Copy Link
Add to Bookmark
Report
Fascination Issue 183
=======================================================================
______ _ __ _ __
/ ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / /
/ /_ / __ '/ ___/ ___/ / __ \/ __ '/ __/ / __ \/ __ \/ /
/ __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/
/_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_)
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
------------------------------------------------------------
http://www.CirqueFascination.com
------------------------------------------------------------
=======================================================================
VOLUME 19, NUMBER 4 April 2019 ISSUE #183
=======================================================================
Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
* * * CIRQUE HOLDS ALEGRÍA PRESS CONFERENCE * * *
On April 10th, Cirque du Soleil unveiled the first three acts of the
upcoming revival of Alegría: In A New Light, to perform under a blue-
and-white Big Top at the Old Port of Montreal from April 18th. Beloved
by fans around the world, iconic Alegría is reinterpreted in a renewed
version to share its timeless story once more. The classic power
struggle of old meets new is reinterpreted for todays cultural pulse.
Led by an intangible wind of change, an emerging movement strives to
shake the established order, instilling hope and renewal to bring light
to a world in perfect harmony. Alegría energizes the audience with a
joyful spirit for a brighter and more inspiring tomorrow.
Following the mysterious disappearance of the king, Mr. Fleur pictures
himself as the legitimate heir to the throne and clumsily tries to
impose his authority. Shaking the foundations of the old order, The
Bronx spring forth from the street. Fiery and full of energy, they try
vigorously to defy the established order. Together, The Bronx will
shake the pillars of power, lighting the spark that will trigger
changes in the very heart of the kingdom. They offer a glimmer of
hope in a world of gloom.
The three acrobatic numbers Cirque du Soleil unveiled were the Double
Crossed Wheel (to a remix of the song "Kalandéro", previously used for
the Shoulder-Pole act, Tightrope, Juggling, and Slackwire), Synchro
Trapeze (to the song "Querer", previously used during the setup for
High Bar), and Fast Track (to a remix of "Irna" and "Valsapena", the
act's original songs.)
SEE HIGHLIGHTS FROM THE PRESS CONFERENCE HERE:
LINK /// https://youtu.be/qj5T7woFBJI
SEE THE FULL VERSION ORIGINALLY STREAMED ON FACEBOOK:
LINK /// https://www.facebook.com/CirqueduSoleil/videos/338520133465539/
* * * CIRQUE/MGM RESORTS DOWNSIZE; SHUFFLE STAFF * * *
Cirque du Soleil is performing some acrobatics away from the theater,
so says the Las Vegas Review-Journal: On March 25, 2019, the company
reorganized and downsized its management operations for its five
residency productions on the Las Vegas Strip that are in partnership
with MGM Resorts International (Mystere at Treasure Island being the
exception). What the new business model means, in short, is Cirque
shows will no longer employ a single head of department for each of
its shows. Instead, multiple productions will be under the direction
of one department head. Also, Cirque will continue to oversee all
artistic operations (such as managers, artists and coaches), along
with picking up the lighting, staging, maintenance and any
mechanically related staffers, who were previously employed by MGM
Resorts.
The heads of department who have been let go have been offered
severance packages. Several long-standing employees have lost their
positions. Word of the realignment surfaced March 16th and many
reportedly were caught off-guard by the news; one was reportedly so
upset as to have been led by security from an MGM Resorts property.
The new system should be in place by mid-April. MGM Resorts
International officials are not specifying how many positions were
lost in the changeover. Cirque officials sent requests for
clarification and confirmation to MGM Resorts, which in turn
essentially explained that this is how major entertainment companies
operate.
MGM is working with Cirque du Soleil to reorganize backstage
operations at Las Vegas shows to align with how Cirque du Soleil shows
are structured throughout the world, MGM Resorts spokesman Brian
Ahern said in a statement. This is part of our long-standing work
together to continually improve show operations and focus on creating
unforgettable experiences for guests and audiences. All shows and
performances will continue as usual.
* * * NEW RENDERINGS OF VIDANTA'S "THE PARKS" * * *
What started out as the Cirque du Soleil Theme Park project in Puerto
Vallarta in 2014, stalled in more recent years as Cirque du Soleil
came under new ownership, The Goddard Group fell from grace, and
construction fell further behind. Last we heard, Vidanta took full
control over the project now named The Parks to complete the
first phase but without Cirque du Soleil involvement. Today, new
renderings of what is now being deemed the Final Version of The
Parks were released... whether Cirque du Soleil is still attached to
the project is a matter of conjecture, but we do note that unlike in
past releases, the Cirque du Soleil logo is NOT on these renderings.
So while Cirque du Soleil may no longer be attached to this project,
the results are still breathtaking! Check out those renderings here:
http://www.cirquefascination.com/?p=12476
* * * LUZIA HEADED TO EUROPE IN 2020 * * *
And while Mexico is fresh in our minds... Cirque du Soleil is bringing
Luzia, described as a waking dream of Mexico, to the Royal Albert
Hall for its European debut. Among the performers is Londoner Shelli
Epstein, 25, who was inspired to join when she saw a Cirque show aged
13. She said: I had always dreamed of going to the Olympics with Team
GB and was a member of a few gymnastics clubs. Then my parents took me
to a Cirque show at the Royal Albert Hall. I knew at that point that
this is what I wanted to do. So I will be coming full circle when the
show comes to London. Ms Epstein plays the Running Woman, inspired by
the Tarahumaras, a Mexican tribe known for their long-distance
barefoot running. She is part human, part monarch butterfly and acts
as a guide for the audience. Luzia, marking Cirque du Soleil's return
to London for the 30th year running, opens at the Royal Albert Hall
from January 12, 2020. Tickets go on sale from Friday, April 12th at
royalalberthall.com.
* * * 45 DEGREES MUSINGS * * *
The 5th chapter of Cirque du Soleil's Tribute Series, in celebration
of the music of Les Cowboys Fringants (the popular and critically-
acclaimed Quebec band who has rocked the French-speaking world for
two decades), finally receives a name - JOYEUX CALVAIRE. This series
is presented exclusively at the Cogeco Amphitheater in Trois-Rivières
beginning July 17th. The Monte-Carlo Summer Sporting Festival is
hosting Cirque du Soleil's exclusive performance for the second time
from August 15th to 19th at the Salle des Etoiles. Whether it's the
same production as last years' remains to be seen. Cirque du Soleil
will also be in Malta for three consecutive years between November
and January, according to Malta's Tourism Minister. A show tailor-
made for the Mediterranean Conference Centre is in development, with
the acrobat troupe putting on one performance a day during its time
in Malta. The troupe will have between 28 and 30 acrobats. And
according to the Astana times: Kazakhstan signed a memorandum of
cooperation to hold the 2020 Internationale Tourismus-Börse (ITB)
Eurasia exhibition that's held every September. Kazakh Tourism also
reached an agreement to host REFLEKT in the country for a second
time following its performances at EXPO 2017.
* * * POLSTAR's 2018 YEAR END FIGURES * * *
The global landscape of live entertainment in 2018 includes some of
the biggest names in the business, both old and new, and remarkable
box office feats. The collective gross for global ticket sales from
the Top 100 Worldwide Tours is $5,640,735,434. Thats slightly down on
last years final year-end gross of $5.653 billion, but 2017 also saw
a 15.8% jump compared to 2016. So, this years final gross could
arguably be called a correction still higher than the 2016 gross but
down slightly from 2017.
The number of sold tickets also dropped in 2018 compared with 2017
when the 66.7 million sold ticket count was 10% higher than the 2016
total. In 2018, total tickets from the Top 100 reached 59,811,438, an
11.1% decrease from last year. Ticket prices, however, were higher in
2018 on average. In 2017, the average ticket price was $84.63, yet
2018's average iss $94.31, an 11.9 percent increase.
So, how did Cirque do in 2018?
Before I get to the chart, let me also add that 2018 was a year of
change at Pollstar regarding the way they present the box office data.
A new time period was introduced for determining the 2018 chart year.
In 2017 and previous years, the calendar year was used for year-end
charts with estimated totals added from late fourth-quarter events. In
2018, they changed the eligibility time period from the calendar year
to a late-November closing date and discontinued accepting estimates
for non-reported events. Thus, the 2018 charts comprise data from
performances that occurred Nov. 23, 2017 through Nov. 21, 2018 - and
they only counted actual box office results from shows that have
already occurred.
With that in mind below is Cirque's chart for 2018 with 2017's chart
below that for reference. As you look over the numbers, keep in mind
that TORUK and KURIOS are not on the 2018 list. KURIOS was (and is) in
Japan; box office reporting on KURIOS was not available. But TORUK I
have no excuses for... it's possible it didn't reach the top 100.
Either way... we see a 32.3% reduction in grosses and 34% reduction in
number of tickets sold in 2018 vs. 2017.
World Gross Show AVG Tix AVG Tix Total AVG Cities
Rank in Mil Title Price Sold Tix Sold Gross / Shows
--------------------------------------------------------------------
32 $52.1 Totem $82.39 19,179 632,879 $1,580,069 33/289
40 $40.3 Luzia $88.30 13,438 456,875 $1,186,511 34/279
44 $38.7 Crystal $58.85 19,348 657,831 $1,138,449 34/249
49 $36.6 Ovo $69.72 15,445 525,113 $1,076,810 34/262
69 $25.1 Volta $82.78 12,110 302,756 $1,002,483 25/191
79 $23.0 Kooza $95.23 11,481 241,092 $1,093,255 21/176
83 $22.0 Amaluna $91.60 13,318 239,728 $1,219,999 18/163
84 $21.8 Corteo $63.48 14,320 343,683 $ 908,976 24/156
-- $12.4 Sep7imo $397.96 5,212 31,271 $2,074,124 6/42
--------------------------------------------------------------------
$272.0 Million Gross 3,431,228 Tickets Sold 2018
World Gross Show AVG Tix AVG Tix Total AVG Cities
Rank in Mil Title Price Sold Tix Sold Gross / Shows
--------------------------------------------------------------------
26 $61.8 Kurios $80.66 15,324 766,179 $1,236,000 50/411
28 $60.1 Luzia $84.89 14,448 707,975 $1,226,531 49/403
29 $60.0 Toruk $79.38 24,393 756,191 $1,936,367 31/169
35 $54.2 Ovo $72.52 16,986 747,380 $1,231,818 44/308
41 $48.2 Amaluna $79.97 15,848 602,239 $1,267,336 38/290
47 $41.8 Varekai $61.99 16,458 674,764 $1,020,282 41/282
50 $39.7 Kooza $85.41 12,232 464,816 $1,044,737 38/293
59 $35.9 Volta $74.66 16,042 481,274 $1,197,760 30/246
--------------------------------------------------------------------
$401.7 Million Gross 5,200,818 Tickets Sold 2017
* * * SHOW MILESTONES * * *
Last, but certainly not least, a number of shows reached important
milestones since our last issue "went to print", or will celebrate in
the month of April. These are...
o) The Beatles LOVE celebrated its 6,000th performance in March. The
company released a little video to celebrate the milestone, which
you can see here: https://www.facebook.com/TheBeatlesLOVE/
videos/2149773928434753/
o) On March 25th, Mystère celebrated its 12,000th performance. Check
out Mystère's awesome teeterboard performance at the Vegas Golden
Knights versus Winnipeg Jets game: https://www.facebook.com/
CirqueduSoleil/videos/2069834859800376/
o) On April 2nd, the BAZZAR cast and crew celebrated their 100th
performance. Since premiering, BAZZAR has traveled more than
16,000km and it has been seen by over 100,000 people of 4 different
cities, in 3 different countries!
o) And on April 17th, JOYA will celebrate its 1,500th performance.
Congratulations!
Okay, that'll do it. So, let's go!
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
| |
| Realy Simple Syndication (RSS) Feed (News Only): |
| < http://www.cirquefascination.com/?feed=rss2 > |
| |
\----------------------------------------------------/
- Ricky "Richasi" Russo
===========
CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
* Q&A -- Quick Chats & Press Interviews
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
* Jean David's Quel Cirque, Part 4 of 12: "O, Canada!"
A Special Series Celebrating Cirque's 35th Anniversary
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
***************************************************************
LA PRESSE -- General News & Highlights
***************************************************************
-------------------------------------------------------
Cirque Pours Talent into One Night for One Drop
{Mar.07.2019}
-------------------------------------------------------
Its one of theaters greatest ironies: Talented performers train for
a lifetime to score a coveted role
only to find themselves doing the
same act over and over again. But since 2013, Cirque du Soleil has
offered a fresh creative outlet to its cast and crew: Design and
perform in an annual one-off show that benefits the One Drop
Foundation. Over the course of seven performances, the event has
raised $35 million dollars to help provide vulnerable communities with
access to clean water.
This years performance is directed by the team that helped re-imagine
Mystère and The Beatles LoveAndré Kasten and Leah Moyer. Think of One
Night for One Drop as an all-star variety show. There will be
performances by Blue Man Group, three compositions by Academy Award-
winning composer Hans Zimmer and a variety of cascading delights.
Kasten and Moyer created a loose theme around the evenings
performance, telling the story of an Everyman going on a journey of
enlightenment. We wanted to bridge the gap between the audience and
the people going through this, to speak about relevant topics around
us so they can relate to humanity, Kasten says.
The Everyman will witness natural beauty, humanity, love and loss,
technology and destruction [until] it starts to feel overwhelming for
him. The Everyman encounters a 7-year-old girl, who represents One
Drop, and she helps him realize that it all starts with one drop of
kindness, according to the directors vision. Of course, this
narrative is staged through the lens of Cirque du Soleil, so expect it
to be more abstract than literal.
Michael Duffy, who played the lead mad scientist role in Zarkana, will
play Everyman. To be in this theater is just an honor, Duff says. To
embody Everyman, Duffy will use physical acting, dance and more. My
favorite zone to be in is when utilizing as many different talents as
possible.
Another highlight: Choreographer Alexander Ekman will brings his take
on Swan Lake, which he staged in Norway, to the O Theater stage. At a
recent rehearsal, Ekman was enchanted by the theaters moving stage,
which converts seamlessly from swimming pool to shallows to dry land.
I love water, says Ekman, who was born in Stockholm, Sweden. He says
that rhythm and water are two major sources of inspiration. He chatted
as his dancers moved and splashed in unison. Their actions were
somehow both liquid and rhythmic. Its so fun to be here. Its so
cool to have this stage. It makes me want to make another water
piece.
Ekman especially loves the opportunity to share his passion for a good
cause. When you work with charity [there is] a beautiful mindset that
comes with it. Everyone is working for free. Its very beautiful.
{ SOURCE: Las Vegas Weekly }
-------------------------------------------------------
One Night For One Drop In Pictures
{Mar.12.2019}
-------------------------------------------------------
This past weekend the Cirque du Soleil shows went dark as the
performance company pulled together their teams of dancers,
contortionists and creative staff for a one-off performance, One Night
for One Drop, Imagined by Cirque du Soleil. Soundtracked by Hans
Zimmer the show mixed the drama and humor of a Cirque show utilizing
the watery backdrop of their O theater. All this effort was for the
One Night for One Drop charity event. The One Drop mission statement
is to not only bring sustainable access to water and sanitation, but
also bring together an artistic injection of understanding healthy
practices in the way with the communities interact with water around
the world.
The charity created by Cirque du Soleil founder Guy Laliberté was now
in its 7th year and combined $1.1 million though pledges, auctions,
and donations. $798,000 of the final sum was raised through a live
auction of 6 items. The top prizes included a McLaren 570S Spider,
part of an exclusive limited unique six car collection, sold for
$310,000, while a one of a kind Audemars Piguet in platinum and blue
alligator went for an easy $220,000. Other items included travel
experiences to St Tropez, Turks & Caicos and a voyage on the
residential Yacht The World. Of the travel items the most fascinating
was a safari to Tanzania that was accessorized with a bronze sculpture
by Richard MacDonald.
After 3 years of involvement model Constance Jablonski took on a
deeper role this year as Chair of the auction. For all the donors
100% of money goes to the charity. They help women who are the most
touched by the difficulties of the water. They have to walk for miles
to get the water every day and 2 billion people dont have access to
safe water and that is traumatic and awful to know, Jablonski
reasoned with a crucial sense of concern. After the awe inspiring
performance guests were led to an afterparty by the Bellagio pool that
was a glittering addition to the evenings surreal blend of society,
glamor, charity, and Cirque magic.
CHECK OUT IMAGES FROM ONE NIGHT FOR ONE DROP HERE:
http://www.cirquefascination.com/?p=12419
Text by: BJ Panda Bear
Photos by: Erik Kabik
{ SOURCE: Flaunt }
-------------------------------------------------------
Inside One Night for One Drop 2019
{Mar.15.2019}
-------------------------------------------------------
How do you raise $1,117,155 in one night to support water initiatives
in vulnerable communities? By auctioning off six precious and bespoke
items, including a McLaren 570S Spider, a limited-edition Audemars
Piguet timepiece and a voyage on the largest private residential yacht
on the planet.
A total of 1,800 guests witnessed this fundraising frenzy March 8 at
the seventh annual One Night for One Drop, Imagined by Cirque du
Soleil event sponsored by Colgate and MGM Resorts. The 90-minute show
and auction took over the O Theater at Bellagio Resort & Casino in Las
Vegas. The beneficiary, nonprofit One Drop foundation, provides access
to safe water and sanitation around the globe, founded by Cirque du
Soleil creator Guy Laliberte.
Network television audiences will get to see One Night for One Drop
when it debuts on CBS at 8 p.m. March 16, hosted by Entertainment
Tonights Kevin Frazier and figure skater Tara Lipinksi.
This splashy affair quite literally, thanks to the aquatic flare of
the O Theater was written and directed by André Kasten and Leah
Moyer, who choreographed Cirque shows such as Mystere and The Beatles
LOVE. It featured a 90-minute acrobatic spectacle set to the music of
Academy Award-winning, world-renowned score composer Hans Zimmer, who
performed three arrangements live, including a specially adapted piece
from Interstellar.
Drawing inspiration from the principles of human connection,
friendship, beauty, nature, love and loss, main character Everyman
goes through a journey of enlightenment. While there are both pivotal
moments and tumultuous times along the journey, his counterpart, Drop,
personifies that the power of change begins within.
In addition to Zimmer and singer Czarina Russell, the performance and
party was attended by director and producer Nigel Lythgoe, host of
CBS The Talk Eve, star of Second Wives Club Shiva Safai, General
Hospital actress Lisa LoCicero and star poker player Daniel Negreanu.
Las Vegas headliners from up and down the Strip came to join their
Cirque du Soleil counterparts, including Marie Osmond, Xavier
Mortimer, Tape Face, Carrot Top, Blue Man Group and castmembers from
Absinthe, Magic Mike Live, Opium and Chippendales, among others.
The creative team began working on the production more than six months
ago to include Las Vegas headliners Blue Man Group and choreography
created by Alexander Ekman and Andrew Winghart, as well as Keone and
Mari from World of Dance.
Prior to the entertainment, the six-lot live auction brought in
$808,000, thanks to two prestigious pieces that were specifically
created as one-of-one for the event a bespoke McLaren 570S Spider by
McLaren Special Operations, part of the 1 of 6 Racing Through the Ages
collection, which raised $310,000. Going for $220,000 was a one-of-a-
kind Audemars Piguet Royal Oak Selfwinding Chronograph timepiece,
crafted in 950-platinum with a deep purple Grande Tapisserie patterned
dial and platinum bracelet with an additional blue alligator strap.
One Drop is a production of Active International and Addressable Media
with executive producers Neal Weinberg and Omar Zabian; supervising
producers Adam Hertzog and Patrick McManus; and produced and directed
by Adam Hertzog and Tore Livia.
{ SOURCE: The Hollywood Reporter }
-------------------------------------------------------
The Intersection of Technology and Live Entertainment
{Mar.20.2019}
-------------------------------------------------------
Do you remember seeing your first live circus performance? Or maybe it
wasnt even a circus it could have been a concert, comedy show or
stage play. Nothing can replace the immersive experience of attending
a live show in person. Over the past 20 years, technology has
transformed entertainment and changed our expectations of what live
shows can offer. This evolving fusion of streaming technology and live
performance is the future of entertainment.
TECHNOLOGY IN LIVE ENTERTAINMENT
Live entertainment traditionally combines multiple artistic mediums to
draw the audience into the show. Automated technology has become one
of these mediums, the newest innovation in interactive experiences.
One of the worlds leading live entertainment businesses, Cirque du
Soleil are constantly using technology in and around their shows.
Amaluna has fully programmed keyboards accompany live vocalists,
digital soundboards edit instrument voicing, stage lighting is timed,
and hydraulics lift massive props. Digital technology can even take
the place of stagehands with automated follow-spots. Now, there are
corporate events, like Cirque du Soleils EPIC, that give exclusive
workshops and a behind-the-scenes look at how themes like technology
help to unify and elevate the show to new levels.
ADAPTING TO SOCIETAL EXPECTATIONS
For generations, circuses recalled ring masters, bizarre characters,
and animals as the primary performers. In 1984 the world got its first
glimpse of the future of the circus. Two former street performers from
Canada, Guy Laliberté and Gilles Ste-Croix, founded Cirque du Soleil
(Circus of the Sun in Baie-Saint Paul). The show included jugglers,
musicians, fire breathers and dancers but not a single animal. For
the first time, people saw a brilliant human-focused circus. The
extravaganza included colorful costumes, original music and magical
lighting, all crafted by local experts and artisans. By 1990, digital
technology especially incredible light shows were already par for
the course. Cirque du Soleil had solidified itself as an international
phenomenon. Laliberté chose the name Cirque du Soleil because the sun
symbolizes youth, energy and strength. These three themes are now the
primary focus of modern entertainment.
DIVERSITY FUELS EVOLUTION
Its important to keep in mind that, at any time in history, theater
and entertainment have reflected current societal norms and the issues
of the day. The themes of unity and diversity have brought people
together time and time again over the past two decades. As the world
becomes more connected through cell phones and internet technology, it
is more important than ever to remain timeless while always evolving.
Eclectic, all-inclusive shows with diverse casts such as Cirque du
Soleils Amaluna have universal appeal. Such shows transcend cultural
norms and embrace the direction this new, united world is moving
towards the perfect place to foster meaningful business
relationships that stimulate the imagination and drive creativity.
Cirque du Soleil allows you to learn from its experts through
interactive workshops and conversations.
THE EMOTIONAL ASPECT OF ENTERTAINMENT
With the advent of modern technology and more scientific methods,
audience surveys and serious research have become increasingly
important for maintaining profit margins. Cirque du Soleil hired the
Lab of Misfits, a team of neuroscientists, technologists and artists,
to find out why people liked their performances so much. When asked
about the purpose of the study, Kristina Heney, Cirque du Soleils
Chief Marketing and Experience Officer explained, Fans and critics
alike have been calling our shows awe-inspiring for more than 30
years now, and yet when we asked fans as marketers, How do you feel?
How do we connect with you? they were not able to explain it.
Beau Lotto, Lab of Misfits director, Beau Lotto, Lab of Misfits
Director said that they were interested in understanding what about
their performances managed to elicit a feeling of awe in the audience.
He explained that it begins with a sense of surprise that quickly
leads to a sense of wonder at the unexpected. Lotto added, You want
to know. You have a desire to understand the source of that surprise.
Awe then goes further and says, I want to know, but in order to know,
Im going to have to shift my reference frame. Its impossible. I
cant figure out how that bit works. Their research findings
indicated that during moments of awe, audience members didnt focus on
looking at things and just took in everything around them instead.
Imaginative thought and memory increased. The performance inspired
daydreaming and creative visions.
THE ADVENT OF INNOVATION AND AUTOMATION
Todays audiences expect to be awed by spectacular live performances.
They also want personal involvement in the show. Interactive corporate
packages, such as escape rooms and murder mysteries, invites the
audience to become participants and performers themselves. Amalunas
corporate packages bring groups into the Big Top for an up-close look
at the show. With EPIC, audiences gain access to innovative and
immersive experiences, exploring how Cirque du Soleil implements
technology, art, and make-up to create a world class stage
performance. These experiences act as gateways to form a new
understanding of leadership and teamwork. Technology and innovation
have changed the way we shop, eat, live and access entertainment.
Cirque du Soleil remains ahead of the curve with larger-than-life
shows that harness the power of technology.
Are you ready for the entertainment experience of a lifetime? Inspire
them with Amalunas Hennessy Black VIP Experience or an exclusive peak
behind the curtains with EPIC.
{ SOURCE: USA Today }
-------------------------------------------------------
A Peek Into The LUZIA VIP experience
{Mar.21.2019}
-------------------------------------------------------
Have you wondered about the VIP experience at Cirque du Soleils
Luzia? Dreaming about how the other half lives?
Heres a look at whats happening in the private tent reserved for
those who purchase a VIP ticket to the colorful show under the big top
at Florida Mall.
The location: The VIP experience takes place in an exclusive tent. It
has a couple of bars and its own souvenir stand to reduce time spent
waiting in line. There are high-top tables, along with stools and
couches. And dont underestimate the appeal of line-free VIP
restrooms, a row of high-class port-a-potties. The VIP tent opens an
hour before showtime and is available during intermission, as well.
The food: Before the show, hors doeuvres are available from a shrimp-
taco station (delicious). Other treats, such as skewers of meat and
vegetables, are delivered by waiters. Intermission is dessert time
Nutella crepes and a banana mousse that is a gussied-up version of the
comfort-food staple banana pudding, complete with vanilla cookie.
Also, it is a circus after all so there is a popcorn machine
available. The bags even say its VIP popcorn so you dont forget
your status.
The drink: The VIP experience is sponsored by Hennessy, and its
Hennessy Black cognac is the featured ingredient in a couple of
specialty cocktails. I tried one infused with maple syrup like
breakfast with a kick. Theres also a variety of other alcoholic
beverages, including beer and wine, up to Champagne Nicolas
Feuillatte.
The souvenirs: VIP guests wear a special lanyard, but also receive a
goodie bag to take home at the night. When I visited, a Luzia
souvenir tote bag contained the glossy program detailing the show and
a pair of Luzia-branded stemless wine glasses, or juice glasses if
used at breakfast. (Unless youre going for the Hennessy cocktail to
jumpstart your day.)
The cost: $255-$265 per adult, depending on the night. The cost
includes the best seats in the tent front and center.
The details: Luzia runs through April 21 at Florida Mall, 8001 S.
Orange Blossom Trail, Orlando. For more information, VIP tickets or
regular tickets, which start at $49, go to cirquedusoleil.com/luzia.
{ SOURCE: The Orlando Sentinel }
-------------------------------------------------------
Voices Of Success: Mitch Garber
{Mar.21.2019}
-------------------------------------------------------
Mitch Garber, chairman of the live entertainment company Cirque du
Soleil, talks to Forbes Asia about constant evolvement and what great
leaders must be equipped with. In this edition of Voices of Success
interview series, Garber, who is also a private equity investor talks
about identifying a companys strengths and building synergy to add
incremental growth.
Cirque du Soleil is one of the largest live entertainment businesses
in the world. 11 million tickets a year, over a billion dollars of
tickets. Today owned by TPG, Fosun, The Caisse De Dépôt pension fund
in Quebec, and myself, and a number of private individuals in
management. After we bought the Cirque du Soleil, we realized what we
really are is a live entertainment logistics company. And so we went
and bought Blue Man Group, we went and bought Vstar, a childrens live
entertainment touring group. And so were applying our expertise in
live entertainment and live touring and logistics to companies that
were buying to add incremental EBITDA and synergy to the Cirque du
Soleils core business because we need to move. We need to move
forward. So always evolving, whether you call it pivoting or evolving,
technology will play a role, and just the general economy will play a
role.
The Canadian businessman also shares his most memorable moment when an
unexpected rejection ultimately led to an outsized profit, which you
can see in the video below:
CHECK OUT THE VIDEO HERE:
http://www.cirquefascination.com/?p=12460
{ SOURCE: Forbes Asia }
-------------------------------------------------------
Cirques IHQ Achieves Fitwel Certification in Quebec
{Mar.22.2019}
-------------------------------------------------------
The Center for Active Design (CfAD) has announced that the Cirque du
Soleil Entertainment Group (CDSEG) international headquarters, located
in Montreal, Quebec, received a Fitwel 2 Star Rating (out of 3 Star
rating system), recognizing the buildings ability to support the
physical, mental, and social health of its 1,500 employees. CDSEGs
Montreal headquarters is the first Quebec based building to receive
such honors and the 12th in Canada. Fitwel is the leading global
health certification, evaluating evidence-based strategies in
buildings that support human health.
Were proud to figure among Canadian leaders in this field but most
importantly, to lead the way in Quebec. The health and well-being of
our employees is a top priority and this certification reminds us how
a well-designed work environment can impact both health and
productivity, said Lyne Lamothe, CDSEGs Chief Talent Officer.
Fitwel certification confirms that we have a real impact on our
employees wellness on a daily basis, whether it's through our
meditation room, the use of our gardens to supply our cafeteria or
even the buildings luminosity.
Joanna Frank, President & CEO of the Center for Active Design said:
We commend CDSEG for their Fitwel certification, which further
advances Canadas leadership in the healthy building movement as
Fitwels second largest market. We are also proud to announce that
CDSEG is the first entertainment company globally to prioritize
employee health and well-being through Fitwel.
Fitwel is a cost-effective, high-impact certification system promoting
positive impacts on building occupant health and productivity through
improvements to design and operational policies. Fitwel provides 3rd
party certification against a baseline of evidence-based criteria that
define a health promoting environment. In office environments, the
expected improvements in employee wellness may result in lower health
care costs, lower rates of absenteeism, and increased revenue from
enhanced worker performance. Fitwel responds to the growing demand for
recognition of healthier buildings and workplaces, serving as a market
differentiator to retain and attract future employees.
The Fitwel certification is the second major certification recognizing
CDSEGs International Headquarters efficient design. The building was
officially certified BOMA BESt Level 3 in 2014. In 2017, BOMA Canada
and CfAD partnered to align the two certification systems,
representing a comprehensive, high-impact approach to meeting both
health and sustainability goals within buildings across North America.
CDSEGs certification recognizes our superior environmental and energy
management practices, contributing to a healthy workplace and a marked
reduction of our ecological footprint.
Fitwel and the Center for Active Design
Named one of Fast Companys 2017 Top 10 Most Innovative Companies in
Social Good, Fitwel is the worlds leading certification system that
optimizes buildings to support health. Generated by expert analysis of
over 3,000 academic research studies, Fitwel is implementing a vision
for a healthier future where all buildings and communities are
enhanced to strengthen health and wellbeing. Fitwel was created by the
U.S. Centers for Disease Control and Prevention, with the Center for
Active Design, a global not-for-profit organization selected as the
licensed operator of Fitwel in 2016, with the mandate to expand Fitwel
globally to the private sector.
{ SOURCE: Cirque du Soleil }
-------------------------------------------------------
MSC Cruises Expands Partnership with Cirque du Soleil
{Mar.26.2019}
-------------------------------------------------------
This past weekend MSC Cruises marked a major milestone as part of its
partnership with Cirque du Soleil. Both companies celebrated the
1,000th performance of the exclusive Cirque du Soleil at Sea shows on
board MSC Meraviglia, which first launched in June 2017.
On Sunday night, show artists, technical crew and MSC Meraviglia crew
members celebrated the milestone with a cake cutting ceremony in the
ships Carousel Lounge, the first ever lounge designed to meet the
needs of Cirque du Soleil at Sea artists, equipped with the latest
technology and special rigging, including a 360-degree rotating stage.
The artists perform two shows in MSC Meraviglias Carousel Lounge:
Viaggio: The story of a passionate and eccentric artist who hears the
call of his Faceless Muse. Mysterious and seductive, she beckons him
into the vivid world of his unbridled imagination to complete his
masterpiece. With each stroke of his paintbrush, the Painter reveals
the details of his grandiose tableau. Electrifying colors fill the
space with intriguing motifs and rich textures. Majestic acts
transform the theater into a living canvas.
Sonor: This show takes guests on an auditory adventure with dancers,
acrobats and characters, all moving to the rhythm. It conjures a world
of unique sensations, astonishing sounds, bold music and immersive
projections and culminates in a grand finale for the senses.
The two original shows were produced especially for MSC Cruises by
Cirque du Soleil as part of the long-term partnership that first
started in 2013. As part of the partnership, a total of eight original
shows will be produced exclusively for MSC Cruises guests on its
Meraviglia generation ships. MSC Meraviglia, the first of the
Meraviglia generation, also will bring her Cirque du Soleil at Sea
shows to North America upon arrival for the first time in October
2018. Before homeporting in Miami, the ship will sail three sailings
embarking from New York. The first two sailings with visit Canada and
New England and the third will journey through the Caribbean before
ending in Miami, where she will then sail seven-night Caribbean
cruises. Itineraries include:
Oct. 8, 2019: A 10-night sailing embarking from New York City sailing
to destinations in Canada, including Sydney, Nova Scotia; Corner
Brook, Newfoundland; Charlottetown, Prince Edward Island; and Quebec
City, Québec. Prices start at $1,229 per person for a balcony
stateroom.
Oct. 18, 2019: A 10-night sailing embarking from New York City and
sailing to Bar Harbor, Maine; St. John, New Brunswick; Halifax, Nova
Scotia; Sydney, Nova Scotia; Portland, Maine; and Boston. Prices start
at $1,169 per person for a balcony stateroom.
Oct. 28, 2019: A 13-night sailing embarking from New York City and
sailing to Philipsburg, St. Maarten; Fort de France, Martinique;
Bridgetown, Barbados; Saint George, Grenada; Willemstad, Curaçao;
Willemstad, Curaçao; Ocean Cay MSC Marine Reserve; and ending in
Miami, Florida. Prices start at $1,559 per person for a balcony
stateroom.
This month MSC Cruises also launched its latest flagship and MSC
Meraviglias sister ship, MSC Bellissima, complete with two exclusive
Cirque du Soleil shows: Syma and Varelia. Every element of each show
is unique, from the concept and storyline, characters, costumes and
make-up to music, staging and sound effects. Each show offers a true
multisensory experience that will leave guests spellbound.
Syma: Sail beyond Imagination takes you on the epic journey of a young
sailor, brimming with imagination. On this bold expedition, he braves
the elements, plunges into troubled waters and discovers the
mysterious island of his dreams, populated by surreal, and colorful
creatures. We all carry our own imaginary island inside of us, so what
are you waiting for? Syma awaits. Immersive video images, an original
set design, bioluminescent lighting and acrobatic feats make Syma an
unforgettable show.
Varelia: Love in Full Color puts a futuristic twist on a traditional
medieval tale. It traces the arduous course of an unconventional
courtship between a princess with distinctive violet skin and a
charming hero who is blind. Their budding romance is thwarted by a
villain who, in a fit of madness, kidnaps the royal. With the help of
his friends, the brave young hero formulates a plan to rescue his
beloved. Delight in the acrobatic feats, the laser show and the unique
set design of this futuristic medieval tale.
Work is already well under way for the next two original shows to
debut on MSC Grandiosa, launching in November this year and another
two new shows for MSC Virtuosa, launching in October 2020.
Cirque du Soleil at Sea is a pre-booked experience for guests with
competitive rates and can be booked in advance or while on board
during the cruise if availability allows. Guests can either book to
enjoy a three-course menu served before the show ($39) or sip on a
specialty cocktail ($17) and enjoy the pre-show that begins 30 minutes
before the start of the Cirque du Soleil at Sea performance.
{ SOURCE: Insider Travel Report }
-------------------------------------------------------
Cirque Acquires Bob's Lawn Care for $10.4 Million
{Apr.01.2019}
-------------------------------------------------------
On April 1, 2019, Cirque du Soleil announced its intent to purchase
Bobs Lawn Care of Kenosha, Wisconsin for $10.4 million in cash. This
will mark the companys fourth major acquisition in recent years,
following Blue Man Group in 2017 and VStar Entertainment and The Works
Entertainment in 2018.
Bobs Lawn Care is well known in the Kenosha market for its
innovative use of gardening pros singing pop songs while pushing lawn
mowers, said Daniel Lamarre, president and CEO of Cirque du Soleil
Entertainment Group. We believe this unique gardening entertainment
enterprise will help take Cirque du Soleil and its affiliated
companies to the next level.
Im very excited about joining the Cirque du Soleil group of
companies, said Robert Potenkis, founder of Bobs Lawn Care. The
opportunities for lateral synergy are boundless and I look forward to
integrating the fine art of pop singing and lawn mowing into new
Cirque productions coming to China and Dubai and the new Cirque du
Soleil resort under construction in Mexico.
{ SOURCE: In Park Magazine }
-------------------------------------------------------
Using Digital Transformation for Procurement Efficiency
{Apr.03.2019}
-------------------------------------------------------
With her team of costumes and operational buyers, Fulya Oguz reveals
to Business Chief how Cirque du Soleil manages unique procurement on
its digital transformation journey.
What we do is very unique, reveals Fulya Oguz Operational
Procurement Manager, Supply Chain at Cirque du Soleil. On a day-to-
day basis I might be talking with an operational buyer about a lift
that will pull up a 25-ton tent in one corner of the world, and then
move on to discussing the lingerie required for our Zumanity show.
The Canadian entertainment company was established in Montreal,
Quebec, in 1984. In the past 35 years the business has expanded on a
global-scale, having offered shows to more than 200mn viewers
globally across 450 cities.
Due to the colorful nature of the performances, the procurement team
is often required to source non-conventional products in order to
achieve the high-quality productions promised in its reputation. Our
goal is to invoke imagination, provoke fantasies, and evoke emotions.
In order to enable that we buy extremely specialized and unique,
custom-made products, says Fulya.
Fulya manages the operational procurement team within the companys
supply chain operations, which focuses on strategic sourcing, travel
management, customs and logistics. My team consists of project
managers and operational buyers that specialize in different
commodities. Essentially, my team supports all the Cirque units,
including studios, buildings, IT, touring shows, production and of
course costumes workshops, she states. Her mandate is to ensure all
internal business units are supported with solid contracts, efficient
procurement processes, and good risk management. For Cirque du Soleil,
efficiency is important in ensuring all the customer-facing aspects of
the company function perfectly. Operationally we have to be efficient
and we have to be on time, Fulya explains. The live shows require
reliable equipment and bold sets and costumes, and without efficiency
from the procurement team these may not be readily available.
Innovation is a key driving force behind functions. With growth
influencing operations, the team is introducing new technologies to
manage procurement and ensure vital efficiency. As our President
Daniel Lamarre has said At Cirque du Soleil we dont talk about
diversity, we live it every day with different nationalities
influencing our growth. I think it is very important as were a
worldwide company and our global presence has increased considerably
over the years. And, of course, this growth influences and impacts all
of its business units and their operations. So, everything we do we
have to do it even more efficiently and effectively, explains Fulya.
With growing demand, the team is focusing on introducing new, creative
solutions: Its a creativity-driven business. We try to acquire the
best and brightest talent in the field of procurement, while
capitalizing on the highest technological advancement and tools
available.
In order to introduce new technologies, Cirque du Soleil began by
questioning how it conducted business. By addressing what could be
eliminated from everyday operations, it could then decide where to
start investing. To support our supply chain transformation, we
invested in an e-sourcing cloud platform, shortly followed by an e-
procurement cloud platform. The e-sourcing platform was introduced
with the intention of streamlining our communications. As a buyer, we
receive requests in all forms from emails to verbal. Cirque du
Soleil has been able to process an increased volume without increasing
the team. The cloud has enabled time-efficient operations, allowing
Cirque du Soleil to communicate globally and shorten its response
time. The team also found that the solutions enabled statistic
tracking, analysis and traceability, while connecting different
departments. We can invite different partners within the same tool
it breaks the silos. Everyone can participate, Fulya continues.
Innovation is not the only priority for Fulya, with Cirque du Soleil
also ensuring it sources its products in the most sustainable ways.
As a citizen of the world we have to value sustainable methods and
watch our footprint. We have to integrate these principles in our
procurement practices, says Fulya. Today we have performances all
over the world and we have to showcase unique products, meaning the
fabrics and props we use are not readily available or reachable. In
2017, the company transported fabrics from France to Canada on the
Avontuur sailboat. The successful journey emitted zero carbon as the
engineless boat required no fuel. This led to the firm committing to
making at least five journeys through this method by 2020 in order to
reduce its environmental damage when acquiring its specialized
materials. When creating the LUZIA show, the firm used 6,000 litres of
water per performance. In order to offset the huge quantities used,
Cirque du Soleil would ensure that every liter would be recycled
during the duration of a stay in a given city. When we say
sustainability and the environment are very important to Cirque, we
really mean it, Fulya adds.
Since joining the company eight years ago, Fulya has helped transform
the operational procurement team. As she continues to break the silos
and be a part in ensuring the companys shows are staged on time, the
head of the operational department aims to ensure the solutions
allowing this to happen are implemented across the world. In
regards to technology, we have already decided what were going to use
and were working on it. The next step is making sure the cloud
platforms are accessible all over the world, states Fulya. Thats an
extraordinary responsibility in a magical environment.
{ SOURCE: Gigabit Magazine }
-------------------------------------------------------
Using Digital Transformation for Procurement Efficiency
{Apr.10.2019}
-------------------------------------------------------
Cirque du Soleil Entertainment Group (CDSEG) through its innovation
lab, Nextasy, and FCAD, Ryersons Faculty of Communication and Design
have come together to launch The Future of Live Entertainment Lab
(FOL!E), dedicated to innovation research in the live entertainment
industry. This powerful initiative combines Ryerson Universitys
strength as Canadas leader in innovative, career-oriented education,
with CDSEGs expertise as a live entertainment global leader, to
create a laboratory that will focus on using technology to enhance
human performances, developing methodologies for live audience
analytics, and generating deep insights into social and economic
paradigms shaping the industry.
Weve always invested internally to push the boundaries of our own
creations and creative minds, but FOL!E is our first official step to
open up our research and development initiatives to the outside world.
There is no doubt this academic partnership will contribute to pushing
the live entertainment industry to the next frontier. says Diane
Quinn, Chief Creation Officer at Cirque du Soleil Entertainment Group.
Charles Falzon, Dean of FCAD says, We are thrilled to have found a
partner who has at heart as much as we do, the training of the next
generation of live entertainment leaders. FCADs research is at the
intersection of technology and creative storytelling and who better to
partner with than Cirque du Soleil, the biggest and best Canadian
cultural export who has raised the bar of innovation in those fields
for the last three decades.
Housed in the Catalyst at FCAD, a new interdisciplinary research hub
home to 20 labs and centres, FOL!E will bring together faculty and
students from FCADs nine creative schools to develop projects in
high-interest areas for academic and field-based research. Under the
leadership of Louis-Etienne Dubois, faculty member in the School of
Creative Industries and newly appointed Director of FOL!E, researchers
will also have access to CDSEGs expertise and audience insights
coming from the Groups facilities worldwide including its
international headquarters in Montreal.
Through a unique interdisciplinary approach that blends technology and
creativity, CDSEG has committed funding and expertise to tackle
questions of how the changes in audience preferences, emerging
technologies and shifting economic conditions are creating new
possibilities for the live entertainments industry. FOL!Es
initiatives and findings on the potential social, educational, and
commercial impacts will be disseminated through academic conferences,
journals, an annual showcase event and through Nextasys online
platform that shares trends and insights in live entertainment and
creative innovation.
ABOUT FCAD
The Faculty of Communication and Design is the cultural and creative
hub at Ryerson University. With its nine prestigious schools in media
and creative industries, FCADs interdisciplinary innovation and
education are shaping the future of the creative industries.
ABOUT RYERSON UNIVERSITY
Ryerson University is Canadas leader in innovative, career-oriented
education. Urban, culturally diverse and inclusive, it is home to more
than 45,300 students, including 2,600 Masters and PhD students, 3,800
faculty and staff, and nearly 198,000 alumni worldwide.
{ SOURCE: Cirque du Soleil }
-------------------------------------------------------
10 Artists Coming to Messi10!
{Apr.10.2019}
-------------------------------------------------------
On this 10th of the month, we have 10 updates for you on our show
Messi10 in partnership with Leo Messi
a glimpse of 10 artists who
will start training at our Headquarters in Montreal!
CHECK OUT THESE ARTISTS HERE:
LINK /// http://www.cirquefascination.com/?p=12501
{ SOURCE: Cirque du Soleil }
-------------------------------------------------------
Discover SYMA and VARELIA from Cirque at SEA
{Apr.10.2019}
-------------------------------------------------------
Cirque du Soleil at Sea is a unique entertainment concept created by
MSC Cruises, the worlds largest privately owned cruise line, and
Cirque du Soleil, the world leader in live entertainment. In March
2019, two brand new Cirque du Soleil at Sea shows, SYMA and VARÉLIA,
launched on board MSC Cruises new flagship, MSC Bellissima. The
leading cruise line has revealed today details of the inspiration and
creative process behind these two original new shows along with the
exclusive first images of the spectacular performances.
Every element of each new Cirque du Soleil at Sea show is unique from
the concept and storyline, the characters, the costumes and makeup
through to the music, staging and sound effects. The concepts are
first developed by the experienced and talented creative team based at
Cirque du Soleils international headquarters in Montreal, Canada.
Following a rigorous casting process and intensive ideation workshops,
the shows are then refined and brought to life on board the ship in
the custom-built entertainment venue, the Carousel Lounge, designed to
meet the specific needs of Cirque du Soleil.
The long-term partnership will result in eight original shows that can
only be seen on board the Meraviglia class ships. Each ship will offer
two brand new contrasting shows to deliver a truly unique and intimate
experience for MSC Cruises guests.
SYMA is a fantastical odyssey into the heart of an imaginary world,
and the search for a mysterious island inhabited by phantasmagorical
creatures. The guests on board MSC Bellissima are embarking on a
journey of discovery, just like the main character of the show.
Immersive video images, an original set design, bioluminescent
lighting and acrobatic feats make SYMA an unforgettable show.
VARÉLIA is a tale of modern chivalry where love and courage triumph
over the greatest divides. A medieval tale with a futuristic twist,
VARÉLIA follows a classic story arc in a cartoonesque world which adds
a humoristic touch. Audiences will delight in the acrobatic feats, the
laser show and the unique set design.
CHECK OUT IMAGES OF SYMA AND VARÉLIA HERE
LINK /// http://www.cirquefascination.com/?p=12519
With these two new shows, Cirque du Soleil continues to push creative
boundaries with the introduction of innovations in staging, makeup,
costumes and performances. Some of the highlights include:
o) The Underwater Creatures characters in SYMA have ultraviolet
iridescent makeup, which, along with parts of their costume, glow
under special lights built into the custom-made Carousel Lounge
o) The creative team have used video projection mapping for the first
time in SYMA to project content onto tangible set elements and
props on stage to add yet another visual element to the show. This
technology enhances the guest experience by animating static
objects and surfaces.
o) The finale of VARÉLIA includes a breathtaking roller skating duo
spinning at incredibly high speeds while completing complex tricks.
This, coupled with an aerial hoop duo, creates a spectacular floor-
to-ceiling climax.
o) Laser lights are used in VARÉLIA to create a futuristic and
changing set design. They convey the theme and atmosphere of the
show. With a strong focus on aesthetic principles the lasers create
graphic figures and illusions where Cirque du Soleil at Sea artists
can thrive.
Cirque du Soleil at Sea can be booked in advance at a reduced rate or
whilst on board during the cruise for any remaining seats. Guestscan
either book to enjoy a three-course menu of palate-pleasing dishes
served before the show (35), or sip on a specialty cocktail (15) and
enjoy the pre-show that begins 30 minutes before the start of the
Cirque du Soleil at Sea performance.
MSC Meraviglia was the first ship to debut the new Cirque du Soleil at
Sea concept with the launch of the two shows VIAGGIO and SONOR in June
2017 and recently celebrated the 1,000th performance on board., Work
is already underway for the next shows for MSC Grandiosa, that will
launch in November 2019.
{ SOURCE: MSC Cruises }
***************************************************************
Q&A -- Quick Chats & Press Interviews
***************************************************************
-------------------------------------------------------
Q&A w/CRYSTALs Scott Smith
{Mar.07.2019}
-------------------------------------------------------
Figure skating and acrobatics are hard enough. Combining the two might
sound impossible, but for Scott Smith, it was a perfect fit.
I was a competitive skater for 20 years. In a way Ive been training
for this all of my life, Smith told the Deseret News.
The show hed been training for is Crystal, Cirque du Soleils first
ever on-ice experience, which incorporates figure skating and advanced
acrobatics. Crystal will be at West Valley Citys Maverik Center
Thursday through Sunday.
Smith saw Cirque du Soleil many times in Las Vegas before joining the
Crystal tour, and was always inspired by the athleticism and
technical skill of all of the shows, he said. Watching the performers
even motivated him to put a trapeze skating act together for the
cruise ship he was performing on at the time.
But with most of his background in figure skating, he never thought
hed get the opportunity to join Cirque du Soleil.
Smith committed to skating at a young age. Like many children, he
experimented with different sports as a child but stopped searching
once he discovered figure skating.
I just loved skating. I loved the speed of it, Smith said. I would
just practice for hours and hours and hours on my jumping. When I
wasnt skating, I was practicing my jumping in the yard.
His passion made him perfectly prepared when he saw a Facebook post
inviting figure skaters to audition for Cirque du Soleil. He was
overjoyed they were going in a direction he was trained in and
applied.
After the audition, Smith hit the ground running, skating and
flipping. Despite decades of experience, it still took a lot of work
to prepare.
There were a couple of tricks that I needed to enhance to blend the
two worlds together, he explained. Some of the tricks that I use in
competitive skating I still do in this show as well, but
I do a
backflip over a person in this show, which was something new.
Smith studied videos of the performance to learn the choreography and
perfect new tricks. He was in the full show within two weeks of
joining in November 2017, just as Crystal started touring.
Being a part of Cirque du Soleil took some getting used to. The scale
of the performance was a huge change from the more intimate venue hed
grown used to on the cruise ship he hadnt really skated in big
arenas in the decade since hed retired from competitive skating.
Beyond the venues, the Cirque du Soleil cast was another big
difference. On the cruise ship, Smith had primarily worked with others
trained in competitive skating whose stories were similar to his own.
Whats great about this is we all have such different backgrounds and
everybody is very skilled in very different ways, Smith said of
Cirque du Soleils cast. We all respect each other for the uniqueness
and the skill that each person brings to the show.
These differences dont get in the way. Smith said if anything, the
respect adds to their teamwork. The entire cast and production group
gets along well and feels like a team. This connection is especially
important, since some of the big acrobatic tricks require a lot of
trust in each other.
These more daring moments may seem dangerous to the audience, but
Smith said every part is carefully planned and practiced to keep the
performers safe.
Occasionally there are injuries just because were pushing our bodies
all the time, he said. But everybody here has trained and practiced
a lot. We have lots of safety practices.
The training is there so it
is safe when were doing some of the bigger acrobatic tricks.
One of Smiths favorite things about touring with Crystal, other
than performing, is the tour itself. Smith said hes glad for the
opportunity to tour the U.S. He loves seeing friends and fellow
skaters hes trained and worked with in the different cities they
visit.
Performing on the cruise ship, you kind of move into a room, so in a
way, it feels like youre doing a stationary show, Smith explained.
Obviously, you wake up and youre in a new place each day, but it
doesnt have the same touring feel of living out of a suitcase and
going city to city.
Though Smith has enjoyed many cities, he is particularly excited to be
in Utah. During his last year of competitive skating, Smith moved to
Salt Lake City to train with skater Stephanee Grosscup. After a few
years of training with her, he started traveling for shows but came
back to Utah in his off-time.
I love Utah, he said. I didnt plan on staying. My plan was to just
move here for a year or two, work with Stephanee and then move on. But
I ended up really liking it here. Being here in Salt Lake has been the
most exciting, to come back here and get to perform this show in front
of all the friends and connections that Ive made while living here.
{ SOURCE: Deseret News }
-------------------------------------------------------
Erini Tornesaki and Her Dynamic Voice
{Mar.11.2019}
-------------------------------------------------------
Talented vocalist of jazz and Greek traditional music, Eirini
Tornesaki blurs the lines between genres and explores intercultural
dialogue through music.
Her angelic voice was first heard in public when she performed at her
fathers restaurant in Crete at the age of four. Growing up she
studied classical piano, music theory and cello, and was a member of
the Youth Choir and String Orchestra of the Municipality of Heraklion
in Crete.
With a natural talent, Eirini completed her Bachelor in Vocal
Performance at the British and Irish Institute of Modern Music in
England in 2012.
The young singer in 2017 was also awarded a full tuition scholarship
to complete a Master of Music at the Berklee Global Jazz Institute in
Boston, with Danilo Perez and an array of faculty including John
Patitucci, Joe Lovano, Terri Lyne Carrington, and George Garzone among
others. She notes it was an intensive one year program and a truly
unique opportunity for her to study next to the great artists.
As a child I loved Pantelis Thalassinos. As a teenager, I discovered
rock music and loved Freddie Mercury and later on, Aretha Franklin,
Ella Fitzgerald, and Sarah Vaughan and now I love listening to
Esperanza Spalding. I am also always inspired by other traditions from
around the world and admire the flamenco singer Estrella Morente.
Throughout the years, my taste in music has been changing and I always
draw inspiration and influence from a variety of artists Eirini said.
Between 2014-2017, Eirini was the singer of the Cirque Du Soleil show
Kurios- Cabinet of Kuriosites, touring Canada and the USA for three
years, performing 1074 shows with them. She also participated in their
Virtual Reality short film Inside the box of Kurios for the Samsung
Gear VR, which won a Day Time Emmy Award in 2016.
For Eirini, the studio is an interesting space where you really feel
like your voice is put under a microscope, so it can possibly be
stressful. Its important not to let that affect you and find a way to
express yourself freely. I love recording in the studio, and the more
I do it, the more comfortable I feel.
Eirini has amazed audiences across the world, performing in Canada,
USA, Cuba, Colombia, Panama, United Arab Emirates, Cyprus, Greece, and
most other European countries. Not to mention she has also
collaborated with many artists including Barry Manilow, James Bay,
Nick Pitera, Christos Zotos, George Garzone , Luciana Souza, Classico
Latino and Mario Frangoulis, just to name a few.
In 2017 she performed the US National Anthem for the Boston Celtics at
the Greek Heritage Night, featuring Giannis Antetokounmpo.
Recently, Eirini recorded the traditional Greek song from Propontis
(Sea of Marmara) Korasion Etragoudage in her own style. The song
speaks about xenitia, being in foreign lands far from home. I
discovered this song from the recording of Domna Samiou and it moved
me. Since then it has become part of me. I have performed it in many
concerts throughout the United States and last year I decided to
record it with a new arrangement featuring Palestinian cellist Naseem
Alatrash.
I carry the Greek Culture with me through the study and performance
of Greek traditional music, she added.
The talented young artist would like to continue performing as a
soloist and also with her Greek traditional music group Pharos
Ensemble in the future. As for the next 2 years, Eirini has her eyes
set on releasing her debut album and a world tour.
I am hoping to keep exploring intercultural dialogue through music
and that I can use the power of music to help someone, or convey a
message for social change.
{ SOURCE: Greek City Times }
-------------------------------------------------------
Three Gymnasts from Kooza From Sport to Stage
{Mar.20.2019}
-------------------------------------------------------
Its the classic storybook narrative; a young outcast with a troubled
past runs away from home to join the circus in pursuit of a better
life. But for former top-level gymnasts Talita De Lima, Ion Ciacla and
Denis Pirogov, the fiction is their reality. The trio, from Brazil,
Romania and Russia all called time on their sporting careers in search
of a more exciting lifestyle and now perform together as teeterboard
artists in Cirque du Soleil KOOZA. With massive sacrifices and drastic
changes in lifestyle, running away with the circus hasnt been all
smooth sailing. But there are also no regrets.
Every night that 29-year-old De Lima steps out on stage to be
catapulted from a teeterboard to spin, twirl, and land on the
shoulders of a fellow acrobat in front of hundreds of people, she
takes a moment to think of the life she left behind. Growing up in an
underprivileged neighbourhood in São Paulo, Brazil, De Lima always
searched for ways to escape her reality. At the age of five, she was
introduced to artistic gymnastics and quickly excelled to the top of
the sport, taking out local and national tournaments. She was marked
as having plenty of potential in the sport but after nearly 14 years
of training and competing as a gymnast, De Lima longed for a change.
She grew tired of her routine and was discouraged by the lack of
opportunities in Brazil.
The lifestyle in Brazil is very difficult, De Lima told the Herald.
I wanted to leave and to have more fun. I wanted to see the world.
It wasnt until De Lima stumbled across a gymnastic friends Facebook
profile that she dreamt up the crazy fantasy of running away with the
circus. I saw on her Facebook page that she was doing Cirque du
Soleil and she looked so happy, she said. I thought to myself, I
hope one day I can do that. My dream was to be like her someday.
De Lima set her sights on the world-renowned circus and her
opportunity finally came in 2008 when Cirque du Soleil held auditions
in São Paulo. Out of 30 candidates, only three were chosen to proceed
to Cirque du Soleils international headquarters in Montreal, and De
Lima was one. Leaving her life and family behind, De Lima relocated to
Canada in 2009 to begin training and joined KOOZAs house troupe less
than a year later. But although her strong gymnastics background came
in handy, De Lima had never trained nor performed in teeterboard. The
only thing the same was knowing how to jump and tuck, she says.
De Lima trained for up to five hours a day in her first year, the
dedication required reminded her of what it took to compete in top
level gymnastics. Led by an acrobatics coach, De Lima said the
physical transition wasnt as tough as she anticipated. But the mental
side was uniquely different. In gymnastics, we were taught to just
think about the competition and try to win, De Lima says. But here
we think about being an acrobat, artist, dancer, everything. Ive
learnt so many things here. You cannot look sad when there are
thousands of people watching you. If you have some personal problems
and you put your foot out there you cannot show that to anybody you
need to forget everything. When you go through that door you need to
forget it all and just be an artist
When I step out on stage, Im
not Talita anymore, Im a different person, a different character
and I love that.
Over the past 10 years, De Lima has performed in front of thousands of
people around the world. Yet the two most important people in her
life, her parents, have never had the opportunity to see her live. Her
parents always cried when she would leave after a short holiday home
in between tours but De Lima said she would always consider leaving
São Paulo behind a small sacrifice to the dream she now gets to live.
Its like I have one family in Brazil and here I have another huge
family, my circus family, De Lima said. I want to stay here
performing as long as I possibly can, I want to be here forever. If
Im not an artist I want to work in another role like coaching because
I love this. This is my everything, this is my life.
* * *
Even after 16 years of being launched from a teeterboard wearing
stilts, high-flyer Ciacla said he still felt nervous before every
show. Its a big audience compared to when you compete because
competing you have maybe hundreds around you and here you have
thousands, he says. Im always nervous.
Ciacla, 28, watched his first circus show at the age of six after his
parents signed him up for artistic gymnastics classes. Following six
years of national level gymnastics, Ciacla began transferring his
skills to acrobatics and at just 12-years-old, auditioned and landed
his first circus gig. Picking up a professional performer contract in
2003, Ciacla relocated to Las Vegas to perform at Planet Hollywood as
part of the teeterboard act before joining the Moscow State Circus
Teeterboard in the US, touring all 50 states over a two-year stint
with the show.
Adjusting to life as a circus performer was challenging at first for
Ciacla, who found the lifestyle to be very different from what he was
used to as a young athlete. The demands to master his act after
joining Cirque du Soleil in 2009 included hours of training every day
but the workload wasnt ever enough to put Ciacla off the fascinating
lifestyle of being in the circus. When I started teeterboard, I was
training about four to six hours a day for six to nine months, he
said. You must be ready and maintain yourself at a higher level.
Sport is pretty much the same but youre only preparing yourself to
compete for up to five times a year. But here, you have to maintain
this and be ready for it every day.
Ciaclas act, arguably one of the more dangerous of the teeterboard
performers, has once left him concussed on stage and with a few broken
bones requiring surgery. But Ciacla, who didnt consider his risk of
injury in the circus much more than being a gymnast, said nothing
would ever put him off the job he now considered his life. Its
definitely a bit more dangerous what Im doing now, but there is no
professional sport without being involved in danger, both are
dangerous
it happens. The audience, performing and the energy we
have here is what makes it special. I get to live with that every
day.
* * *
Performing arguably the most dramatic teeterboard jump in the KOOZA
show is Pirogov. Catapulted into the air with both legs strapped
together to a single stilt, the 39-year-old performs a series of mind-
boggling flips before landing perfectly balanced on the stage below.
Yet, the trick only took Pirogov a year to master as he drew on the
skills he had learnt competing in gymnastics. The training was
similar but much more specific than in sport
circus training was
always more fun.
Growing up in a Russian gymnastics school, Pirogov was transferred to
the Acrobatic Sports Facility at the age of 14 to specialize as a
flyer in the mens acrobatics group. Pirogov set his sights on a
career in the field but even after picking up plenty of medals and
awards in the sport he soon realized the limitations of his
opportunities at home. Invited to perform in Cirque du Soleils Quidam
in 1998, was Pirogovs golden ticket. The future life after sport
being an acrobat in Russia there arent many opportunities, Pirogov
said. The circus though promised the dream of being paid to perform
and travel around the world.
Pirogov toured with different circus groups for ten years after his
short stint with Quidam, before another opportunity with Cirque du
Soleil came up in 2011. I love Cirque du Soleil so it was nice to
come back after being part of it in 1998, he said. I was excited to
come back. It was my dream to come to Cirque du Soleil because its
something different to any other traditional circus Ive been part of.
I feel something special inside when I go out on that stage, I feel
the adrenaline and it gives me energy.
* * *
When sitting in the audience of Cirque du Soleil KOOZA, its easy to
forget about everything that happens behind the scenes. Stepping out
on stage to perform up to two shows a night with often just one day of
rest a week, the reality of running away with the circus is far from
the glamorous fantasy depicted in storybooks and Disney movies. It
takes years of hard work, dedication and sacrifice three things De
Lima, Ciacla and Pirogov know all too well. But for the three
inspiring artists, performing on stage is never something they will
take for granted. Everything about being part of the circus is a
dream, De Lima said. Im living my dream. Dreams do come true.
{ SOURCE: New Zealand Herald }
-------------------------------------------------------
Meet Victor Salazar, Volta BMX Rider
{Apr.05.2019}
-------------------------------------------------------
Two years ago, San Diego BMX cyclist Victor Salazar went off to join
the circus. This week, he came home.
Salazar, 26, is one of five professional BMX riders performing in
Volta, Cirque du Soleils action sports-inspired tent show that
opened Wednesday and continues through May 5 at the Del Mar
Fairgrounds.
Volta features a cast of more than 40 international acrobats,
skaters, slackline walkers, aerialists, parkour athletes, clowns,
dancers, singers and musicians. But its the BMX riders who star in
the shows finale, performing high-flying stunts on steep
polycarbonate ramps and vertical platforms just feet away from the
surrounding audience.
Salazar said audiences in the 2,500-seat tent are usually surprised to
be so close to five riders performing intricate maneuvers together in
such a confined space.
It can be nerve-wracking for people because they dont expect such an
intimate experience, he said. Theres a lot of adrenaline pumping
and high-flying action. What they may be used to seeing on TV is
nothing like what theyre going to see in the tent.
Salazar was invited to Montreal in 2017, when the Canadian circus
theater company began developing a new show that would combine
traditional circus performers with urban, street and parkour athletes.
The Mission Valley resident said he enjoyed the experience of working
in the tent show environment so much that he signed on as a permanent
member of the Volta BMX team.
Since Voltas launch in mid-2017, it has toured continuously through
Canada and the U.S. with four-to five-week stops in each region. Its
now finishing up a winter-long tour of California. From Del Mar, it
will next move to Chicago for a two-month run. In the transfer time
between each city, Salazar has flown home to San Diego to visit his
girlfriend, his family and friends. So hes thrilled to back in his
hometown this month, for more reasons than one.
Its a huge accomplishment for me to be here with Cirque du Soleil to
show everyone who supported me along the way where Im at in my
journey, he said. A lot of the time I was hurt or I didnt do my
best or I was down and out. But I never let that get me down. Ive
always been pushing. Its a big weight off my shoulders to show people
that this is what I have to offer and this is what we want to bring.
Salazar, who grew up in Huntington Beach, said he fell in love with
BMX cycling when he saw his first race at age 3. While he enjoyed
winning races, he quickly realized he was more interested in doing
aerial tricks than finishing in first place. When he was 13, a BMX
stunt team performed a motivationally themed show at his middle school
and their message of positivity stuck with him.
They said if you have dreams and goals in life, no matter what they
are, pursue them and go for it, he said.
At 16, he turned pro and at 18 he became a touring athlete, traveling
with BMX teams all over the world. In 2013, he won third place in a
FISE World Series contest in France. He has performed in NBA and NFL
halftime shows and has appeared in several national TV commercials.
One of his best friends, and sometimes competitors, on the touring
circuit was AJ Anaya of Denver, Colo. Anaya was among the first BMX
riders to be recruited to Montreal to develop Volta. He convinced
Salazar to join him there. The all-ages show tells the wordless story
of Waz, a fame-seeking game-show contestant who becomes disillusioned
with life and goes in search of a new identity, which he finds among a
community of supportive, free-spirited athletes led by the BMX riders.
Because Volta was the first show Cirque du Soleil shaped around action
sports, these athletes had a major part in crafting their acts. Steven
Ross, senior publicist for Volta, said the BMX riders requested less
rigid costumes for better flexibility and the arc of the see-through
ramps they ride at the corners of the stage were built to their
specifications.
Salazar said performing in the dark tent with moving stage lights on
see-through ramps can be challenging and confusing, so white strips of
reflective tape line the edges of the heavy plastic ramps so the
riders dont miss a landing. The show is not without its dangers. In
December, a member of the BMX team was injured in a fall during a
performance in San Francisco. And last spring an aerialist died after
a fall during a Tampa show.
Ross said Cirque du Soleil treats all of its performers like
professional sports athletes. They travel with coaches and medical
staff who perform regular health evaluations and rotate out performers
for a rest whenever necessary. Salazar said he stays in peak form by
working out in the gym six days a week and practicing for at least two
hours each day on his bike which is purple with chrome plating for
show-goers looking to identify him during performances.
The Volta tour schedule is now booked through September, with several
more cities planned after that. Salazar said he plans to stay with the
show indefinitely.
I dont see myself going anywhere. Im here to stay, he said. Its
been an awesome ride.
{ SOURCE: San Diego Union-Tribune }
=======================================================================
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
------------------------------------
Alegría-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:
Phoenix, AZ -- Mar 15, 2019 to Apr 14, 2019
Los Angeles, CA -- Apr 25, 2019 to May 26, 2019
Livingston, NJ -- Jun 12, 2019 to Jul 14, 2019
Oaks, PA -- Jul 24, 2019 to Aug 25, 2019
Bazzar:
Doha, QA -- Apr 25, 2019 to May 4, 2019
Koozå:
Valencia, ES -- May 30, 2019 to Jun 30, 2019
Gijon, ES -- Jul 31, 2019 to Aug 18, 2019
Malaga, ES -- Sep 13, 2019 to Sep 29, 2019
Madrid, ES -- Oct 24, 2019 to Nov 24, 2019
Kurios:
Sendai, JP -- Apr 19, 2019 to May 29, 2019
Singapore, SG -- Jul 5, 2019 to Jul 21, 2019
Sydney, AU -- Oct 2, 2019 to Oct 27, 2019
Brisbane, AU -- Jan 10, 2020 to Jan 26, 2020
Melbourne, AU -- Mar 12, 2020 to Mar 29, 2020
Adelaide, AU -- TBA
Perth, AU -- TBA
Luzia:
Orlando, FL -- Mar 8, 2019 to Apr 21, 2019
New York City, NY -- May 3, 2019 to Jun 9, 2019
Hartford, CT -- Jun 19, 2019 to Jul 7, 2019
Calgary, AB -- Aug 16, 2019 to Sep 15, 2019
London, UK -- Jan 12, 2020 to Feb 16, 2020
Totem:
Vienna, AT -- Mar 9, 2019 to Apr 22, 2019
Geneva, CH -- May 9, 2019 to Jun 16, 2019
Gran Canaria, ES -- Jul 5, 2019 to Sep 1, 2019
The Hague, NL -- Oct 11, 2019 to Nov 10, 2019
Düsseldorf, DE -- Dec 19, 2019 to Jan 19, 2020
VOLTA:
San Diego, CA -- Apr 3, 2019 to May 5, 2019
Chicago, IL -- May 18, 2019 to Jul 6, 2019
Washington, DC -- Jul 26, 2019 to Sep 8, 2019
Atlanta, GA -- Oct 10, 2019 to Jan 5, 2020
Los Angeles, CA -- Jan 17, 2020 to Mar 8, 2020
Costa Mesa, CA -- Mar 18, 2020 - Apr 19, 2020
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
TORUK - The First Flight:
Paris, FR -- Apr 4, 2019 to Apr 14, 2019
Moscow, RU -- Apr 19, 2019 to May 5, 2019
St. Petersburg, RU -- May 8, 2019 to May 12, 2019
Helsinki, FI -- May 15, 2019 to May 19, 2019
Vilnius, LT -- May 22, 2019 to May 26, 2019
Prague, CZ -- May 29, 2018 to Jun 2, 2019
Munich, DE -- Jun 5, 2019 to Jun 9, 2019
Zurich, CH -- Jun 12, 2019 to Jun 16, 2019
Manchester, UK -- Jun 20, 2019 to Jun 23, 2019
London, UK -- Jun 26, 2019 to Jun 30, 2019
OVO:
Brasília, BR -- Apr 5, 2019 to Apr 13, 2019
São Paulo, BR -- Apr 19, 2019 to May 12, 2019
Asuncion, PY -- May 31, 2019 to Jun 8, 2019
Buenos Aires, AR -- Jun 15, 2019 to Jun 30, 2019
Cordoba, AR -- Jul 18, 2019 to Jul 28, 2019
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Everett, WA -- Apr 10, 2019 to Apr 14, 2019
Duluth, MN -- Apr 19, 2019 to Apr 21, 2019
Omaha, NE -- Apr 24, 2019 to Apr 28, 2019
Madison, WI -- May 1, 2019 to May 5, 2019
Peoria, IL -- May 8, 2019 to May 12, 2019
Grand Rapids, MI -- May 15, 2019 to May 19, 2019
Saginaw, MI -- May 22, 2019 to May 26, 2019
Frisco, TX -- Jun 13, 2019 to Jun 16, 2019
Philadelphia, PA -- Jun 20, 2019 to Jun 23, 2019
Allentown, PA -- Jun 26, 2019 to Jun 30, 2019
Kingston, ON -- Jul 3, 2019 to Jul 7, 2019
Erie, PA -- Jul 10, 2019 to Jul 14, 2019
Charlotte, NC -- Jul 17, 2019 to Jul 21, 2019
Indianapolis, IN -- Jul 24, 2019 to Jul 28, 2019
Manchester, NH -- Aug 1, 2019 to Aug 4, 2019
Portland, ME -- Aug 7, 2019 to Aug 11, 2019
Moncton, NB -- Aug 14, 2019 to Aug 18, 2019
Saint John, NB -- Aug 21, 2019 to Aug 25, 2019
Halifax, NS -- Aug 28, 2019 to Sep 1, 2019
Moscow, RU -- Nov 22, 2019 to Dec 8, 2019
Saint Petersburg, RU -- Dec 11, 2019 to Dec 15, 2019
Kazan, RU Dec 19, 2019 to Dec 22, 2019
CORTEO:
Rio Rancho, NM -- Apr 11, 2019 to Apr 14, 2019
Topeka, KS -- Apr 18, 2019 to Apr 21, 2019
St. Louis, MO -- Apr 24, 2019 to Apr 28, 2019
Cedar Rapids, IA -- May 1, 2019 to May 5, 2019
Dayton, OH -- May 8, 2019 to May 12, 2019
Windsor, ON -- May 15, 2019 to May 19, 2019
Hamilton, ON -- May 22, 2019 to May 26, 2019
London, ON -- Jun 13, 2019 to Jun 16, 2019
Boston, MA -- Jun 19, 2019 to Jun 30, 2019
Baltimore, MD -- Jul 3, 2019 to Jul 7, 2019
Columbia, SC -- Jul 10, 2019 to Jul 14, 2019
Estero, FL -- Jul 17, 2019 to Jul 21, 2019
Sunrise, FL -- Jul 24, 2019 to Aug 4, 2019
San Antonio, TX -- Aug 8, 2019 to Aug 11, 2019
Denver, CO -- Aug 15, 2019 to Aug 22, 2019
Turin, IT -- Sep 26, 2019 to Sep 29, 2019
Milan, IT -- Oct 3, 2019 to Oct 6, 2019
Bologna, IT -- Oct 10, 2019 to Oct 13, 2019
Pesario, IT -- Oct 17, 2019 to Oct 20, 2019
Leipzig, DE -- Oct 23, 2019 to Oct 27, 2019
Frankfurt, DE -- Oct 30, 2019 to Nov 3, 2019
Nuremberg, DE -- Nov 6, 2019 to Nov 10, 2019
Graz, AT -- Nov 13, 2019 to Nov 17, 2019
Brussels, BE -- Nov 21, 2019 to Nov 24, 2019
Stuttgart, DE -- Dec 18, 2019 to Dec 22, 2019
Mannheim, DE -- Dec 25, 2019 to Dec 29, 2019
Granada, ES -- Jan 15, 2020 to Jan 19, 2020
Zargoza, ES -- Jan 22, 2020 to Jan 26, 2020
Vitoria-Gasteiz, ES -- Jan 29, 2020 to Feb 2, 2020
Santiago de Compostela, ES -- Feb 5, 2020 to Feb 9, 2020
Seville, ES -- Feb 12, 2020 to Feb 16, 2020
Antwerp, BE -- Mar 13, 2020 to Mar 22, 2020
Messi10:
Barcelona, ES -- Oct 10, 2019 to Nov 10, 2019
---------------------------------
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
*) Single Show Dates | 7:00 p.m. Only
o) Friday, May 31, 2019
o) Sunday, June 9, 2019
o) Friday, June 14, 2019
o) Sunday, June 23, 2019
*) 2019 Dark Dates:
o) March 13, 2019
o) May 18 thru 22, 2019
o) August 20 thru 21, 2019
o) September 21 thru 25, 2019
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 9:30pm
*) Single Show Dates | 7:00 pm Only
o) Monday, Apr 22, 2019
o) Tuesday, May 21, 2019
o) Tuesday, Jun 25, 2019
o) Tuesday, Nov 5, 2019
*) 2019 Dark Dates:
o) 9:30 PM Performance of April 18
o) 9:30 PM Performance of May 22
o) 9:30 PM Performance of June 26
o) 9:30 PM Performance of November 7
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Friday through Tuesday, Dark Wednesday/Thursday
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
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Thursday through Monday - Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
PARAMOUR:
Stage Theater New Flora
Hamburg, Germany
Begins April 5th, 2019!
One/Two Shows Nightly:
o) Monday: Dark
o) Tuesday: 6:30pm
o) Wednesday: 6:30pm
o) Thursday: 8:00pm
o) Friday: 8:00pm
o) Saturday: 3:30pm & 8:00pm
o) Sunday: 2:30pm & 7:00pm
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) WEBSERIES -- Official Online Featurettes
o) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
WEBSERIES: Official Online Featurettes
---------------------------------------------------
*) FINDING HOME
Ever wonder what our artists from VOLTA, LUZIA and Amaluna dream
about having in a home? In this exclusive series in which we
partnered up with realtor.com, each episode depicts the concept
of home for our touring artists, who share moments of bliss with
their brothers and sisters across their Cirque du Soleil journey.
The series makes parallels with Cirque du Soleil shows, acts and
artists from VOLTA, Amaluna and LUZIA and to the attributes of
home by Realtor.com.
o) EPISODE 0: "Trailer" {Apr.01}
LINK /// https://www.youtube.com/watch?v=PYrSiHSZbYI
o) EPISODE 1: "Jenn's Story" {Apr.01}
Jennifer Marcus, baton twirling artist on VOLTA, loves to
perform in front of an audience on stage or at home. Find
out more about her ideal home.
LINK /// https://www.youtube.com/watch?v=wRiISZCQ_oo
o) EPISODE 2: "Nelson's Story" {Apr.09}
Nelson Smyles, acrobat on LUZIA, loves to jump around.
Discover why he dreams of having a big swimming pool in
this episode of Finding Home
LINK /// https://www.youtube.com/watch?v=021D0qTWMTM
*) WE ARE VOLTA (YOUTUBE)
What is life on tour like? The most random object you travel with?
What do you miss most about a normal lifestyle? Find out what our
VOLTA artists reveal in this new web series, We Are VOLTA.
o) EPISODE 1: "Life on Tour" {Mar.30}
LINK /// https://www.youtube.com/watch?v=SScFf5XKnew
o) EPISODE 2: "What's Unique About it?" {Apr.06}
LINK /// https://www.youtube.com/watch?v=_w8qfQJaQA4
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
o) CASTING: Action Sports Specialists
LINK /// https://www.youtube.com/watch?v=YbBTpXMrPXQ
o) The Alegria Big Top is Up!
LINK /// https://www.youtube.com/watch?v=byb8p_-3OQk
o) LUZIA Music Video: "Flores En El Desierto"
LINK /// https://www.youtube.com/watch?v=Pk2o_R_QQ7o
o) What do the Sound, Video and Communications teams at JOYA do?
LINK /// https://www.youtube.com/watch?v=GGdAf5rNRM0
o) Will Smith doing it the CirqueWay
LINK /// https://www.youtube.com/watch?v=8KMuwjOrCe0
o) Experience CREACTIVE!
LINK /// https://www.youtube.com/watch?v=wUnIFSbVK6A
o) Youth-Led Chicago SOCIAL CIRCUS Festival
LINK /// https://www.youtube.com/watch?v=COyjYCieblc
o) Defining AWE at SXSW 2019
LINK /// https://www.youtube.com/watch?v=J-CsbslhbOw
o) What it's like Photographing our Artists
LINK /// https://www.youtube.com/watch?v=1VyfjCT4Qu8
o) CASTING: Martial Arts Specialists
LINK /// https://www.youtube.com/watch?v=wbZ_mieJkYI
o) CORTEO Music Video: "Balade au bout dune echelle"
LINK /// https://www.youtube.com/watch?v=WhMsPTNzsLg
o) CASTING: What Does it Mean to be a Circus Artist?
LINK /// https://www.youtube.com/watch?v=NoEdAtWTiHs
o) Mystère Music Video: "Egypte"
LINK /// https://www.youtube.com/watch?v=rQ1fIf5Sk7Q
o) The Evolution of Alegria's Iconic Makeup
LINK /// https://www.youtube.com/watch?v=--Rq9P_JOpc
o) CASTING: Figure Skaters
LINK /// https://www.youtube.com/watch?v=NgkK5kRw9wQ
o) OVO Music Video: "Scarabees"
LINK /// https://www.youtube.com/watch?v=_NSFuwvHTik
o) Alegria Artists Answer Questions from the Big Top
LINK /// https://www.youtube.com/watch?v=cWm4vGa6j_s
o) CRYSTAL: Meet Pierre Antoine Chastang
LINK /// https://www.facebook.com/CrystalbyCirqueduSoleil/videos/399201457324141/
o) CRYSTAL: Meet hand-to-hand porter Eyal Sadik
LINK /// https://www.facebook.com/CrystalbyCirqueduSoleil/videos/650227645406828/
o) OVO: Meet Ladybug Neiva Nascimento
LINK /// https://www.facebook.com/OVO/videos/267154590872401/
o) OVO Bugs Invade Carnival 2019!
LINK /// https://www.facebook.com/OVO/videos/640385273085043/
o) OVO: Meet Aruna, the Spider
LINK /// https://www.facebook.com/OVO/videos/2574075212607801/
o) TORUK: 5@5 from the Front of House
LINK /// https://www.facebook.com/torukthefirstflight/videos/354101435188748/
o) JOYA: Meet the SVC Team
LINK /// https://www.facebook.com/CirqueduSoleil/videos/2316266718698602/
o) The JOYA Experience: Full of Surprises
LINK /// https://www.facebook.com/JOYA/videos/2308119002796340/
o) AMALUNA: Meet the Band!
LINK /// https://www.facebook.com/Amaluna/videos/286988658645140/
o) AMALUNA: Meet the Chefs
LINK /// https://www.facebook.com/Amaluna/videos/344542892830205/
o) AMALUNA: Meet the Prop Team
LINK /// https://www.facebook.com/Amaluna/videos/2386109638301442/
o) AMALUNA: Meet the Lighting Team
LINK /// https://www.facebook.com/Amaluna/videos/1744853298949646/
o) VOLTA: Singer Nick Pitera joined our band as a guest performer for
a one-time jam the #CirqueWay! He learned the music and lyrics in
no time and jumped on stage to record this amazing version of our
Aerial Straps song Cause youre still here!
LINK /// https://www.facebook.com/VOLTA/videos/351207735544745/
o) VOLTA: Danila Bim, Hair Suspension Artist, on the TODAY Show
LINK /// https://www.facebook.com/VOLTA/videos/592258654573911/
=======================================================================
FASCINATION! FEATURES
=======================================================================
------------------------------------------------------------
Jean David's Quel Cirque, Part 4 of 12: "O, Canada!"
A Special Series Celebrating Cirque's 35th Anniversary
------------------------------------------------------------
Today a consultant in creativity and event marketing, Jean David was
one of the pioneers of Cirque du Soleil, where he led the marketing
department for 15 years (from 1984-1999), introducing the magic of the
Grand Chapiteau to the whole world. During his tenure, David
distinguished himself through innovative methods by commercializing
the Big Top and introducing its magic to other cultures on four
continents.
A man of vision but also a determined entrepreneur, Jean David acted
as Vice President of Entertainment, Sales & Marketing at the WYNN
Hotel in Las Vegas before moving to India for 18 months, where he led
a pre-feasibility study for the creation of an innovative project: the
Mumbai International Creative Center, an international resort centered
around the theme of creativity.
In his 2005 book - "Quel Cirque!" ("What a Cirque!") - David offered
his views on leadership and revealed the innovative qualities that
contributed to Cirque du Soleil's enormous success in marketing,
management, creation and exploration. There was only one problem... it
was written in his native French. Thankfully, David himself translated
and web-published an English-language version of his book and we've
collected the relevant Cirque-related chapters for this 12-part
series.
Jean David's "Quel Cirque" is a fantastic read and as Cirque du Soleil
celebrates its 35th anniversary this year, we thought this would be
the perfect year to share these texts with you. So, without further
adieu, Quel Cirque!
# # #
In 1985, the Ontario fiasco left us over $750,000 CA in debt.
Technically we were nearly bankrupt. We asked Claude Castonguay, then
a Canadian insurance company CEO, to help get us back in gear. The
previous summer I had run into him at our Quebec City show. He was
looking for tickets, but the show was sold out. I gave him courtesy
tickets in the front row of the big top and a tour of our humble
facilities.
In the weeks that followed, he sent me a thank-you letter, offering me
his support.
It was far from a hollow offer. In fact, he and his
marketing vice-president, Pierre Melançon, helped us devise a
sponsorship plan, injecting a little more rigor and professionalism
into our business. Claude Castonguay also signed a letter addressed to
our creditors and the Montreal business community, vaunting the merits
of our project and dynamic young team. The object was twofold: to win
peoples trust and gain time. Mission accomplished!
In a matter of weeks, we were awarded an important Canadian government
contract that took us to Vancouver. Our show opened the Canada
Pavilion at Expo 86. Our team also acted as host for a month.
Meanwhile, we took part in the Vancouver International Childrens
Festival. Both operations were a success, enabling us to get the
Canadian tour off to a flying start.
My analysis of our Ontario setback revealed that our success in Quebec
in 1984 and 1985 had no impact whatsoever in the English-Canadian
market. I learned what everyone around me already knew: Canada is
divided into two worlds: one Francophone and the other Anglophone.
There are two separate communications network and little crossover
between them. Our Quebec triumph failed to resonate in the English-
Canadian media. In a way, we were total strangers in our own country.
But success in Vancouver meant scoring points in Toronto.
In communications, I swear by the principle When you pee in Lake
Superior, the water rises in San Francisco. An action in one place
may have consequences elsewhere
Youve probably guessed! I had the
chance to confirm the theory that year: our success in Vancouver
resonated throughout English-Canada, especially in Toronto. A few
months later, Cirque du Soleils excellent performances in that
metropolis completely eliminated the losses we had incurred the
previous year. Still, nothing had a bigger effect in Canada than the
success we registered in the US. The exchange rate, the population
density, and climate all have a negative impact on the Canadian
market. As a result, we have a minimal sea-to-shining-sea presence
in Canada.
Are you familiar with the expression who says what to whom, by what
means and to what effect?
The Art of Recruiting
---------------------
Like any good manager, I valued the people I worked with, particularly
those under my direction. I loved what I was doing and, to maintain
the right atmosphere, I surrounded myself with people who shared my
passion. As in most organizations, the jobs were demanding.
Expectations were high, so when the time came to form teams, we needed
individuals we could count on.
Indeed, the daily workload and multitude of tasks to be performed
obliged us to be open, and highly focused. Often, the members of your
team made the difference in the quality of work that you could do. I
set simple hiring criteria: above all, I wanted people who were
autonomous, proactive, and creative. I encouraged them not only to
identify the problems but also to find solutions.
This brings to mind confrontations I had with Human Resources: some of
them disagreed with my opinions and my decisions. I believed that will
and determination displayed by candidates in their interviews were
much more important criteria than their current skill level or
previous experience. I wasnt too shy to step up and declare that I
was willing to accept responsibility for the consequences of my
decisions. Time and events proved me right. Most of my staff became
indispensable to the organization. They set standards for excellence
in their sector.
I was proud of my employees and associates. Together, we made a
formidable team. Our strategic position in the company constantly
forced us to seek fresh ways of doing things. Our approach to planning
led to success. Many times, we served as a model for other
departments. And I welcomed the situation. At the office, I always
emphasized the organizational climate. I long felt that my primary
role was to foster a work environment that encouraged and rewarded
individual expression and initiative by every member of the team. A
poor atmosphere makes people uncomfortable. So, its a managers
responsibility to maintain the right environment.
Starting at the Top
-------------------
We entered the American market, starting at the top: HOLLYWOOD. The
Quebec delegation in Los Angeles helped us get in touch with Robert
Fitzpatrick, the founder and director of the Los Angeles Festival. An
outgrowth of the Olympic Games, this arts festival saw the light of
day in 1984 but was not repeated. Then, at the request of Mayor Tom
Bradley, a group of promoters launched it again in 1987. It was a
somewhat elitist event with great works, big companies and famous
names
Festival directors were on the lookout for a show with a little
more popular appeal. Not surprisingly, our exotic, and novel
presentation appealed to them. Thus we quickly reached an agreement
that involved considerable risk for us.
At the time, the troupe numbered over 80 people and had to transport
hundreds of tons of equipment. It was an enormous operation and the
Los Angeles Festival did not want to foot the bill. Festival officials
thought that the event was too risky for their young organization. If
our show failed, the consequences would have a disastrous impact on
their operating budget and their reputation in the American
entertainment industry.
We struck a deal: the festival didnt produce our show; it assumed no
financial risk; we shouldered the risks. But we did get some
advantages: the festival included us in their programming, and its
advertising campaign supported our ticket sales. Our show enjoyed the
same benefits as the other shows for which the festival actually
assumed production costs. And even better, we were on the front page
of the festival program, a million copies of which were distributed in
the Los Angeles Times. What a coup!
Finally, the key element that convinced us the risk was worth taking
was that we had a very favorable place in the schedule
Our show would
kick off the festival. Much to our surprise, the announcement of the
agreement got a cold reception in Hollywood. Many media outlets and
critics from the arts world castigated the organizers for opening the
festival with a circus. What was a circus doing in such a major
event? Criticism was heaped on the festival. Rumor had it on opening
night that the cultural elite would be lying in wait for us under the
big top in the industrial quarter of Little Tokyo. The outlook was
decidedly grim. The media had no idea who we were. But they would soon
find out.
During the months that preceded the event, we set the stage for our
arrival in Los Angeles. My first working visit was also my first trip
to California. Everything about the city impressed me; Id never seen
anything like it. But I was a little concerned. Los Angeles is a huge
city and we had to market our show, work out partnership deals with
the media, hire a PR firm, see to a thousand and one details, and,
above all, create the event.
The first time I met people in Hollywood, I asked them, Are you real?
touching them on the shoulder to make sure. They looked at me funny.
It was hard to tell fact from fiction in the film capital, I
explained. I wondered if the people were real or merely extras in a
big-budget film. I was enjoying myself
The same week, we set up our first meeting with the local public
relations agency recommended by the festival operators. It was a
highly experienced firm with a long list of show business clients and
contacts. But they left us cooling our heels in the conference room
for a good twenty minutes. Our appointment was scheduled for 4:00 p.m.
and it was 4:20. I couldnt understand what was happening. It was a
crucial meeting but the head of the agency hadnt showed up yet.
Spontaneously, I stormed out of the conference room overlooking the
main work area where a dozen people were toiling away. And I bellowed,
Hello! Im the client, Im the client and Im waiting. Hello! In a
matter of 30 seconds, the boss came racing down the hall; the staff
was aghast. There was a crazy client in the conference room. I was the
client.
I informed the gentleman that I was just as busy as he was, that I had
no time to lose and that as a client, I had a right to insist that our
meetings start on time. Finally, we all got down to work. The
gentleman explained how complicated things were in Hollywood: the
media had more cover stories than they could handle, nobody had heard
of us, or our circus, we had to be patient and, above all, not expect
too much. Theyd do what they could to help us. Very encouraging
wasnt it? Our relationship with the man and his firm was short-lived.
The run-up to opening night was a real challenge. We lacked notoriety.
In fact, to the people we met, we were complete strangers. We also
knew zilch about Hollywood culture and had to bust our butts to get
results and a little attention. Of course, some people did what they
could to help us. For the premiere, only about 5,000 of the more than
55,000 tickets available were sold though we practically gave the
tickets away: $15 for adults. The company had poured everything into
its first American operation and we didnt have enough money left to
pay for the gas to drive back to Montreal. We had to lay everything on
the line.
The troupe was under enormous stress. Despite that, our spirits were
high. We had unshakeable faith in our artists and the show. Our
advertising used our French name, Cirque du Soleil, accompanied by the
slogan We reinvent the circus. People needed to know what we had to
offer. Some observers considered the slogan pretentious, but I thought
it reflected who we were.
Opening night would change our lives. The response by the press and
the public provoked a media frenzy. The next day, the headlines read
Theres a festival in the festival. Also, a lengthy debate began:
Was it really a circus? Critics and the cultural vultures had been
looking forward to lambasting us, but they were so enchanted by what
they saw that they considered our show the only one in the festival
worth seeing. A complete reversal of the situation. There was
widespread astonishment. Many observers wondered what part of the
United States we were from. We must be American! Theyre from Canada?
Quebec? Youre kidding!
We sold out in less than a week. The company had to erect a huge fence
around the site and set up valet parking. I had never seen so many
limousines in my life. Something incredible was happening in Hollywood
and in our organization. It was almost overwhelming.
Within hours of the first press reviews, dozens of producers,
managers, agents and sales persons of all sorts showed up. Americans,
Israelis, Germans, Japanese, Arabsthey all wanted to see us to
negotiate, talk, buy the company, rent our services, produce us,
represent us, film us, finance us, assist us, advise us
We had to stay calm and keep our feet on the ground. It was all so
tempting, so very tempting. Finally, we decided that the priority was
to keep expanding our market share in the US and building our
distribution network. And for all the people who wanted to do business
with us, we had a word of advice: Take a number and wait your turn.
Our principal sponsor, Canadian Airlines International Ltd., (CAI was
a relative unknown in the market at the time), started getting
hundreds of calls to its Los Angeles office. Their switchboard was
flooded. CAI management couldnt believe it: every travel agent in the
city suddenly wanted to talk to them. People werent calling for plane
tickets; they wanted tickets for the CAI circus
The airline even
ended up selling the callers plane tickets!
Our festival contract stipulated that the show couldnt stay in Los
Angeles and we couldnt hold over. Wed have to leave when the
scheduled performances were over and then return. As the festival
management had refused to share the financial risk for our show, it
couldnt share in the profits generated by our success. They rued
their decision; what seemed like a wise position a few weeks ago had
suddenly turned into a tremendous business opportunity lost. Oh well,
thats life. After a brief stay in San Diego, we returned to the Los
Angeles area, this time setting up on Santa Monica Pier. It was the
start of a long and remarkable relationship. America was ours!
{ To Be Continued... }
=======================================================================
COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 19, Number 4 (Issue #183) - April 2019
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2019 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.
{ Apr.11.2019 }
=======================================================================
