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Fascination Issue 175
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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 18, NUMBER 8 August 2018 ISSUE #175
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
Look! We finally reached the next important publication milestone -
our 175th issue! Can you believe we've been publishing for 18 years
now? We've seen a lot of change at Cirque du Soleil through those
years, but of course, we've changed a lot too. At our last milestone,
I'd been so busy with a new house and new baby that I really didn't
have the time to think about what it meant to reach our 150th issue.
And now that we're here at #175 - gosh, where did the time go? - I
find myself in a similar situation... who knew toddlers could take
up so much of your time?! Now, as then, life moves on. As Heraclitus
of Ephesus was fond of saying (loosely translated): "All is in flux,
nothing abides." Change is the only constant and so Fascination will
continue to change as Cirque itself pivots into new and exciting
things. I may not always agree with the direction the company takes,
nor the desire to cover every aspect of the ever-growing Cirque du
Soleil Group empire, but for now I'm still following the sun. And
it's still shining bright. That's all I can hope for.
* * * NEW CRISS ANGEL SHOW COMING TO LAS VEGAS * * *
It's official: Criss Angel will make his oft-anticipated move to
Planet Hollywood in time for the holidays. The veteran Strip
illusionist opens "Criss Angel Mindfreak" in Criss Angel Theater,
formerly Planet Hollywood Showroom, beginning Dec. 19. Angel and
Caesars Entertainment announced the move in a news release on
July 31st. Angel's impending move to Planet Hollywood was reported
by the Las Vegas Review-Journal back in December, which we, of
course, covered here.
Angel said the Dec. 19 date is a "soft" opening during the
traditionally slow holiday season. He'll likely celebrate his grand
opening in January, though that date is not finalized. "This is not
me taking my Luxor show and moving it to Planet Hollywood," Angel,
who closes Oct. 28 at Luxor, said. "This is an entirely new show.
We're renovating the theater and bringing in a whole new production."
The new "Criss Angel Mindfreak" will run Wednesdays through Sundays,
with tickets starting at $69 (minus fees) and are already on sale.
Read more about this announcement in our news section within.
* * * KEVIN AND ANDI ATHERTON IN VOLTA * * *
In case you missed it... Kev and Andi made the following announcement
back on June 16th...
"We've been given the opportunity to perform a Duo Aerial Straps act
in the Cirque du Soleil show Volta. Volta is currently touring North
America. The opportunity was presented to us several weeks ago. After
discussing it with each other and with our immediate family members,
we felt it would be a symbolic way for us to honor and pay tribute to
our friend and colleague Yann Arnaud. Yann tragically lost his life
recently during one of his performances on Volta. He was doing what
he loved the most. This return to the Big Top stage is with mixed
feelings. This horrible accident affected us enormously, along with
the circus community as a whole. Each performance we do, we will do
in the memory of Yann and for his beautiful family left behind. There
was one thing Yann loved more than performing and that was his family.
We spoke yesterday with Yann's wife Inna, along with his father
Christian and together we decided we'd like to contribute a portion
of each of our performances on Volta directly to support his daughters
Lilia and Kiana. We all felt that Yann would appreciate this. We can't
imagine the pain and heartache felt after losing someone so close to
you. This is for you Yann!"
We wanted to remind you that the twins will appear in VOLTA beginning
with the Seattle run of the show (September 7th), and stay through to
San Francisco (Jan 6, 2019), so only two stops. From there they have
an appointment in Germany for the re-launch of Paramour!
* * * OTHER ITEMS OF NOTE * * *
o) Get ready for thrills and chills Seoul, Korea! After welcoming 8
million spectators from 61 cities in 19 countries, Cirque du Soleil
is coming your way! Catch KOOZA under the Big Top at the Jamsil
Sports Complex starting November 3rd.
o) 45 Degrees' Monte Carlo show is coming. Check this quick teaser:
https://www.facebook.com/MonteCarloLiveSBM/videos/2087520967947057/
o) Aurelie Dauphin is performing a Vocal Aerial Silks act in Corteo
o) Corteo celebrated it's 100th arena show on July 14th. Congrats!
o) Volta has a new programme book, but you can only get it on site.
o) Pablo Gomis and Pablo Bermejo are returning to Alegria! As are
quite a number of other past Alegria alum. Stay tuned for more!
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 > |
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\----------------------------------------------------/
- Ricky "Richasi" Russo
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CONTENTS
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o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
* Q&A -- Quick Chats & Press Interviews
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* "We're Off and Running - A Series of Classic Critiques"
Part 16 of 16: Varekai, Part 3 (2005-2006)
By: Ricky Russo - Atlanta, Georgia (USA)
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
***************************************************************
LA PRESSE -- General News & Highlights
***************************************************************
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La Presse Teases "Just a Little Night"
{Jul.04.2018}
-------------------------------------------------------
The creators of Cirque du Soleil worked yesterday to create an alley-
like atmosphere to represent Les Colocs and the band's late singer
Dédé Fortin, who died tragically in 2000.
Director Jean-Guy Legault, who is on his fourth tribute show with
Cirque, focuses on the unifying aspect of the music of Les Colocs.
"We're in an alley party, we did not call them alley cats for nothing,
they were very close to people, near the street, in a very inclusive,
almost communal universe. So, we wanted to recreate this universe in
which they created, in which they met and which corresponds to the
universe of the band."
As for the three previous shows in this Cirque tribute series, musical
director Jean-Phi Goncalves made the musical arrangements of "Juste un
p'tite nuite" from the original 13-piece Coloc soundtracks, such as:
"Dédé", "Passe-moé la puck", "Juste une p'tite nuite" and pieces from
more recent albums "Les Colocs", "Atrocetomique", and "Dehors
novembre".
In addition to the recorded music that will punctuate the 13 paintings
of this acrobatic musical show, we will be able to appreciate the
talent of the American dancer Jason Nious, a fan of body percussion,
who participated in Cirque's Kà and Zarkana shows. With microphones
placed on the wrists and feet, he will produce sounds with his body,
which will intermingle with percussion. We see him here on the left,
rehearsing with some of the 27 artists in this production.
The circus artist Alexis Vigneault repeated yesterday his aerial
number made from a suspended lamp in front of the stage. A number he
will do on the piece The answering machine , above a mobile platform
turned to the public. In an urban setting made of various metal
structures, pipes and lampposts, on which we find graffiti. "There
will be a lot of collective numbers," said acrobatic designer Émilie
Therrien.
The makeup of designer Florence Cornet, wrapped in mystery, is part of
this universe of alleyway desired by the director Jean-Guy Legault.
"It's as if the girls had spent the night with their make-up," she
says. With a dirty and outdated side. The girls will have makeup
splashes , while the boys will have scratches in the face, a way to
evoke alley cats. The dancers and acrobats have about an hour and a
half to make up.
The designer of the 150 or so costumes of Just a Little Boy, Sébastien
Dionne (Stone, tribute to Plamondon), was in the same direction as his
colleagues by creating what he calls "a studied street look." "We
imagined a gang of roommates who wear what's in the closet. Everyday
clothes, inspired by the grunge period, that they will exchange during
the show, tells us who is now working with the costume designer Daisy
Simard. Because it's a bit like that, the lives of roommates."
{ SOURCE: La Presse }
-------------------------------------------------------
ICYMI: Cirque Acquires VStar Ent & Cirque Dreams
{Jul.05.2018}
-------------------------------------------------------
VStar Entertainment Group is a live entertainment provider producing
theatrical shows, exhibits, cruise ship shows and outdoor events.
VStar is best known for its children and family shows showcasing
popular brands from Nickelodeon and Spin Master, such as PAW Patrol.
Over nearly four decades, it has built an impressive footprint in the
global entertainment industry, presenting over 39,000 performances in
more than 40 countries, reaching over two million guests annually. On
its own, PAW Patrol Live "Race to the Rescue" toured in 250 cities in
18 countries on 4 different continents in 2017.
"VStar has a history of growing through partnerships with great
entertainment brands and we are always on the lookout for the next
transformative opportunity. We now find ourselves on the brink of our
next chapter and only a global producer like Cirque du Soleil could
help us achieve our vision. Their expertise in the live entertainment
industry is unparalleled and it is an honour to join forces with their
organization", said Eric Grilly, CEO of VStar Entertainment Group.
Cirque Dreams, founded by Broadway Director Neil Goldberg and
established in Florida, is the entertainment group's circus arts
division which successfully produces and operates tours and shows in
theatres and various popular touristic venues through partnerships
with Norwegian Cruise Line and Gaylord Hotels, among other business to
business opportunities. "I have always admired the creative forces
behind Cirque du Soleil and could not wish for a better partner to
continue developing Cirque Dreams. I look forward to contributing my
creative mindset to the company's evolution", added Cirque Dreams
President Neil Goldberg.
DIVERSIFYING THE PORTFOLIO
--------------------------
Lamarre said Cirque Dreams' expertise in the production of shows in
theatres and tourism hot spots will help broaden the Cirque du
Soleil's portfolio. "The Cirque sells about 13 million tickets a
year," Lamarre said. "Our acquisitions since last year have added
another four million to our sales."
While terms were not disclosed, Mr. Lamarre said the transaction is
worth "several million dollars."
The deal puts Cirque du Soleil in third place in the live
entertainment industry after Live Nation Entertainment Inc. and
Anschutz Entertainment Group Inc. as the circus arts company seeks to
diversify its production and expand globally. "Which, in terms of
position, is great because we think there is room for someone to
consolidate the live entertainment market," Lamarre said. "And we're
seeing ourselves as that consolidator."
And the Cirque hasn't finished diversifying.
"We have an amazing distribution machine, touring in 450 cities around
the world with each show that we develop," he said. "This distribution
machine can distribute more than just Cirque. We want to be able to be
in a market for as long as possible. That's why we're looking for
shows that are different from the ones we currently have in our
portfolio."
Cirque du Soleil is already one of the world's biggest live
entertainment producers, offering shows in 450 cities every year, and
Lamarre says the Blue Man Group has increased its international
presence thanks to the backing of the Cirque distribution network. He
believes the same thing will happen with the VStar properties.
"It's a new era because our new owners have the resources that help us
accelerate our growth. Our strategy is very clear - to develop more
and more new markets around the world and also at the same time to
bring new artistic content, which is all good news for Montreal
because we're creating jobs and you have an organization based here
that is growing at a rapid pace that makes it exciting for all of our
employees, including myself. For our artists, it means more creative
challenges."
"For us, it's clearly an entry into the world of children's shows.
Obviously, a lot of families are coming to Cirque du Soleil shows, but
we have never targeted kids specifically and with VStar, that's their
specialty. They have an amazing partnership with Nickelodeon
the
most popular property is PAW Patrol. I didn't know that much about it
until I spoke to my grandkids. It's a huge franchise for kids. So we
think there is great potential with them and with their kids'
expertise to expand all the kids' properties we can acquire together
and distribute internationally. My grandkids love it, so I will be a
hero with my grandkids when I tell them."
VStar's Cirque Dreams is specialized in the tourist business, with
cruise shows and productions at Gaylord Hotels and in small theatres
across the U.S. With this diversification, some fear the Cirque may
stray from its main mandate of producing artsy circus shows, but that
is not the case, Lamarre says.
"We are going to produce more Cirque du Soleil shows than ever
before," Lamarre said. "So the core business remains a very important
development axe of our business. We have a lot going on in China, we
have new shows in development. The mandate we have from our new owners
is to become the global leader of live entertainment and in order to
do that, if you don't want to put too much pressure on the core
business, it's by adding other types of content to acquire new
audiences."
The Cirque used to produce one new show a year, which meant they
usually had two new shows in the pipeline at any given time. Now the
circus is producing three new shows a year, which means they have
about 10 productions in different phases of development now.
WHO IS VSTAR?
-------------
VStar Entertainment Group is a leading entertainment company and
producer of unforgettable live experiences for audiences in the U.S.
and internationally. From concept through activation, VStar imagines
and creates custom tours featuring original content, and licensed,
branded tours that provide highly engaging entertainment for fans of
all ages. With nearly four decades of expertise in all aspects of
event production and management, VStar delivers turnkey, in-house
solutions for theatrical shows, interactive exhibits and brand
activations. VStar also creates custom-fabricated mascots and
costumes, large-scale sets, scenery and 3-D installations, serving as
a valued resource for professional sports teams, Fortune 500 companies
and experiential marketing agencies. Headquartered in Minneapolis,
VStar has presented more than 39,000 live performances across 40
countries, and entertains nearly two million guests annually. Current
VStar tours include PAW Patrol Live! Bubble Guppies Live, Cirque
Dreams and Discover the Dinosaurs: Time Trek. Previous VStar (formerly
VEE Corporation) productions include Sesame Street Live, Barney, Bear
in the Big Blue House, Curious George, Dragon Tales, and Kidz Bop
Live! For more information, visit www.vstarentertainment.com.
WHO IS CIRQUE DREAMS?
---------------------
Since 1993, Cirque Dreams has integrated a robust knowledge platform
combining theatre, circus arts and imagination into quality family
entertainment and shows for Broadway, Norwegian Cruise Line, Gaylord
Hotels, Armed Forces Entertainment, theatre tours, theme parks,
casinos and venues worldwide. Popular titles include Cirque Dreams
Jungle Fantasy, Cirque Dreams Holidaze and Cirque Dreams Unwrapped.
For more information, visit www.cirqueproductions.com.
Interestingly, in December 1999, Cirque du Soleil sued Florida-based
Cirque Inc. in federal court accusing the company of trademark
infringement, trademark dilution and unfair competition practices.
Cirque du Soleil's claim was that Cirque Inc.'s productions were too
similar and confused patrons by using the moniker "Cirque". Cirque
Inc. disagreed with this view, arguing that "Cirque", which means
"circus" in French, was a generic term and therefore not subject to
trademark. The motion brought by Cirque du Soleil was denied and the
court therefore ruled that Cirque du Soleil could not lay claim to the
term "Cirque", which the company felt had become synonymous with its
brand and a protectable trademark. Cirque du Soleil appealed that
decision to the 9th Circuit Court of Appeals in San Francisco in April
2004, but Cirque du Soleil lost the appeal. And now, fifteen years
later, they own the company they once sued.
{ SOURCES: Cirque du Soleil, PRNewswire, Globe and Mail, Montreal
Gazette, Bloomberg, Deadline }
-------------------------------------------------------
Meet the Visual Artists of "Juste une p'tite nuite"
{Jul.14.2018}
-------------------------------------------------------
By: FRANÇOIS HOUDE, Le Nouvelliste
(NOTE: This article was originally published in French. It has been
translated into English using Google Translate. As such, there may be
some errors in translation.)
Cirque du Soleil could have done business with Montreal artists or
elsewhere to create the decorations of Juste un p'tite nuite. Nobody
would have been angry. They opted for two Trois-Rivières artists,
Jérémie Deschamps Bussières and Félix Lemay. Nothing prevents us from
believing that the Cirque simply chose the best artists available.
The two visual artists from Trois-Rivières who collaborated in the
tribute show to the Colocs were marked by the work of Dédé Fortin and
his happy band without having followed them since their beginnings. It
has even been an advantage, they believe.
"We knew their music, obviously, pleads Felix Lamy, but after their
career. It was through the film Dede through the mists that we had an
image of what the Colocs were. We have never seen one of their shows
and maybe it's an advantage because we were not influenced by what
they themselves did. It allowed us to offer our vision to the group
and not to copy their own inspiration. "
The Colocs and Quebec are closely and inextricably linked in their
young thirties. "For me, the Colocs are the fleur de lys. We cannot
talk about modern Quebec without mentioning the Colocs somewhere. They
have marked an entire generation and those who followed because their
music is still there. They knew how to express as much in their music
as in the poetry of their texts an urban reality that stuck to our
experience. They have been able to translate the reality of a pack of
people who have recognized themselves in their songs as much in their
cheerfulness as in the suffering that many express."
Without having seen Cirque du Soleil's show, Jérémie does not doubt
for a single second of his success. "There are so many people who know
the Colocs at first, but I think their imagination will still talk to
a lot of people. Their music is varied, often very catchy and it seems
perfect to serve as a basis for a great show. Through the contacts we
had with the team, we could see that for every aspect of Just a little
night, there is a lot of creativity. I'm sure it's going to be a big
success."
In terms of their contribution, they believe it can only be beneficial
to their careers. "It's been a while since we've been working on
getting the art out of galleries and that's another step in this
journey," says Felix. Of course, a collaboration like this one will be
positive for us in one way or another even if it is not what we were
looking for in the first place. If only for the experience of working
on scenography that was not part of our modes of expression and this,
with high-level artists. We liked it a lot: if the opportunity arose
again, we would do it again."
"I'm happy with what we achieved because it looks like us," said
Jérémie Deschamps Bussières. There was a challenge to achieve
something beautiful with elements that, in themselves, are rather ugly
and that, I think we did it well. It goes perfectly with the overall
vision of the show and it also goes completely in the direction of our
own artistic approach."
What is surprising is that the duo of visual artists has not worked on
stage sets for a good fifteen years and again, it was in a course in
high school! That said, this is not the first way of doing circus that
disconcerts. And then, it is a tribute to the versatility of these two
creators who quickly felt comfortable in the role they were given.
"We always liked what the Circus does, but the fact that it's a
tribute to the Colocs, it immediately attracted us, explains Jérémie.
We are not of the generation who discovered the Colocs from their
beginnings; we came to their music a little later but they occupied a
great place in our musical culture. If there was a show that we wanted
to work on, it's definitely this one."
"We never thought we could ever work with the circus but when the
opportunity arose, we sure jumped at the chance," says Felix. I had
never stopped thinking that our productions, Jérémie and I, could have
integrated into what the Cirque does. At the same time, what we have
done has always been creative, colorful and finally, we realize that
it goes particularly well with the creative approach of the Circus.
The other thing we did not dream about Cirque is that we basically
work in 2-D: we're not at all in the stage sets, usually."
Yet, contacts with Cirque's creative minds were only open. "Initially,
they gave us an idea of ??their orientation but in a very broad way to
leave plenty of room for our creativity," says Jérémie. They were then
extremely open to all that was proposed. We speak the same language. I
think things have been easy because they recognize the qualities they
are looking for in employees. They quickly understand who they are
dealing with and see if it can work with them."
"Specifically, we knew they wanted to dress the scene with graffiti,
which was already close to our personal creation, continues his
colleague. We are already working with spray paint on our paintings so
we knew we could do something interesting with graffiti using this
technique."
"They lined us up with certain songs that, in their eyes, were
evocative and we were particularly inspired by the song The comet. The
text is really strong and we realized that in their texts in general,
the words are particularly evocative. We can sometimes leave a single
word of a song, put it in the background and it evokes lots of ideas,
images. It was really inspiring to work with the band's songs."
The two artists maintain that they have not received any categorical
refusal of their proposals. That some adjustments during the process
consisted first to present ideas, then sketches, then models that were
later transposed to the scale of the very large stage of the Cogeco
Amphitheater. "From beginning to end, we were on the same wavelength,"
they summarize.
LARGE FORMAT
------------
The biggest challenge for this decor? "The height! We have never done
anything so big. We worked on software to scale our drawings to make
sure it worked. We had never done this before, but we never had such a
surface to cover! It takes all the grandeur of the stage, "explains
Jérémie Deschamps Bussières.
The preparation was such that the direct work on the surface to be
covered was only a week. "We knew so well what to say that we were
confident enough to improvise when needed to apply the paint. The
final work lasted a week but we do not calculate the two months we
took to think about the project and to design it. Throughout this
period, there has been a lot of follow-up emails and meetings."
"We are very proud of the result and the feedback we got from the
circus people, both the designers and the artists and technicians, was
very positive. They all tell us it works perfectly with the show."
For Jérémie Deschamps Bussières and Félix Lemay, their contribution to
Juste un p'tite nuite is not a work of support, but a work in itself.
"For me, we could take separately what we did and it is a work that
represents us very well. We would be proud to show it in another
context detached from the show. I even feel like I could cut portions
that would be justified as complete works in themselves."
"What I discovered about Cirque du Soleil is that they will look for
the best of each employee by allowing them to express themselves. It's
like a challenge to each participant of the show, a challenge to
surpass themselves and it's all of all that makes a show successful,
"says Felix Lemay.
{ SOURCE: Le Nouvelliste }
-------------------------------------------------------
Fast Company: "This is your brain on Cirque du Soleil"
{Jul.17.2018}
-------------------------------------------------------
BY DANIEL TERDIMAN
Itsuko Noto lives in Japan, which means it takes her a minimum of 12
hours to fly to Las Vegas. But at least twice a year she grabs her
passport and makes the journey to Sin City for intensive Cirque du
Soleil immersiontwo shows a night, 14 total per week.
Although she sees nearly all of the company's seven different Vegas
shows (except Criss Angel's "Mindfreak Live"), as well as many of its
other shows around the U.S., Asia, and Europe, "O" is her mainstay.
First opened in Vegas in 1998, "O" is Cirque's famous water show,
probably its most ambitious, given its clever and beautiful
incorporation of a 1.5 million-gallon swimming pool that, at certain
points, seems to magically disappear.
Every night she's in Vegas, Noto makes her way over to the grand
1,800-seat theater at the Bellagio for "O's" late show. All told, she
takes in 10 "O" performances a week, and over the course of her career
as an all-star Cirque fan, she's seen it well over 100 times.
"It touches my deepest emotion," Noto tells me by email. "I feel the
tears welling up at the end of the show every single time."
For the folks at Cirque du Soleil's Montreal headquarters, there's
something powerful and intriguing in Noto's experience, in the way she
expresses the emotions "O" raises in her. And more important, there's
something in that experience they thought they could-and should-
measure and quantify, because emotional experiences can guide their
business decisions for years to come.
"We have some [fans] who keep coming back, 30 to 40 times, mostly
various shows, but the fact that [Noto] would come back and see the
very same show [more than] 100 times, always "O," we found that
fascinating," says Marie-Hélène Lagacé, Cirque's head of public
relations. "What is it that you feel when you come see the show that
makes you want to feel it again and again and again and again?"
SEARCHING FOR AWE
-----------------
Although I can't play in Noto's league, I'm still a self-professed
Cirque nerd. I've seen at least 40 Cirque performances over the years,
and 14 years ago, I worked briefly as an usher on "Alegria," one of
the company's most beloved traveling shows.
But never before had my experience of seeing a Cirque show been like
the one I had at "O" in late April as the ground-breaking company was
celebrating its 35th anniversary.
That night, in a private suite in the Bellagio theater, complete with
red privacy curtains and velvet-backed seats, I'd been fitted with an
EEG built into special headgearsurface electrode caps, they're
calledthat looks like a swimming cap that just happen to have about
two dozen wires, each of which has a colored LED at the base,
connecting me to a nearby computer. Barely able to move for fear of
disturbing the wires, and having been instructed specifically not to
clap during the performance (because although "it's the worst thing to
ask people at a show like this," doing so might mess things up), I was
about to be observed and measured for science.
To be precise, I was one of 60 "O" audience members that week who were
taking part (voluntarily, of course) in a major study the Cirque was
conducting in partnership with the New York-based "neuro-design"
studio Lab of Misfits, to see if it was possible to identify, and
quantify, the emotion of awe.
The research at "O"which was done side-by-side with a control study
on a small theater show in New York that is known to generate joy and
positivity, but not really awewas a reflection of Cirque's awareness
that, although the entertainment company has worked hard over the last
three decades to measure fan satisfaction, there was something it
wasn't capturing in the way fans reported their experience of watching
a Cirque du Soleil show.
With no one else in the theater, save for a few acrobats rehearsing on
the stage below, I talked with Lagacé and Kristina Heney, Cirque's
chief marketing and experience officer, about the genesis of the
experiment.
"We were seeing an emotion on the faces of fans in theaters, arenas,
and big tops around the world, and they weren't able to convey it to
us in a way that we felt we were getting the full scope of the
picture," Heney tells me. "We'd do the typical marketing word clouds,
and we'd see 'awesome' and 'oh my god,' and then we'd see the
ingredients of the theatricality'acrobatics,' 'music,' [and]
'costumes.'"
But the disconnect was the emotion, Heney says, and so when the team
felt like it had reached the end of its means in terms of typical
marketing work, it reached out to Lab of Misfits to see if science
could help explain the emotions that Cirque performances elicit.
Cirque du Soleil is one of the best-known and best-loved entertainment
brands in the world, but it nevertheless thought it had a broader
branding problem. Although a Young & Rubicam study had shown that it
was the most differentiated brand in North Americaat least when it
came to uniqueness and what the brand "brings to the table," explains
Heneythe Y&R study revealed that its relevancy factor was was low,
particularly among millennials.
For Cirque, performances that make an impact are vital, particularly
in connecting with the audience emotionally, not only immediately
after the show, but into the future. You can't just take in a Cirque
show anywhere or anytimethey're not on TV, or generally available
online, and at any given time, they're only in 15 or so cities around
the world. So the company needs to develop lasting relationships with
both existing and new fans that will inspire them to keep buying
tickets, either in destination cities like Las Vegas or when the
traveling shows come to town.
"We felt like we needed to better understand this emotional bridge,"
Heney says, "in order to maintain that relevance, and really, truly
hear what our fans wanted from us."
Heney explains that scientists believe there are 20 different human
emotions, with a hierarchy that, for example, goes from surprise to
wonder. Think of magic: How did they do that? And then there's awe,
which she says has only recently been discovered as an actual emotion.
If they could figure out how to guarantee that fans feel genuine awe
during shows, maybe they could inspire them to come back again and
again.
As a student of emotions, Beau Lotto, a world-renowned neuroscientist
and the "head misfit" at the Lab of Misfits, was himself thinking
about the challenge of re-creating awe in order to study it. "And here
we were, trying to describe an emotion that we didn't have the
language to describe, and neither did our audience," says Heney of
Lotto. "We immediately got along . . . and when I found out his
company is called The Lab of Misfits, it was kindred spirits."
It would be tempting to roll your eyes when you hear that a giant
entertainment company like Cirque du Soleilwhich is planning its own
theme park, recently bought The Blue Man Group, and is always
designing new showsis conducting an experiment to study awe. But for
Heney, it's actually essential to understand something like the
emotions its audiences feel as it plans for the future. "There's a lot
of potential around our greater organization to be able to explain how
we connect to our fans," Heney says. "For the last 34 years, we've
focused on circus arts to create that emotional connection, and we're
evolving."
SELF-REPORTING
--------------
In the weeks prior to heading to Vegas for Cirque's neuroscience
experiment, Iand many Cirque ticket buyerstook an online Lab of
Misfits questionnaire that aimed to figure out who might be a good fit
for the study. The questionnaire presented statements, such as, "I
have experiences that are indescribable," or, "I have experiences that
stir my soul," and asked how true they felt.
Though Lab of Misfits didn't reveal the exact purpose of its work with
Cirque, the introduction to the questionnaire noted that it wanted to
understand how immersive theatrical experiences affect the brain.
Because I was working on an article about Cirque's experiment, I knew
I'd be taking part, and what it was.
But for everyone else who was chosen, its exact nature was a surprise
until arriving in Las Vegas. In exchange for free tickets to "O" and
an upgrade to one of the VIP suites, they agreed to be poked and
prodded, and have their brain activity observed during a performance.
Twice each night for five nights, Lab of Misfits techs wired six of us
up with the headgear, and once we'd posed for photos and gotten used
to being strapped in, they gave us iPads that prompted us throughout
the show to answer questions about just how much awe and wonder we
were feeling at that exact moment. In the row of seats immediately
below the suites, another few dozen folks also had iPads and were
answering the same questions, albeit without any wires, and with full
freedom to applaud. The idea was to collect as much self-reported data
as possible and correlate it all with the brainwaves of those of us in
the suites. Everyone was told they'd receive a report reflecting their
emotional experience during the show, but not until Lab of Misfits had
fully analyzed the results, a process that is expected to take until
this fall.
Back in Vegas, sitting with Lotto, I asked him why awe has
traditionally gotten the short shrift when it comes to attempts to
understand emotions. "Maybe it's like consciousness itself," Lotto
tells me philosophically. "It's difficult to study something that is
difficult to define. And maybe as we are starting to understand these
other emotions, we are starting to better define what awe might be and
how to better define it. And in some sense, that's what it is to be a
bit of an adventurerthat you are stepping into territory that is,
itself, not so easily definable."
But while Lotto looks and talks like a philosopher, he's actually a
scientist, and there's no doubt that his, and Cirque's, goal with the
experiment is to be able to point to emotions that people watching the
"O" performances were feeling and say, without a doubt, which moments
in the show generated awe.
"Maybe if they experienced awe, and we knew where, we could say, 'This
is you on awe,'" Lotto says. "'This is your brain on awe, or your
brain on Cirque.'"
THE CIRQUE WAY
--------------
In her previous life, Heney worked for the NBA, and she's intimately
familiar with the emotional swings on the hardwood. "In a basketball
game," she says, "it's King [Lebron] James doing a buzzer beater in a
playoff game. You get it. [But] here, it's been a little more obscure
for us."
Heney and other executives in Montreal are well aware that there's no
way to predict what Lotto's research will show, or even if the
findings will be in any way meaningful. But Cirque du Soleil is an
organization that champions audacity, looking at things upside down on
the theory that doing so can make you better appreciate things that
are right-side up. That approach is known as the Cirque Way.
And it's the Cirque Way of taking risks and trying unknown things that
led the company to set out on this journey to define and quantify awe.
"It's why we feel empowered to try a scientific test that we have no
idea what's going to come out of it," Heney says. "We have a deep
feeling of responsibility to figure something out, but it's this idea
that if you're moving forward, and trying new things, you're not
failing."
TAKES YOU OUT OF THE MOMENT?
----------------------------
As a self-professed Cirque nerd, the one thing I didn't expect when I
set out to take part in the neurological experiment is how I'd
actually feel during the performance. I first saw "O" in 1998, and I
saw it again a number of years later. In both cases, I was well and
truly, yes, awed. How could you not be by some of the incredible
acrobatics, divers jumping balletically dozens of feet into the water,
Russian swings, and more?
Yet here in Vegas in April, an EEG strapped to my head, and told not
to clap, wondering when the next prompt from the iPad would be, I
found myself distracted and constrained, and left to over-analyze my
own feelings of awe.
I wasn't the only one. After the performance, I pulled aside Hailey
Dean and Jeffrey Dimas, a couple who'd come to town for their
anniversary and who had been recruited for the experiment. Although
Dean says she is excited to find out how her own brain reacted during
the show, she agreed that actually participating impacted her
experience. "I think it was a little harder to have actual expressive
feelings when you're hooked up to something," she told me. "I was a
little bit worried that if I'm moving a little too much, is my brain
stopping working right now?"
Something else she said was interesting, too, and it matched what I'd
felt: The iPad questions that would pop up every few minutes, asking,
among other things, about the level of awe we were feeling, would
often come at very low-emotion moments in the show. It turns out, that
was exactly by design. "We went through the show and selected times
that are more likely to elicit awe than others, and also times that
are less likely to exhibit awe," says Lotto. "We are looking for a
correlation between the magnitude of their expression and their
response in their brain."
Back in Japan, Noto writes to me that during an "O" performance, she
experiences joy, excitement, thrills, nervousness, sadness, humor,
hilarity. And afterwards, she says, "My heart is full of happiness and
gratitude to this mind-blowing show."
Cirque du Soleil knows it offers something different than other kinds
of entertainment, and it wants to know exactly what's different. The
theory is that the shows generate awe in a unique way. Now, the
questionwhich we won't know the answer to for several months yetis
whether science can prove it.
"If there's actually a powerful emotion that they're taking out of the
theater with them, that they can't explain to me," Heney says, "it's
my obligation to try to label it so that we can communicate it to our
4,000 employees, so artists can feel it, so our finance community can
feel, and so that everyone within our organization can feel it."
I asked Noto if she experiences awe when she watches "O." "Definitely
yes," she responded in all capitals. "I am always overwhelmingly awed
at the beginning of the show, the moment . . . the red curtain is
blown away and the pool looks like a quiet lake, [and] then the music
starts. It gives me goosebumps and chills every time."
{ SOURCE: Fast Company }
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Photos from "DIVA" by Cirque du Soleil in Andorra
{Jul.17.2018}
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Photo credit: Dominik Pare
This summer, Cirque du Soleil returns to Andorra for an all-new, one-
of-a-kind free event in Europe. Following the success of the SCALADA
series, a new chapter begins with Diva by Cirque du Soleil, which pays
tribute to some of the greatest divas of all time. Ready to relive
music's most celebrated hits through the lens of Cirque du Soleil?
This year's spirited acrobatics will be performed to the rhythm of the
songs of the divas who shaped our history.
http://www.cirquefascination.com/?p=11845
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Cirque Partners With BookMyShow To Make Indian Debut
{Jul.18.2018}
-------------------------------------------------------
BookMyShow today announced that it is working with the world's largest
live entertainment company Cirque du Soleil to bring them to India for
the first time later this year. Canada based Cirque du Soleil's brand
new touring show 'Bazzar', its 43rd original production, will have its
World Premiere in India this November 2018, through shows in Mumbai
and Delhi, before heading to other countries.
Originally composed of 20 street performers in 1984, Cirque du Soleil
Entertainment Group completely reinvented circus arts, going on to
become a world leader in live entertainment. It has brought wonder and
delight to over 190 million spectators with productions presented in
close to 450 cities in 60 countries. Their spectacular shows offer the
audience striking and dramatic performances, featuring fascinating and
whimsical costumes staged under magical lighting and set to original
music compositions. Through their shows, Cirque du Soleil takes its
viewers into unparalleled worlds with never seen before acrobatics,
impressive choreographies and immersive characters and stories, which
are told entirely through breath-taking visuals, thereby transcending
any language barriers and appealing to a large audience.
Cirque du Soleil is now making its first entry into India with
BookMyShow and will bring its newest production 'Bazzar' first to
Mumbai, followed by New Delhi. This production will be performed by
Cirque du Soleil artists under the newest version of its famous Big
Top Tent, which is 19 meters (62 feet) high and is 41 meters (135
feet) in diameter, and will seat more than 1500 guests.
Announcing this association, Albert Almeida, COO-Non Movies,
BookMyShow said, "In addition to providing our customers access to
world class entertainment, BookMyShow has been playing an increasingly
important role in bringing newer genres of entertainment to the Indian
market. Cirque du Soleil is an unbelievable entertainment experience
that has amazed millions of people across the world with its
performances that defy 'normal' in every sense. We are excited to work
with them as they prepare for a debut in India. With our unmatched
experience in the entertainment space and our understanding of this
market, we are well positioned to work with them on all aspects to
ensure its success here. This association, more importantly, will also
immensely contribute in strengthening India's position on the global
live entertainment map- a vision that BookMyShow has been working
towards."
Daniel Lamarre, President and CEO, Cirque du Soleil Entertainment
Group said, "After entertaining millions of people around the world
for over 30 years, there are few remaining markets we have yet to
visit. We have been looking forward to introducing Cirque du Soleil to
the Indian market, which is very important for our international
growth. It is for this very reason that we trusted this significant
task to entertainment experts BookMyShow. With their deep knowledge
and understanding of the market, we are confident that BookMyShow will
permit Bazzar, a show that introduces the essence of what Cirque du
Soleil is, to have a successful debut in India."
Kunal Khambhati, Head of Live Events and IP, BookMyShow said, "Cirque
du Soleil is nothing like India has ever seen before in live
entertainment. Brought together by a group of perfectionists, be it
the artists or creative and technical teams behind the productions,
Cirque du Soleil will undoubtedly floor the audiences by what they
experience under the Big Top. We are confident that the fast growing
number of entertainment seekers in India will love to witness Cirque
du Soleil's Bazzar later this year, irrespective of whether they have
heard of them before or not. Bazzar will be an eclectic mix of dance,
music, drama, comedy, action & world class acrobatics a true
blockbuster on the live stage."
Registrations for Cirque du Soleil will go live on BookMyShow on July
18, 2018. Registered users will get early access to Cirque du Soleil
tickets in India.
{ SOURCE: Exhcange 4 Media }
-------------------------------------------------------
"Just a Little Night" a Success!
{Jul.19.2018}
-------------------------------------------------------
FOTOS: http://www.cirquefascination.com/?p=11797
FOTOS: http://www.cirquefascination.com/?p=11821
FOTOS: http://www.cirquefascination.com/?p=11869
By: Samuel Larochelle / HuffPost Quebec
(NOTE: This article was originally published in French. It has been
translated into English using Google Translate. As such, there may be
some errors in translation.)
From the first second, our hearts were conquered. From the first dance
movements, our bodies wanted to party until the early morning. From
the first notes, our memory opened the box dedicated to the Colocs, in
this way they had to break the barracks, to their incomparable
analysis of society, to the dozens of songs that have marked our
history, and to the voice of Dédé, whose boredom we have not finished.
Let it be said: the show Just a Little Night ("Juste une p'tite
nuite") is electrifying, touching and in every way memorable.
If you have not seen Cirque du Soleil's tributes to Beau Dommage,
Robert Charlebois and the world of Luc Plamondon over the last three
summers, hurry up and buy your tickets for the new grandiloquent show
presented in the Cogeco amphitheater in Trois-Rivières. This is
undoubtedly one of the most beautiful productions of the year in the
province, all forms of art combined.
The opening number puts the table to perfection: on the tunes of
Puck's mummy, a group of dancers and acrobats, dressed in grunge
clothes straight out of the 1990s, perform with a passion and a
indisputable charisma. While the first occupy the scene with a few
touches of gumboots, giving us the impression that the show has been
running for months, the others enjoy themselves by launching a two-
storey structure and twirl on the trampoline wall casually.
Driven by the music of the Colocs, rearranged in a great way by Jean-
Phi Goncalves, who never betrays the band's signature, nor the voice
of André Fortin, the performers show a contagious intensity.
In addition to knowing how to make the party, the artists of the show,
staged masterfully by Jean-Guy Legault, are also able to convey the
darkness of some of the group's works.
We first think of "Belzébuth", launched by a melancholic harmonica:
the song evokes a man who compares himself to a cat and wants to
escape with the wings of a bird, while an acrobat runs between the sky
and earth on a Chinese mast. We also remember "Juste une p'tite
nuite", which resonates as a man and a woman deliver a languorous and
mysterious duet on the hoop, like two lovers who do not know if they
still want one of the other nor how to leave. We still have pretty
pictures of acrobats swinging on Russian swings to fly up, up, up in
the air, while "La comète" cradles our ears.
That said, we must absolutely express the overwhelming character of
two other numbers.
When you hear Dede humming Get out of here , telling the urgency of
giving a distressed friend a helping hand, two men perform a hand-
technically hands-on number that is moving with strength and grace.
Later in the evening, an acrobat makes a suspended lamp his acrobatic
tool. While one is moved by the words of the Answering Machine, he
tries to reach the light, lets himself be crushed by this star that
obsesses him, hangs on him and whirls in all directions, as if he
danced with life. and with death. A number that touches the sublime.
From one painting to the other, the interpreters wear a jacket or a
shirt with a core, as if they were witnessing the life of Dede and the
Colocs. The symbol perfectly illustrates the collaboration, cohesion,
synchronicity and extreme joie de vivre shared by the 27 artists on
stage.
We feel the strength of the 10 dancers, kind of street warriors, on
the rhythms of "Atrocetomique". We discover with pleasure the
nonchalance of the guys and girls who tumble during "Bon yeu". We
salute the ingenuity of the one waiting for death, hung by bungee
threads, enveloped by the sadness of "Dehors novembre". We love the
candid character of the juggling act, original and surprising, while
"Dédé" resonates. We are completely fascinated by the girl and her
colleagues who give a new definition to the phrase «jouer à la corde à
danser», while Juliewe plunge back into a crowd of happy memories. And
we really want to join the troupe on stage during "La rue principale",
a fun section that would make anyone who still has a heart smile.
In short, a total success.
{ SOURCE: HuffPo QC }
-------------------------------------------------------
India will influence evolution of Cirque du Soleil: CEO
{Jul.20.2018}
-------------------------------------------------------
Cirque du Soleil will mark the world premiere of its touring show
"Bazzar" in India soon. The country will play an important role in the
growth of the globally popular live entertainment company, said its
CEO Daniel Lamarre.
They want to take it slow and find the right moves to enter the heart
of Indians.
"We always wanted to go to India. It is such a great country. We will
learn from the country and we think the timing is right. We truly
believe and hope that with our approach, India will become one of the
most important countries for Cirque du Soleil," Lamarre said in an
interview here.
Cirque du Soleil is known for reinventing the culture of circus with
themed, theatre-style acts - without animals - featuring multi-
talented performers such as acrobats, gymnasts, mimes and musicians.
Originally composed of 20 street performers in 1984, Cirque du Soleil
Entertainment Group has wowed audiences with its death-defying stunts,
extravagant sets and whimsical costumes through its productions in
close to 450 cities in 60 countries.
Recalling the origin of the idea to come to the "economically sound"
India, he said: "I have been at Cirque for 17 years and I have a lot
of Indian friends and they were always saying, 'How come you are not
coming to our country?'. We had to wait to find the right partner."
For the India foray, they have partnered with BookMyShow. "Bazzar",
its 43rd original production with an Indian artiste Rajesh Mudki, will
have its world premiere in India with shows in Delhi and Mumbai later
this year, before heading to other countries.
Lamarre hopes that in 15 years from now, he can say, "Have you seen
the influence of India in our change and in our evolution?".
"I believe that India will influence our evolution moving forward. A
lot of people talk about diversity. At Cirque du Soleil, we don't talk
about diversity. We live it every day with different nationalities
influencing our growth. Now, it is your (India's) turn to influence
the growth and content of Cirque du Soleil."
Lamarre is sure that he will "go back with new artistes and new ideas"
from the "rich Indian culture".
"I want more and more artistes coming from your country because you
have great talent."
The production level and scale of "Bazzar" has been tweaked. But
Lamarre feels it will give a basic idea about the Cirque du Soleil
show.
"The creative process was to deliver to India the best level of
performance that you can deliver and that is what 'Bazzar' is all
about."
How have they worked out the logistics for tickets?
"We have brought 'Bazzar' to a scale and pricing which can be
affordable. When we enter a new country, we want to get involved
socially and that is what we would like to do in India as well. There
are programmes which we want to develop and bring to the country to
help the people who don't have as much money as they should.
"Having said that, the ticket price will be affordable to a majority
of people."
Lamarre is not oblivious to the power and influence of Indian cinema.
And feels it will work in favour for their format.
"I don't see the movie business as our competitor. It is a little bit
like what I have observed in China. Movie business was developed
first, and now live entertainment is following.
"I see the same pattern in India. The fact that there is a well
established movie industry in India is a positive for us and not a
negative. It is making people more open to new type of entertainment
and that is what we are going to offer."
Going forward, they want to "listen to the Indian market" to paint a
success story.
"We believe we will succeed in India," Lamarre said.
{ SOURCE: The Quint }
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Champagne Nicolas Feuillatte Becomes the Official
Partner of Cirque Touring Shows in the USA & Canada
{Jul.26.2018}
-------------------------------------------------------
Champagne Nicolas Feuillatte has announced an exclusive multi-year
contract with Cirque du Soleil as the first ever official Champagne
partner of its touring shows throughout the USA and Canada. The
partnership will begin in September 2018 with the premiere of VOLTA in
Redmond, Wash. and will continue through December 2020.
The partnership will see Champagne Nicolas Feuillatte served at more
than 800 performances annually (including shows such as Cirque du
Soleil VOLTA, LUZIA, Amaluna and Alegría) in major U.S. and
Canadian cities. including: Chicago, Los Angeles, New York, San
Francisco and Washington, D.C. as well as Vancouver, Toronto, Ottawa,
and Montreal.
"We are thrilled to have our two incredible brands working together,"
said Christophe Juarez, CEO for Champagne Nicolas Feuillatte. "Both
Nicolas Feuillatte and Cirque du Soleil were founded on the strong
ideals of constantly reinventing ourselves and creating moments of awe
and inspiration. Their artistic prowess and our Champagne bring
enchantment and pleasure to life. We look forward to bringing
exceptional experiences to guests through this unique partnership,"
Juarez continued.
The partnership will take on different forms, including a Champagne
Nicolas Feuillatte Lounge where guests will be invited into an
immersive experience which will include Champagne and hors d'oeuvres.
Cirque du Soleil concessions will serve Champagne Nicolas Feuillatte,
and digital and retail integration will also be offered.
"The values we share with Champagne Nicolas Feuillatte of celebrating
the present moment, creating joy and wonder, as well as the passion
and expertise we both pour into our respective products makes this
partnership a natural fit. We are looking forward to working together
in offering our guests a memorable experience," said Richard Davies,
Vice President, Corporate Alliances at Cirque du Soleil.
The natural association with Cirque du Soleil is part of Champagne
Nicolas Feuillatte's latest brand campaign, Enchantment Awaits: an
invitation to celebrate life's precious moments with emotion,
intensity, generosity and boldness. The initiative includes the launch
of a new immersive website and a refreshed visual identity for its
full range of Champagnes worldwide, both debuting in the U.S. in
September 2018.
ABOUT CHAMPAGNE NICOLAS FEUILLATTE: Founded in heart of the UNESCO
World Heritage listed Champagne hillsides, Champagne Nicolas
Feuillatte is the youngest of the major Champagne houses, and the
biggest wine growers' brand. It embodies the commitment and passion of
its 4,500 associated growers spread across theappellation. In the
course of just 42 years, Nicolas Feuillatte has quickly reached the
first rank of Champagne brands in France, the third worldwide and the
fourth in the USA. Its claim: Champagne is a wine born in a unique
terroir. It need not be reserved for exceptional circumstances but is
meant to be shared and to enchant life during the most cherished
moments. The range of Champagnes by Nicolas Feuillatte is diverse, as
the richness and diversity of the terroirs (5,189 acres of vines) and
grapes sourced from the highest quality of crus. It is a demonstration
of the unique savoir-faire of its Chief Winemaker and unique signature
style made of finesse and elegance. Nicolas Feuillatte Champagnes are
available in more than 100 countries worldwide with 10.3 million
bottles sold in 2017 alone. Travel to is flagship state-of-the-art new
winery and visitor center, the Éspace Nicolas Feuillatte in Chouilly,
or visit www.nicolas-feuillatte.com.
{ SOURCE: PR Newswire }
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New 'Criss Angel Mindfreak' show coming to Vegas Strip
{Jul.25.2018}
-------------------------------------------------------
Criss Angel will make his oft-anticipated move to Planet Hollywood in
time for the holidays. As an early gift, the hotel is renaming its
showroom for him.
The veteran Strip illusionist opens "Criss Angel Mindfreak" in Criss
Angel Theater, formerly Planet Hollywood Showroom, beginning Dec. 19.
Angel and Caesars Entertainment announced the move in a news release
this morning. Angel's impending move to Planet Hollywood was reported
in this space in December.
Angel said in today the Dec. 19 date is a "soft" opening during the
traditionally slow holiday season. He'll likely celebrate his grand
opening in January, though that date is not finalized.
"This is not me taking my Luxor show and moving it to Planet
Hollywood," Angel, who closes Oct. 28 at Luxor, said in a phone chat
Tuesday morning. "This is an entirely new show. We're renovating the
theater and bringing in a whole new production."
"Criss Angel Mindfreak" will run Wednesdays through Sundays, with
tickets starting at $69 (minus fees) and going on sale 10 a.m. Friday.
Angel will have spent a decade at the pointed resort, first in
"Believe" and later "Mindfreak Live." Thus, he effectively fulfills
his original, decade-long contract with Cirque du Soleil and MGM
Resorts.
"It's amazing to be back home at Planet Hollywood, where I began
'Mindfreak' in 2005," Angel said in a statement earlier Tuesday. "As
that TV series changed the trajectory of magic on television, I
believe my new show will do the same for live performance, creating a
brand-new immersive experience that the world of entertainment has
never had."
Angel promises 75 illusions with 20 new effects in his new show. He
plans to tell his life story throughout the upcoming production, but
as he forms this entirely new show, his cast will be different.
Gone, especially, is the previous production's comedy elements.
Angel's onstage sidekick, Mateo "Maestro" Amieva, will not make the
move from Luxor. Amieva showcased his own "Action Man" one-man show at
The Space in May. Also ending their run with Angel in October are
comic great Penny Wiggins, or the dancer/magician Angel once promoted
as his co-star, Chloe Crawford. All of those artists, familiar at
Luxor, are seeking new frontiers after "Mindfreak Live" closes.
A tireless artist known for his work ethic and boundless ambition,
Angel reshaped the original "Believe," which opened to scathing
reviews in November 2008, by stripping the show of its Cirque elements
in favor grand acts he himself conceived. More favorable reviews, and
audience response, followed.
"Mindfreak Live," which opened further advanced Angel's vision of
magic-as-spectacle. That show reached back to Angel's highly rated
"Mindfreak" TV show, and he is again drawing from that series in his
stage production.
Crucial to Angel's move to Planet Hollywood is Caesars Entertainment's
ownership of Planet Hollywood Showroom. Caesars took over the venue
from Base Entertainment this year, and now has total control over the
productions staged there. Planet Hollywood Showroom has been a
difficult room in which to sell tickets (similar to many large-scale
showrooms in Las Vegas). The last residency production show to succeed
in the showroom was "Peepshow," which closed five years ago.
Caesars has also bought out the "Crazy Girls" producer Norbert Aleman
at the smaller Sin City Theater, across the mezzanine level from
Planet Hollywood Showroom. Consequently, by the time "Mindfreak"
opens, Caesars is expected to relocate Sin City Theater magicians
Murray Sawchuck and Xavier Mortimer (but not "Crazy Girls," which will
continue to run as scheduled).
This is to satisfy a non-compete clause in Angel's contract that
prohibits any other magician headliners in his host hotel. Angel
enacted the same provision during his 10 years at Luxor.
Angel is producing the show under his long-running Angel Productions
Worldwide Incorporated (APWI) company, which he established in 1989
with his father, John Sarantakos. Base Entertainent and Caesars
Entertainment are his as a production partners, billed as "presenters"
of "Mindfreak," working as investors and also as marketers.
"Criss Angel is one of the most innovative magicians in the world and
we're ecstatic to bring his brand-new show to Planet Hollywood," Base
Entertainment Chief Executive Officer Brian Becker said in a
statement. "This show will shock and charm audiences with Criss'
personal stories intertwined with revolutionary illusions and
extraordinary advances in the art and technology of magic on stage."
Said Caesars Entertainment President of Entertainment Jason Gastwirth:
"Planet Hollywood continues to be at the forefront of entertainment in
Las Vegas. Criss Angel's ground-breaking new show 'Mindfreak' is an
entirely new approach to magic and solidifies Planet Hollywood's
reputation as a premier destination for the absolute best in live
entertainment in Las Vegas."
Angel's former theater will itself undergo extensive renovations for a
new Cirque du Soleil show, which is reportedly centered on motocross
and BMX performances. The company will have closed the lid on magic at
the Luxor when "Mindfreak Live" loads out.
{ SOURCE: Las Vegas Review-Journal }
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Cirque Slips Certified TCPA Class Action for 2009 Faxes
{Aug.06.2018}
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It was an escape act worthy of Houdini, but it was brought to us by
the good folks at Cirque du Soleil.
In a case that underscores the extraordinary challenges facing callers
navigating TCPA issues, just last Thursday Circue du Soleil narrowly
escaped a certified TCPA class action involving faxes from way back in
2009!
In Practice Mgmt. Support Servs. v. Cirque Du Soleil, No. 14 C 2032,
2018 U.S. Dist. LEXIS 12963 (N.D. Ill. Aug. 2, 2018) the Plaintiff had
sued the Cirque folksknown for their high-flying acts and glamorous
Vegas shows for the most mundane of offenses: allegedly sending
unsolicited faxes back in 2009 advertising "Saltimbanco." Somewhat
remarkably, the case had actually been certified as a class action
back in March of this year. At that time the Court had determined that
the 2009 faxes were still actionable because a series of class actions
had challenged those same faxes dating back to the year they were sent
(yes, Cirque du Soleil has been quietly dealing with these suits for
nine years) meaning thatin the court's viewthe statute of
limitations on claims related to the faxes were tolled and the claims
could move forward. Yikes.
To understand why the court changes its mindspoiler alert: it did
you must first understand why the court originally held the case could
move forward in the first place. So the earlier ruling was based on
the old U.S. Supreme Court decision of American Pipe & Construction
Co. v. Utah, 414 U.S. 538, 554 (1974), holding that the claims of
class members are tolled during the pendency of a class action. The
notion being that class members have the right to rely on the filing
of the class action to protect their rights and need not file
individual claims until the class issues are resolved. Yes, this is a
complete fictionclass members by and large have no idea a class claim
has been filed included them but this is the flip side to the same
legal fiction that animates the one-way intervention doctrine on
display in Bad Reyes. So one takes the good with the bad I suppose,
but I also digress.
In Practice Mgmt., a special case of American Pipe tolling had been
applied. Remember Circue du Soleil has been pursued in a series of
class actions. And although American Pipe (probably) assures an
individual's claims are tolled while a class action is pending, the
circuit courts were split on the issue of whether successive class
actions with tolled claims were possible. The Seventh Circuit Court of
Appeal had permitted successive class tolling, however, which was the
law the Practice Mgmt. court was bound to follow the first time it
passed on the issue.
But look up there!some intervening Supreme Court precedent came to
the rescue. In June, 2018 just a few months after the case was
certifiedthe U.S. Supreme Court handed down China Agritech, Inc. v.
Resh, 138 S. Ct. 1800 (2018). That case resolved the successive class
action tolling question and helddirectlythat American Pipe tolling
only applies to individual claims not to class claims. So the Seventh
Circuit had it wrong!
Freed from the shackles of American Pipe the Practice Mgmt. court made
short work of Plaintiff's class claims. Although the named Plaintiff
may pursue his claims from 2009 based on the tolling created by the
series of lawsuits Cirque du Soleil has been facingthe court found
that the claims of the unnamed class members have evaporated before
the current lawsuit had ever been filed. Thus the class was
decertified and the ancient claims of class members regarding the
long-forgotten faxes were dismissed. Bravo!
The court also soundly rejected the efforts of Plaintiff's counsel to
evade China Agritech's holding, suggesting that putative class counsel
may have been abusing the system all along:
Allowing the same counsel to litigate three successive class actions
over nine years is exactly the abuse of tolling that China Agritech
seeks to prevent. Just like the third successive class action that the
Supreme Court found untimely in China Agritech, Practice Management's
class claims in this third successive action are untimely.
So while the court was required to hold its nose and allow the claim
to move forward previously, China Agritech gave it the power to
dismiss the claims outright. And that's just what it did.
Once again, therefore, TCPAland delivers an extremely interesting
result based upon an obscure body of procedural law proving, once
again, that TCPA class litigation is not for the green of horn or the
faint of heart like
say
this trapeze act.
{ SOURCE: The National Law Review }
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BAZZAR to debut with two Indian performers & Mallakhamb
{Aug.09.2018}
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Two Indians, quite a bit of mallakhamb, aerial hoops and suspension
acts are among the thrills you can expect at the India debut of Cirque
Du Soleil. The Canadian troupe that started with 14 street dancers in
1984 is bringing its large-than-life production values to Mumbai on
November 14, from where it will travel to Delhi, most likely in mid-
December.
Cirque Du Soleil (French for Circus of the Sun) is known for its
traveling big-top tents, its hit shows in Las Vegas, and its wild,
over-the-top acrobatics. Theyre expected to bring 25 containers full
of props and costumes, a cast and crew of 62 and a tent 19 metres high
and 41 metres in diameter to their debut at the MMRDA grounds in BKC.
The production, called Bazzar, follows a troupe (like Cirque) who have
come together from different backgrounds to develop a show and build
the sets, led by their Maestro. Theres a dramatic interlude between a
floating woman and the Maestro. Theres a hairceau act, featuring
acrobatics by a woman suspended by a metal loop embedded in her
topknot. And a sampling of the aerial-hoop, acrobats-flying-at-each-
other kinds of stunts that they are best known for.
For the first time ever, were introducing two Indian performers who
will display strength and technique through mallakhamb, says Marie
Helene Delage, director of creation for Bazzar. Weve created Bazzar
as a way to introduce Cirque to India, since wed been looking to tour
here for a while, adds Finn Taylor, senior vice president of Touring
Shows.
The show will accommodate about 1,500 in Mumbai. India is a
completely new market for us. Thats why we are working with local
partners to help us better understand the Indian ways and culture,
says Delage.
One of the two mallakhamb artists theyve roped in is 34-year-old
Santacruz resident Rajesh Mudki, who says he had been waiting for such
an opportunity for the longest time. He was given the freedom to
create his own character and will be introducing the audience to Mr
No, in a four-and-a-half-minute spiritual act that imparts positive
energy to other characters.
As international audiences have seen with Mystère (acrobats with a
pinch of Chaplin comedy), Michael Jackson ONE (a joyful homage to the
pop singer), and even Love (that plays homage to The Beatles), every
production could include anything from people being shot out of
cannons to Ferris wheels that spit fireworks.
{ SOURCE: Hindustan Times }
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Michael Jackson Diamond Celebration in Las Vegas!
{Aug.09.2018}
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Hosted by The Estate of Michael Jackson and Sony Music in honor of the
King of Pops very special birthday, guests are invited to DAYLIGHT
Beach Club following a performance of the critically acclaimed Michael
Jackson ONE show at Mandalay Bay. The venue will be filled with
experiential activations inspired by Michael Jacksons iconic short
films. Sway Calloway of Sway in the Morning will emcee the night
which will feature a surprise superstar performance, a guest DJ set by
Mark Ronson, house DJs and more.
WHERE:
Mandalay Bay Resort and Casino
3950 Las Vegas Blvd. South
Las Vegas, NV 89119
WHEN:
Wednesday, Aug. 29, Michael Jacksons Birthday
Michael Jackson Diamond Birthday Celebration, Red Carpet and superstar
performances at DAYLIGHT Beach Club at Mandalay Bay (Red carpet closes
at 10pm; party continues until 1am)
WHO:
o) PARIS JACKSON, Ambassador, The Elizabeth Taylor AIDS Foundation
o) PRINCE JACKSON
o) JACKIE JACKSON
o) MARLON JACKSON
o) TITO JACKSON
o) SWAY CALLOWAY, Sway in the Morning
o) DAVID ARQUETTE, Ambassador, The Elizabeth Taylor AIDS Foundation
o) MARK RONSON
o) GABRIELLE UNION
o) and MORE
With a hit Vegas show, a Broadway play in the works, a huge Drake
track on which Michael is the featured vocalist, a limited edition
sneaker from one of the worlds top luxury designers, a critically
acclaimed Michael Jackson-inspired exhibit at the National video
views, Michael Jackson is as hot as ever. We honor his excellence,
achievement and compassion with this birthday celebration.
Michael used his extraordinary popularity, influence, time, energy
money and heart to make the world a better place. For this years very
special Diamond Birthday Celebration, the Estate has decided to honor
Michaels well-known desire to help disadvantaged people around the
world by joining forces with The Elizabeth Taylor AIDS Foundation to
bring accessible and free health care to those living in southern
rural Malawi.
Paris Jackson and Prince Jackson will accept the 2018 Elizabeth Taylor
Legacy Award for Humanitarian Service awarded to their father Michael
Jackson posthumously. Elizabeth Taylor used to say, What is a genius?
What is a megastar? Michael Jackson, thats all!
{ SOURCE: Broadway World }
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LFW finale to give first glimpse of BAZZAR
{Aug.10.2018}
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Lakme Fashion Week Winter/Festive 2018s finale will be bigger this
time with Cirque du Soleil performing their never seen before act
Bazzar at the fashion extravaganza.
The theme of the finale this year is Shades of Diva and ace fashion
designer Monisha Jaisingh will be presenting her collection inspired
by the same.
Cirque du Soleil of course needs no introduction and its really
exciting to have them perform at the Lakme Absolute Grand Finale. Im
looking forward to the vibrant and stunning act from Bazzar which
will be performed at the finale, Monisha said in a statement.
Bazzar costume designer James Lovie said their act resonates well
with LFWs finale theme and they are looking forward to perform at the
gala.
As the history of Cirque du Soleil is rooted in street performance,
my inspiration for Cirque du Soleil Bazzar costume was coming from
the works of contemporary 20th century artistes, conceptual
architectural clothing, and street style. I am thrilled to share
Cirque du Soleil unicity with the Lakme Fashion Week audience, Lavoie
said.
Talking about the show, Ashwath Swaminathan, Head of Innovations,
Lakme said their aim has always been to give their audiences a new
experience and they are looking forward to Cirque du Soleils debut
act in India.
We have always aimed at making the Finale very special for it to
leave a mark in the minds of the audience. This season we are happy to
take this a notch up with Cirque du Soleil performing their beautiful
act which promises to enthrall the audience with their artistry whilst
resonating well with the seasons theme, he said.
Lakme Fashion Week Winter/Festive 2018 is scheduled to happen from
August 22 to 26.
{ SOURCE: The Week India }
***************************************************************
Q&A -- Quick Chats & Press Interviews
***************************************************************
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Discovery The Magic, Love, And Queerness Behind VOLTA
{Jul.25.2018}
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There is beauty in art and gymnastics.
From watching a man fly in the air while hanging from a lamp, to
watching bikers soar several feet above your head, or watching a woman
stand on the shoulders of a unicyclist. Every sight is stunning,
impressive, and little scary.
The circus is known for giving customers many of these daring feats
and bringing a smile to their faces. Even further, Cirque du Soleil
has become a world-renowned circus for doing all that and so much
more.
I recently had the pleasure of watching Cirque's newest show, titled
Volta, as it visited the Greater Philadelphia area.
The story centers around a young man named Waz who joins a game show.
Being disgusted with himself and what makes him different, Waz joins
the show in search of fame and acceptance. That contest then starts
him on a journey of self-discovery, self-acceptance, and true freedom.
As if that message wasn't relevant to Instinct alone, it seems there's
also a fun and capable group of LGBTQ people who work behind the
scenes.
I was honored with the opportunity to interview two gay couples who
work full-time within the touring company about circus life, love
behind the curtain, and spreading joy while walking around the world.
"When the show first starts, sometimes it's hard to see, 'What is this
show going to be?' But it was definitely exciting, especially for
Volta, because the concept is so different from a lot of Cirque shows
that has gone before it. It's very fresh," said Ariel Layug, the
Kitchen Manager working for Volta.
Volta currently hires about a hundred and twenty-six people full-time
to tour around with the performance. As a member of the kitchen staff,
Layug has to feed all of them.
"It was also just nice to have a different group of people. This show
is a bit younger, so they have a different mentality," he added.
It's that different mentality that's found all the way to the heart of
the show. With Volta's message of finding freedom and self-acceptance
seeping its way to the audience and the staff. This is something that
Customer Service Team Leader Francisco Nava Gomez recognizes in both
the show and himself.
"Coming from a Hispanic culture and background, I felt like I was
trapped throughout my whole teenage years and all that. I wasn't being
myself," Gomez noted. "After I started joining the circus, I started
realizing who I am. What I like about this show, it's telling you it's
ok to be yourself. I think that's what my whole career has been with
the show and the company itself. I realized who I am and it's ok to be
who I am."
Both Layug and Gomez were the first in their respective couples to
join the circus life and Cirque du Soleil. For Gomez, it was due to
the need for a job while in college, which led to a lifetime career.
As for Layug, it was a fortuitous opportunity that sprung out of
befriending a few Cirque employees.
"All of a sudden, I think, two of their chefs quit at the same time,"
he told me. "And they said, 'Hey, you should apply,' and I thought,
'You know what? Could be interesting.'"
As for the other halves of these two relationships, Layug's husband,
VIP Experience Team Lead Edonn Lerias, joined Cirque after meeting
Layug through a mutual friend. As things got more serious between the
two, Lerias decided to travel with Layug and eventually transitioned
from his hotel job to the circus life.
As for Gomez's boyfriend Joseph Swearingen, who's the assistant head
usher, he joined shortly after graduating college and now says he
can't imagine leaving.
"It was really lovely to see the environment because it's literally
just bringing people joy," he explained. "That's your whole job, make
sure they have a good experience. I really enjoy it
So, I just kept
doing it and it's become something that I don't see myself ever
leaving. It's become such a part of my life now."
Social interaction is very important to each man's job within Cirque
du Soleil. Gomez, Swearingen, and Lerias all have jobs that involve
customer service and hospitality. Each one makes it their mission to
get engaged with the customers and bring smiles to their faces.
"And that's one of the things I like about this job. Yes, I have
office work where I'm sitting at a desk, but I also have a chance to
walk around. Talk to guests, talk to our cirquedors (part-time/local
workers), and then just engage," said Gomez before later adding,
"After a while, it doesn't become a job, it just becomes a place that
you're at, and you're trying to make someone happy."
Swearingen agreed and added, "A lot of them come here and they're
lost, or they're maybe not having the best day, or they're frustrated,
or they've dealt with a lot, or it's hot outside. But, when they leave
it's like, you see all of that vanish and you see this transformation
of finding happiness and finding relaxation and peace, and that
transformation's real. It's lovely to see it."
As for Lerias, who works over at the VIP Lounge, he surmises that his
job is much like the hotel work he used to do back in his hometown of
San Francisco.
"Hospitality. Hotels. It's similar to that, except they're not
spending the night here," he laughed.
As for the VIP Experience, customers get a lot with the increased
price point. From premium seats, to an open bar, to a menu of hors
d'oeuvres and desserts, to a VIP suite with private bathrooms, and a
gift bag.
Meanwhile, Layug works in the kitchen. Though, his work is still
fairly social thanks to the need for staying in touch with the wants
and needs of the performers and staff.
As he explained: "We only cater for cast and crew. In a way, they are
my VIPs. When you're traveling with the show, you don't have a house
where you have a pantry with stuff to cook for yourself. You don't
have your favorite restaurant, your favorite café. And so, we have to
provide a lot of that."
He then added: "This is our family home, so a part of that also
includes wanting to feel like you're at home. Wanting your mom's
Bolognese, or lasagna, or pizza, Nutella, or whatever it is. There's
somethings that sometimes seem not very significant, but it's really
significant for people. So, we try to provide them as much of that as
possible. Because, people have a lot to worry about. They have a show
that they can put all their effort in. They shouldn't have to worry
about, 'Where's my next meal coming from?'"
As Layug touched on, touring with Cirque du Soleil means spending a
lot of time away from your "home." Thankfully for these couples, they
have someone that they can spend that time with.
"It was a lot of adjustment, because living in San Francisco, I only
traveled for maybe two weeks at a time," Lerias explained, "Since
you're going to be gone and staying in every city for two months, you
have to pack accordingly. You're basically living off the suitcase."
"Luckily, we're the same size," he later joked with Layug sitting
beside him. "So it doubles the size of our wardrobe."
As for Francisco Nava Gomez and Joseph Swearingen, they're thankful to
have a confidant and companion through it all.
"There are some times we do get stressed. One thing that helps is
having him around," said Gomez. "You have someone to vent to, if there
is something stressful going on. Someone that you can get feedback
from. Yes, it's biased, but also helps you clarify things that are
happening."
The couple also have someone that they can walk around the world with
and enjoy the many cities in which they visit.
"One of the great things about this job too is we do have Monday's
off, but also sometimes we don't start until fairly late in the day
during the week," Swearingen explained. "So, we have a good amount of
the morning to explore as well. So even during the week, we can spend
a nice morning just walking around here and to the trails. Things like
that. We're planning on camping and hiking some of the local trails."
Between the found family embedded in the touring circus and the love
shared between each couple, it seems that Cirque du Soleil's company
is living out the message shared in Volta. Coming full circle, the
circus life and that message has then inspired the couples.
"I actually came out on tour," shared Gomez. "I was in another show, I
realized, 'Ok, I know who I am. I'm hiding it from everyone, but you
know what? I see everyone around here. Everybody is free. Nobody cares
if you're gay, bi, or straight, or anything. Black, white. We're a
family and everybody cares about you."
As for Layug and Lerias, they too were inspired by the circus and how
it has reflected on their earlier lives.
"The journey that the show takes is a little bit relatable to me,"
Layug said. "I was born in the Philippines and I grew up until my mid-
teens in there. And it's still a very conservative mentality about
homosexuality. I used to hide it. I used to be ashamed of it. And then
I moved to Australia
I had to go through a very similar journey of,
'What does it mean to just accept yourself? No matter what color you
have? What sexuality you have? Where you come from? What status in
life you have?' So, for me at least, that's how I relate to the show."
Edonn Lerias added that his San Francisco life was a stark contrast to
the childhood of his husband. He even remembered how he bought his
first gay magazine, Instinct Magazine, when he was a teenager.
"What he thought of the culture of the Philippines and how he grew up
in Australia, I took those all for granted," Lerias remarked, "I never
thought about it until I met him. That other people do live like that.
Where they have to suppress certain things."
With that in mind, it's important to celebrate self-acceptance and the
freedom to be you. Each one of these men expressed to me that everyone
has the right to be free and to live their best and truest lives.
If you need a little reminder to do so, and if you want to see a
fantastic show, check out Cirque du Soleil's Volta whenever it comes
to a city near you.
But most importantly, make sure to live out your lives as freely as
Volta, Francisco Nava Gomez, Joseph Swearingen, Ariel Layug, and Edonn
Lerias are urging you to do.
"There's a lot of message, from our show, that lets people know that
even in some rural part of the United States where you're feeling like
you don't belong," expressed Lerias, "Its ok for you to find your
free."
{ SOURCE: Instinct Magazine }
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David Resnick: 'I like to feel a little fear'
{Aug.02.2018}
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The Cirque du Soleil circus troupe - which will return to Charlotte
next week, for the first time in five years - has long been known for
its gravity-defying acrobatics and daredevil stunts.
And as you're watching, you may wonder (especially knowing that Cirque
acrobat Yann Arnaud died following a fall during a March performance
of "Volta" in Tampa): Do the performers have any fear?
"In some shows where you do the same act and it becomes very routine,
you can get complacent," says competitive gymnast-turned-Cirque
performer David Resnick. "I like to feel a little fear before I go out
because it keeps you focused. I haven't had a show in 'Corteo' where I
haven't had a fear before I go out. We all know to trust our gut and
if we need more training, but there's something about doing it live.
It's the fear I've had my whole life as a gymnast."
The Canadian theatrical group's latest arena production - "Corteo,"
which is derived from the Italian word "cortege" and described as "a
festive parade imagined by a clown" - will be performed seven times at
uptown's Spectrum Center between Wednesday and the following Sunday.
Originally conceived as a big-top show, it was altered to fit arenas
in 2017, adding a suspended pole and hula hoop to its baroque bouncing
beds, teeter boards, floating chandeliers and tournik (which marries
horizontal bars and circus arts). Directed by Daniele Finzi Pasca,
"Corteo" premiered in Montreal in April 2005 and became a tour that
has been visited 64 cities in 19 countries.
Resnick - who joined Cirque du Soleil in 2012 after performing on
cruise ships and in shows in Nevada - is just one of the 51 acrobats,
musicians, singers and actors in its international cast.
After spending years performing while wearing ornate costume and
makeup with Cirque's "Totem" show, Resnick now plays someone closer to
himself on stage.
"I was shy (early on), he says. "When I was a monkey, frog or Crystal
Man, it was a character to play. When it's just you and your self-
confidence, I felt like I was weak. The opportunity to do something
new and progress is why I made the change."
"You need to keep progressing and pushing."
His challenge of late has been maintaining his professional focus
despite personal tragedy: He recently took some time off from
performing while coping with the loss of a close personal friend.
But coming back, Resnick says, has been cathartic, and he adds that
"Corteo's" story - which sees a clown named Mauro picturing his own
funeral taking place in a carnival atmosphere, watched over by quietly
caring angels - is even more relatable than ever.
"It's a procession of his life in the old-school, gypsy circus, with
his brothers and lovers and the different people he'd been out (on the
road) with," Resnick says. "When Mauro rides away at the end of the
show, he's riding off into heaven. I'd never cried on stage before,
but in that moment, I was crying in front of the crowd trying not to
let the mascara run down my face."
That human quality in "Corteo," he says, is what sets it apart from
other shows.
"It touches your heart. It's the only show where we get to be
ourselves on stage," Resnick says. "We have guidelines - I'm a young
boy and a gentleman - but you're allowed to express how you're feeling
on stage."
{ SOURCE: Charlotte Observer }
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Show Reel of the Week: Alanna Baker
{Aug.04.2018}
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Q. Give us your elevator pitch of who you are, what you do and what
your skill set is?
My name is Alanna Baker, I'm an energetic, fun and lively woman, who's
focused, determined, motivated and goal driven. I'm an acrobat and
gymnast who used to compete for Great Britain and I'm now currently
working for Cirque du Soleil's touring show OVO as an acrobatic
character, with a back up aerial act. Since being with Cirque du
Soleil I've had the chance to grow and develop my range of skills as
an artist, which include: Acrobatic gymnastics, Cerceau/Aerial
hoop/Lyra, Cordelisse/Rope, Character work, and Climbing wall.
Q. What is your ideal role?
I'd love to be a character with a solo act. I love to be on stage and
I love the adrenaline I get from performing my solo act. Put them both
together and I'll be pushing boundaries every day!
Q. Name your top 5 credits?
Acrobatic gymnastics, WP Senior European champion 2011
Acrobatic gymnastics, WP Senior Bronze world medalist 2012
Became a WBFF bikini fitness pro in 2017
Been in Cirque du Soleil for over 5 years
Q. What should TheatreArtLife readers know about you?
I started out in Cirque as a troupe act, in acrobatics gymnastics,
where my background is from. I then started to learn the acrobatic
character role, then transitioning over. I then set myself another
goal of a solo act and ended up being given the back up act for that
too a couple of years down the line. As well as a circus artist I'm a
competing bikini fitness girl.
Q. Where do you find inspiration?
From within and those around me. I surround myself with like-minded
individuals which allows us to feed off each other.
Q. What motivates you to continue performing/creating?
To me as an artist you should never stop growing. When things start to
become boring then you've stopped becoming an artist. You should be
feeling uncomfortable every day and pushing those boundaries always
aiming for new heights. Creating something new, something different,
something unique. Creating yourself as an artist!
Q. How do we follow you on social media and contact you?
Instagram - https://www.instagram.com/alannabaker/
Facebook - https://www.facebook.com/alannabaker.92
{ SOURCE: TheaterArtLife }
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Meet BAZZARs Rajesh Mudki Mallakhamb Artist
{Aug.05.2018}
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Rajesh Mudki, a Mallakhamb champion from Santacruz, is the only Indian
in Cirque du Soleils new show Bazzar, which will premiere in Mumbai
in November.
Rajesh Mudki folds and unfolds his body like a piece of origami.
Defying gravity, Mudki, supported only by his feet, extends
horizontally like a flag from an eightfoot wooden pole; or bends his
body into an L-shape, around the pole; or stands tall, like a ships
lookout, again supported only by his feet. He even hangs upside down,
arms spread out like a soaring eagle.
What Mudki is demonstrating are different Mallakhamb positions. For
those who dont know, Mallakhamb is a mix of wrestling and yoga moves
performed on a standing wooden pole, a hanging wooden pole, or on
hanging ropes. It requires core strength, flexibility, power, agility,
full body co-ordination and creativity. The discipline originated in
Maharashtra. The first mention of it dates back to the 12th century,
and it was revived in the 19th century by Balambhattadada Deodhar, the
teacher of Peshwa Bajirao II. The pole is supposed to represent the
opponent. The exercises we do are completely different from
gymnastics on other apparatus because they are wrestling moves, Mudki
says.
When Canadian entertainment company Cirque du Soleil, the worlds
largest theatrical producer, premieres its latest creation, Bazzar, in
Mumbai in November, Mudki will be performing a four-hand-a-half minute
Mallakhamb routine. He is the only Indian in the show and he has
waited 12 years for this opportunity.
You work so hard to achieve your goal and then one day all of a
sudden .., he says. Cirque du Soleil is such a big company. For me,
I just wanted to work with them and get that experience.
An aerial choreographer and Mallakhamb evangelist, Mudki first applied
to Cirque du Soleil in 2006. Hed seen videos of their performances
while researching aerial choreography routines on YouTube. The company
responded, but only to say they had never heard of Mallakhamb. Still,
they said they would keep him in mind. But after four years of
waiting, Mudki figured they didnt need him. He focused on building
his choreography career, working on movies such as Dhoom 3, and
musicals such as Disneys Beauty and the Beast. He also cofounded
Mallakhamb India, a website that promotes the discipline. Then, last
November, while he was performing in a show in London called La
Soiree, the email he had given up on, unexpectedly arrived. Cirque du
Soleil was looking for Mudki and his fellow Mallakhamb exponent,
Rajesh Amrale. The Cirque du Soleil routine was supposed to include
both Mudki and Amrale, but a week after they joined the company in
Montreal in June, tests showed that Amrale had a torn ligament in his
right knee that would take eight to 10 months to heal, so he was sent
back to Mumbai.
Mirror met Mudki last Saturday evening at the Sane Guruji Vidhya
Mandir in Santacruz, where he trains and teaches Mallakhamb. He is
back in India after rehearsing in Montreal. Wearing a sleeveless t-
shirt and shorts, he looks younger than his 34 years and sports a
well-groomed beard. His body has the chiselled look of a professional
swimmer, or a wrestler, but he has never used weights. Mallakhamb is
like an [exercise] equipment. What you do on Mallakhamb is enough to
build your muscles, he says.
The pole is made of Sheesham wood and is also called Mallakhamb.
Castor oil is used, either on the pole or the gymnasts body, to
reduce friction on the skin and as a disinfectant. That evening, a
group of roughly 20 children were being put through their gymnastics
paces in a rectangular hall. The sound of feet hitting mat
reverberated through the air.
Mudki, who grew up in a chawl in Santacruz, was introduced to
Mallakhamb as an eight-year-old by Yashwant Satam, a coach who is also
one of the co-founders of Mallakhamb India. Slowly, slowly I started
feeling more interested in Mallakhamb. I started going for
competitions, started winning medals, Mudki says. In 2006, having
won a number of state and national competitions through the years, he
was awarded the Shiv Chhatrapati Award, Maharashtras highest sporting
honour.
With nothing left to achieve competitively, Mudki chose to focus on
promoting Mallakhamb both within and outside the country, as few knew
anything about the discipline that is, as he puts it, an authentic
Indian sport. That time, even the [National] Federation and [State]
association were struggling to make it popular, to attract students
and get more states to participate in Mallakhamb championships. he
says.
So a small group of Mallakhamb performers in Mumbai got together and
came up with the idea of creating a website. That was the beginning of
Mallakhamb India, and they soon began receiving emails from production
houses and festivals asking for more information. Back then, we
didnt know about the entertainment side and the artists life. We
started giving them answers and they started inviting us [to
perform].
Their big break came in 2009 when Mudki and Amrale competed in a
reality TV competiton. Mudki chose the rope version of Mallakhamb
while Amrale chose the pole. We went separately so if one of us got
eliminated, the other could still go ahead, Mudki says. He reached
the semi-final while Amrale went all the way to the final. It was a
kind of fame for us. All of a sudden, so many people started asking us
to perform. Thats where the journey started, actually.
The reality TV show led to their first performance outside the country
in Germany. It was called Franko Dragones India Circus Tour, and was
directed by Franco Dragone, who was a Cirque du Soleil director from
1985 to 1998. Various members of Mallakhamb India have since travelled
across the world, from Australia, where they performed for the 2018
Commonwealth Games, to Georgia, where they competed in Georgias Got
Talent.
In 2010, an unexpected email led to his appearing on the Ellen
Degeneres Show in the United States. I didnt know about Ellen
Degeneres. I thought it was spam and thought let me not reply or my
account will be hacked, he says with a full-bodied laugh. A few days
later, he was talking to his friend Sharanya and mentioned the email.
She was like, What did you say? Are you kidding? You got an email
from Ellen Degeneres! When he asked her who or what Ellen Degeneres
was, Sharanya told him she hosted one of the biggest TV talk shows in
America and that he should reply to her right now. So he did. And
they wound up flying him to the United States for a one-day
performance.
Cirque du Soleil represents the crowning moment of his artistic
career. His contract with them lasts until December 31, 2019, but if
the show is a hit, it could be extended. He claims he has already
learned a lot about putting on a big production, from the use of
technology to creating characters to safety. They do everything
possible so that you are comfortable performing, he says.
Mudki says he was encouraged to create his own persona for Bazzar. He
was given a few acting classes to help understand how to think about
his character on stage. Mudki spent about a month mulling over the
kind of image he wanted to project. When I started practicing
everyone, including the director, used to say that it is so spiritual,
it is so pure. And I thought, what I can be that gives that spiritual
energy to the show?
He came up with the character of Mr No, a spiritual being who balances
the energy in the show. So for four-and-a-half minutes, what I am
doing is showing my strength as a powerful individual on stage, which
gives a spiritual power to all the other characters so they can go
through their journeys. He quickly adds, You have to see the show to
understand it fully.
Mudki makes it clear that he could not have accomplished so much
without the support of everyone in Mallakhamb India. And as someone
devoted to spreading the gospel of Mallakhamb, he is aware of the
responsibility of representing it on an international platform,
especially since he will be sharing the stage with a dozen other
disciplines.
Bazzar had a soft launch in Montreal, and Mudki says his performances
were well received, with audience members coming up to him after the
show to ask questions about Mallakhamb. Honestly, they loved it. I am
just waiting to see how India and Indians respond to my act, he says.
I am little nervous.
{ SOURCE: Mumbai Mirror, India Times }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia, Totem & Volta}
o) ARENA - In Stadium-like venues
{TORUK, OVO, Séptimo Día, Crystal & Corteo}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE & JOYA}
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
------------------------------------
Alegria-25th Anniversary:
Montreal, QC -- Apr 18, 2019 to Jul 21, 2019
Gatineau, QC -- Jul 31, 2019 to Sep 1, 2019
Toronto, ON -- Sep 12, 2019 to Dec 1, 2019
Amaluna:
Lima, PE -- Jul 22, 2018 to Aug 12, 2018
Quito, EC -- Sep 6, 2018 to Sep 23, 2018
Bogota, CO -- Oct 26, 2018 to Dec 16, 2018
Bazzar:
Mumbai, IN -- Nov 14, 2018 to TBA
New Dehli, IN -- TBA
Koozå:
Changsha, CN -- Jun 29, 2018 to Aug 19, 2018
Seoul, SK -- Nov 3, 2018 to Dec 30, 2018
Kurios:
Osaka, JP -- Jul 26, 2018 to Oct 29, 2018
Nagoya, JP -- Nov 22, 2018 to Jan 27, 2019
Fukuoka, JP -- Feb 15, 2019 to Mar 31, 2019
Sendai, JP -- Apr 19, 2019 to May 29, 2019
Luzia:
Boston, MA -- Jun 27, 2018 to Aug 12, 2018
Guadalajara, MX -- Aug 30, 2018 to Sep 16, 2018
Monterrey, MX -- Oct 4, 2018 to Oct 21, 2018
Mexico City, MX -- Nov 8, 2018 to Dec 23, 2018
Houston, TX -- Jan/Feb 2019
Orlando, FL (WDW) -- Mar/Apr 2019
Totem:
Alicante, ES -- Jul 20, 2018 to Aug 19, 2018
Zurich, CH -- Sep 5, 2018 to Oct 14, 2018
Paris, FR -- Oct 25, 2018 to Dec 2, 2018
London, UK -- Jan 12, 2019 to Feb 9, 2019
Vienna, AT -- Mar 9, 2019 to Apr 7, 2019
VOLTA:
Oaks, PA -- Jul 12, 2018 to Aug 19, 2018
Seattle, WA -- Sep 7, 2018 to Nov 4, 2018
San Francisco, CA -- Nov 15, 2018 to Jan 6, 2019
San Jose, CA -- Feb 13, 2019 to Mar 17, 2019
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
TORUK - The First Flight:
Beijing, CN -- Aug 1, 2018 to Aug 12, 2018
Shanghai, CN -- Aug 16, 2018 to Aug 26, 2018
Rotterdam, NL -- Oct 11, 2018 to Oct 14, 2018
Oberhausen, DE -- Oct 17, 2018 to Oct 21, 2018
Cologne, DE -- Oct 25, 2018 to Oct 28, 2018
Hamburg, DE -- Oct 31, 2018 to Nov 4, 2018
Berlin, DE -- Nov 7, 2018 to Nov 11, 2018
Turin, IT -- Nov 15, 2018 to Nov 18, 2018
Bologna, IT -- Nov 22, 2018 to Nov 25, 2018
Frankfurt, DE -- Nov 30, 2018
Zagreb, HR -- Dec 7, 2018 to Dec 9, 2018
Barcelona, ES -- Jan 18, 2018 to Jan 27, 2018
Madrid, ES -- Jan 30, 2018 to Feb 3, 2018
Pamplona, ES -- Feb 6, 2019 to Feb 10, 2019
Milan, IT -- Feb 14, 2019 to Feb 19, 2019
Antwerp, BE -- Mar 14, 2019 to Mar 17, 2019
Vilnius, LT -- May 22, 2019 to May 26, 2019
Prague, CZ -- May 31, 2018 to Jun 2, 2019
Munich, DE -- Jun 5, 2019 to Jun 9, 2019
OVO:
Liverpool, UK -- Aug 16, 2018 to Aug 19, 2018
Sheffield, UK -- Aug 22, 2018 to Aug 26, 2018
Newcastle, UK -- Aug 29, 2018 to Sep 2, 2018
Glasgow, UK -- Sep 5, 2018 to Sep 9, 2018
Nottingham, UK -- Sep 12, 2018 to Sep 16, 2018
Leeds, UK -- Sep 19, 2018 to Sep 23, 2018
Manchester, UK -- Sep 26, 2018 to Sep 30, 2018
Birmingham, UK -- Oct 3, 2018 to Oct 7, 2018
Dublin, IE -- Oct 10, 2018 to Oct 14, 2018
Belfast, IE -- Oct 17, 2018 to Oct 21, 2018
Lille, FR -- Nov 8, 2018 to Nov 11, 2018
Bordeaux, FR -- Nov 14, 2018 to Nov 18, 2018
Toulouse, FR -- Nov 21, 2018 to Nov 25, 2018
Montpellier, FR -- Nov 28, 2018 to Dec 2, 2018
Strasbourg, FR -- Dec 5, 2018 to Dec 9, 2018
Nantes, FR -- Dec 12, 2018 to Dec 16, 2018
A Coruna, ES -- Dec 21, 2018 to Dec 30, 2018
Murica, ES -- Jan 16, 2019 to Jan 20, 2019
SÉPTIMO DÍA - NO DESCANSARÉ:
Mar del Plata, AR -- Aug 3, 2018 to Aug 10, 2018
Rosario, AR -- Aug 17, 2018 to Aug 19, 2018
Buenos Aires, AR -- Aug 31, 2018 to Sep 9, 2018 (FIN)
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Orlando, FL -- Aug 1, 2018 to Aug 5, 2018
Greenville, SC -- Aug 8, 2018 to Aug 12, 2018
Raleigh, NC -- Aug 15, 2018 to Aug 19, 2018
Greensboro, NC -- Aug 22, 2018 to Aug 26, 2018
Hershey, PA -- Aug 29, 2018 to Sep 2, 2018
Sioux Falls, SD -- Sep 20, 2018 to Sep 23, 2018
Grand Forks, ND -- Sep 26, 2018 to Sep 30, 2018
Winnipeg, MB -- Oct 3, 2018 to Oct 7, 2018
Green Bay, WI -- Oct 11, 2018 to Oct 14, 2018
Des Moines, IA -- Oct 17, 2018 to Oct 21, 2018
Wichita, KS -- Oct 24, 2018 to Oct 28, 2018
Oklahoma City, OK -- Oct 31, 2018 to Nov 4, 2018
Tulsa, OK -- Nov 7, 2018 to Nov 11, 2018
Norfolk, VA -- Nov 29, 2018 to Dec 2, 2018
Cincinnati, OH -- Dec 27, 2018 to Dec 30, 2018
CORTEO:
Jacksonville, FL -- Aug 1, 2018 to Aug 5, 2018
Charlotte, NC -- Aug 8, 2018 to Aug 12, 2018
Louisville, KY -- Aug 15, 2018 to Aug 19, 2018
Indianapolis, IN -- Aug 22, 2018 to Aug 26, 2018
Duluth, GA -- Aug 29, 2018 to Sep 2, 2018
Fresno, CA -- Sep 20, 2018 to Sep 23, 2018
West Valley City, UT -- Sep 27, 2018 to Sep 30, 2018
Victoria, BC -- Oct 4, 2018 to Oct 7, 2018
Vancouver, BC -- Oct 10, 2018 to Oct 14, 2018
Kelowna, BC -- Oct 17, 2018 to Oct 21, 2018
Kamloops, BC -- Oct 24, 2018 to Oct 28, 2018
Lethbridge, AB -- Oct 31, 2018 to Nov 4, 2018
Minneapolis, MN -- Nov 8, 2018 to Nov 11, 2018
Cleveland, OH -- Nov 15, 2018 to Nov 18, 2018
Quebec City, QC -- Dec 6, 2018 to Dec 9, 2018
Toronto, ON -- Dec 12, 2018 to Dec 16, 2018
Montreal, QC -- Dec 19, 2018 to Dec 30, 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
Extra Performance Dates:
o Mon, Dec 31, 2018 | 4:30 p.m. & 7:00 p.m.
Single Show Dates (7:00pm Only):
o Monday, Nov. 26, 2018
o Thursday, Nov. 29, 2018
2018 Dark Dates:
o Saturday, Sep 29, 2018
o October 27 - 31, 2018
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 9:30pm
Special Performance Dates:
o Tue, Oct 09 - 7:00pm & 9:30pm
o Tue, Dec 11 - 9:30pm only
o Mon, Dec 31 - 4:00pm & 6:30pm
2018 Dark Dates:
o August 6 - 14
o September 16
o November 26 - December 11
o December 27
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: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
2018 Dark Dates:
o August 14 18
o September 15
o October 20
o December 4 8, 11 15
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Thursday through Monday - Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
2018 Dark Dates:
o August 20 28
o October 22 -25
o November 5 - 7
o December 11 - 13
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
---------------------------------------------------
*) ALEGRIA REUNION SERIES
Alegría has brought laughter and wonder to over 14 million spectators
in more than 255 cities across the globe from 1994 to 2013. Beloved
by fans around the world, the iconic Alegría is coming back on tour
in the Big Top. Meet some of the show's previous artists to share
their timeless stories. TUNE IN WEEKLY to learn more about each of
their experiences touring with Alegría.
o) EPISODE 1 - Elena Lev {Aug.03}
Meet Elena Lev as she explains her journey on #Alegria. She was
a Hula Hoops Artist on the show from 1994 to 2001.
LINK /// < https://youtu.be/v5-JsnoJsUg >
*) MUSIC VIDEO w/LYRICS
o) Alegría - "Vai Vedrai" {Jul.03}
Vai
Vai bambino vai vedrai
Vai
Vai piccino vai vedrai vai
Vedrai
Dove mancha la fortuna
Non si va piu con il cuore
Ma coi piedi sulla luna oh mio fanciullo
Vedrai
Vai vedrai che un sorriso
Nasconde spesso un gran dolore
Vai vedrai, follia dell uomo
Follia
Del uomo senza driturra vai
Follia
Dei guerrieri senza paura vai
Follia
Dell bambino pien di vita
che giocando al paradiso
Dall soldato fu ucciso mio fanciullo
Lovai
Vai vedrai che un sorriso
Nasconde spesso un gran dolore
Vai vedrai follia dell uomo
Follia
Vai vedrai che un sorriso
Nasconde spesso un gran dolore
Vai vedrai follia dell uomo
Lovai
Vai vedrai che un sorriso
Nasconde spesso un gran dolore
Vai vedrai follia dell uomo
Vai
Vai bambino vai vedrai
Vai
Vai piccino vai vedrai vai
Vedrai
Dove mancha la fortuna
Non si va piu con il cuore
Ma coi piedi sulla luna oh mio fanciullo
Vedrai
Vai vedrai che un sorriso
Nasconde spesso un gran dolore
Vai vedrai, follia dell uomo
LINK /// < https://youtu.be/SSYlGMgGZgw >
o) 'O' - "Gamelan" {Jul.10}
Massayah yontala
Masséyah yo-onta-ala
(x 3)
Massayah yontala
Masséyah yo-onta-ala bé
Sobéya tonya kotonya lé
Sobéya sobéya lé
Kobara ma na tou mala
Ah a na nindé é
Sobéya tonya kotonya lé
Sobéya sobéya lé
Tou mala tounya anani dé
Ko-bé-na tirma né
Tounya
Sobéya tonya kotonya lé
Sobéya sobéya lé
Kobara ma na tou mala
Ah a na nindé é
Massayah yontala
Masséyah yo-onta-ala
Massayah yontala
Masséyah yo-onta-ala bé
Massayah yontala
Masséyah yo-onta-ala
Sobé koda doncé
Komé glonima ya koudo to na
Sobé koda doncé
Komé glonima sou ké, a ko lé
Sobé koda doncé
Komé souégo doya nimon to na
Sobé koda doncé
Komé glonima ya né- djah
Massayah yontala
Masséyah yo-onta-ala bé
Massayah yontala
Masséyah yo-onta-ala
Sobé koda doncé
Komé glonima ya koudo to na
Sobé koda doncé
Komé glonima sou ké, a ko lé
Sobé koda doncé
Komé souégo doya nimon to na
Sobé koda doncé
Komé glonima ya né- djah
(bis)
LINK /// < https://youtu.be/leDgBH2zc70 >
o) KOOZA - "Hum Jaisa Na Dekha" {Jul.24}
Hum nay kaha kay dil behelaane ka
Ek hi tareeka... haan
Zindagi say hkelenge... hum haan
Muskuraake hum
Mudkay bhi naa dekhenge
Man main aag
Hum jaisa tum nay na dekha
Tootay naa
Baazuon main katilay dum
Tootay naa
Badalon ko choo lain hum
Aasman ko pi lay hum
Baazuon main katilay dum
Tootay na
Tootay na
Baazuon main katilay dum
Tootay na
Tootay na
Hum jaisa na dekha
Tootay na
Hum jaisa
Hum jaisa na dekha
Tootay na
Hum jaisa na dekha
Tootay na
Hum jaisa
Hum jaisa na dekha
LINK /// < https://youtu.be/59l-nYoNgvc >
o) Amaluna - "Burn Me Up" {Jul.31}
I'm not a liar
A dirty liar
I'm not a liar
I'm your desire
I'm gonna burn you up
I'm gonna drive you down
If you're a liar
A better liar
If you're a liar
You are the fire
You're gonna burn me up
You're gonna drive me down
You're gonna burn me up
You're gonna drive me down
You're gonna burn me up
You're gonna drive me down
I'm not a liar
A dirty liar
I'm not a liar
I'm your desire
I'm not a liar
A dirty liar
I'm not a liar
I'm your desire
If you're a liar
A better liar
You're just a player
You are the fire
You're gonna burn me up
You're gonna drive me down
You're gonna burn me up
You're gonna drive me down
We are the fire
We are the fire
LINK /// < https://youtu.be/R8Yay0MHJqM >
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
*) CIRQUECAST is BACK for SEASON TWO!
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 new
addition Max Olson, as we bring you a behind-the-scenes look
into Cirque du Soleil, complete with discussions and the latest
Cirque news.
o) SEASON 2 EPISODE 4 - ALEGRIA, PARAMOUR & BAZZAR Discussion
July 29, 2018
In with the old, in with the new! On this episode of
CirqueCast, we discuss the return of ALEGRIA and PARAMOUR,
as well as the newest Cirque du Soleil show BAZZAR! Also,
don't miss the possible name of the Cirque du Soleil show
replacing Criss Angel Mindfreak Live at the Luxor Hotel and
Casino in Las Vegas!
LINK /// < https://youtu.be/7zryTq24owY >
*) OTHER CIRQUE VIDEOS
o) NEW Official 2018 Trailers:
LOVE: < https://youtu.be/hIJZAfyRlD4 >
LUZIA: < https://youtu.be/qQeqrig6Z5E>
KA: < https://youtu.be/8mQDPffWmSA >
KURIOS: < https://youtu.be/YVEW7JI3aJw >
ZUMANITY: < https://youtu.be/5MOEhAfmId8 >
O: < https://youtu.be/VMdhydd01QY >
o) Luzia Artists show off their Soccer skills
LINK /// <https://youtu.be/WL_Jtql7YuY >
o) TOTEM Music Video: "Terre-Mère"
LINK /// < https://youtu.be/U_rEkJ1mmJg >
o) Ask Cirque about A Choreographers' Showcase!
LINK /// < https://youtu.be/EFvToa9tZkU >
o) BAZZAR Big Top Raising Time Lapse
LINK /// < https://youtu.be/ZReI47o2l0s >
o) What Happens When VOLTA Meets the Honeybees in NY?
LINK /// < https://youtu.be/OrMDcP7Nc6A >
o) MAC Influencers MAKEUP Meetup Challenge at Cirque HQ
LINK /// < https://youtu.be/YJbJhpj9y4s >
o) LUZIA Music Video: "Los Mosquitos"
LINK /// < https://youtu.be/GvOBoixDChQ >
o) Cyr Wheel in La Nouba
LINK /// < https://youtu.be/T9UQtkB2dE0 >
o) CORTEO: Exploring Nashville
LINK /// < https://www.facebook.com/Corteo/videos/10155581496806179/ >
o) OVO: in Sochi
LINK /// < https://www.facebook.com/OVO/videos/10156822268264614/ >
o) OVO: in Sochi
LINK /// < https://www.facebook.com/OVO/videos/10156838613244614/ >
o) AMALUNA: Unicycle
LINK /// < https://www.facebook.com/Amaluna/videos/2001538713240751/ >
o) AMALUNA: Meet the Artists!
LINK /// < https://www.facebook.com/Amaluna/videos/2001553196572636/ >
o) AMALUNA: THe Valkryies
LINK /// < https://www.facebook.com/Amaluna/videos/2019160978145191/ >
o) AMALUNA: Meet the Riggers
LINK /// < https://www.facebook.com/Amaluna/videos/2019180844809871/ >
o) TOTEM: Adapting an Act
LINK /// < https://www.youtube.com/watch?v=-a50PGTzaK8 >
o) VOLTA: Singing the National Anthem (Philadelphia Phillies)
LINK /// < https://www.facebook.com/VOLTA/videos/508081566290341/ >
LINK /// < https://www.facebook.com/VOLTA/videos/508211769610654/ >
o) Septimo Dia: Warming Up
LINK /// < https://www.facebook.com/sodacirque7d/videos/1951734534866098/ >
o) 4U2C (CRYSTAL):
LINK /// < https://www.facebook.com/4u2c.creation/posts/836446896559532 >
o) 4U2C (OVO):
LINK /// < https://www.facebook.com/4u2c.creation/posts/823251914545697 >
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "We're Off and Running - A Series of Classic Critiques"
Part 16 of 16: Varekai, Part 3 (2005-2006)
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
"We're Off and Running - A Series of Classic Critiques"
Part 16 of 16: Varekai, Part 3 (2005-2006)
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
A few months 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. In this final installment, we finish up by looking at
Varekai's last months in North America.
# # #
CIRQUE GOES TO NEW HEIGHTS IN VAREKAI
By: Everett Evans | Houston Chronicle
January 6, 2005
Icarus falls to earth in a magical forest, encounters gypsy wanderers
and marvelous creatures and learns to survive in a new environment.
That's the premise of Varekai, the fourth of Cirque du Soleil's
elaborate, new-style circus extravaganzas to reach Houston (following
Quidam, Dralion and Alegría). Varekai opens tonight in the company's
trademark blue-and-gold Grand Chapiteau, the state-of-the-art big top
set up at Reliant Park.
During the past 20 years, the Montreal-based company has grown from a
cluster of intrepid street performers to a billion-dollar, globe-
spanning enterprise with 10 shows currently in production - touring
attractions such as Varekai and permanently installed shows such as O
and Mystère (in Las Vegas) and La Nouba (in Orlando). In the process,
Cirque du Soleil has developed its own brand of spectacle melding
circus arts, avant-garde theater concepts, world music and New Age
philosophy.
While all Cirque shows have a unique, instantly identifiable visual
style, it's important to the creators that each new one have its own
distinctive profile.
"One of our goals is to make each different from the others,"
Nicolette Naum says. As Varekai's artistic director, her primary job
is to "ensure that the show continues to evolve as it travels, yet
does not change too drastically from the initial conception of its
premiere run in Montreal (in 2002), while keeping the artists
creatively nourished and in proper character."
From the two main themes of the Icarus figure and the gypsy camp in
the forest, Varekai acquires its mood, which Naum describes as
"joyous, colorful and energetic." The show's title is Romany (Gypsy)
for "wherever."
"From Icarus' achievement, it gains a message of hope," Naum says. "He
wanted to fly, and he did it. That shows what humans can achieve when
they use their energy creatively. From the forest gypsies, the show
gains the theme of survival - for they are always moving to a new
place, putting up tents, organizing themselves to survive.
Through the show, Icarus witnesses what different members of this
family are able to achieve and is inspired by them."
That theme reflects the creative team's process.
"The initial phase in creating each show," Naum says, "is a time of
opening the doors to imagination and creativity. We're always
searching for what is new, for different ways to do things. Every
idea, every dream is put on the table. After that, the next phase is
to bring those dreams to more concrete form, to see if they are
feasible (onstage). It's always a close collaboration between the
creators and the (performing) artists, to make sure all things are
integrated."
Crucial to achieving the distinctive look of Varekai are the
contributions of set designer Stéphane Roy and costume designer Eiko
Ishioka, an Oscar winner for her costumes for Francis Ford Coppola's
Bram Stoker's Dracula.
"The key element of the set design," Roy says, "is the context of a
forest. It's a space for the rituals of the characters, a place where
you can be scared or happy, meet monsters and dreamers. It is visually
stylish, dreamlike, never realistic. The camp is hidden within the
forest, never seen."
Roy's solution: a clearing encircled by 40 bamboo poles, 2 inches in
diameter, of varying heights up to 40 feet, upon which performers
climb and spin.
"In the course of the story," Roy says, "the characters build a bridge
over the stage area. It looks fragile, like a dangerous structure to
move across, but it actually is very solid."
The cluster of poles, Roy says, also serves as a "backstage" area from
which characters emerge and into which they disappear.
"The costumes are working tools, not just something to parade in,"
says Isabelle Panelli, assistant to Ishioka (who's moved on to other
projects and is no longer with Cirque). "They were designed to give
continuity to the characters, each with its style and color palette
particular to that character."
Many Varekai costumes reconfigure the human silhouette with added
forms, muscles, paddings, collars and extravagant headdresses. One of
the most striking is a figure called the Blue Lezard, something of a
marketing trademark for the production. The fact that most are worn by
performers negotiating mind-boggling acrobatic, aerial and contortive
feats adds to the challenge.
"The goal is to add complexity to movement without adding difficulty
for the artists," Panelli says. "Movement must be unimpeded, hands and
arms free to reach for anything. When standing, the artists must
always be able to see their feet in order to gauge their moves.
"Because so many of the costumes are unusually large and complicated,
it's crucial that they travel properly and are not out-of-shape when
they arrive at the next city. We have to re-do them periodically
because they wear out. Most of the artists have two of the same
costume, one to use while the other is in repair.
"There are no wardrobe malfunctions at Cirque!"
* * * * * *
AUDIENCES ARE FLIPPING FOR VAREKAI'S EXPERT FOOT JUGGLERS
By: Marylynne Pitz | Pittzburgh Post-Gazette
April 3, 2005
As rambunctious 3-year-old twins, Pedro and Ramon Santos loved it when
their 12-year-old brother, Javier, balanced them on the soles of his
feet while he lay on his back.
What began as child's play in 1988 evolved into a spectacular circus
act by the three brothers from Madrid.
When Cirque du Soleil's production of "Varekai" opens under the blue
and gold tent on Saturday, the trio will show local audiences a foot-
juggling act that jumps back 1,000 years in circus history.
Using his feet, Javier Santos juggles his younger brothers and sends
them spinning into the air to do up to 30 somersaults. During a
practice session, Pedro Santos once did 45 flips. "You get to
perfection day by day. The best training is performing," Javier Santos
said in a telephone interview last month from Austin, Texas.
In the Cirque cast, the Santos brothers are not unique. Roni and Stiv
Bello, who are from Verona, Italy, also perform foot juggling in
"Varekai," which tells the story of a young man who falls to Earth and
makes his way through a mythical forest near the base of a volcano.
Derived from the Romany Gypsy language, the word "Varekai" means
"wherever." (It's pronounced "ver-AY-kie.")
On Feb. 15, 2003, the Bello brothers landed in the Guinness Book of
World Records when they completed 45 consecutive foot-juggling flips
during a performance of "Varekai" in San Jose, Calif. In a recent
telephone interview, Roni Bello sounded nonchalant about the
achievement.
"Performing every night for the audience, that's the main thing. The
record is just a moment. The most important thing is to be able to be
in shape and not have any injuries," he said. The Bello brothers
learned gymnastics in Italy from their father, Luciano, who still
coaches them, and performed with their family's company, Circus
Medrano. "When we were kids, there were a couple of French guys who
did this act. We used to love that act," Roni Bello recalled.
The Spanish Santos brothers, meanwhile, are seventh-generation circus
performers, but the first in their family to perfect foot juggling,
starting in 1993. Throughout circus history, fathers typically juggled
sons. Such acts were called Icarian games, deriving their name from
Icarus, the figure in Greek mythology who flew on wings made by his
father, Daedalus.
Other members of the Santos family have been clowns or acrobats,
Javier Santos said. "We have done everything except perform with
animals," he said, adding that his father, Pedro, has performed on the
trapeze, high wire and trampoline and also has done clowning and
juggling.
But when he realized that his sons' rough-housing might lead to
greater opportunities, he began coaching them in foot juggling. Their
instruction began with a videotape of the Rios brothers, German circus
performers who were considered the best foot jugglers of the 20th
century.
"My father realized that there was talent, that we were able to create
this act. He started to push us a little bit more," Javier Santos
recalled. Like any well-trained clown, he can laugh at himself. "We
started doing this kind of act because, to be honest, I tried too many
other things and I was not good at anything. Maybe if I lay down, I
was going to be good at something," Javier Santos said.
Initially, he juggled balls and cylinders.
"When you juggle with small kids, you cannot use all of your power,"
he said, adding that he feared he would break his brothers' backs.
Foot jugglers lean against a slanted platform called a tranka. To gain
traction, Javier Santos wears jazz shoes without the heel. Onstage, he
said, "You have to control your emotions. When everyone is nervous or
there's too much adrenaline, the first thing that happens is your legs
shake."
In addition to regular visits to the gym, the Santos brothers do "a
lot of Pilates. It's very, very helpful. It helps the lower back."
While the brothers have toured Europe with other circuses, this is
their first U.S. tour with Cirque du Soleil. In New York City, Javier
Santos said, "They didn't scream a lot. They didn't clap a lot. In New
York, you go on stage and you really have to work for it."
Audiences in Austin, Texas, were more vocal with their appreciation.
"Whatever you do, the people scream like crazy. As an entertainer, a
performer, you love it. They stand up and scream. My God, I feel like
Bon Jovi."
Going on tour with Cirque du Soleil is better than with other
circuses, Javier Santos said. "They do take care of the artists. They
have a really good space for training. It's much more professional
than any other circus." But there are trade-offs, too. "It's much more
stressful to perform here. In a traditional circus, you do your act
and then you relax. In Cirque du Soleil, you do other characters. The
responsibility you have is greater. We have to do everything at full
power every day."
The person charged with seeing to it that Cirque performances stay at
a high level is Nicolette Naum, artistic director for "Varekai."
Naum understands the pressures on performers because she began her
career as a street performer in Canada doing juggling and acrobatics
and playing the saxophone and recorder. She was among the group of
buskers Guy LaLiberte gathered in 1984 for a Canadian street fair. The
group later evolved into Cirque du Soleil.
Naum's job is to keep "Varekai" fresh while staying attuned to the
needs of performers. Though based in Montreal, she visits the show
regularly while the cast tours the United States. Her job requires the
skills of a diplomat, politician, coach and counselor. "If we have to
integrate a new artist for the triple trapeze, normal rehearsal time
will not suffice," she said during an interview at the Omni William
Penn Hotel last month. Now that she no longer performs, Naum said,
"One of my greatest satisfactions is to see the evolution of the
performers."
* * * * * *
CIRQUE TROUPE AMAZES WITH ITS AGILITY
By: Christopher Rawson | Pittsburgh Post-Gazette
April 11, 2005
Pennants flying over a big top, upbeat music, the smell of popcorn and
excited crowds -- it sure feels like a circus.
And that's just what it calls itself -- Cirque du Soleil, "circus of
the sun" -- but it's not the circus of nostalgic memory. There's none
of the warm aroma of animals, for example, but instead, the glow of
electronics. The yellow big top in the Heinz Field parking lot is
cone-shaped, the music is eclectic new age and the stage (no sawdust
ring, here) is dressed with the glamour and expertise of a Broadway
show blown up to rock concert scale.
No, Cirque du Soleil is not your grandparents' circus nor even that of
your own recent youth. This is what the circus evolved into, moved
indoors and married to futuristic technology by an inspired band of
French Canadians, drawing on the ages-old skills of acrobats, jugglers
and aerialists, repackaged by wizards of design.
It's the dream of a circus, you might say. And the dreamers who
created "Varekai," which they say means "wherever" in Romany, the
gypsy language, have dreamed of a 35-foot-high jungle of golden
bamboo, populated with fabulous creatures who might be the joint
creations of myth, fantasy and Dr. Seuss. These human birds, animals
and lizards are presided over by the Pan-like Sergiy Marchenko and
Mephistophelean Michel-Andre Cardin, with musicians playing
accompaniment on Rube Goldberg instruments.
Into their center plummets a feathered young man whom the program
calls Icarus (Anton Chelnokov). He is sent back aloft in a cocoon to
be reborn, and the show seems loosely to be his search for a mate. He
finds her in the person of a curvaceous contortionist (Irina
Naumenko), and the celebration of their union centers the final
festivity of the show.
I think it is also she who first appears as a green clad sprite who,
after intriguing Icarus, disappears aloft, only to reappear later in
spangled, form-fitting white -- which would add metamorphosis to
rebirth and journey as the show's prevailing metaphors.
But "Varekai" has the good sense to leave those metaphors vague and
not burden itself with even as much plot as "Quidam," the previous
Cirque show to visit Pittsburgh. Attention to Icarus is sporadic, the
better to allow the fabulous beings we meet to demonstrate their
colorful mind- and body-bending skills. The accompanying songs and
incantations, in whatever language(s) they may be, remain vague enough
for us to project specific meanings if we choose.
The dominant figure is that of the Pan-like guide, who summons flying
spirits and moves the show from one sequence to another. As in a
traditional human circus, out of whose skills Cirque weaves its magic,
those individual acts are the heart of the matter.
Not counting the recurring joking and mystification, there are more
than a dozen such acts, and audiences will have their own favorites.
For some, the only possible response is to laugh with disbelief and
delight at seeing bodies do what I'm quite sure, in the prosaic world
where I live, bodies simply cannot do. Perhaps these performers are
actually made of rubber, but there are a few routines when rubber
would be too stern and it must be butter, at least, to allow them to
contort and flow with such supple agility.
Of course, there's muscle, too. In some cases, you simply can't make
three-dimensional sense of the speedy contortions. Perhaps the
performers have had access to some lost, nonsexual Kama Sutra of
physical agility.
There are also clowns, starting with audience intervention during the
warm-up and blossoming in a parody magic act in which the
ostentatiously smarmy Steven Bishop is undercut by his awkwardly
clunky and gleefully willing assistant, Joanna Holden. He reappears
later as a chanson artiste deviled by a wayward spotlight -- an old
idea but funny still.
The parade of wonders includes a quadruple trapeze act; three young
Asians flinging magical ropes; an air-borne hoop act with the fluid
Leysan Gayazova; two brothers doing acrobatics in mid-air like Aztec
birdmen, sailing out over the audience's heads; a "body skating"
troupe, flinging itself about with graceful abandon; fierce Georgian
dancers; Octavio Alegria, who juggles balls, Frisbee-like hats and
ping-pong balls with every part of his body; and a climactic
extravaganza in which giant swings fling bodies through space.
I didn't see any nets, just a couple of safety straps.
Much of the appeal of the two hours (plus a lengthy intermission) is
the costuming, which mixes Amazonian Indian, Eastern European, Ninja
and Seuss. The body skaters look like florescent undersea creatures.
Much of the time, you don't know where to look, there's so much to
wonder at.
But perhaps my favorite moment was at the end. After watching these
superior beings perform such feats, it was immensely touching to see
them doff their imperious attitudes and disguises and appear as normal
human beings, touchingly young, happy to please.
* * * * * *
BREATHAKING VAREKAI IS A SENSORY FEAST
By: Matthew J. Palm | Orlando Sentinel
December 3, 2005
Every Cirque du Soleil show has that moment.
It's when you gasp aloud. Or you realize your heart is racing, or
you've forgotten to breathe.
In Varekai, the moment comes early.
A young man is suspended in midair, entwined in netting. He manages to
pull his body upright, as if standing normally. And then he lets go,
the netting snaps and he flops 180 degrees, his head plunging toward
the stage floor.
The netting, connected to a cable attached to the theater ceiling,
pulls taut and prevents him from hitting the floor, of course.
And then you can breathe again.
The young man in question is Icarus. He has fallen, complete with
giant feathered wings, into a mystical world deep in a mysterious
forest inhabited by amazingly acrobatic creatures.
Such is the world of Cirque du Soleil.
Varekai is in residence at Tropicana Field in St. Petersburg until
Dec. 31, and Thursday's exhilarating opening-night performance
demonstrated why the Cirque shows have become an international
phenomenon. The mix of ethereal music, exotic costumes, family-
friendly humor and, above all, the breathtaking acrobatics creates a
spectacle like no other.
The bare-bones story of Icarus' adventures in the enchanted woods is
just to set the mood. The thrill of the show is being caught up in the
action, the feeling that anything might happen when the performers let
loose with their flips, spins, twists and twirls.
The mystical forest is established effectively right from the start. A
thicket of bamboolike trees rises from the stage. Mist swirls and the
sounds of crickets, birds and one mighty big mosquito are heard.
Performers dressed as iguanas or lizards slither into view, and then
in an explosion of colorful costumes, the stage is filled with
dancers.
The choreography throughout is more sophisticated than that of other
Cirque shows, and many of the performers move as though dancing comes
naturally to them. As lively and entertaining as the dancing is,
though, it's the acrobatics that inspire awe.
Anton Chelnokov as Icarus is grace and beauty personified as he uses
his netting to climb higher and higher while spinning, turning and
dropping.
The athletes in the Icarian Games segment of the show pair up so one
man can use his legs to propel his partner into a series of twists,
rolls and other gyrations, sometimes flinging him across the stage.
Badri Esatia, Temur Koridze and Khvicha Tetvadze, all from the
Republic of Georgia, perform a Georgian dance full of fiery movements,
many on tiptoe, and enough rapid-fire spins to make a whirling dervish
dizzy.
Andrew Atherton and Kevin Atherton of Great Britain fly through the
air at amazing speeds, suspended only by wrist straps as they perform
powerful synchronized stunts.
Throughout the show, comic relief is provided by two exceptional
clowns, Steven Bishop of Australia and Joanna Holden of Great Britain.
The two take simple ideas -- a magician's act is ruined by his
partner's ineptness, and a singer desperately tries to keep up with a
mischievous spotlight -- and turn them into pure magic.
Overall, the second half of the show doesn't quite match the energy of
the first. A hand-balancing act is too long and doesn't build to a
satisfyingly dramatic finish. But these are minor quibbles.
In the Romany language of the Gypsies, a program note says, Varekai
means "wherever." Wherever is a wondrous place indeed.
* * * * * *
VAREKAI IS A VISUAL DELIGHT
By: Susan L. Rife | Sarasota Herald-Tribune
December 6, 2005
A world of fantastical creatures capable of superhuman physical skill
and grace lives under the blue-and-yellow Grand Chapiteau in the
parking lot at Tropicana Field this month. Appropriate to the holiday
season in its sense of wonder and magic, "Varekai," one of six touring
shows by Cirque du Soleil, is neither circus nor drama, but theater in
the broadest sense of extravagant performance.
Cirque du Soleil, with its roots in European circus and North American
street performances, creates a performance within the framework of the
myth of Icarus for "Varekai."
After a prologue establishing the scene as a primeval paradise in a
mountaintop volcanic forest, Icarus, the boy who fashioned wings from
feathers and wax and then flew too close to the sun, tumbles into a
world of creeping, flying and dancing creatures.
Despite the presence of a variety of characters -- a sinewy Anton
Chelnokov as Icarus, Sergiy Marchenko as the Guide, the comical
Michel-André Cardin as the Skywatcher and beautiful and exotic Irina
Naumenko as the Betrothed -- "Varekai" is less the story of what
happens after Icarus plunges to earth and more an astonishing two
hours of physical flexibility and acrobatic prowess wrapped in
whimsical costumes of tentacles, feathers, ruffles, padded appendages
and fantastical headdresses.
You hardly know where to look as performers soar overhead on aerial
straps and trapezes, flip over one another in displays of breathtaking
agility, and balance against a forest of 35-foot-tall golden tree
trunks filled with other creatures. Among the more amazing feats are
the "Icarian Games," in which Stiv and Roni Bello, and Javier, Pedro
and Ramon Santos, serve as both catapult and catcher in astonishing
human juggling. The show comes to a climax with Russian Swings, in
which acrobats are hurled into the air and alight on their partners'
crossed wrists or are pitched into canvas nets yards away from their
swings.
Naumenko, who as the Betrothed wears a costume that hovers somewhere
between grasshopper, chameleon and butterfly, returns in a nude-toned
bodysuit striped with golden sequins for a hand-balancing act that
redefines suppleness.
No show with its history in circus would be complete without clowns,
which in "Varekai" come in the form of the Skywatcher and of Steven
Bishop as a magician hampered by a clumsy and pudgy assistant, Joanna
Holden. Bishop returns in the second act in "Ne Me Quitte Pas," in
which he warbles in French and scrambles to stay in an elusive
spotlight.
Cirque du Soleil has a reputation for overt sexuality and a certain
creepiness in its shows, but "Varekai" is more overlaid with the sweet
innocence of young Icarus and his delight at the world in which he
finds himself.
* * * * * *
CIRQUE'S FANTASTICALLY REAL WORLD SHOWCASES BROTHERS IN MOTION
By: Athima Chansanchai | Seattle PI
April 27, 2006
It's hard to translate what exactly happens in a Cirque du Soleil
show. Publicists use phrases like "a kaleidoscope world imbued with
fantastical creatures" and an "adventure both absurd and
extraordinary."
Absurd and extraordinary. Now, those two words, they could explain a
lot about the mind- and body-bending contortions that pulse through
"Varekai," a touring Cirque show scheduled for a Seattle-area premiere
Thursday at Marymoor Park in Redmond.
The first time you see a millennium-old circus act called the Icarian
Games, you think your mind is playing tricks on you. They could not
possibly be doing what you think they're doing. Must be CGI. But, no,
look again and it's right there: Roni Bello, one half of the family
act, The Stevens Brothers, is throwing his brother, Stiv, up in the
air. With his feet. And Stiv lands on his feet. Or he'll transform
into a human seal, going round and round in consecutive flips as Roni
lies on his back keeping him in motion with his feet.
They hold two Guinness World Records: one for 45 consecutive foot-
juggling flips and another for 38 consecutive flips in 30 seconds. As
sixth-generation circus performers who've been training and traveling
since they were kids, the Bellos' lives mirror what they do: perpetual
motion.
"Varekai" translates to "wherever" in the language of the Gypsies,
"universal wanderers" from which the show draws its inspiration. It's
no wonder that Cirque attracts among its performers a fair number of
nomads whose only real home is in front of an audience. More than 50
artists representing 14 countries are in "Varekai."
Drama and acrobatics. Two more words that describe the kind of fusion
that takes place under the yellow-and-blue big top known as the Grand
Chapiteau.
Traditional circus families like the Bellos perform side by side with
recent converts such as Andrew and Kevin Atherton, twins who have made
the transition from traditional gymnastics to daredevil artist-
aerialists.
Cirque is one of those odd amalgamations of tradition and innovative
evolution that continues to fascinate, even as it spawns six touring
shows and five permanent installations (three in Las Vegas). In a
world of CGI fantasia, it's refreshing to find out what can be done
for real by live human beings, that we also are capable of the most
seemingly impossible feats.
"Once we saw it, we knew we'd be hooked," said Andrew Atherton, one
half of the 30-year-old pretty-boy Brit twins who catapulted from the
world of medalist-class gymnasts to the looser artistic forum that is
Cirque. "It was different. It was something we both really wanted to
do, this act we dreamed of."
In part of the artistic technique that defines Cirque, the brothers
were left alone to sort out working as a team for the first time.
"They left us and said, 'Go and play' to see what we could come up
with," said Kevin. "There were a lot of fights."
It took about six months for their new employers to break the mold of
the gymnasts, using movement and acting classes, as well as lessons in
percussion and singing. Even though they were used to being in the
public eye at competitions, the duo found the interaction between
performers and audiences through acting in a Tom Stoppard play.
In "Varekai," they're Castor and Pollux, the twins of mythology whose
intertwined lives are given center stage during the second half of the
show. Unlike the Icarus central character who falls into the forest,
the twins achieve flight effortlessly.
"We have to be so synchronized," Andrew said.
"I trust my brother so much," Kevin added.
As newcomers to the circus scene, they're adjusting to the life by
learning from their more experienced colleagues and living as much
like locals as they can in each of their stops in between the eight to
10 shows they do a week.
Since "Varekai" debuted in April 2002, they've traveled to 28 cities
throughout Canada and the United States. They'd never been to the U.S.
before that, and on this tour, Portland and Seattle are among their
uncharted territory.
Roni and Stiv Bello also were new to the U.S., but not to the circus
life. "I don't see myself inside an office," Stiv said. But they are
businessmen and teachers of the Icarian Games who have evolved from
the circuses of Europe, where their Italian accents don't give away
any specific region since they traveled so much as children.
"In traditional circuses, you used to live in trailers and all meet
together," Roni said.
"We do that as our life. For others, it's only an experience," Stiv
said.
At Cirque, they all live in the same residential hotel, or in a few
adjoining hotels depending on the city.
Roni said one thing about the act: He never gets bored.
"I'm always looking to do something else. The acrobatics are never the
same," he said.
It's a craft that asks them to continually evolve. As Stiv said, "It's
like music that never ends." Brother Roni adds, "Like a piece of
jazz."
"When you go onstage, you're there for five or six minutes to show the
best you've got to the audience," Stiv said. "That's a lot of
pressure, and it's dangerous."
Despite that, when the lights go up, they're there with smiles on
their faces, feet in the air.
* * * * * *
GO BEHIND THE SCENES OF VAREKAI
By: James D. Watts Jr |
January 21, 2015
The idea of Cirque du Soleil rose out of the work of a group of Quebec
street performers who dreamed of creating a new kind of circus to
entertain audiences around the world with shows that demonstrated all
the strength, flexibility, daring and humor of which human beings are
capable.
"Varekai," which premiered in 2002, is the 13th show Cirque du Soleil
has created and the fifth to come to Tulsa.
Inspired by the Greek myth of Icarus, "Varekai" is the story of a
young man who plummets to earth, landing in a forest filled with
strange creatures that soar through the air, skate across the ground,
dance and tumble about with abandon - and even indulge in acts of pure
silliness.
Here's a glimpse into the lives and activities of some of the people
who make the world of "Varekai" come to life.
THE CLOWN
It was supposed to be a two-year adventure - setting aside the
dentist's drill to run off and join the circus. That was 10 years ago.
For the past decade, Steven Bishop has been the principal clown for
Cirque du Soleil's "Varekai."
Given that this Canadian-born enterprise has as its unofficial credo
"We Reinvent the Circus," the role of clown in a Cirque du Soleil
production does not involve baggy clothes, red noses and jars of white
face paint.
In fact, in the world of "Varekai," Bishop and his partner in
mischief, Emily Carragher, wear the least amount of makeup of any of
the performers.
"We're sort of the contrast to the rest of the show," Bishop said.
"Varekai" - which means "whatever" in the Romany language - is a
fantasia inspired by the Greek myth of Icarus, whose wings of wax and
feathers melted when he flew too near the sun.
In the Cirque du Soleil telling of this story, Icarus falls not to his
death in the seas but into the midst of a strange and magical forest,
populated by an array of unusual beings capable of doing extraordinary
things.
In between the feats of strength, balance and flexibility, along with
all manner of aerial acrobatics by performers in elaborate and slinky
costumes, Bishop and Carragher will emerge to toy with audience
members, attempt one of the spectacularly unsuccessful magic acts to
disgrace the stage, and chase after a moment in the spotlight to croon
the Jacques Brel ballad "Ne me quitte pas."
Bishop is a qualified dental surgeon in his native Australia, "but I
was always interested in creative things, especially when I could
engage my entire body in the process. And if I could make people
laugh, so much the better."
He studied theater at the Ecole Jacques Lecoq in Paris and worked with
an English-speaking theater company in France. While still practicing
dentistry, Bishop was also performing, everything from mime and
escapology to stunt work in films like the live-action "Scooby-Doo."
When he landed the role in "Varekai," Bishop said: "I know that this
was where I wanted to put my artistic life. I'd reached the point in
my life where I was only going to do things I was interested in and
passionate about, and that would help me evolve as a performer and a
person."
Bishop started in "Varekai" in 2004, two years after the show had been
created. At that time, the show toured as a "Grand Chapiteau," or big-
top tent production, which would remain several weeks at one locale.
So Bishop decided to bring his wife and four children along with him.
"I said it would be a two-year thing," Bishop said, laughing. "We'll
keep the dentist chair, just in case, you know. But Cirque du Soleil
allowed me to support my family while continuing to perform."
When "Varekai" was converted into an arena show (the production that
comes to the BOK Center this week), the stresses of weekly touring
made Bishop's family arrangements unworkable. Bishop's wife and
children moved back to Australia while he continues with the show.
The set pieces Bishop does in the show have been a part of "Varekai"
from the beginning, but he's been able to develop them in personal
ways.
But the most important element of the show for Bishop is what is
called the "animation," when the two clowns come out prior to the
start of the show to interact with the audience.
"For a clown, that connection with the audience is imperative," he
said. "That's why the animation is so important because it's a way to
make that connection instantly. That way, when you finally show up in
the context of the show, the audience knows who you are and what
they're in for."
Bishop even relishes the process of doing the same thing night after
night, show after show, in a way that is philosophical.
"No other company can offer you the chance to develop and present your
art the way Cirque du Soleil does," he said. "The number of shows that
you do - it's almost like 'Zen and the Art of Archery,' doing that one
thing over and over until you get a sense of understanding that is
beyond thought or learning."
He paused, then added, "And you get to make people laugh."
THE ARTISTIC DIRECTOR
"Varekai" began, as did many of the shows created by Cirque du Soleil,
in a tent.
The Montreal, Quebec-based company would set up a large, big top-style
tent, capable of seating about 2,500 people, and present its shows
within its canvas confines. The company would remain in one locale for
several weeks at a time before striking tents and moving on.
Cirque du Soleil continues to perform under the big top - five shows,
including the newest, "Kurios: Cabinet of Curiosities," are currently
touring in this fashion. It also has what it calls "resident shows,"
including eight in Las Vegas.
Recently, Cirque du Soleil began converting some of its longest
running shows to be presented in arenas, the latest of which is
"Varekai," opening Wednesday at the BOK Center.
And these conversations, said the show's artistic director Fabrice
Lemire, "is like creating a completely new show from the ground up.
Every aspect of the show has to be redesigned - the set, to begin
with."
One of the main elements of the "Varekai" set is an enormous catwalk,
which looks to be constructed of sticks and branches, that rises from
the rear of the stage and extends over it.
"We are in a different space every week, and each space is different,"
said Lemire, who has been overseeing "Varekai" for three years. "To
accommodate that, we have two different heights for the catwalk - both
of which are higher than the catwalk we used in the big top.
"So that means we have to rework the music because the performers need
a little more to move along the catwalk," he said. "That requires
redesigning the lighting plan, everything. Because the show is 12
years old, we also had to adapt it to the changes in sound technology
that are now standard. It was a huge challenge."
Lemire began his tenure on "Varekai" right around the time the show
was beginning to be transferred to arenas. He began his career with
the company in 2008 as dance master for "Zaia," a resident show in
Macau, then became artistic director of "Quidam" until taking over
"Varekai."
Prior to joining Cirque du Soleil, Lemire spent some 20 years as a
dancer, choreographer and ballet master, working with such companies
as Oregon Ballet and New York City Opera.
"I wanted to try the other side, not be the one on stage, but share
ideas so people could perhaps make better use of their talents," he
said.
"Varekai" is one of the more narrative-driven shows in the Cirque du
Soleil repertoire, with many of the dazzling acrobatic acts having
some bearing on the story.
"We have a new performer in the cast, who is taking over the male
lead," Lemire said. "He comes from a strong dance background, and it's
taking me a lot of work to get him out of his comfort zone, to get him
to express something different, something more emotional."
THE ACTOR
The principal emotion that Rodrigue Proteau has to express in his role
as The Guide in "Varekai" is one that he finds difficult to summon
outside of the theater.
"I was told at the start my character is grumpy," Proteau said. "And
that's just not something within me. I really have to work at that."
Proteau's face as he said this told a slightly different story - only
because his face was already adorned with the multicolored makeup he
wears for the role. The makeup gives him a slightly ferocious look
quite at odds with his soft, understated speaking voice.
The Guide is described as "a wise old man whose mission is to inspire
and bring about change" - in the case of "Varekai," that involves
guiding the fallen Icarus to an acceptance of what is now his new
home.
Proteau was a member of the original cast of "Varekai" and had some
input into the creation of the character he plays.
"I was working as a physical actor - I did dance theater, movies,
stuff like that," the Quebec native said.
"Cirque du Soleil came to me, wanting me to take over a part in
'Saltimbanco.' But I wasn't comfortable with that.
"Then, Dominic Champagne (the writer and director of "Varekai") got in
touch with me, saying he was creating this new show and wanted me to
be a part of it," Proteau said.
Originally, The Guide was going to be as much puppet as actor.
"They started out with this head piece and kept adding things, making
it more and more elaborate," Proteau said, smiling. "Then, a week
before the show was to open, the head of Cirque du Soleil came in,
took one look at what I was wearing, and said, 'Cut that!'?"
Proteau came up with an alternate headpiece for his character - a
helmet with a large light bulb on top.
"My original thought was it was something that would plug into the
wall," he said, chuckling. "But the technical people just kind of
looked at it and shook their heads and said, 'That would be pretty
dangerous, Rod.' So they came up with something with batteries."
The Guide and his cheerful nemesis, a wild character called the
Skywatcher, carry on conversations in a made-up language.
"The dialogue is all improvised - exactly what we say changes,
although the import, the emotions are the same," Proteau said. "I will
toss in words and phrases from Spanish, Italian, Portuguese. We also
try to work in some of the slang of a region, if possible.
"And since we are part of the story, and don't have a great deal of
time on stage," he said, "we have to be very precise. We have to be
sure people know exactly what we mean, even though they can't
understand what we say."
# # #
And that's a wrap, my friends! It's been quite a long journey to get
from Le Cirque Réinventé to Varekai, but it was well worth it. Though
I know quite a bit about Cirque du Soleil, there's always something
new to learn, and I can actually say I've learned a few new things
about Cirque du Soleil thanks to this series. My hope was that the
same was true for you. Until next time!
{fin}
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 18, Number 8 (Issue #175) - August 2018
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2018 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., All Rights
Reserved. No copyright infringement intended.
{ Aug.10.2018 }
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