polma tchézen
Niki yo matchézen magodan
Niki yito matchézen
Hé payavé
Razpéno dayavan
Hé payavé
Razpéno zayanan
LINK /// < https://youtu.be/OFskzpJ3zus >
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
*) CIRQUECAST
CirqueCast is a Vodcast (that's video podcast) for Cirque fans
by Cirque fans featuring artist interviews, Cirque headlines,
and the inside scoop to your favorite Cirque du Soleil shows!
Join your hosts José Pérez (TheChapiteau), Richard "Richasi"
Russo (Fascination!), Ian Rents (Hardcore Cirque Fans), and Dario
Shame (a big 'ol fan), as we bring you a behind-the-scenes look
into Cirque du Soleil, complete with discussions and the latest
Cirque news.
o) EPISODE 22 - Q&A w/DAVID RESNICK... LIVE! {Sep.27}
Former Totem acrobat David Resnick joins us for a second
time on our first ever live episode!
LINK /// < https://youtu.be/wHvlV-5S6ng >
*) OTHERS...
o) 45 DEGREES - REFLEKT /// < https://goo.gl/RcyB6y >
o) VOLTA RED BULL TV /// < https://goo.gl/TB7LGT >
o) TORUK AUTOMATION TECH /// < https://goo.gl/6g9SuK >
o) TORUK PRODUCTION MGR /// < https://goo.gl/5JiPw1 >
o) TORUK PLAYBACK ENGINEER /// < https://goo.gl/YFgpn7 >
o) TOTEM BEHIND THE SCENES /// < https://goo.gl/dfUFSH >
o) CIRQUE AT SEA MAKEUP /// < https://youtu.be/1f0FaZfKWNU >
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) REVIEW /// "VOLTA in Toronto!"
By: Henry Peirson - Toronto, Ontario (CAN)
o) THE BOOK OF JOYÀ - BRINGING CIRQUE TO MEXICO
Part 1 of 3: "A Gem in the Jungle"
Edited by: Ricky Russo - Atlanta, Georgia (USA)
o) "We're Off and Running - A Series of Classic Critiques"
Part 6 of 16: Saltimbanco, Part 1 (1992)
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
REVIEW /// "VOLTA in Toronto!"
By: Henry Peirson - Toronto, Ontario (CAN)
------------------------------------------------------------
I saw VOLTA in Toronto on September 10th at 1:30pm; nice show! Not as
bad as people are making it out to be. It's certainly not as good as
LUZIA or KURIOS, but I enjoyed it more than, say, TOTEM or OVO. I'd
probably put it around Amaluna and Kooza in terms of quality. With
time I'm sure it could improve to a better position in my books.
Animation: The artists seem to have a lot of fun in this show, which
is just wonderful to see. I was entering the big top right when they
entered beside us from under the bleachers. They do a really great job
of warming up the crowd, IMO a better job than Wayne Wilson's clown
who's more-or-less the "co-host" of the game show.
Opening: The opening relies on a video display to introduce the
audience to Waz's background story, which I wasn't too impressed with
(the video appears several more times throughout to give us more
background and context). However this does ease and direct the
audience throughout the story much better than the more misguided
attempt at a narrative in DELIRIUM.
Quid-Pro-Quo: The jump-ropers were AMAZING. Their timing and precision
really helped launch us into the high energy of the show. The concept
for the show, is, uh, interesting, to say the least. A game show?
Seems a bit... too Earthy? Idk.
Precision Walking: Omg, I LOVED this choreographed walking. Certainly
brought out the whole feel of the monotone world of the Greys. Very
reminiscent of Orwell's 1984 to me. One of the Greys was having
trouble turning on the light on his "phone".
Roller Skating and Basketball Manipulation: Nice introduction to the
Free Spirits. During the act they all interacted really well with the
audience; you could tell they were really into it. The act is no
longer baton twirling (it was moved to later in the show), but now
basketball manipulation. I feel like I would have been more impressed
with the act if I hadn't been spoiled with the football freestyle from
last year's LUZIA. No doubt he was talented, but I didn't feel like I
was seeing anything new.
Acro Lamp: I really loved this act. The guy was really talented, and
because of the the nature of the object he was using, his tricks
didn't feel like a boring old aerial act like aerial straps or
anything. Stage was a bit empty though. But man, Camilla Bäckman can
sing SO high!
Clown Act 1: I thoroughly enjoyed Wayne Wilson's clowning, unlike from
what I've heard from other people. Although it did feel out of place
in theme (he's simply dealing with disruptive washing machines), I
suppose that's not unusual for a clown act.
Parkour: Out for the show, which I think is unusual considering it's a
5-6 person act - group acts, of course, would normally just have an
alternate routine if one or two people were out. I mean, what if a
banquine artist was out in Quidam? You can't just cut it out! As far
as I know I didn't notice any artist throughout the show being out, so
maybe they cut the act but somehow I doubt that.
Flatland Bike and Ballet: A nice act - I really enjoyed the
relationship between the two artists. They looked very young, 13-14
maybe, but I'm not sure if they're actually teens or just young
looking adults. The flatland biker made some minor mistakes, and he
seemed to look frustrated with himself as a result of that.
Swiss Rings and Bungee: A very energetic act to end of act 1. I was in
awe seeing the bungee in the big top - it made me wish I could've seen
Saltimbanco's bungee under the tent. The swiss rings had some really
great tricks, and I feel that the bungee may have diminished in effect
as a result of that. As much as I was in awe of them, they didn't have
the chance to perform many big tricks. It felt like a 70/30 balance
when it should have been 50/50. Hopefully they'll develop the act a
bit more to co-ordinate it as to have a result that's more similar to
LUZIA's cyr wheel/trapeze in balance and quality.
Act 2 Opening: Another "precision" choreographed walk opened act 2,
this time with the Greys interacting with newspapers. I LOVED this
one! It was so flawlessly choreographed and brought up so many images
I can't even begin to describe. A truly beautiful, albeit short,
moment that builds and improves on the previous choreography's
strengths.
Acro-Ladders: Fairly good act, kinda slow paced and out of place. It
sorta just happened. Since the ladders were positioned and manipulated
far over on the right edge of the stage, I imagine the act was far
more entertaining for those seated over there as the artists quite
literally dangled above them. Saw quite a few phones in that section
capturing the moment. (EDIT: I've come to the realization that the act
is normally two couples on the left and right of the stage, whereas
for me it was only one couple. That may explain why it felt so slow
paced and out of touch).
Shape Diving: Ooof. That performance was not a good one for those
artists. I felt bad for them. I counted around 7-10 mistakes alone
during the act, although admittedly it's a VERY hard act to pull off
(I saw 2-3 mistakes with the same act last year in LUZIA). Despite
this, however, the act was quite a show-stopper. The artists were
really good about not letting their faults get to them (or at least
didn't show it on their faces), and kept encouraging the crowd to clap
along with the music, which the audience enthusiastically agreed to.
In a sense, too, it almost felt like the tricks were more impressive
after they screwed up and then got it right - there was a certain
great gratification that comes along with that feeling. (If you
haven't noticed yet, this act got moved from act 1 to act 2. Probably
a good idea, it certainly balances the two acts better.)
Tightwire: Not in the show. I thoroughly believe this act has been
cut, considering that I haven't heard of anyone having seen the act.
Plus it wasn't like the artist was out sick or had an injury: he was
one of the divers in the shape diving act!
Ring (again), Trial Bike, and Roller Skating (again): Another aerial
act? Jeez, this one just seemed like a crossover between acro lamp and
swiss rings. But it was basically just a minute of a guy spinning in
the air (which I'll give him credit for is very impressive) before
making through for the main act: the trial bicyclist. There was a nice
moment of awe when the hydraulic lifts were revealed from the stage.
Those were CRAZY!! Most of his tricks were reminiscent of La Nouba,
but his final trick (staying on the highest lift as it when to a crazy
steep angle) was a nice treat.
Clown act 2: Weird act but I still enjoyed it. It reminded me of the
couch clown act from KURIOS in the sense that the clown essentially
went through a bunch of diverse and crazy moments of comedy, only
stringed together by the fact that he had accidentally eaten some
berries that made him high. His "King Lear" moment (as I saw it) was
hilarious - don't ask me what that means, you'll have to see for
yourself ;)
Hair Suspension: ABSOLUTELY. INSANE. What a showstopper. Man, she
glided with such elegance around the stage; it was unbelievable. Akin
to an aerial ballet if anything. Admittedly, the act is completely out
of place. The whole atmosphere seems much more fitting for LUZIA than
VOLTA - it would make a nice replacement for Benjamin Courtney's
aerial straps if he leaves the show.
Duo Unicycle: Pretty much the same comment as everyone else before me
has said: the music is too epic for so mild an act. No doubt, the act
was impressive, but it deserves to be found in the middle of the show
as opposed to being the penultimate act. The atmosphere was nice
though - the choreography with the drapes from the top of the tent was
well done. The drummer that was the filler to set up for the act
really did feel like a filler.
Contemporary Dance: I've neglected to speak much about Joey Arrigo's
Waz so far - he does a wonderful job. I feel if anyone else took on
the character he would become just a complete caricature of the
[rather generic] story. He does a great job physicalizing the
character, which of course climaxes in this contemporary dance.
Naturally he does a great job, considering his dance background. I
would list this as one of the highlights of the show for me, actually.
Batons and BMX: The baton twirling were moved here from its earlier
placement in the show to act more-or-less as a distraction from the
set-up of the BMX ramps. She does a lovely job but it does feel rather
truncated. The BMX, naturally, was invigorating. Truly as crazy as it
sounds, it really is a miracle that they don't fall of the stage or
slam into each other. I'm glad I was seated in left side of the tent
as opposed to the centre, because it really seemed like trying to
enjoy the act by looking through one of the see-through ramps wasn't
very fun.
Finale: YEESH, they need to PICK. UP. THE. PACE. This finale (which
more-or-less transitioned directly into bows) was one of the slowest,
most awkward ones I had seen in a while. As a result of the BMX ramps,
they've opted to allow the artists to pile off the stage and into the
aisles to be applauded. It sounds okay, but the issue is that the only
stairs that were open and available to them were the ones directly out
front the stage. It took them quite literally several minutes to get
off the stage (and keep in mind that this is the length of time it's
taking them after having done done the show for 5 months now).
Naturally this made a standing ovation awkward for the audience as we
had no idea what to do with ourselves. IMO the bows just needs to be
completely overhauled. They just need to find some way to keep the
artists on stage for the bows and keep it simple, quick, and
effective. (As a side note, some bald man came from backstage dressed
in all black. I have no idea who he is but it's clear to me that this
was some special performance for him because the artists all went and
hugged him as he was there. It seemed like it was his last show or
something, and it is BOTHERING ME that I have no idea who he is!)
Anyway, there you have VOLTA as it is in Toronto right now. It's a
good, fun show, and right now I'd give it 3-3.5 out of 5 stars. It has
high potential, and with development over time I'm sure VOLTA can
become a great show. I'm certain its better now than ever, and it will
only continue to get better with each performance.
Other notes on the show:
- DARIUS. HARPER. OHMYGOD. HE is absolutely the highlight of the show.
100%. His stage presence is absolutely enthralling. Not only is he an
amazing singer, but he just steals the show every time he steps out
onto the stage. He absolutely commands it. The show is certainly not
the same without him there. I even found it hard during the opening
skipping ropes to pay attention to the act because his presence on the
stage was just eye catching.
- The music as everyone has already noted is great. My one regret is
not going to the show a week later when I could actually buy the CD.
- I LOVE Elani Uranis' makeup design.
- Wish I could see the band more - they're even more hidden than
Dralion's band (if that's even possible). I saw them lit up may 2 or 3
times the whole show, and even then I struggled to point them out to
those around me.
- Act one seemed awfully short, clocking in at just above 45 minutes,
though this may be because parkour was out (then again, in the badly-
filmed version of VOLTA on YouTube, which does have parkour, the first
half clocks in at 46 minutes...). Act two was about 55 minutes.
- Cirque no longer allows videos (I'm pretty sure they allowed them
before, right?). They said only non-flash photos (which is ironic
considering they were selling these flashing flower crowns to children
at intermission, which naturally were flashing for the first few
minutes of the second act).
- Merchandise is SO. LAME. right now. There was not one CD or DVD of
any show (at LUZIA last year there was TORUK, Varekai, Kooza, Quidam,
etc.). The only thing that was worth buying for me was the program,
which I will note is very nicely printed and put together, although it
would be nice to have one that's more updated with proper photos from
the show as opposed to photos from creation.
------------------------------------------------------------
THE BOOK OF JOYÀ - BRINGING CIRQUE TO MEXICO
Part 1 of 3: "A Gem in the Jungle"
Edited by: Ricky Russo - Atlanta, Georgia (USA)
-----------------------------------------------------------
"If I were to tell you the story of my relationship with my
grandfather it would be difficult to separate reality from
fiction. For a child, is there really a difference?" Joya
Behind the veil of the lush Mayan jungle exists a world of crystal-
clear water pools, coral rocks, and rich flora and fauna an oasis
within an oasis. A wooden walkway leads to a theater perched above a
massive lagoon cascading in a majestic waterfall. This is the world of
JOYÀ a unique entertainment and culinary experience by Cirque du
Soleil.
Inspired by the fabulous migratory journey of the monarch butterfly in
which life is passed from one generation to the next to ensure the
survival of the species, JOYÀ (Hoy-ya) follows the adventures of a
rebellious teenage girl whisked away to a mysterious jungle in her
grandfather's fantastical world. Surrounded by a strange band of half-
human, half-animal masters inspired by ancient Mayan iconography, the
aging naturalist yearns to pass on to his granddaughter his relentless
quest for the meaning of life.
Inhabited by entrancing characters that work hand-in-hand to
perpetuate the love of life, JOYÀ abounds in subtle allusions to the
history and culture of Mexico, from the 5,000-km migration of the
monarch butterflies (from Canada to Mexico) and the 66 million year
old Yucatán asteroid believed to have caused the extinction of the
dinosaurs (a dinosaur puppet that trots on stage also refers to this
cataclysmic event) to artists such as Diego Rivera and Frida Kahlo
(vines, giant flowers and jungles are oblique references to the
artists), and with mariachis, masked wrestlers, pirate legends (famous
pirates took refuge on Isla Mujeres the Island of Women in the
17th and 18th centuries), and the rhythms and sounds of Mexico:
cucaracha, marionettes, horror films (in reference to master of horror
Guillermo del Toro), and even the underwater sculptures of Jason
deCaires Taylor.
It's an engaging, immersive, multisensory experience in which joy,
courage, and friendship conquer all, but with the show beginning its
fourth season in the Riviera Maya (on Wednesday, September 27th), I
realized there's very little I, here in the United States, know about
this unique show. A few weeks back I sought to rectify that by getting
my hands on a hardcover book Vidanta Resorts provides to its members:
THE BOOK OF JOYÀ. This book, while not a tell-all, is a wonderful
reference source about the production and has given me wonderful
insights into not only the show itself, but the Theater, the Grounds,
and the Menu!
So, in celebration of JOYÀ beginning its fourth season (it'll also
celebrate its third year of existence in November), I'm going to share
the texts found in the book with you - in three parts. Part One: "A
GEM IN THE JUNGLE" covers the development of the concept and the
grounds. Part Two (November): "SWEET, SAVORY, and SURREAL" takes a
peek at the menu and the show itself. And in Part Three (December):
"INNOVATOR PROFILES" we'll meet creators and some of the cast that
brought the show to life.
Let's get started, shall we?
---------------------------
THE BOOK OF JOYÀ, PART ONE:
"A GEM IN THE JUNGLE"
---------------------------
"Through our partnership with Cirque du Soleil, we are providing
an entertainment experience beyond what currently exists in Mexico
or the world. This is an entirely new category of entertainment
that everyone must see, hear, and taste. We are extremely proud
to bring this dream to life" - Daniel Chávez Morán, Founder of
Grupo Vidanta.
The story of JOYÀ begins with a dream. It was a dream to do something
bigger and more extraordinary than anything Vidanta had ever done
before. We wanted to create a magical world where happiness ruled and
the imagination ran free. A mesmerizing place where families and
friends could come together to smile, laugh, and share unforgettable
moments. It would be an entertainment experience that would do more
than just dazzle audiences - it would inspire generations.
They needed a partner who could dream right alongside us and who knew
a thing or two about happiness. We considered only one company - the
most beloved performance company in the world - Cirque du Soleil. So
in the fall of 2009, Cirque du Soleil and Vidanta embarked on a
miraculous journey and a whirlwind of beautiful collaboration. It was
unprecedented. Here were two visionary companies dreaming together,
both dedicated to pushing the boundaries of the imagination and
bringing happiness to the world. It was an incredible time. Everyone
involved knew that this project was special.
And after almost five years of planning and preparation, the dream
came true - Cirque du Soleil JOYÀ made its debut at Vidanta Riviera
Maya on November 21,2014.
"Welcome to Our Dream. It's here for you and all the world to
experience. From its beautiful home hidden deep within the Mayan
jungle, JOYÀ will enchant you with spellbinding performances, amazing
music, culinary wonders, and theatrical magic. Through astonishing new
sights, sounds, and flavors, JOYÀ will take you to fantastic worlds
and show you the beauty of nature and the unbreakable bonds of
friendship and family. JOYÀ has truly become one of the world's most
extraordinary entertainment and dining experiences. It is a dream come
true. It was ours. Now it is yours."
AN OASIS WITHIN AN OASIS
------------------------
The Cirque du Soleil Theatre is perched above a massive lagoon
overlooking the Mayan jungle on the Vidanta Riviera Maya property. It
is an oasis within an oasis. The JOYÀ experience begins the moment you
enter the grounds. You wind your way through the lush Mayan jungle
quiet, peaceful, mysterious and the fantastic world of JOYÀ slowly
unfolds before you. You walk beneath palapas (a traditional Mexican
shelter roofed with palm leaves or branches), through a world of lush
vegetation, waterfalls, and rich flora and fauna, and you hear the
sounds of Cirque du Soleil - you're far away from the hustle and
bustle of the city. Warm smiles welcome you. Then you see it the
breathtaking Cirque du Soleil Theater perched atop a waterfall
overlooking the lagoon, the grand centerpiece of the impeccably
designed grounds. As more people arrive, the buzz of excitement
builds. The sun begins to set; brilliant colors emerge from the
darkness, and faint points of light twinkle in the secret island.
Everyone knows they will soon be experiencing something magical. The
night of JOYÀ has begun.
Unlike other shows where you watch the performance and head home, the
JOYÀ experience begins well before the first act and lasts long after
the actors take their final bow. Before the show, friends and families
enjoy dinner at Nektar (Yucatecan Grill & Lounge), couples relax in
lounges overlooking the water, and giddy children dart about the
wooden pathways. Afterwards, the experience continues with live music
and drinks at Nektar, shopping at the JOYÀ boutique, or a pleasant
walk around the lagoon. When you are here, time doesn't matter. Watch
the stars come out. Listen to the water. Take in the view of the
jungle at night. Enjoy your loved ones. Make the moment last. That's
what JOYÀ is all about.
You'll even find a few surprises... Before the show, guests are
treated to a Mayan fire dance where performers recreate an astonishing
ancient ritual. It begins as the performers mingle with guests and
spread the rich aroma of incense harvested from local Copal trees.
Then they slowly traverse the lagoon in a small boat and light up the
darkness with spinning rings of fire. The beautiful dance of light is
brilliantly reflected in the waters below. And, along the wide wooden
pathway leading up to the Cirque du Soleil Theater, is the JOYÀ
Boutique. Inside this small palapa, everyone can find that perfect
piece of JOYÀ to take home JOYÀ-themed sketchbooks, clothing, and
collectible characters; soundtracks from JOYÀ and other Cirque du
Soleil shows; even one-of-a-kind pieces of art and lighting.
WHERE THE MAGIC BEGINS
----------------------
From far away, you can just barely see it above the trees, curiously
peeking out from the jungle canopy. As you get closer, its strange
shape makes you wonder, "What is this?" Maybe it's a giant flower with
its petals unfurled toward the skies. Or a furry animal sleeping
soundly on the jungle floor. Is it alive? Who lives there? This
strangely beautiful place is the Cirque du Soleil Theater JOYÀ's
home at Vidanta Riviera Maya.
When Vidanta and Cirque du Soleil set out to build the theater for
JOYÀ, their top priority was to create a completely unique and
immersive theatrical experience that had never been done before at a
resort. Vidanta's team of master architects, designers, and engineers
worked closely with the lead creatives at Cirque du Soleil to bring
the dream to life. Grupo Vidanta architect Arturo Hernandez based his
designs on three guiding principles: have the utmost respect for the
jungle environment, conceal the theater among the mangroves, and play
with sinuous lines and organic shapes.
The beautiful result of their work is the Cirque du Soleil Theater at
Vidanta Riviera Maya an awe-inspiring structure that transports
audiences into the dreamlike world of JOYÀ with timeless beauty,
gorgeous natural surroundings, and intricate details. The Theater was
purposefully designed to reflect and blend into the lush Mayan jungle,
almost like it just sprouted there. With it organic shape and decor,
the Theater recaptures the essence of nature the swaging trees in
the breeze, the fluttering of butterflies, animal migrations, and the
cycle of life.
In fact, if you've stepped foot onto any of Vidanta's resort
destinations, you've experienced Chief Architect Arturo Hernandez'
brilliant mind at work. Throughout his prolific 33-year career, Arturo
has seen the completion of more than 1,500 architectural projects in
Mexico. Majestic vistas; soaring palapas; giant tiled columns;
brilliant colors; elements of the surreal; playful combinations of
water, fire, wood, stone, and metal these are all the hallmarks of
Arturo's visionary style. Most of Vidanta's sweeping structures and
breathtaking buildings have been designed by this incredible talent.
Many of which have helped Vidanta reinvent the Mexican resort
experience. Joining him in executing these amazing feats of
architecture is a full team of more than 125 architects, engineers,
designers, and staff.
Arturo is an architectural pioneer whose structures often defy
physics. His inspiration comes primarily from the natural beauty of
Mexico and its wealth of art and cultures, and he cleverly
incorporates both into almost every design. Arturo is a true leader
and a kind, humble man. Just spend an evening in the Cirque du Soleil
Theater... look around and take it all in. You'll see firsthand why he
deserves such praise.
A MARVEL OF FORM AND FUNCTION
-----------------------------
When you first saw it, what did you think it was? A plant? An animal?
It's been described as many things a pomegranate, a furry moth, even
an alien. Arturo Hernandez calls it a "beautiful flower." This is the
beauty of the Theater it invites you to explore your own
imagination. It begs you to think about your world, what is a dream
and what is reality, and if there really is any difference. Much like
the journey of JOYÀ itself. Because of the Theater's complex geometry
(not many right angles here!), one of the main construction challenges
was in the installation of the HVAC systems. The kitchen, the stage,
the audience areas, the basement, and other areas all require
different temperatures at various times during the show!
But that's not all. Construction in this ecologically rich part of
Mexico is subject to stringent environmental controls and
restrictions; it is prohibited, for example, to build anything above
the 12-meter tree line of the lush, low-lying jungle that is not made
of natural materials. During construction of the JOYÀ site, Vidanta
went to extremes to protect the jungle. Trees, rare plants and animals
were all displaced. Every plant that was moved, no matter how large,
was relocated and replanted. Hundreds of new trees were planted in and
around the site. To better preserve the natural habitat, the wooden
walkway leading to the theatre was deliberately built above ground,
allowing animals to pass freely underneath. 80% of the Theater was
preserved as pristine jungle. 100% of permeable ecological concrete
was used for roads and parking lots around the site. And local woods
were used for pergolas and other decorative elements.
Did you know, hidden away on the island in the lagoon, is a small
cenote? Abundant in the Yucatán Peninsula of Mexico, cenotes are
naturally occurring sinkholes resulting from the collapse of limestone
bedrock that expose groundwater underneath. The Maya believed these
pools were sacred gateways to the afterlife, their openings
representing sacred portals to a mythical underworld, a place of awe.
The architecture and esthetics of the JOYÀ site reflect and celebrate
the Maya's reverential respect for nature and are inspired by the
natural beauty of the surrounding jungle, which sits atop an intricate
underground labyrinth of rivers and cenotes. In fact, the entire JOYÀ
site concept is meant to give the impression one is stepping into a
large cenote among the mangroves, complete with crystal-clear water
pools, coral rocks, and a magnificent waterfall. When architects
discovered it during construction, they protected the cenote by
creating the island around it.
If you peek behind the curtain and look past its stunning artistry,
you'll see that the theater is a marvel of form and function. Despite
the theater's organic shape and softness, it is one of the most
technically advanced theaters ever built. (In fact, The Cirque du
Soleil Theater has the most highly advanced sound system of any public
building in Mexico!) For its groundbreaking design and adherence to
high quality standards required for safety of performing artists and
the public, the Cirque du Soleil Theater won the coveted "Building
Project of the Year" award in 2015. Given by Grupo Expansion and Obras
Magazine, this achievement recognizes the most important construction
projects for innovation, development, engineering, technology use, and
economic impact.
An intricate web of curved steel girders and woven palapa roof create
an intimate 600-seat theater with a multi-level, 360-degree stage.
Above, behind, and underneath the stage, there is amble prep space
rehearsal areas, a costume shop, dressing rooms, lobbies, two bars,
lounges for actors and audience, and, most impressively, a full
commercial kitchen that supplies eager guests with a three-course
gourmet dinner. In this incredible space, actors and acrobats,
musicians and magicians, chefs and servers, and bussers and bartenders
can all safely do their jobs and create the unforgettable experience
that is JOYÀ.
* * *
The Cirque du Soleil Theater is more than a physical place it has
become another lovable character in a show that amazes audiences each
night. Did you know it took 18 months to build? With 600 seats, it is
the most intimate Cirque du Soleil Theater. Even the seats farthest
from the stage are only 18 meters away! Guests enjoy 2 distinct dining
areas, 2 bars, and 2 lounges. 832 tons of steel were used to make the
structure. 218,362 meters of electrical cable run through the theater.
And 17,000 square-meters of ecological concrete were used for roads
and parking lots, all 100% permeable. But there's more to JOYÀ than
just the theater and grounds. There's also the food! Did you know the
kitchen crew - the chefs, sous chefs, servers, and bussers - have to
rehearse their parts just like the actors? Leading up to the show, the
dinner service was rehearsed for weeks to get the timing just right.
In our next installment - "SWEET, SAVORY, AND SURREAL" - we'll learn a
bit more about the creation and highlights of the fantastic menu, and
a bit about the show itself!
------------------------------------------------------------
"We're Off and Running - A Series of Classic Critiques"
Part 6 of 16: Saltimbanco, Part 1 (1992)
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
A few weeks ago, as I was flipping through a few classic Cirque du
Soleil programme books (as is my wont), I was happily caught off-guard
by a brief history of the company that it had written about itself in
Saltimbanco's original European Tour programme, published sometime in
1996. Not because the historia was in English, French, and Spanish,
but rather I found the wording a bit more colorful
haughty
than what
you'd find from the company today. Something about its whimsical and
heady nature spoke to the way Cirque du Soleil saw itself then,
containing a youthful verve and arrogance that is simply no longer
present. When did Cirque lose this dynamic sense of self, this
liveliness, and vivacity about its past, present, and future?
Unfortunately, not long after. Thereafter the speak becomes less joie
de vivre and more lié aux affaires, and Cirque du Soleil turns from a
rag-tag band of street performers into a bona fide corporate entity
right before our very eyes. This is not a new revelation far from
it in fact but this re-discovery struck a chord of curiosity within
How did others see Cirque du Soleil during this period?
Think about it: as Cirque's multitude of shows travel around the globe
in either arenas or under the big top, at each stop, in each city,
there is a write-up in the local press. Sometimes the coverage is just
a brief blurb about the show and its theme, occasionally there's a
short interview with a performer, a stage hand, or creation director,
and other times it's an assessment of the show itself, evaluating its
technical and acrobatic merits with what had come through before. But
the reviews we see today are too current, discussing these shows
through a contemporary lens; shows that have/had 15 to 20 years
touring the globe, shows we would refer to as "classic" or
"signature". What I'd become interested in knowing was what some of
the first reviews, peeks, and evaluations of these shows were as they
took their first steps across North America. How did the press see Le
Cirque du Soleil in 1998, 1994, 1990, 1987?
It was time to peck through the archives.
What I found was extraordinary, and more than I expected. And I'm
sharing these discoveries here in Fascination through a series of
collections, beginning with the 1987 tournée of Le Cirque du Soleil
(better known today as Le Cirque Réinventé), and continuing on from
there. This month we continue on with 1992's reviews of Saltimbanco.
# # #
OTHERWORLDLY DELIGHTS
By: Don Shirely | LA Times
October 10, 1992
The creators of "Saltimbanco," the latest extravaganza from Le Cirque
du Soleil, contend that their theme this year is "urbanity," as in
"city life."
"We tried to take a good look at society as it is now," wrote
"director of creation" Gilles Ste-Croix in the program notes. Oh, oh .
. . a "post-riot" Cirque, perhaps?
Forget all that. "Saltimbanco" is the most fanciful production that Le
Cirque has brought to Los Angeles. If this is a picture of "society as
it is now," let's all move to the Cirque's home in Montreal.
Maybe that "society as it is now" claim stems from the fact that the
level of audience involvement has increased. More than in the past,
audience members are coaxed/coerced into the action before the show
proper even begins. On opening night, one woman was carried to the
other side of the tent by a set of goofy-looking clowns. One man was
stripped to the waist.
Clown Rene Bazinet's solos depend heavily on audience response. Clad
in a baseball cap, bow tie and baggy shorts, with a buck-toothed grin,
the supple Bazinet pitches imaginary baseballs at spotlighted audience
members, who respond by "throwing" them back.
Later, he recruits a spectator for an extended set of let's-pretend
mime on center stage, accompanied by peerless sound effects. Up close,
this was a fascinating evocation of theater's roots in simple play.
But friends who were seated farther back said there were problems
seeing this act, and one wonders what would happen if Bazinet chose
the wrong man.
Leaving aside the audience participation, however, the Cirque
performers themselves look and act like creatures from another planet.
Unlike previous Cirque shows, none of them is dressed as a mere mortal
at the beginning, only to become transformed upon entering a magical
world. Other than an obligatory thank-you to the corporate sponsors,
this is a fantasy from the get-go.
True, we see a sleeping man (Guennadi Tchijov) enter a dream world.
But he's no Joe Six-Pack, dozing off in front of the TV set. This guy
has a blue tail even before his "dream" begins.
Director Franco Dragone, composer Rene Dupere, choreographer Debra
Brown and the designers (costumes Dominique Lemieux, sets Michael
Crete, lights Luc Lafortune, sound Jonathan Deans) cradle us
completely in their imaginary world. Even the most marginal member of
the troupe maintains the illusion at every moment.
Among the featured "dreams," first up is a Russian Dad (Nikolai
Tchelnokov), Mom (Galina Karableva) and little boy (7-year-old Anton
Tchelnokov). Dressed as if for "Star Trek," these three twist
themselves around each other in a breathtaking display of strength and
flexibility that ends in an embrace that's touching in more ways than
one. The family that contorts together, stays together.
Next, a team of 15 acrobats in brilliantly striped body suits cavort
around and among four tall poles. They climb up in a "look, Ma, no
legs" style and then descend head first, stopping just in time to
avoid brain damage.
The rest of the first act isn't quite as eye-boggling. The cable
around tightrope walker Jingmin Wang's waist may make everyone breathe
easier, but should that be the goal at a circus? Juggler Miguel
Herrera, though much more than adept, dropped the ball a few too many
times.
Ann Bernard and Helene Lemay whip up an impressive frenzy with their
"boleadoras" act, involving twirling ropes, flamenco steps and furious
drumming by Francois Beausoleil, but the act doesn't look as
superhuman as most.
After intermission, 15 acrobats take turns leaping off a giant swing
into a net. But that's just the warm-up for the trapeze act of
identical twins Karyne and Sarah Steben. It's not just their gymnastic
prowess that astonishes; it's also their uncanny resemblance, which
extends beyond looks to what appears to be a remarkable blend of two
souls in one, as if they used to be Siamese twins.
This theme continues with the hand-to-hand balancing act of two
brothers, Paulo and Marco Lorador. This looks more excruciatingly
difficult than anything else in the show, but these guys' muscles
could apparently move mountains.
Finally, a bungee-derived act launches four angels into graceful
flights around the Big Top, accompanied by astral-sounding soprano
Francine Poitras. Incidentally, don't bother trying to decipher the
lyrics in this first Cirque show with singing; most of them are made-
up words, befitting a made-up world.
* * * * * *
Review: Cirque Du Soleil: Saltimbanco'
Christopher Meeks | VARIETY
OCTOBER 12, 1992
Spooky masked, long-snouted clowns who look as if they might have
arrived from outtakes of "Brazil" weave through the audience creating
hilarity as a blue Alice-in-Wonderland cat-like mime prances on a
shrouded white stage. The shroud is sucked through a hole in the sky
as a rock band, beneath a stained-glass-like green canopy, launches
into a pulsating song, and a caped, snake-haired master of ceremonies
enters.
So begins Cirque du Soleil's fifth anniversary show, "Saltimbanco,"
which means "skilled street performers and travelling acrobats." The
evening proves that success has not spoiled the artful, enchanting and
lyrical troupe.
Once again the Canadian-based company demonstrates they operate with
different rules of gravity and musculature while melding circus with
dance, music and theater.
If one has never been to Cirque du Soleil, be prepared to redefine the
meaning of "circus." Without animal acts or three rings, and based
solely on human exuberance and physicality, the performers enthrall
with one act after another, seamlessly joined by stage hands whose
costumes, choreography and clown antics are events in themselves.
Each act is a madeleine to be cherished and remembered as a beautiful
sight that passes all too soon.
The show has a different flavor than last year's "Nouvelle
Experience," whose fog, lighting and acoustic music had more of a
timeless feel. "Saltimbanco" gives a harder edge with its electronic
music and performers who appear anonymous and unisexed behind masks,
white-face and leotards that swallow them from head to foot. The show
is different, but the lyricism and sense of wonder remain.
In this year of questions of what is family, three acts in particular
answer in a kind of visual poetry. In the opening act, Nikolai
Tchelnokov, his wife Galina Karableva and their six-year-old son,
Anton, perform contortion acrobatic marvels that join them like rose
petals to a stem. One senses their constant physical connection speaks
of love and interdependence.
Later on, the heavily muscled brothers Marco and Paulo Lorador execute
a series of hand-to-hand balancing and gymnastic movements that
combine grace with strenuous tests of endurance. The trust one has for
the other permeates the performance.
Before them, 17-year-old twin sisters Karyne and Sarah Steben perform
50 feet up on a single trapeze like synchronized swimmers of the air.
As in past shows, most of the routines offer such a simple setting
that less is more. Fifteen gymnasts take to four 20-foot poles
"Chinese poles" based on the traditional Chinese circusand appear as
if they're made up of steel wire and feathers. A juggler, Miguel
Herrera, performs on an acrylic set of stairs.
Jingmin Wang walks up a guy wire to a set of uneven tightropes where
she dances, jumps, even flips from a unicycle onto her feet.
Two lithe young women, Ann Bernard and Helene Lemay, in flame-colored
suits, perform a Spanish flamenco using Argentine "boleadoras"hard
balls on a string that hit the floorto dance to the accompaniment of
percussionist Francois Beausoleil.
The funniest act on opening night was when clown Rene Bazinet,
performing mime with self-produced sound effects, ensnared a denim-
dressed man from the audience to join him. The man warmed to the
clown's wordless mime lessons, and they enacted eating bananas,
slipping on the peels, and, in inspired shenanigans , a shootout at
high noon.
The evening ends in a bungee ballet, with four aerial acrobats who,
connected to bungee cords and working off of trapezes 50 feet up, fly
over and under each other and eventually connect like parachutists in
a display. With them flies the voice of singer Francine Poitras, in
operatic splendor. Poitras lends her vocal talents at several points
throughout the show.
The highly creative set by Michel Crete unifies all the other elements
and allows the performers and stage hands to slip into a backlit
horizon. The light design and special effects by Luc Lafortune and the
sound design by Jonathan Deans maintain the high standard of previous
Cirque du Soleil showsto the point it can spoil other circuses.
Costume designer Dominique Lemieux seems to have an unstoppable and
vibrant imagination that combines commedia dell'arte clowns with
sprites of various sorts to create swirling spirits of color. Rene
Dupere's score carries the show and one's emotions to the heights.
* * * * * *
CIRQUE BIG TOP IS BACK IN COSTA MESA
By: Lori E. Pike | LA Times
January 28, 1993
There is a moment early in "Saltimbanco," Cirque du Soleil's latest
show, which trumpets the fact that this shimmering, 2 3/4-hour
extravaganza under a Big Top is neither pure circus, nor vaudeville,
nor theater, but a different entertainment animal altogether.
That moment comes when an acrobat walks on stage carrying what looks
like a domed, stained-glass cake plate, illuminated from the inside,
its panels glowing the same blue and yellow as the stripes of the
circus tent. As the music swells and the lid is dramatically raised,
what does the audience see? A cake? A diamond necklace?
No. A chair.
There, revealed for the curious crowd, sits a tiny, shiny chair, pink
and yellow and turquoise, looking like a whimsical, overstuffed
confection concocted by Willy Wonka.
Twice now I have seen the show, and both times I was haunted by that
wee chair with its psychedelic splotches. What is its meaning?
Perhaps Andrew Watson, Cirque du Soleil artistic director on this
tour, could solve the mystery.
We spoke in mid-December in an office alcove in the circus rehearsal
complex in Santa Monica, accompanied by the sounds of tumblers and
dancers leaping, flipping, flopping, strutting and stretching on mats
nearby in their pre-show warm-up. The mood of the troupe seemed
upbeat. In one week, all the performers and technicians would be on
holiday hiatus, 94 successful L.A. performances for 2,500 people a
night under their belts.
After a nice, long vacation, the Montreal-based troupe of performers
from 10 nations would gather again to continue the show's California
run in Costa Mesa, where they set box office records during their last
appearance in 1991. That show was called "Nouvelle Experience." The
'92-'93 model, "Saltimbanco," takes its name from an Italian word that
loosely means "a jump on the bench," or the art of street-performing.
"I think the '87 show (Cirque du Soleil's U.S debut, 'Cirque
Reinvente') was less technical and more naive. Perhaps more in touch
with everyday moments," Watson says. A later version of "Cirque
Reinvente" was "a bit darker--a different show altogether," according
to Watson. Next came "Nouvelle Experience," the Cirque's extremely
successful '90-'91 offering. And now Saltimbanco. "This show is
lighter, and really fancy and quite high-tech, and we sing in it and
have a rock 'n' roll band," he says. "Everybody has a preference, and
that's fine. I don't think any one show is better than another."
In his jeans, horn-rimmed glasses and baseball cap, Watson looks more
like a young screenwriter than artistic director and all-around
trouble-shooter for a circus--albeit a distinctive circus. The cast of
40 that Watson is responsible for ranges from goofy clowns in purple
dreadlocks to a petite, high-wire artiste from China who does daring
feats with her feet while dressed in a bubblegum-pink unitard, snail-
shaped sequin bustier and futuristic tutu.
Asked what it's like to steer an entertainment vehicle that has
everything from a full-blown rock band to the Elastiques, nimble
people who resemble a spandex-clad sextet of spiders as they dive
smoothly through the air while tethered to bungee-cord-like white
filaments hooked to their hip harnesses, Watson replies:
"My work is to maintain the excellence of the show and the excellence
of performance. At the same time, my job is to evolve the show: the
characters, the technical aspects, the acrobatic technique. It's like
baby-sitting the show and at the same time, helping it to grow up."
Part of that evolution means that the Orange County version will
feature a new vocalist, Chantal Girard, for some performances. She and
Francine Poitras, the main singer, croon no English words--only
hauntingly beautiful phonemic sequences in Swedish, German and other
languages. The effect is an otherworldly cross between singing in
tongues and the music of the Cocteau Twins, British alternative pop
artists known for vocalizing in their own made-up syllables. The Costa
Mesa show will also see the debut of a new act called the "vertical
ropes," which features a Soviet family trio performing graceful and
dramatic acrobatic moves.
Development and transformation are highly valued by the Cirque's
directors and performers. Rather than imposing a single artistic
vision on cast members and demanding they rigidly follow that script
throughout months of the show's run, Watson and director-
conceptualizer Franco Dragone heartily welcome collaboration.
"People are encouraged to evolve. It makes it better for everybody. As
we're doing so many shows, that keeps it more interesting for the
cast," Watson says. "But all that has to be kept in context with the
content of the show. Also, when someone is sick or injured, then it's
a different sort of change. You have to heal the show. If you take an
act out, then you have to marry the two ends of the show that remain."
Then came the question: What about that enchanting little chair?
Watson's free-flowing answers became more circumspect, and couched in
their own aura of mystery. "It's a symbol, yes, but I really don't
think I want to talk about it," he says. "Everybody who sees the show
has his own vision. Each tableaux, each scene, has such a different
feeling. I think people really have space to dream inside the show.
And if I start explaining my opinion of what everything is. . . . " He
trails off, no doubt contemplating the horror of constricting
potential Cirque-goers' artistic vision before they've even gone to
the show.
Suffice to say, Cirque du Soleil is impressionistic. It is a bit of
music, a bit of clowning around. A bit of teamwork, a bit of solo
panache. A bit of broken-bone-defying daredeviltry and a bit of comic
relief. Throughout the show, audience members are given the emotional
space to lay their own template of wishes and dreams upon the actions
on stage.
Below, several performers give their own impressions about their role
in the show's entertainment equation.
As for that chair . . . well, I have my theories. And if you see the
Cirque, you can formulate a few of your own.
It's somewhat disorienting to see Rene Bazinet so still as he sips tea
at a table in the Cirque's canteen tent. As "Saltimbanco's" emcee and
ringmaster, the German-born performer is in perpetual motion, giving
his pantomime and comedic talents free rein as he plays a few minor
characters and three very different major roles.
There is the Baron--a strutting figure in candy-striped red-and-black
tights, flowing cape and silver-swizzle-streaked bride-of-Frankenstein
hair. Then there's the Old Man, a hooded, hunched grandpa of doom who
tries to be ominous but only succeeds in drawing laughs with his
theatrical wheezing.
Bazinet's piece de resistance, though, is Eddy, a bucktoothed little
boy with an oversized cap, an exaggerated slouch that turns his spine
into a question mark, and a huge pair of striped boxer shorts that
he's fond of yanking up to his armpits. He emphasizes this "boy's"
brattiness with one of the most expressive tongues seen on stage in a
long time. He also employs a catalogue of whistling and various aural
effects (amplified by a discreet headset microphone) which communicate
as much as words ever could.
"Yeah, I'm a bruiteur -- that's French for 'sound maker,' " he says,
making a quick, screechy whistle to demonstrate.
With his perfectly arched eyebrows and chiseled cheekbones, slender
neck wrapped in a scarf and wavy, prematurely gray hair, Bazinet comes
across more as the European aristocrat than the clown. He's been
rather soft-spoken and serious up to this point in a brief pre-show
interview, but a question about the buckteeth brings a flash of
mischief to his face.
"I have a spare pair right here in my wallet," he says. "I bought them
from a carnival shop." No buckteeth are located, alas, but he does
find some vampire fangs that he happily inserts into his mouth,
stretching his lips into a most ridiculous Dracula grin.
Bazinet is hyper-thin, which serves his sassy, little-boy role very
well. But that seeming gauntness masks a body that is as strong,
flexible and toned as any dancer's. One moment that highlights this
versatile performer's body control and deftness of movement comes as
he pauses at the edge of the stage, debating whether to step up or
not.
Bazinet points and flexes his foot in its black jazz shoe until it
seems like the sniffing muzzle of a dog, now touching down gingerly
here, now recoiling there, now spiraling slowly, looking for a place
to safely plant itself. That foot has the arch and precision of a
ballet pro.
In another hilarious pantomime portion that involves an imaginary
overflowing toilet and a stuck bathroom door, Bazinet's physical
finesse makes the silly situation completely believable. That kind of
motion, as effortless as it looks, is anything but.
"I'm standing on one leg for minutes, 'swimming' through air, puffing
my cheeks out and trying to breathe at the same time--it's very
tiring," he says. "I'm basically pooped after that."
In each show, one audience member has the rare opportunity to cross
the invisible barrier between the cast and crowd and join Bazinet
onstage for some spontaneous pantomiming. It's usually an amusing
segment that allows the audience to root madly for one of its "own."
But does it ever backfire?
"Oh, yes," Bazinet says, though he has generally found the people he's
pulled out of California audiences "more open and daring" than most.
"One guy in Quebec just didn't want to do it, and he felt
uncomfortable, and had to protect himself, and he wasn't listening to
me. He tried to pull one over on the clown, if you know what I mean,"
Bazinet says.
He shrugs. "So sometimes I just let it die. It's not funny anymore."
He pauses, this man who has fished for laughs for years in Germany,
France, Canada and now the United States, pondering the deeper rhythms
of clowning.
"Certain things just speak for themselves," he says. "There's a high
level of intelligence in the viewer. And you can de-mask yourself by
not wanting to take off the mask.
"By not wanting to be an idiot, you turn out to be a very great idiot-
-by not just trusting in the situation and just going along with it
and knowing that you're all right anyway, and don't need anybody's
approval."
So, if you happen to be the lucky one chosen from the audience to
share the stage with a bow-tied, bucktoothed, gifted clown, don't
panic. "Just hang loose," Bazinet offers. "It's not that easy. But
I'll give you a hand."
If Bazinet rules the ridiculous in "Saltimbanco," then brothers Paulo
and Marco Lorador preside over the sublime. The Portugal duo known
professionally as the Alexis Brothers (in honor of their father, a
circus performer himself), has traveled the world for 16 years
performing the time-honored act of hand-to-hand balancing.
With their sparkling white, chest-baring unitards and perfectly tuned,
symmetrical, bronzed bodies, they look almost superhuman up on the
round performance platform. The muscle-rippling poses and impossible
balances that they strike are often more challenging than anything
even Olympic gymnastics has to offer.
"Sometimes people see me offstage and say, 'You're not the guy who was
in the show. You looked so big. And those legs,' Paulo says, grinning.
Marco, 25 and the slightly smaller brother, is feeling a bit under the
weather. So 27-year-old Paulo, who acts as the foundation for their
lifts, gives a solo description of the " Main-a-main " experience, as
hand-to-hand balancing translates in French.
On this rainy afternoon, he is clad in jeans and a leather jacket
which reveal nary a muscle. Without the benefit of the lights and the
costume, he does indeed look rather ordinary in stature, though his
handsome face and bleached-blond buzz-cut with a dark streak through
it make him look like a trendy, Pepe Le Pew-ish punker.
The Elastiques, the trapezists and the Russian Swing divers may rule
over the more harrowing moments in the Cirque. But the Lorador
brothers, through pure strength, streamlined grace and balance,
provide one of the Cirque's most beautiful and, surprisingly,
emotionally stirring acts. The Loradors have burnished their teamwork
into fine art, and audience members gasp audibly and repeatedly as the
brothers strike what seem like impossible angles time and again,
dependent fully on the strength of one another to keep them from
tumbling to the ground.
Purrs of pleasure from the audience can also be heard throughout the
brothers' performance. It's undeniable--there is something
simultaneously noble and sensual about their seven-minute display.
When asked if he and Marco ever receive mash notes, Paulo modestly
replies: "Well, you know. You have fans who come to see the show, and
stop to say 'hi.' I like compliments, of course. It makes my day
easier."
Having worked together since they were boys, the brothers find no
problem synchronizing their moves. "We don't have to communicate. We
know already. That comes automatically," Paulo says.
It helps that both brothers are "very professional," he adds. "When
you get on stage, you forget about everything else. We never argue; or
at least, very rarely. The good thing is that we have respect for each
other. As soon as you lose respect--forget about it. You start calling
each other names and things like that--that doesn't work."
Which doesn't mean that they are the Bobbsey Brothers of the Cirque.
(There is a pair of identical twins in the show, though--trapezists
Karyne and Sarah Steben). With all that togetherness on stage and in
practice, they prefer to live separate lives of leisure. "Marco likes
to go out, and I like to stay home and watch TV. I'm more of a mellow
guy," Paulo says.
After all these years of performing, the elder Lorador brother is
matter-of-fact about the impact he and Marco have on the audience.
"When we're onstage, it's like we're in another world, and people
watching us somehow want to be us," he says. "People think--'Oh, those
guys--look at them!' We seem superior.
"But after the lights go off, we're regular people--human beings who
have feelings, too."
* * * * * *
TRIO TRIES TO LASSO CROWD WITH BOLEADORAS ACT
By: Lori E. Pike | LA Times
January 30, 1993
Mix two French-Canadian beauties with Madonna-esque cones of hair,
Star Trek-style culottes and gaucho boots, a jazzy master of
percussion, and eerie green fluorescent spheres on tethers sweeping
through the darkness of a circus tent, and what do you have? One of
the most striking--literally--acts in Cirque du Soleil. They call
themselves Malamba, and they'll be appearing tonight and for the next
five weeks with the Cirque in Costa Mesa.
Helene Lemay, 31, Ann Bernard, 23, and drummer Francois Beausoleil,
31, have the distinction of being the act that spurs audience members
to ponder, " What are they doing?" As Beausoleil, in harlequin attire,
slams out a variety of beats, Lemay and Bernard do a boot-stomping
flamenco in syncopation to the staccato percussion of their golf-ball-
sized, floor-whacking boleadoras swirling from each hand.
"It's a really 'groundy' dance, done deeply and loudly with the feet,"
Lemay explains.
The effect is part Spanish senoritas from space, part Western women
with innovative lassos--or mighty peculiar bondage instruments. The
yelps of encouragement that the women and the drummer make to each
other as they move through their intricate paces add to the mystery,
and the momentum, of a dance that takes mind-boggling hand and feet
coordination.
Just how high this ranks on the skill scale is apparently lost on some
audience members. Since Malamba--which takes its name from a dance
rhythm, malambo --concludes the first act, intermission sometimes
brings out critics in the crowd who wonder why they weren't treated to
yet another high-risk, high-flying aerial stunt.
But Bernard says their dance has risks of its own. "I hit myself once
during the show," she says ruefully, explaining how a ball from the
boleadoras smacked her in the temple.
Said Lemay: "I looked over at her and thought, 'Oh my God!' while we
were dancing. I knew she didn't know her head was bleeding."
"It was a dramatic show," Bernard deadpans.
The act got its start six years ago, when Bernard dated an Argentine
man who taught her how to handle the boleadoras.
"They first came from the gauchos in Argentina," she says. "They
hunted animals with them." Back then, the cords were leather with
stones at the end, and typically were thrown at cattle and other
creatures to tether their legs. About 30 years ago, Argentines began
to incorporate them into different styles of dance.
Lemay met Bernard on the streets of Quebec City, where all three come
from. "I wanted to learn that rhythm thing," Lemay says. "She started
to learn, and she was good, so we say, 'Come on' " Bernard adds.
"At first the dance was really hard for me," says Lemay, who
previously performed with a modern-dance company. "I mean, I can dance
and move, but there was something with the coordination. . . . We
worked on the feet first, but when we added the boleadoras --that's
not easy. Slowly, I got the rhythm. It became like a singing in my
head."
The two women were blazing a performance trail, since, according to
them, it's usually men who do this type of dancing. "There are ladies
who do the folk dances with the big dresses in Argentina, but this is
considered more of a macho thing," Bernard says. Eventually, Bernard's
former boyfriend dropped out of the act.
The group has given another twist to tradition by replacing the
standard single acoustic drum usually used for accompaniment with
Beausoleil's work. The former jazz-combo drummer says he's aiming for
a broad range of percussive sounds, including harmonics produced by
synthesized drums. "We want to make a mix of this dance from
Argentina, and music that has nothing to do with Argentina," he says.
"No one else is doing that."
Once the act's present lineup stabilized, the dancers started to make
a modest living by doing performances. One night in 1992, as Malamba
was strutting its stuff for friends in a small tango studio in
Montreal, members of the Cirque du Soleil talent-scouting team saw
them and offered them a spot on the "Saltimbanco" bill.
"We were excited but also afraid," Bernard says. "It's a long tour, a
lot of shows"--Cirque du Soleil artists sign two-year initial
contracts, sometimes with a renewal option. "And we were just starting
to have our own contacts and perform a lot. When you go on tour, you
lose all of that. But, you do get to work every day."
The boleadoras Bernard and Lemay use are a far cry from the leather-
and-stones version of the Argentine plains. Lemay and Bernard assemble
strong climbing rope and balls made out of a special type of hard
plastic. "At first we were using wood, but it splintered," Lemay says.
"We have to change the plastic often because it changes shape and
flattens. And then the spin doesn't work right."
The cords are almost four feet long. Tiny loops at the ends slip over
the women's little fingers. "We have a tendency to try to take the
cords longer and longer so that we can stand straighter, but that is
hard. We lose the speed," Lemay explains. She and Bernard tape their
wrists to help guard against the tendinitis that could develop from
thousands of minute wrist revolutions they must make in every
performance to keep the balls moving in their perfect circles.
While Lemay and Bernard may command most of the audience's attention
during performances, Beausoleil is treated as a full partner. Even in
the interview, Beausoleil is given respectful room to contribute as
many comments as they do. All three believe the success of the act
depends on each artist following closely what the other two do
throughout performances.
"It's like music, but very difficult music, because the rhythm has to
be so tight together," Beausoleil says. "There needs to be complicity
between the three of us to keep it together. That's why we shout. We
need to be on a very high level of energy to do this show right,
because it's very difficult."
The three continually work to refine what they do. "Costa Mesa's show
will have some different music," Beausoleil promises. He often haunts
local jazz clubs for inspiration late at night after his Cirque
performances.
The dancers do their part by "practicing a lot," Bernard says. "We
watch videos of ourselves to see how we can improve. We're always
changing something--little things. It keeps us alive."
What's the thrust of Malamba?
"It's rhythm," says the one who can hear it "singing" in her head.
"Rhythm, rhythm, rhythm."
* * * * * *
CIRQUE DU SOLEIL OPENS WITH A BANG
By: M. E. Warren | LA Times
February 1, 1993
Lightning and hail crowned the opening of Cirque du Soleil at South
Coast Plaza on Saturday night, and though nature put on a fabulous
show, this circus is well-nigh impossible to eclipse. To experience it
is to know what is meant by "the greatest show on earth."
The big top is a colorful cocoon where magic incubates in this
incandescent, exquisitely playful paean to an urbane future that
defies gravity and personifies grace, in which even that old standard,
the bathroom joke, is fancifully, hilariously reinterpreted with an
edge of elastic optimism.
For those who have never participated in a Cirque du Soleil
extravaganza, this is a circus of two-legged animals who fly, slither,
leap, tumble and tickle the funny bone as few other menageries can.
Though children may wonder when the lions will be coming on, the
adults will recognize the kings and queens of beasts, disguised as
acrobats, gymnasts, trapeze artists, wire-walkers and clowns.
The leonine Marco and Paulo Lorador's feats of unbelievable strength
and balance had the audience roaring.
The Steben twins, Karyne and Sarah, flip around a bar 20 feet in the
air and catch each other with their ankles. Nikolai Tchelnokov does
backward flips and gainers down a rope, from handhold to handhold. Sun
Hongli walks not one, but two tightropes, bouncing from one to the
other as if she were on a trampoline. So who needs monkeys? For anyone
who has lived within the mortal coil long enough to have an awareness
of its limitations, Cirque du Soleil is a revelation. The human body
is a temple in which miracles can happen.
Cirque du Soleil deifies not only the physical being but the
imaginative, emotional being as well.
As in past productions, the performance is rounded within a mystical
story, not a plot, but a sensibility. Urbanity is the inspirational
theme for Saltimbanco, as this show is called, in which the creative
collaborators present a vision of our citified future exploding with
diversity and questing for perfection.
Saltimbanco is a 16th-Century word for "street performer" or
"showman." The corps of the company, the comic acrobats, are like a
gang of the future, with their fantastic punk outfits and hip-hop
routines.
Master of ceremonies Rene Bazinet clowns with the sophisticated wit
and ease of a late-night TV megameister. His unique sound-effects
language is at once reminiscent of the good old days of radio, and
suggestive of a not-too-distant time when words will be obsolete.
With the delicacy and strength of a spider's web, Saltimbanco
straddles time and place and captures the imagination as only truly
great theater can do. It is to kineticism what Shakespeare is to the
English language, and the words of the bard are apt to describe the
feeling that Saltimbanco kindles: "We are such stuff as dreams are
made on . . ."
The production design is as sumptuous as a Medici festival and as
witty as modern technology allows. The live band rocks and rolls
through the all new score, which includes the soaring vocals of
Francine Poitras, whose singing is the incantation for Cirque du
Soleil's transformative, magical spell.
And never fear that you won't know when to applaud. Applaud all the
way through. And don't forget to roar.
* * * * * *
FAMILY LIFE UNDER THE BIG TOP
by: Jerry Holderman | LA Times
February 3, 1993
Anton Tchelnokov is living an adventure most kids only dream of.
He attends school two hours a day and spends his afternoons practicing
gymnastics and acrobatics. He earns his own money without having to
take out the trash or walk the dog, bounces on a trampoline whenever
he pleases, and has swapped autographed photos with his hero, Arnold
Schwarzenegger.
He knows he will be the center of attention at least once a day, has
free rein in a restaurant where cooks prepare his favorite foods to
order, and sees his best friend--a 37-year-old-clown--no less than six
days a week.
A normal childhood? Hardly.
The only child of renowned rope-climbing Russian contortionists
Nikolai Tchelnokov, 32, and Galina Karableva, 34, Anton made his
artistic debut with the Moscow Circus at the ripe old age of 3 and the
7-year-old is now touring North America as the youngest performer with
Cirque du Soleil, which opened a five-week Orange County engagement at
South Coast Plaza last Saturday.
"I know his world is very different, but it's a beautiful life my son
is living," says Tchelnokov, who performs two numbers in the show with
his son and wife. "He is exposed to so much artistically and
culturally. He speaks three languages (Russian, French and English),
and he is seeing the world. It is an experience few young people ever
have."
Tchelnokov, whose own childhood growing up in the former Soviet Union
was much more traditional, feels passionately that normal doesn't
necessarily translate into better.
"I was a regular kid," says Tchelnokov. "My mother was a construction
worker and my father was a soldier who was imprisoned by Stalin during
the war. When my father died, she raised six children alone. It was
simple and it was, yes, normal, but was it better than what my son is
doing now? I don't think so. Anton has a very good life."
And a very busy one. In addition to afternoon rehearsals and nine
performances a week, Anton attends school from 12:30 to 2:30 every
afternoon in a circus trailer situated a stone's throw from the blue-
and-yellow big top. Teacher Robert Ballard, whose job it is to educate
Anton and the four older minors who travel with the show, readily
admits that his littlest student often proves to be the biggest
handful.
"Anton has a lot of energy, and he really needs to be kept
stimulated," says Ballard, who taught at a Montreal elementary school
before joining Cirque de Soleil's North American tour 2 1/2 years ago.
"He has the attention span of most boys his age. After 10 minutes he
wants to do something else."
While two hours of school a day may sound academically lightweight,
Anton's father is quick to point out that the education his son is
getting extends far beyond the classroom walls.
"When I was in school for eight hours every day, I was always tired,"
recalls Tchelnokov. "It was too much information. I think for his age,
he is getting what he needs. He has already taken in so much
information about this world by being with people and just living
life."
In addition to the time Anton spends in the classroom, he's also
expected to study in Russian for another two hours a day under the
supervision of his parents as part of an agreement with the Russian
government. Every two weeks, he takes proficiency exams in math,
French, English and science.
Copies of Anton's exam scores are submitted to the Education Ministry
of Quebec and administrators at a Montreal elementary school, who
oversee his education. Copies are also delivered to circus management
when Ballard meets with them to review how Anton and the other child
performer, 13-year-old acrobat Sonya St. Martin, are progressing with
their studies.
"We sit down once a week and assess whether the kids are getting what
they need," Ballard says. "If they need to practice less and devote
more time to their schoolwork, I explain why. I have a strong
commitment to giving them a complete education because I know they
won't be performing with the circus for a lifetime. I want to make
sure that they will be prepared once this part of their lives is
over."
Because it's the only place where Anton regularly spends time with
children close to his age (two of the students are 11, one is 13 and
one is 17), Ballard says he makes a conscious effort to create a
healthy, balanced environment "where the kids can be kids."
"My first year with the show, four of the students were performers and
one was not," Ballard remembers. "It was very difficult for the one
girl because she always felt she was in the shadow of the others. I
see the classroom as a great equalizer. The artists have no special
privileges here. They're here to get a good education, and my job is
to make sure that they do."
But what about the developmental passages that children experience by
interacting with their peers? Tchelnokov admits that while the adults
his son considers playmates are "young at heart," there may be some
disadvantages in not having same-age friends your age.
"Not too long ago, Anton was playing a game with an 11-year-old whose
parents work for the show," he recalls. "The older boy wanted to go
first because he was bigger. Anton couldn't understand why that should
be, because in his world, everybody is bigger. He sees adults
differently than most kids because he's around them so much."
As much as Tchelnokov and Karableva say they'd like for their son to
meet children closer to his own age, it rarely happens.
"Sometimes kids send nice letters to Anton and say, 'If you want to
see our city while you're here, call us'," says Tchelnokov. "That
makes us very glad. But we have only Mondays off, and he usually
sleeps most of the afternoon. Yesterday, we went up the (freeway) to
play little (miniature) golf and there were some children there."
Though Anton is the youngest performer in the show, he's not the baby
of the 110-person Cirque du Soleil community. That distinction belongs
to 18-month-old Guillaume Gauthier, whose father, 31-year-old acrobat
Alain Gauthier, agrees with Anton's parents that growing up beneath
the big top can be "fantastic for a child".
"There's a phenomenal energy here, and the kids absorb that," says
Gauthier. "I bring Guillaume into the artistic tent during the show,
and he's surrounded by all these friendly people wearing colorful
costumes and makeup. He goes from arms to arms. He has lots of aunts
and uncles, and he loves it. He's not afraid of anyone or anything.
For him, it's a wonderland."
But Gauthier agrees with Tchelnokov and Karableva that raising a child
in such a world presents certain challenges.
"It's tricky and you always have to keep your eyes open," says
Gauthier, who lives with his wife, Marie-Eve Dumais, and son in a
small trailer on site. "It can be a dangerous place, especially for an
infant. There's lots of electrical wiring, lots of equipment being
moved. Backstage, people who are rehearsing can fall on him, and there
are plenty of places where he can fall. It keeps you on your toes."
Even though his son won't start school for three years, Gauthier says
Guillaume's education is something to which he's already given plenty
of thought. Gauthier values education (he holds a university degree in
geology and has done classical course work in Latin and Greek).
"There are pros and cons to every way of living," Gauthier says.
"Circus kids spend less time in the classroom, but they also get much
more attention when they're there. In classes of 30 or 40 students,
teachers can spend as much time disciplining as they do teaching.
Here, it's like having a private tutor."
Private tutor or not, Anton Tchelnokov is still no fan of the
classroom. He returned to school last week after a month break, and
he's clearly not thrilled about it.
"I don't like it because I have to sit too long," he says with a sigh
of resignation.
# # #
That's all for in this issue, but there's plenty more to come!
o) Issue #166, NOV 2017 - Saltimbanco, Part 2 (1993)
o) Issue #167, DEC 2017 - Alegría, Part 1 (1994)
o) Issue #168, JAN 2018 - Alegría, Part 2 (1995)
o) Issue #169, FEB 2018 - Quidam, Part 1 (1996-1997)
o) Issue #170, MAR 2018 - Quidam, Part 2 (1998)
o) Issue #171, APR 2018 Dralion, Part 1 (1999-2001)
o) Issue #172, MAY 2018 Dralion, Part 2 (2001-2003)
o) Issue #173, JUN 2018 Varekai, Part 1 (2002)
o) Issue #174, JUL 2018 Varekai, Part 2 (2003-2004)
o) Issue #175, AUG 2018 Varekai, Part 3 (2005)
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 17, Number 10 (Issue #165) - October 2017
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2017 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination! Newsletter." By
sending us correspondence, you give us permission (unless otherwise
noted) to use the submission as we see fit, without remuneration. All
submissions become the property of the "Fascination! Newsletter."
"Fascination! Newsletter" is not affiliated in any way with Cirque du
Soleil. Cirque du Soleil and all its creations are Copyright (C) and
are registered trademarks (TM) of Cirque du Soleil, Inc., and
Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
{ Oct.06.2017 }
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