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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 19, NUMBER 6 June 2019 ISSUE #185
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
Before we get started there are some congratulations in order: On
May 11th, SYMA and VARELIA aboard the MSC Bellissima celebrated their
100th performance. On May 20th, LUZIA artist Abou Traore captured a
Guinness World Record title for the Farthest Moonwalk with a Soccer
Ball Balanced on his head (10 meters). Check out this amazing feat here:
https://www.facebook.com/LUZIAbyCirqueduSoleil/videos/287955212086865/.
On May 26th, CRYSTAL celebrated its 500th performance. On June 1st, we
got our first glimpses of Messi10 - "Discover a stage that will create
an environment that brings together the acrobatics of Cirque du Soleil
as well as the beautiful culture of football!" Check out that video
here (and be on the lookout for other juicy details about the new
show): https://youtu.be/peApMqLERIo. And on June 2nd, KURIOS had its
final performance in Japan. Check out this fantastic highlights video
from the show's journey across the country (with big thanks to Fuji
Television who put the video together for the tour):
https://www.facebook.com/kuriosbycirquedusoleil/videos/2191359420911965/
* * * CIRQUE ANNOUNCES AXEL - A NEW SKATING EXPERIENCE * * *
Cirque du Soleil is proud to announce its return on ice with a new
creation that will spin you into the vibrant world of AXEL. This
unique experience will showcase world-class acrobatic skating
performances set in fantastical universes combining full-spectrum
visual effects and awesome live music that seamlessly integrates
popular songs with new original scores. The success of our first
creation on ice has reinforced our ambition to further explore the
extensive creative possibilities of a frozen playground, says Daniel
Fortin, Vice President Creation. With Cirque du Soleil AXEL, we will
offer a truly electrifying experience to all audiences, pushing the
boundaries of creativity with the unique approach that has forged
the reputation of Cirque du Soleil.
Follow AXEL and his dynamic group of friends whose passion for live
music and graphic arts come to life in an exhilarating adventure that
reminds us that our dreams are within reach. Discover this young
artist as he falls for the fascinating Lei in a high-speed chase for
love and self-realization. Sparks fly as they set out on a fast-moving
quest through fun colorful fantastical worlds. Will he fulfill his
destiny and find his voice?
SEE THE TEASER VIDEO HERE:
LINK /// https://youtu.be/3nZPX1t6oDU
FOR MORE INFORMATION / TICKETS:
LINK /// http://www.cirquedusoleil.com/AXEL
Created to tour in arenas around the world, Cirque du Soleil AXEL
will hit the ice for the first time in Cornwall, Ontario, on October
4, 2019, before taking the road to stop in several cities in the
United States. This new on-ice experience will be presented in Quebec
City and Montreal later this year. AXEL is the 48th original
production of Cirque du Soleil.
* * * BÔCCA - AN EXCLUSIVE PERFORMANCE IN MONACO * * *
For the second year in a row, Cirque du Soleil will be packing in
Monaco for the Monte-Carlo Sporting Summer Festival, for five
exclusive performances in the legendary Salle des Étoiles from August
15 to 19, 2019! Mixing gastronomy and high-flying acrobatics in a
light and warm atmosphere, Cirque du Soleil will merge circus arts
and culinary arts at the heart of the kitchen of a Casino Monte-Carlo
restaurant. There a brigade of formidable cooks will cook great
dishes, from exquisite salmon jelly to a sumptuous cake, which will
come to life in an acrobatic and gourmet fairy tale that will delight
young and old alike. High caliber artists will give substance to the
story of this magical fairy tale. Icarian games, Chinese rings, aerial
fabric, roller skates, juggling of all kinds, unicycle and trapeze-
dance will be on the menu of this culinary allegory. This gastronomic
fantasy will be carried by a soundtrack drawing from the music hall and
jazz. The melodies, predominantly acoustic, will give pride to the
brass, supported occasionally by the accordion and the harmonica, in
grainy sounds with the scent of jazz and funk. The experience is
307.50 per person, you must be 7 years of age or older, and a jacket/
dress is mandatory.
* * * THEME PARK UNIVERSITY ON "THE PARKS" * * *
Theme Park University has been on the forefront of news regarding the
on-again-off-again Cirque du Soleil-themed Theme Park in partnership
with Vidanta, just as we have, and on June 7th, they received an
official statement from both Vidanta and Cirque du Soleil regarding
the future of the project:
The Parks at Vidanta Nuevo Vallarta has expanded greatly in scope,
shifting from a single theme park to a multi-tiered destination of
immersive entertainment and vacation experiences across several park
concepts, spanning hundreds of acres and countless one-of-a-kind
experiences. As a continuation of our longstanding partnership with
Cirque du Soleil, we are thrilled that a section of one of these
concepts will be dedicated to their creative genius. The enhanced
vision for The Parks is already underway with construction on many of
its innovations currently in progress, as can be seen at the site in
Nuevo Vallarta. As the project continues to advance, more details
about this groundbreaking entertainment destinationincluding
specifics about the expanded master planwill be shared.
Hmm... What a saga. Worthy of a soap opera (or two)!
Okay, let's go!
/----------------------------------------------------\
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| Join us on the web at: |
| < www.cirquefascination.com > |
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| Realy Simple Syndication (RSS) Feed (News Only): |
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\----------------------------------------------------/
- Ricky "Richasi" Russo
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CONTENTS
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o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
* Q&A -- Quick Chats & Press Interviews
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* REBEL: "A Nocturnal Ode to the Rebellious Spirit of Rock"
A Sneak Peek at CDS Events + Experiences in Andorra
* Jean David's Quel Cirque, Part 6 of 12: "Strategy"
A Special Series Celebrating Cirque's 35th Anniversary
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
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***************************************************************
LA PRESSE -- General News & Highlights
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Lamarre: Acrobats still part of the act; MJ One to stay
{May.08.2019}
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Daniel Lamarre is not ready to pink-slip the clowns and acrobats in
Cirque du Soleil.
I think the challenge for us is each show has to be distinctive, to
have new ideas to apply to acrobatics, Cirques CEO and president said
this past week in an interview in the companys Las Vegas headquarters.
Were not saying no, forever. But now, our clientele looking for
acrobatic shows is very well served.
Lamarres company has just announced R.U.N, a show it stresses does
not not feature the acrobats and clowns that made the company famous.
The company is expanding beyond the gymnasts and aerial and aquatic
artists bounding around its other six shows on the Strip. Opening Oct.
24, R.U.N is presented as a kind of Fast & Furious action-adventure
film set for the stage.
The companys energy is behind that new show, the first Cirque show to
open on the Strip since Michael Jackson One launched in 2013. Lamarre
spoke of the Cirque universe beyond the new show. Some highlights, and
note Lamarres repeated use of machine in describing the company:
Cirque never considered reassessing its staging of MJ One: Lamarre
answered, No, no, when asked if the explosive HBO documentary Leaving
Neverland had initiated discussion of pulling the Jackson tribute show
from Mandalay Bay. Lamarre reiterated that Cirque is not involved in the
Jackson estates litigation against HBO. He added, The good news there
is that were still selling very, very well, and its almost as if there
is a movement right now from the Michaels fan to really support everything
he does
including MJ One.
Other production shows cant match the Cirque marketing machine: Look no
further than Fuerza Bruta, which flamed out after five weeks at a
reinforced tent at Excalibur. We are still in a unique position in Las
Vegas, and we saw it recently when Fuerza Bruta came in and they had to
shut it down after a few weeks because they didnt have the machine, the
marketing machine, that we have, Lamarre said. Before you buy ticket to
so a show other than a Cirque du Soleil show
you will have to struggle,
because I have so many shows to offer to you. I know a lot of people who
have come here and seen two shows, three shows, with Cirque du Soleil and
they dont get bored. That dominant situation were in has allowed us to
maintain the level of ticket sales to succeed.
Cirque is opting for dynamic pricing in its ticket strategy: The 40
percent off for Love or 2-for-1 deals for Zumanity are results of
demand for tickets across all Cirque shows. We did not have this until
after 2012, when we found it was a little bit more difficult for us in
this city, Lamarre said. But now we have dynamic pricing, a little
bit like an airline company, where we can play with our ticket pricing
depending on what day of the week, and the occupancy level and all of
that.
We have been able to keep about the same level and even a little
bit more ticket sales overall as weve done this. The shows are much more
stable than people like to think.
Under Cirque, Blue Man Group is an international production: Blue Man
Group has been U.S.-centric, North American-centric, and Cirque 450
cities around the world, and has a distribution machine that is totally
unique, Lamarre said. Nobody in the world tours at that scale. So when
you do an acquisition like Blue Man Group, you can tour that show in 450
cities as well.
Mystere has been extended at T.I. Weve renewed the contract for an
additional five years, and if I believe (hotel owner) Phil Ruffin, and I
do, the show is there forever, Lamarre said. It has been there for 25
years. It is the granddaddy.
Will Cirque du Soleil remain the Strips predominant production company
in five years? Totally, and I would hope that we would be growing,
Lamarre said. This one is a major test for us because if R.U.N can
achieve what we think it will achieve, then it will bring another growth
pattern for Cirque du Soleil.
As for anyone who wants to partner with the company in future acquisitions,
Lamarre said, Were still in the lookout, always
yep, because the
business model we have developed is working and now it has intrigued
interest from people. Now, people are calling us.
{ SOURCE: The Las Vegas Review-Journal }
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John Katsilometes: O, We have Shows
{May.13.2019}
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Cirque du Soleil is wading further into the deep end with O at
Bellagio, its most profitable Strip production over the past 20-plus
years. The company plans to expand the shows schedule to seven days a
week by 2020. The new schedule is likely to go into effect in late
December. The decision came down Friday. The show is adding at least
one performance on Mondays and Tuesdays, which are its current dark
nights.
As it is, O performs about 470 shows per year and annually moves
more tickets than any single production show in the world.
The read here is, O already spreads the wealth to other Cirque shows
on the Strip. Why not put the schedule to the test to draw more
revenue? Officials say that if O hits the box-office projections,
other shows schedules will be reviewed. No plans have been announced
yet to update the aquatic spectacle, but I wouldnt be surprised to
see refreshment at the pool by 2020.
{ SOURCE: Las Vegas Review-Journal }
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Why R.U.N will reshape Luxor
{May.20.2019}
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The days of regularly imploding casinos and building brand-new casino
resorts on the Strip appear to be over. We are now in the era of the
massive remodel, currently exemplified by the major changes wrapping
up at the Palms and the evolution of Monte Carlo into Park MGM.
But some Vegas resorts cant be remade. Luxor President and COO Cliff
Atkinson was on the job for just a few weeks when he acknowledged as
much during the recent announcement of the new Cirque du Soleil
residency show coming to the 25-year-old Egyptian pyramid-themed
property this fall.
I think its more about updating the property we have to be the best
asset in its class. We cant really rebrand what Luxor is, but what we
can do is improve and update the offerings from rooms to restaurants
and things like this show.
That makes the arrival of R.U.N, billed as Cirques first live-
action thriller production and set to open October 24 at Luxors
1,500-seat theater, even more important for the pyramid, MGM Resorts
International and the Strip in general.
Cirque announced the show on April 30, the Montreal-based live
entertainment companys 47th original production, 10th resident show
on the Strip and first new show in Las Vegas since the 2013 arrival of
Michael Jackson ONE at Luxors neighboring resort Mandalay Bay.
R.U.N is a first-of-its-kind collaboration with some major players
in the Hollywood movie and stunt community, including filmmaker Robert
Rodriguez who is writing the show. Cirque du Soleil is moving away
from its traditional ethereal acrobatics and dream-like landscapes to
create an immersive, action-packed, story-driven show that could be
compared to a live version of a Fast & Furious-style blockbuster
movie.
Every time you add a show you add something to the Cirque
experience, said Cirque du Soleil President and CEO Daniel Lamarre.
We did that with O and with Zumanity and KÁ, and we did that
with The Beatles LOVE. That was also a huge departure. Its a good
thing for us now to bring something fresh and new.
Its not unnatural for us. Its almost as if we were to add a new arm
to our casting department which is stunts. Our best discovery has been
the huge stunt community in Hollywood, where everyone is intrigued to
work with Cirque and figure out what we can do with a live production
that we have never seen before. We said, Guys, you have been doing it
in the movie business forever. Come to our world and lets see what
you can do live.
Cirques crew and those talented stunt performers and coordinators
could prove to be a perfect team, but Luxor and R.U.N might also be
an ideal fit. Much of the Egyptian-themed elements have been stripped
away from the south Strip resort over the years as it has updated its
offerings to appeal to different Vegas visitors. As Lamarre noted, the
creative inspiration behind R.U.N targets a younger showgoer, a
demographic direction Luxor has also been drifting toward in recent
years.
I think they complement each other very well and it shows the
direction of where the property is going, Atkinson said. The show is
a big part of the propertys next step. Its going to bring a lot of
renewed attention here and then well follow it up with what will
happen here when the Raiders stadium arrives. The closest properties
to the stadium are us and Mandalay Bay and we couldnt be more excited
about that.
Its easy to see that an action-based show like R.U.N as well as
one of Luxors other resident shows, the all-ages favorite Blue Man
Group has a broader appeal that aligns well with the NFLs 2020
arrival in Las Vegas and all the potential programming that will come
along with it. The resorts HyperX Esports Arena, opened last year in
a former nightclub space, has a more specific draw but also targets a
younger demographic and has vast potential for football and sports-
related events and programs.
We definitely have a little harmony going on here at the pyramid,
Atkinson said. We like how very complementary the programming at the
Esports Arena and the show can be and how they have some overlapping,
similar demographics. Thats how we update, through the programming
and of course throughout the property, but the brand will remain Luxor
for the foreseeable future and I think well play up that narrative
and that brand because it matches all the action we have. And I like
that word, action. It really says a lot.
The R.U.N theater was formerly the home of illusionist Criss Angels
Mindfreak production also originally a Cirque collaboration and
is in the final stages of a massive renovation.
Once we got a sense of how immersive the show is, we knew it would be
a significant renovation of the whole space including the lead-up into
the theater, Atkinson said. Its completely revamped and
reconfigured.
Lamarre said the R.U.N experience will begin in the theaters lobby
with interactive experiences that will give you the buzz about what
were talking about. Then when you sit in your seat, we want you to
forget youre watching something and feel more like you are a part of
something. You will be surrounded by giant screens and visual effects
and a lot of stunts happening live.
It sounds similar to being inside a video game, or maybe like having
50-yardline seats for an NFL game in a brand-new, hi-tech, 65,000-seat
stadium.
{ SOURCE: Las Vegas Sun }
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Cirque-Inspired Movies In Works With Dan Lins Rideback
{May.21.2019}
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Cirque du Soleil Entertainment Group, the worlds largest creator and
producer of live entertainment content, and Rideback, producer of
premium film and television content for global audiences, are proud to
announce a partnership to develop feature length movies inspired by
the Cirque du Soleil creative catalogue. This partnership aims to both
leverage Ridebacks successful track record of transforming premium IP
to the movie screen and, via continued diversification of content
offering, increase the opportunities for a global audience to enjoy
the Cirque du Soleil universe.
Cirque du Soleil Entertainment Group is synonymous with high quality
entertainment, regardless of the brand or product category. For us,
the movie business is a logical progression for ongoing portfolio
expansion, and Rideback is the perfect partner to embark on this
journey, said Daniel Lamarre, president and CEO of Cirque du Soleil
Entertainment Group. Rideback is known for its ability to penetrate
the movie industry with quality content. I look forward to the endless
creative opportunities that will emerge by providing access to the
immense Cirque du Soleil library of characters and storylines.
This announcement comes at a time when Cirque du Soleil Entertainment
Group has solidified itself as the worlds largest creator and
producer of live entertainment content. Recent strategic acquisitions
of best-in-class companies, including Blue Man Group in 2017, VStar
Entertainment Group in 2018 and The Works Entertainment Group in 2019,
set the stage for future partnerships with the worlds most iconic
brands. As a creative force in the entertainment industry, the company
is continuously developing content for new audiences, evidenced by its
recent reveal of R.U.N, a groundbreaking new show that is an
unprecedented entertainment experience, using live action performance
and exploring the world of stunts, that marks a pointed change in
direction from previous productions.
Cirque du Soleil has enchanted millions of people around the globe
through soul-stirring artistry and journeys of the imagination that
are Cirque du Soleil hallmarks. Their expansion into movies creates a
one-of-a-kind, frontier opportunity to develop entirely new narrative
features driven by the awe-inspiring worlds they have created, said
Dan Lin, founder and CEO of Rideback.
Lin continued, Were thrilled to partner with Cirque du Soleil
Entertainment Group, as we feel uniquely positioned to share in their
mission. We built Rideback on an ethos of empowering storytellers,
opening doors for a broader mix of voices, and helping creators feel
free to take risks and explore new ideas. We think our unique
development environment will help Cirque du Soleil unlock exciting new
stories waiting to be told on the big screen.
Rideback enters this partnership on the heels of completing production
on Disneys upcoming live-action Aladdin, directed by Guy Ritchie,
starring Will Smith, and opening Memorial Day weekend. While Rideback
continues to focus on tentpole movies based on globally recognized IP,
founder Dan Lin also recently announced the Rideback TV Incubator, a
writers-in-residence program formed in partnership with MRC that
creatively and financially supports and mentors TV writers from
diverse backgrounds to help them create new series for cable and
streaming.
Working alongside Cirque du Soleil Entertainment Group president and
CEO, Daniel Lamarre, and Rideback founder and CEO, Dan Lin, on this
project are Sebastien Ouimet, who manages all content and distribution
partnerships for Cirque du Soleil Entertainment Group, and Rideback
President of Film, Jonathan Eirich.
About Rideback
Rideback, the production company formerly known as Lin Pictures,
focuses on supporting and empowering visionary storytellers who share
the companys passion for entertaining audiences in delightfully
surprising ways. Rideback produced the Warner Bros. franchise hits
The LEGO Movie, The Lego Batman Movie, It, and sequels The LEGO
Movie 2: The Second Part and It: Chapter Two. Rideback films have
combined for more than $3 Billion in worldwide box office.
Rideback also produced Disneys upcoming live-action feature
Aladdin, starring Will Smith, and Netflixs upcoming awards
contender, The Pope, directed by Fernando Meirelles. Rideback
additionally produces the Fox network hit Lethal Weapon, based on
the iconic movie franchise, and also develops other series for
network, cable and streaming.
Rideback is located at Rideback Ranch, a creative campus in the
Historic Filipinotown area of Los Angeles that houses Warner Animation
Group; writer-directors Phil Lord and Chris Millers Lord Miller;
writer-director David Ayer and Chris Longs Cedar Park Entertainment;
actress-producer Margot Robbies LuckyChap Entertainment; and premier
animation studio Animal Logic. Founder Dan Lin has built Rideback on a
simple idea: to be a community in support of creativity, a place where
people and ideas pour into each other to elevate the potential of
both. Visit www.rideback.com.
{ SOURCE: Cirque du Soleil }
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For Laliberté, PY1 pyramid is his new Cirque du Soleil
{May.21.2019}
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Guy Laliberté is a dreamer. His first dream was to take a rag-tag gang
of street performers in a little town near Quebec City in the mid-80s
and transform them into an innovative circus that had nothing to do
with the old-school animal-focused circuses. That dream became the
Cirque du Soleil, currently the biggest live-show producer in the
world. Laliberté sold his controlling stake in the company he founded
for a reported $1.5 billion in 2015.
Now he has another ambitious dream. This one is called Lune Rouge
Entertainment, a hard-to-pigeonhole next-generation multimedia company
that, in its own words, develops highly immersive entertainment
experiences and explores new creative horizons through projects in
Quebec and abroad.
Lune Rouges first major project is the PY1 pyramid, an odd-looking
25-metre-high structure made of steel and concrete that is located on
the Clock Tower Pier at the east end of the Old Port. It will be home
to an immersive sound-and-light show called Through the Echoes, which
opens June 1 and will be performed five times a day until late
September. Then the PY1 pyramid will be packed up and shipped to Miami
and the same show will debut there at the end of November or the
beginning of December. The next stop will be the New York City area in
the spring of 2020 and the idea is to tour the PY1 pyramid for years
to come.
In an interview Tuesday in the PY1 pyramid, Laliberté said he is
comfortable with people comparing it to what they did with the Cirque
du Soleil.
What do you do after you do the Cirque? said Laliberté. You are
condemned to do something that is not like anything else. I dont know
if it will work and I dont take things for granted. The one thing I
know about the pyramid and what is presented there is this: it doesnt
exist anywhere else in the world. Does that qualify as being original?
Will it be welcome by the public? Well see. So far it smells good, it
feels good and well see if it tastes good in June and if people buy
into it. Im all in. This is only one of the elements of what were
masterminding. The future is coming.
Groupe Lune Rouge, the parent company owned by Laliberté, has four
divisions. One is the family office, which manages his personal
investments, including his real estate holdings (notably the former
Maison Alcan on Stanley St. that Laliberté bought in 2016 for $50
million and which now houses Lune Rouge) and his contemporary art
collection, the latter which Laliberté says has been his most
profitable investment in recent years. Then there is Lune Rouge
Entertainment, which is behind the PY1 project. The company also
includes Reflector Entertainment, another multimedia company majority
owned by Lune Rouge and run by Alexandre Amancio, who owns a minority
stake in Reflector. The fourth division of Lune Rouge is an innovation
division for smaller technology ventures.
PY1 will also host immersive music parties featuring over 70 Montreal
DJs, including Laliberté himself, who will be spinning the tracks June
1, 5, 7 and 9. The PY1 Nights will be held every Friday and Saturday
nights over the course of the summer. All of the walls and the ceiling
of the pyramid are used as screens, both for the Through the Echoes
shows and for the party nights.
Its like a really fun sandbox, said Laliberté. The pyramid can be
like the blue-and-yellow Big Top was for the Cirque du Soleil.
There are also plans to have immersive meditation, yoga and work-out
sessions take place in the pyramid in the morning. The pyramid cost
$25 million to create and each show will cost between $4 million and
$5 million to produce.
When asked if the Cirque could potentially buy PY1, he said: Its not
for sale. Not now. This is our first baby step in a series of things
that are part of our master plan.
Its impossible not to notice that the PY1 Pyramid is located just to
the east of the Cirque du Soleil Big Top, which is currently home to
the reboot of the classic Cirque show Alegria. Laliberté is well aware
of his neighbours just down the pier. Its hyper symbolic, both of us
right beside each other, said Laliberté.
The big difference between the Cirque du Soleil and PY1 is there are
no live performers in Lalibertés new venture. I dont want to touch
that, said Laliberté. I made that decision when I left the Cirque.
Thats finished. Im exploring something else.
The PY1 pyramid opens to the public June 1 and the sound-and-light
show Through the Echoes plays daily until the end of September. The
PY1 Nights immersive parties happen every Friday and Saturday night
over the summer. For more information, visit the website py1.com
{ SOURCE: The Montreal Gazette }
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X: The Land of Fantasy Official Announcement
{Jun.01.2019}
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On May 30th, the Product Launch of X the Land of Fantasy produced by
Cirque du Soleil and Hangzhou Suntiandy Group was successfully held in
Hangzhou Suntiandy Theater. For the first time, the seating wagon was
rotated 360°, presented the main characters as well as a piece of
spoiler. On the same day, Xu Peng, deputy director of Zhejiang
culture and tourism department, Zhao Hongzhong, deputy director of
Hangzhou culture, radio, television and tourism bureau, Weldon Epp,
Consul General of Canada and François Dansereau, Head of political and
public affairs Quebec Government Office in Shanghai, came on site to
witness the grand event. Liu Wendong, Chairman of Hangzhou Suntiandy
Group, and Cirque du Soleil President and CEO Daniel Lamarre delivered
speeches. Writer and Director Hugo Bélanger gave a detailed
introduction to the theater, scenes and storyline.
The first stunning appearance of Hangzhou Suntaindy Theater, which is
customized with cutting edge technology and amazing design, displayed
the wonderful scene of Cirque du Soleil X: The Land of Fantasy. Just
as its tagline Striking at every moment, an unprecedented 360°
immersive fantasy experience was brought to everyone from the
beginning of the event.
UNIQUE PERFORMANCE AUDIO-VISUAL FEAST
The event completely demonstrated the uniqueness of the theater: the
guests were seated on the seating wagon that represent two countries,
which is the east and the west. With the rotation, they watched the
main stage including the 100-meter-long Great Wall under the guidance
of one of the main character of the show, The Watcher, as well as the
4 main performance areas. With the dazzling sound and light effects
and exquisite props, the main scenes of X: The Land of Fantasy and
the roles including King, Empress, Hero and Heroine, counselors,
warriors, etc. are all presented in detail. Videos about theater
construction, main creation team, and artists are also released.
Hence, an amazing experience was presented from different aspects.
SEE PICTURES FROM THE CONFERENCE HERE:
LINK /// http://www.cirquefascination.com/?p=12732
Since the Press Conference held last year, the storyline of X: The
Land of Fantasy has been well known to the public. This conference is
an official sneek peak about the wonderful story, which almost
restored the story about the Hero and Heroine were chased by the evil.
In the middle of stage lift, Shadow Warriors and Hero & Heroine, their
companies are confronting with each other, circus was redefined by the
amazing and breathing taking Icarian performance.
BRAND NEW CHAPTER OF HANGZHOU CULTURE & TOURISM
After the wonderful performances, as one of the most important aspects
of Cirque du Soleil X: The Land of Fantasy product launch, the signing
ceremony is also quite interesting. X: The Land of Fantasy announced
that they will cooperate with Ctrip, Damai, Fly Pig, etc. on tickets
selling. There are 6 different kinds of tickets, 380 / 480 / 680 / 980
/ 1280 /1680 Yuan, and on June 1st, the tickets will be sold on these
platforms and the official website.
Nowadays, with the improvement of the consumption level of the Chinese
people, the overall consumer market has been upgraded, which makes the
spiritual consumption + service experience oriented become the trend.
As a key tourist city in China, Hangzhou, which has its own profound
cultural heritage, has also ushered in the rising popularity of
cultural tourism and entertainment in recent years. The cooperation
with mainstream OTA platform is relying on the overall consumer
market, promoting Hangzhou culture and travel industry and Cirque du
Soleil X: The Land of Fantasy show.
As Suntiandy President Liu Wendong said in the conference, It is
believed that under the cultural tourism policy and joint efforts of
platforms and media, this unique entertainment experience created by
Cirque du Soleil and Hangzhou Suntiandy will become an important
cultural symbol to realize the integration and re-creation of Chinese
and Western culture and enrich the cultural heritage of Hangzhou. It
is believed more in-bound tourists will be attracted, and its role as
international tourism city will be also consolidated. Looking forward
to the spectacular premiere of Cirque du Soleil X: The Land of Fantasy
in August this year.
{ SOURCE: Hangzhou Suntiandy Group}
***************************************************************
Q&A -- Quick Chats & Press Interviews
***************************************************************
----------------------------------------------------------
BWW Interview: Puppeteers Talk TORUK THE FIRST FLIGHT
{May.07.2019}
----------------------------------------------------------
TORUK The First Flight is a show inspired by James Camerons movie
AVATAR, and created by Cirque du Soleil; it comes to Londons O2 Arena
in June. BroadwayWorld spoke to puppeteers Helen Day and Antony
Antunes about the show.
Q. Who inspired you growing up?
Antony: I was inspired by physical theatre companies who, at the
time, were laughing the boundaries of theatre. They included DV8,
Théâtre de Complicité and Cirque du Soleil. I also adored the puppetry
of Jim Henson.
Helen: I was always incredibly inspired by my mums work ethic. She
held down a high-pressured job whilst raising two girls. She
definitely inspired me to think that anything is possible, which is
hugely helpful as a performer.
Q. What drew you to puppetry?
Helen: I briefly dated a puppeteer and puppet-maker, years ago. He
moved on fairly quickly, however he left me a puppet he had made for
me. I started to play and experiment with her, and realised that my
love for him might have faded, but I was starting a love affair with
puppets!
Antony: For me, it started at a young age. Loving the classic puppetry
styles (The Muppets, Sesame Street etc.), I became interested in
exploring physicality in different ways. Later, I continued exploring
this at university.
Q. How did you get involved with Cirque du Soleil?
Helen: I saw a casting call when Cirque du Soleil was specifically
looking for puppeteers for the original creation of TORUK The First
Flight. I sent in an application and some video footage, and was
invited to a live audition. About three weeks later, I was offered the
job! That was back in 2015. Ive worked on this show from the start
and am very proud to still be touring with it today.
Antony: I had auditioned as a puppeteer and clown for Cirque du Soleil
four years ago, also for the creation of TORUK. I wasnt successful at
the time, but I stayed on file and in contact, so my time came
eventually!
Q. What can we expect in this new TORUK The First Flight production?
Antony: TORUK The First Flight is inspired by James Camerons epic
movie AVATAR. Its a collaboration combining the creative forces of
his team and Cirque du Soleil, so its a unique live multimedia
experience.
Helen: Expect to see a very different side of Cirque du Soleil! Our
show has a strong storyline, and acrobatics, puppetry and theatre are
all combined to tell that story. Its a spectacular piece on a grand
scale with projections covering the entire stage. The show is named
after its star a giant bird/dragon creature feared by all on
Pandora, and known as the last shadow because, if you encounter it,
its shadow is the last thing you see before you die. Fans of the movie
AVATAR will remember that Jake was the sixth Toruk Makto (Toruk
rider). Our show tells the story of the first Toruk Makto, hence the
name.
Q. Why was AVATAR chosen as the inspiration?
Helen: Cirque du Soleil has long been known for transporting audiences
to other worlds. At TORUK, audiences are swept away to the moon
Pandora and the beautiful world of the Navi. The message behind
AVATAR also matches our company ethos. Its a good fit.
Antony: The world of Pandora is so wide with possibilities; I think
the source material is endless. Creating a live show was another way
to expand that rich universe. The result is a true collaboration
between the creative forces behind AVATAR and Cirque du Soleil.
Q. What characters do you play in the show?
Helen: I operate all of our puppets namely Viperwolves and
Direhorses (both of whom fans will remember from the movie);
Austrapedes (created especially for our show, but now part of the
Pandora landscape); a gorgeous turtle creature, a turtapede, which
weve nicknamed Jeff; and of course the terrifying Toruk! I also start
the show as a Navi. I play a member of the Omatikaya clan, and can be
seen in an aerial drum and rope sequence.
Antony: The puppeteers on TORUK are known as the spirits of Eywa, the
force that connects all living things on Pandora. I puppeteer one of
the Viperwolves, who chase and hound the Navi; the Austrapedes, who
are cute and funny birdlike creatures; and the Toruk itself, a
terrifying, nightmare creature. As puppeteers, we give life to all the
creatures of Pandora, but we also give them voice and breath: we wear
microphones and make all the sounds of the animals live on stage.
Q. How do you keep the show fresh after all this time?
Helen: The show was created in 2015 and has been open a long time now.
Weve toured 22 countries and 95 cities so far
However, were
constantly tweaking it to keep it in tip-top shape.
Antony: On top of that, everyone trains regularly throughout the week,
to keep up their strength and cardio. Our stage is almost 2,000 square
metres and we manipulate large-scale puppets, so being a puppeteer on
TORUK is physically demanding!
Q. How much input do you get in the puppetry design process?
Helen: The puppets were elaborated by Patrick Martel, a professional
puppet designer from Canada. As we added new creatures to the world of
Pandora, it was a long process that started before the puppeteers
arrived on the show. However, weve since made some amendments to the
physical, as through use, we have wanted minor modifications so that
we can make them look as lifelike as possible. Im the Artist Coach
for puppetry on the show, so have collaborated with our props team and
external puppet-makers several times to make these amendments.
Antony: Besides, were encouraged to keep the moments and characters
alive, so we all have input into the characters and choreographies.
Q. Any advice for aspiring performers?
Antony: Practise, train and make as many connections and friends who
are in the same field as you as you can.
Helen: Try everything! Dont get bogged down by the idea that youre a
specific type of performer before youve even started. I was totally
convinced that I was going to be purely a straight actress,
performing Shakespeare. Now, Im a circus puppeteer touring the world!
Be open to different skills and opportunities you never know where
it might lead.
Q. If you had to operate one puppet for the rest of your life, which
character would you be?
Helen: Definitely Jeff the turtapede. Hes the easiest of our puppets
to operate, but also lots of fun. We basically get into the turtle-
like shape and propel him forward with our feet. I think I could
manage him well into my old age. The others might be a little
difficult in later life.
Antony: For me, it would be the TORUK, for sure!
Q. Why should people come to TORUK?
Helen: I think TORUK is unlike any other touring show that Ive heard
of. The scale, the projections and the sheer spectacle of the piece
all make it an experience not to be missed.
Antony: Its a visual feast of incredible proportions. We have
projections larger than five IMAX screens that cover the entire stage
and showcase multiple landscapes of Pandora. Add the puppets, the
music, the beautiful costumes, and the acrobatics
you get a beautiful
show for the whole family.
{ SOURCE: BroadwayWorld }
----------------------------------------------------------
Grayslake native living his inspiration as Performer
{May.15.2019}
----------------------------------------------------------
Getting cast in Cirque du Soleils Volta has been a dream come true
for Kevin Beverley. And the Grayslake native is especially excited to
perform for a hometown crowd when the 2017 touring big-top show makes
its Chicago debut this weekend on the grounds of Soldier Field.
I feel blessed, said Beverley during a March interview at his high
school alma mater, the Chicago Academy for the Arts. This was exactly
what I wanted to do.
Growing up, Beverley performed for nearly a decade as a member of
local competitive dance troupes. When he transferred from Grayslake
Central High School to the academy in 2006, he had to readjust his
focus to concert dance, which was less about tricks and more about
technique and sheer artistry.
He found the perfect mix of his interests when he saw the Canadian TV
documentary miniseries Cirque du Soleil: Fire Within, which was tied
to the creation of the 2002 show Varekai.
It completely changed my brain, Beverley said. It had dance, it had
theater, it had acrobatics it had all these different kind of things
and apparatuses coming together to make one show and I was blown
away.
After taking circus classes at The Actors Gymnasium in Evanston and
graduating from the Chicago Academy for the Arts in 2008, Beverley
headed to Montreal to attend the National Circus School. He majored in
dance trapeze and minored in hoop diving, the latter of which is his
main showcase in Volta.
I like being multidisciplinary, said Beverley, adding that in
Volta he also understudies the dancing role of the main character
Waz.
At the end, theres a three-minute contemporary dance, which is very
unknown for Cirque du Soleil with just one dancer and two backup
singers, Beverley said. I get to mix my acrobatic background with my
dance background and put them together for an acro-dance solo.
In creating Volta, writer/director Bastien Alexandre and director of
creation Jean Guibert initially focused on urban extreme sports.
Beverley said a strong message about self-acceptance and learning to
love yourself was also folded into the show.
They wanted to try something new, Beverley said. It shows the
extremes of BMX and other extreme sports, but at the same time its
very beautiful with dance.
Volta features an original score by Anthony Gonzalez, who is part of
the electronica group M83. Beverly says its his personal favorite of
all the Cirque du Soleil shows hes heard, though he admits to being
biased since hes in Volta.
Beverley still has plenty of family and friends in the Chicago area,
so hes happy that they wont have to travel too far to see him
perform in Volta.
Leaving the city to go chase my dream to become a circus artist and
to come back to Chicago to share it with my people thats
unbelievable, Beverley said. (Cirque du Soleil) was my original
inspiration and Im living that inspiration.
{ SOURCE: Chicago Daily Herald }
----------------------------------------------------------
Director Fabrice Lemire talks Cirque du Soleils CRYSTAL
{Jun.02.2019}
----------------------------------------------------------
Artistic director Fabrice Lemire takes on the ice in Cirque du
Soleils CRYSTAL. The show features an international cast of figure,
extreme and freestyle skaters, acrobats, musicians, and comic
characters. This is Cirque du Soleils first ever ice show and Lemire
talks about the unique challenges of bringing acrobatics and skating
together.
Q. Where did the idea to do an ice show come from?
The concept of creating our first acrobatic performance on ice has
been in progress for several years. Cirque du Soleil wanted to bring
the disciplines of skating and acrobatics together in a new way, that
would not only surprise our audiences, but that would also push the
boundaries and challenge us.
Q. What is the storyline of CRYSTAL and what is the creative process
to bring that to life?
The title of the show is named after our main character, Crystal. She
is timeless and is on a quest to find out who she truly is. The story
of CRYSTAL is about accepting who we are and not always looking for
perfection. The creative process of CRYSTAL occurred over several
months of collaboration and exploration to build the world of CRYSTAL
from the ground up.
Q. What were the challenges of bringing the acrobatic feats that
Cirque du Soleil is known for to the ice?
Ice was a big challenge! One of the challenges was to be able to be
creative in adapting the equipment (shoes and gloves) to provide the
artists with good grip, support, and padding to allow them to glide
when needed or to give them good grip and stability in order to
perform exciting acrobatics on this slippery surface.
Q. What was the training and rehearsal process like?
It was a fun learning process as everyone had to adapt to a new
surface and a new discipline. The acrobats had to learn how to skate
and perform their disciplines on a new surface and the skaters had to
learn how to do acrobatics. It was a fun process that allowed everyone
to learn from each other.
Q. Much of the costuming is designed to also protect the performers.
Can you tell us more about that?
Safety plays a big role in the costuming of our artists. Shoes are
designed to give comfort and are adapted to the skills of each artist.
In CRYSTAL, the shoes, and their crampon soles, are the reason why we
had to create additional camouflage padding on some of our banquine
gloves. Our hockey helmets used during the show are styled with the
look of the show but provide the extra protection the artist needs.
Q. The Swinging Poles act is a first for Cirque du Soleil. How was
this act created for the show?
Pendular Poles is a combination of Chinese Poles and Russian Swing.
The poles are used in conjunction with our video projects to create
the feeling of a city scape with tall skyscrapers. We conducted
several workshops prior to the arrival of all the artists for the
creation of the show.
Q. What is your next project?
I joined CRYSTAL at the beginning of the creation process in 2017 and
learned a lot about ice, skating, acrobatics, and how to combine both
disciplines together. I will be heading to a new Cirque du Soleil ice
creation at the end of July called AXEL.
{ SOURCE: Phindie }
----------------------------------------------------------
Meet Crystals Zabato Bebe
{Jun.04.2019}
----------------------------------------------------------
When Zabato Bebe was a little boy, performers on stage, who were
capable of mesmerizing the audience with their tricks, their looks,
and their ability to tell a story, fascinated him.
Add to the mix a pair of ice skates and a father who was a dancer, and
you have all the ingredients needed to make Bebe a star in his own
right.
Growing up in Vienna, Austria, the son of a professional African
dancer and a professor of arts, the young boy was always very
interested in creativity combining different forms of art and
entertainment
My dad was from the Ivory Coast and Ive been a figure skater most of
my life, Bebe explains. Growing up, my parents pretty much let me do
whatever I wanted to do, although my father always encouraged me to
bring something more to the ice that was far from ordinary.
During his career as an athlete, Bebe competed in many national and
international competitions. The next step for him was to perform in
ice shows.
Since making the transition from amateur skating to professional
skating, Bebe has been exciting audiences all over the world, just
like hes doing currently in Cirque du Soleils first and so far
only show on ice titled Crystal.
I joined this ice creation back in June 2017, and have been touring
with the production across North America ever since, Bebe says. I
never thought Id ever be in a show like this. For me, its like a
dream come true.
Bebe adds that surrounded by amazing people who possess beautiful and
hero-like skills means theres never a dull moment. And we do crazy
things on the ice that to us seem perfectly normal as we push
ourselves to please and astound our audience.
But he adds, a lot of practice takes place before the acts are
perfected.
For instance, he says working on two Chinese poles is just one of
the craziest things I do. Its hard to explain but Ive never done
anything like this before let alone as a figure skater.
When they asked me to do that, he adds, my stomach definitely turned
around a few times before I agreed to do it. But after a lot of
practice Im now totally used to it. I also got used to doing a double
back flip on a very small surface of ice.
Bebe says he thoroughly enjoys performing but looks forward to the day
he can start doing some choreography, both for Cirque and for their
companies as well.
But for now, Bebe admits he derives great joy just from performing.
I love performing in front of people. I love watching their
astonishment as they see people do what seems to be the impossible. I
also like to think maybe Im inspiring kids to think about the things
they could do. The body is a tool for expressing yourself, and maybe I
can convince others think that way, too.
{ SOURCE: The Philadelphia Tribune }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Alegria, Amaluna, Koozå, Kurios, Luzia, Totem & Volta}
o) ARENA - In Stadium-like venues
{TORUK, OVO, Séptimo Día, Crystal, Corteo, Messi10, AXEL}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE, JOYA,
Paramour, R.U.N and X: The Land of Fantasy}
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
Miami, FL -- Dec 20, 2020 to Feb 9 2020
Houston, TX -- Feb 21, 2020 to Apr 5, 2020
Austin, TX -- Apr 15, 2020 to May 17, 2020
Chicago, IL -- Jun 3, 2020 to Jul 12, 2020
Washington, DC -- Jul 23, 2020 to Sep 27, 2020
Vancouver, BC -- Oct 15, 2020 to Jan 10, 2021
Amaluna:
Oaks, PA -- Jul 24, 2019 to Aug 25, 2019
Winnipeg, MB -- Sep 14, 2019 to Oct 20, 2019
Bazzar:
Beirut, LB -- Jun 19, 2019 to Jun 30, 2019
Koozå:
Valencia, ES -- May 30, 2019 to Jul 14, 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
Seville, ES -- Jan 15, 2019 to Feb 9, 2019
Kurios:
Singapore, SG -- Jul 5, 2019 to Aug 4, 2019
Sydney, AU -- Oct 2, 2019 to Nov 3, 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:
Hartford, CT -- Jun 19, 2019 to Jul 21, 2019
Calgary, AB -- Aug 16, 2019 to Sep 22, 2019
Vancouver, BC -- Oct 3, 2019 to Nov 24, 2019
London, UK -- Jan 12, 2020 to Feb 16, 2020
Moscow, RU -- Mar 19, 2020 to Apr 12, 2020
Totem:
Geneva, CH -- May 9, 2019 to Jun 16, 2019
Gran Canaria, ES -- Jul 5, 2019 to Sep 22, 2019
The Hague, NL -- Oct 11, 2019 to Dec 1, 2019
Düsseldorf, DE -- Dec 19, 2019 to Jan 19, 2020
Munich, DE -- Feb 12, 2020 to Mar 8, 2020
VOLTA:
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:
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:
Buenos Aires, AR -- Jun 15, 2019 to Jun 30, 2019
Montevido, UR -- Jul 04, 2019 to Jul 14, 2019
Cordoba, AR -- Jul 18, 2019 to Jul 28, 2019
Mendoza, AR -- Aug 01, 2019 to Aug 04, 2019
Santiago, CL -- Aug 23, 2019 to Sep 1, 2019
Medellin, CO -- Oct 09, 2019 to Oct 26, 2019
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
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
Monterrey, MX -- Sep 19, 2019 to Sep 22, 2019
Guadalajara, MX -- Sep 25, 2019 to Sep 29, 2019
Mexico City, MX -- Oct 4, 2019 to Oct 13, 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
Ufa, RU -- Dec 25, 2019 to Dec 29, 2019
Riga, LV -- Jan 15, 2020 to Jan 19, 2020
Minsk, BY -- Feb 6, 2020 to Feb 9, 2020
Kiev, UA -- Feb 13, 2020 to Feb 16, 2020
CORTEO:
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
Hershey, PA -- Aug 28, 2019 to Sep 1, 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
Paris, FR -- Dec 12, 2019 to Dec 15, 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
Vienna, AT -- Mar 25, 2020 to Mar 29, 2020
Messi10:
Barcelona, ES -- Oct 10, 2019 to Nov 10, 2019
AXEL:
Cornwall, ON -- Oct 4, 2019 to Oct 5, 2019
Syracuse, NY -- Oct 11, 2019 to Oct 13, 2019
Huntsville, AL -- Oct 18, 2019 to Oct 20, 2019
Pensacola, FL -- Oct 24, 2019 to Oct 27, 2019
Tampa, FL -- Oct 31, 2019 Nov 3, 2019
Jacksonville, FL -- Nov 7, 2019 to Nov 10, 2019
Roanoke, VA -- Nov 14,2019 to Nov 17, 2019
Worcester, MA -- Dec 5, 2019 to Dec 8, 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, June 14, 2019
o) Sunday, June 23, 2019
*) 2019 Dark Dates:
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) Tuesday, Jun 25, 2019
o) Tuesday, Nov 5, 2019
*) 2019 Dark Dates:
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:
Location: Stage Theater New Flora | Hamburg, Germany
Performs: 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
R.U.N:
Location: Luxor Las Vegas (USA)
Performs: Wednesday through Sunday - Dark: Monday/Tuesday
Two Shows Nightly - 7:00pm and 9:30pm
SHOWS BEGIN OCTOBER 24, 2019
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) WEBSERIES -- Official Online Featurettes
o) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
WEBSERIES: Official Online Featurettes
---------------------------------------------------
*) 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 6: "Why do you Love your CIRCUS job?" {May.04}
LINK /// https://www.youtube.com/watch?v=n8Gd4TMyr0w
o) EPISODE 7: "The Beginning" {May.11}
LINK /// https://youtu.be/lHPe5Zsz_8E
o) EPISODE 8: "Favorite Moments, Activites & Places" {May.18}
LINK /// https://youtu.be/neBl4ruh3q0
*) PASCAL SIOUI'S ALEGRIA BEHIND THE SCENES VIDEOS
Like he did with VOLTA, through his Facebook and Instagram pages,
Pascal is posting videos that he shot during the creation of the
new Alegria.
o) VIDEO 6: Setting up the Masts, Cuopla, and Stage at IHQ
LINK /// https://www.facebook.com/Psioui/videos/10157735820764305/
o) VIDEO 7: Sound guys are getting ready at Anjou
LINK /// https://www.facebook.com/Psioui/videos/10157741748059305/
o) VIDEO 8: Setting up the Upstage of the Stage
LINK /// https://www.facebook.com/Psioui/videos/10157748399729305/
o) VIDEO 9: Lighting & Sound Install Their Stuff
LINK /// https://www.facebook.com/Psioui/videos/10157760765744305/
o) VIDEO 10: High Bar and Trapeze Structure Arrives
LINK /// https://www.facebook.com/Psioui/videos/10157774867144305/
o) VIDEO 11: Fire Workshop with Tuione Tovo
LINK /// https://www.facebook.com/Psioui/videos/10157786064824305/
o) VIDEO 12: Main Curtain & Sceptre | Week 6 in the Studio
LINK /// https://www.facebook.com/Psioui/videos/10157804997219305/
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
o) New artist?! See Vanessa Grimaldi CirqueWay For a Day!
LINK /// https://www.youtube.com/watch?v=GDIuyYdFMe4
o) The World Premiere of Alegria - Red Carpet Action
LINK /// https://www.youtube.com/watch?v=Vk4PvZT8xfc
o) Alegria: In a New Light Official Trailer
LINK /// https://youtu.be/MuxjJugZVTY
o) PPP" Stands for "Performance Preparation Program"
LINK /// https://youtu.be/3kh9Y601Vik
o) Take Your Place: Tumblers
LINK /// https://www.youtube.com/watch?v=wUpdx-MfYg8
o) TOTEM Music Video: "Toreador"
LINK /// https://www.youtube.com/watch?v=4Ty94y80MYI
o) A Day in the Life | Cirque du Soleil AT SEA
LINK /// https://www.youtube.com/watch?v=Uk6-LwakqaU
o) Take Your Place: Athletes
LINK /// https://www.youtube.com/watch?v=3cfjqkoG1vo
o) KOOZA Music Video: "L'Innocent"
LINK /// https://www.youtube.com/watch?v=JDn_q1VlTcQ
o) Take Your Place: Dancers
LINK /// https://www.youtube.com/watch?v=wpGnkNE92nc
o) "O" Music Video | "Ephra"
LINK /// https://www.youtube.com/watch?v=PA8oT8PBzOg
o) WEARABLE ART with Adam McAlavey | Nextasy
LINK /// https://youtu.be/M10ziLXV3VQ
o) Take Your Place: Acrobatic Gymnasts
LINK /// https://www.youtube.com/watch?v=oe0oxP5JvfY
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) REBEL: "A Nocturnal Ode to the Rebellious Spirit of Rock"
A Sneak Peek at CDS Events + Experiences in Andorra
o) Jean David's Quel Cirque, Part 6 of 12: "Strategy"
A Special Series Celebrating Cirque's 35th Anniversary
------------------------------------------------------------
REBEL: "A Nocturnal Ode to the Rebellious Spirit of Rock"
A Sneak Peek at CDS Events + Experiences in Andorra
------------------------------------------------------------
Surprising acrobatics, modern and glamorous costumes, musical rhythms
known the world over, and a stunning stage design are just a hint of
what awaits you in this edition of Cirque du Soleil in Andorra.
In true Cirque du Soleil fashion, REBEL celebrates the musical
heritage of the male superstars whose songs are forever etched in our
collective memories. The show is a tribute to the rebellious spirit of
rock, a soulful reminder that loveraw or tender, fervent or fiery,
whispered in the ear or shouted from the rooftopshas filled
songwriters from all eras with the urge to make music.
REBEL takes spectators on a glittering, nightlong journey from dusk
till dawn, where virility and tenderness go hand in hand, and where
the spirit of lovewhether gentle or untamed, genuine or impetuous,
virtuous or subversivereigns supreme.
In this rock-infused, nocturnal fairy tale, spectators are taken on a
visually striking acrobatic foray in which iconic songs from the past
and presentfrom Jimi Hendrix to Charles Aznavourare brought to life.
The show is a testament to all those who heed the call of their
rebellious spirit and, like an open book, choose to not only keep
their loves close to their heart, but to wear them on their bodies in
the form of tattoostangible proof of love lived large.
THE SCENIC ENVIRONMENT -- Set Designer Simon Guilbault played with
volumes and perspectives to create a thoroughly modern scenic
environment that takes spectators from one place to another, from
nightfall to the break of day. Pure lines and curves flow in graphic
patterns that keep the focus onand magnifythe artists on stage. This
changing decor creates a geometrically variable space where everything
is possible and where the atmosphere can shift from a neon-lit
nightclub in a red-light district to a scene by the water on a starry
night, all to the rhythm of the music and the beating hearts on stage.
THE MUSIC -- For REBEL, Musical Director Jean-Phi Goncalves breathed
new life into some of the most beloved songs written by male musical
icons, reworked and rerecorded especially for the show. The soundtrack
has deep roots in folk, blues and rock music, with electronic
undertones that bring these hits in the here and now. In this show
where eras collide, songs that have slipped into our musical
consciousness sometimes mesh with the action on stage, and sometimes
play out in striking counterpoint to dramatic effect.
THE COSTUMES -- By fusing fashion with streetwear and by blurring the
lines between the male and female forms, Costume Designer Nicolas
Vaudelet created a coherent and visually stunning realm, drawing
inspiration from the world of vintage tattoos, but with a modern
twist. His highly textured, shimmering trompe-loeil creations
inspired by the classics of high fashion create a retro-romantic rock
star look worthy of the kings of pop.
THE LIGHTING -- The lighting environment in REBEL was created using a
whole panoply of lighting sources including moving lights, spotlights,
neon, projectors, TV screens, and even a DEL-clad star-studded sky.
Natural light shares the stage with highly formatted lighting effects
in tune with the pulsing beats of this nightlong tale.
THE ACROBATIC PERFORMANCE AND CHOREOGRAPHY -- In REBEL, acrobatics and
dance combine the yin and the yang of passionate love. Acrobatic
Performance Designer Edesia Moreno Barata mixes together disciplines
such as aerial Cyr wheel, sway poles, roller skating, dance pole, and
a high-octane act in which four electric motorcycles roll around
inside a perforated metal sphere, like panic-stricken flies caught
inside a light bulb. A troupe of ballet dancers personifying a gang of
romantic rebels mix urban and contemporary dance idioms to underscore
sometimes in subtle ways, sometimes in broad dramatic strokesthe
emotions bubbling on stage.
* * *
MEET THE PEOPLE AND ARTISTS WHO HAVE MADE REBEL POSSIBLE
We introduce you to the people and artists who have made REBEL
possible. Its a fantastic team whose determination, dedication and
passion for their work have created a show that will leave you
speechless. They have you reliving the greatest musical hits by the
best artists, and whisk you away to another era, to another time.
EDESIA MORENO | ACROBATIC PERFORMANCE DESIGNER
Edesia Moreno Barata started out as a top athlete on the Spanish
national rhythmic gymnastics team. In 1998 she was spotted by the
Cirque du Soleil which recruited her as a performer. She travelled the
world with the "Saltimbanco" and "Corteo" shows for 10 years. Driven
by a contagious passion combining sense of movement with the ability
to produce results, Edesia took on the role of artistic and acrobatic
coach for the Cirque du Soleil. More recently, she has worked as
acrobatic performance designer, acrobatic choreographer, director and
event designer for numerous Cirque du Soleil productions. In the last
20 years, Edesia has worked on 35 productions all over the world. Her
experience has led her to develop a rare skill set including
organisational skills, flexibility, respect, leadership, team spirit,
creativity and passion.
AUDREY TOULOUSE | MAKE UP DESIGNER
Audrey Toulouse is a professional makeup artist with more than 15
years of experience in HD, artistic, airbrush and special effects
makeup. Currently working at Cirque du Soleil, she specialises in
makeup designs for new and upcoming shows. Her more recent designs can
be seen in the show Diva in Andorra during the summer of 2018, Reflekt
and in the advertisement campaigns Skoda Spain and Skoda Prague as
well as in multiple private events, each of these designs bearing the
mark of the Cirque du Soleil. Audrey distinguishes herself through her
outstanding makeup, hairstyling and teaching skills, which she applies
in both the theatrical and television sectors. Her talent has led her
to take part in international productions, set in more than twenty
countries. Creative, reliable, passionate and with an excellent
capacity to adapt, she is extremely perceptive and receptive to any
kind of creative guideline that comes her way.
NICOLAS VAUDELET | COSTUME DESIGNER
Nicolas Vaudelet was trained by the big names in Fashion: Christian
Lacroix, Christian Dior, Louis Vuitton, Givenchy, Sonia Rykiel, and
Jean Paul Gaultier. With the latter, he participated in the design and
costume production for Madonna's "Confession" Tour and that of
flamenco dancer Joaquín Cortes. After extensive experience in Seville
as art director of the century-old house "El Caballo", where he won
the L'Oreal award for best collection in 2009, he designed the
costumes for the Spanish National Ballet. In the same year, he met
famous director Franco Dragone. For him he designed the 600 costumes
that made up the wardrobe of the Parisian Cabaret Lido and those of
Taboo 3 and 4 in Macau, Russian singer Philipp Kirkorov at the Kremlin
in Moscow, the "Daï Show" in XiShuangBanna and Rixos World park and
hotel in Turkey. This period, which runs to the end of 2016, clearly
marks Nicolas' predilection for the design of stage costumes. Since
January 2017, he has continued this activity in Canada with Scéno-Plus
for MGM Macau, Vallarta Adventures for "Savia", directed by Gilles
Ste-Croix, the Cirque du Soleil for the 2017-18 European Tour of
German singer Helene Fischer, the inauguration and closing of the
"Dubai World Cup", the shows Syma and Varéila for MSC Cruises and
"Diva", presented in Andorra in summer 2018.
JEAN-PHI GONCALVES | MUSICAL DIRECTOR
A founding member of the PLASTER and BEAST groups, he started his
career as a musician, touring with numerous established artists like
Dumas, Ariane Moffatt, Martin Léon and Daniel Bélanger, amongst
others. He became highly in-demand in the music industry with
countless projects working as the director or arranger: Ariane
Moffatt, Diane Dufresne, Jean-Pierre Ferland, Pierre Lapointe... His
expertise are also recognised on the international scene,
materialising through projects with Lauryn Hill and INXS. In 2010, he
was asked to compose to images where he discovered his new passion. He
then founded his music production company: XS, La Petite Boîte à
Musique. Following this, his original music composition projects for
the radio, TV, internet, cinema and shows multiplied. Over the last
four years, he has directed the music for the Cirque du Soleil's
tribute shows, amongst others, rearranging the works of Beau Dommage,
Robert Charlebois, Luc Plamondon, Les Colocs and this year, les
Cowboys Fringants. He is also working on a re-reading of the classic
Alegria for April 2019.
LYDIA BOUCHARD | SHOW DIRECTOR
Her artistic career stands out for its diversity and creativity. A
product of the world of classical dance, she has worked with renowned
choreographer Jean Grand-Maítre of the Albert Ballet Company and famed
opera director Renaud Doucet. In 1998, she began a flourishing career
in the field of performing arts, rubbing shoulders with numerous
famous art directors and choreographers. She then turned towards
musical theatre and worked with large Canadian companies such as
Mirvish and Jacobson Entertainment, Just For Laughs and Drayton
Entertainment. In 2009, Lydia Bouchard joined the Cirque du Soleil's
special events division where she discovered the passionate universe
of the circus arts. After a 17 year career as an independent artist,
Lydia has enthusiastically stepped into the field of directing and
choreography. After around 10 years in the Cirque du Soleil, she is
proud to be back working as a director in Andorra this summer in her
brand new custom piece REBEL. Armed with a team of solid writers hand-
picked by her, she offers her very own world from the singing greats,
always in her off-the-wall, highly-sensitive style.
SIMON GUILBAULT | SET DESIGNER
Active on both the theatre and dance scene, he worked with Cirque du
Soleil for the first time as a set designer for the show STONE in 2017
and again on Juste une p'tite nuite in 2018. BAZZAR by Cirque du
Soleil was Simons third collaboration with the company. Recently, we
saw his scenography in Alexia Burger's play Les Hardings at the Centre
du théâtre d'Aujourd'hui, Molière's L'Avare at Théatre Denise
Pelletier and the new Peep Show production by Marie Brassard at Espace
Go, in Montreal, Canada. He collaborated with Marie Brassard in the
creation of the play Jimmy, créature de rêve (2001), La Noirceur
(2003), Peepshow (2005), L'invisible (2008) and Trieste (2013). These
plays were praised both locally and internationally, and performed in
several European theatres.
ERWANN BERNARD | LIGHTING DESIGN
Having started out in 2006, Erwann now has close to one hundred
lighting designs under his belt. In Montreal he is very active on the
theatre scene, where he regularly creates lighting designs for several
renowned theatres. He boasts various joint projects with directors
Serge Denoncourt, Claude Poissant, René-Richard Cyr and Mani
Soleymanlou, to name but a few. Some projects have even led him to
work in France. Since 2018 he has been working with the Cirque du
Soleil, in addition to doing the lighting for the opening and closing
shows of the Dubai World Cup, broadcast live to over 150 countries and
watched by more than a billion people. He is recipient of prestigious
awards, including the lighting award for the year 2018 awarded by the
subscribers of the New World Theatre for Caligula, directed by René-
Richard Cyr.
------------------------------------------------------------
Jean David's Quel Cirque, Part 6 of 12: "Strategy"
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
ado, Quel Cirque!
# # #
We were quite open-minded toward our competition. There was no direct
rivalry with traditional circuses. Our customers and products were
very different from theirs; so we didnt consider them rivals. Our
real competition came essentially from cultural products like movies,
festivals, theater, dance, and opera. Our clientele had a higher than
average income, but they were also much coveted. So vigilance was the
watchword if we wanted to attain the enormous sales objectives we set
for each city.
Engaging in lengthy presale periods was one of the best ways to
maximize commercial performance. Our growing fame allowed us to offer
tickets to consumers from three to twelve months before a show hit a
city. We let them know several months in advance that wed be back
with a brand new product. Consumers could plan their entertainment
budget accordingly. We realized they had to make choices. Of course,
this approach required rigorous planning and skillful coordination of
our activities but it offered multiple advantages. It forced us to act
promptly in negotiating and signing land lease contracts. In so doing
we had a better choice of sites.
Because we were prepared well in advance, we had a chance to shop
around and tie up our media partnership agreements well in advance.
Since the media hadnt yet committed their entire budgets and had to
plan their activities effectively, our prompt approach was always
welcome and, as a rule, their proposals were quite generous.
Thus, we were in a proactive position vis-à-vis our sponsors. I soon
realized that our strategic planning activities had a remarkable
impact on them. They considered us credible partners. Even more
important, we were a real asset in their own planning of marketing
activities.
Long presale periods did not result in additional advertising costs.
On the contrary, we were able to maximize the reach of our advertising
investments. We were also able to develop innovative promotional
programs with our sponsors and our partners in the media. We could put
in place all the ingredients we needed to create and build a real
event. Word of mouth, the primary factor in our customers decision-
making process, could circulate and operate freely. Because we were
well prepared, time was on our side! I thought we had to take full
advantage of the situation.
As a manager, I had to make daily decisions that directly impacted the
Cirque, our brand image, and our audiences. One thing about our shows
that I always bore in mind and that I tried to share with our
collaborators was that our audiences are intelligent. To some people,
this may have seemed obvious, but it was a defining characteristic of
the Cirque du Soleil. The artistic team never forgot that our patrons
were discriminating. It was a basic premise of the Cirque experience
itself. I believed that we had to bear it in mind in everything we
did, whether it was in our advertising campaigns, our communications,
our promotions and our customer service policy.
In my initial contacts with sponsors, business partners and the media,
I noticed that many of them were under the illusion that you couldnt
ask too much of the public. In their eyes, the public was dull,
unsophisticated. You could put things over on them. I found this
attitude surprising; I refused to accept it. I was certain it had no
basis in fact. So we had to educate our new collaborators.
I insisted that our publicity be serious. There was no room for
puffing the product. We also avoided giving too much or too little
detail. Our public could figure things out for themselves. As well,
ticket prices wouldnt discourage our customers. But when we first
approached American cities about an eventual tour, our sponsors and
media partners suggested that we offer price reductions or put
discount coupons in papers and magazines.
They were very surprised when we told them that our customers couldnt
care less about reductions. The most expensive tickets were always the
first to sell out. Our customers wanted the best seats, period.
Similarly, the announcement of our arrival created a remarkable
interest, partially due to the hallmark quality of our product.
From 1990 on, we developed an almost permanent tour plan for North
America for a two and eventually a three-year period. Our fans knew
that the shows had a limited run so theyd have to wait at least two
years before they could see us again. This helped build interest.
Cirque was in a very different position than theater, classical music,
and modern dance. No products in our market were really comparable to
our shows. The fact that our product was so rare boosted presales. It
also heightened media and consumer appreciation of the shows. Rarity,
long an important brand characteristic, placed us in a privileged
position in the minds of our audiences.
Our show will be held over! Among the marketing elements
contributing to our success was the policy of putting tickets on sale
in stages. If, for example, we planned on giving 60 performances over
a seven-week period in a big top that seated 2500, we could expect to
draw a total of 150,000 spectators. Until the late 1980s, it was our
practice to put tickets on sale for our entire stay.
But we found out that most people bought tickets for shows in the last
weeks of the run, leaving our first weeks half empty. The phenomenon
generated overall occupancy rates that could vary between 70% and 80%,
even if the final weeks were sold out. To remedy the situation, we
sold tickets for an initial number of performances and then announced
that the show would be held over. For example, if there were 60
performances in seven weeks, we would sell tickets for the first three
weeks, that is for 20 shows. And, as soon as we had sold 70% of the
tickets, we announced that there would be additional performances for
one or two extra weeks, and so on until all the tickets for the entire
seven weeks were on sale.
This approach gave us sold-out performances right from the start of an
engagement, intensifying word-of-mouth activity and allowing us to
achieve 95% occupancy. The approach seems quite normal today, but, at
the time, applied systematically and meticulously from town to town,
it was highly innovative and produced fantastic results.
Mark of Excellence
------------------
Until 1989, but for our first incursion into Ontario as Sun Circus,
our shows were billed as Cirque du Soleil in every city we visited.
Sometimes, we used the slogan We reinvent the circus or La magie
continue (The magic continues). Everything went swimmingly until 1989,
when we returned to Santa Monica Beach with a slightly modified
version of the show wed put on earlier in California. But Los Angeles
Times Critics sounded a bit of a sour note. If youve seen them
already theres no point going to see them again, but if you havent,
its worth checking them out, they advised. It was the first time wed
had comments like that. The show seemed a little déjà-vu, and we began
to understand the risk we ran.
Traditional circuses face the same kind of challenges. Year after
year, they return to the same cities with the same acts, the same
tigers: the same old same old. Its the kind of situation that we
absolutely wanted to avoid. Our show was particularly valued for its
rarity. Clearly, we had to provide our loyal fans with new adequately
promoted fare.
At the time a completely new show was in the works for our 1990-1991
North American tour. We were reinventing ourselves! Upon reflection,
we concluded that we had to give our show a distinct name and
identity. We needed to identify the distinctive characteristics of
each new creation, baptize it like a newborn baby, and give it a
personality that the public could easily recognize. So, the name
Cirque du Soleil would appear under the new trademark, giving it the
stamp of quality.
Thus Nouvelle Experience/Cirque du Soleil was born in 1990. It was
both the shows title and a promise we were making in our advertising:
Cirque du Soleil is offering you a new experience. But we had to be
prudent about this experiment. Thats why proposed titles like Big
Bang and Gaia were turned down. From then on, every new production
would be given a title once and for all. Thats how a powerful company
tradition was established: giving each show a name establishing its
identity. So Fascination, Mystère, Saltimbanco, Alegria, Quidam, O, La
Nouba, Dralion, and others saw the light of day.
Obviously, this decision made life much easier for everyone. When I
say everyone, Im thinking of the artistic team in particular. Their
orders couldnt be simpler: give us a new show, PLEASE. It also
facilitated the marketing teams task: we were offering a new product,
with new artists, music, decors, costumes and acts
The media couldnt
wait to get a glimpse of it. Finally, the titles made for stimulating
conversation: I saw Kà and Mystère; I wanted to see Saltimbanco; I
loved Alegria and Love; I was looking for tickets for O
What more
could we ask!
The practice of personalizing shows ran into difficulty right from the
very start. It was the fall of 1991, in the old fire station, the
companys Montreal headquarters at the time. There was a very
important meeting with representatives of Fuji television Network, the
biggest private TV network in Japan. None other than head honcho Dan
Yoshida led the Fuji delegation. He had come to negotiate with us
about Cirques first Japan tour. I attended the meeting with Guy
Laliberté, who chaired the negotiations and Roger Parent, our delegate
producer. Negotiations were all but wrapped up. But there remained one
little detail: Yoshida had a personal request.
He wanted us to call the show Fascination. He liked the name. Fine. No
problem, we thought. But he had another request he considered even
more important: he didnt want the name Cirque du Soleil to appear
under the shows title Fascination. It would only complicate things
for the Japanese public, he argued. They couldnt understand or
pronounce French words. This was the first time we were negotiating
with the Japanese, and the stakes were high. It was a $40 million
operation, the biggest tour in the history of the land of the rising
sun.
Like a true CEO, Guy Laliberté was eager to clinch the deal; he
immediately accepted Dan Yoshidas proposition. I literally jumped out
of my seat. The idea didnt square with our brand positioning. While
Roger steered Guy away from the discussion so I could intervene, I
told Mr. Yoshida that we couldnt accept his request because it
violated the basic principles of our marketing plan. Cirque du
Soleil was a stamp of quality, a mark of excellence. Like Chanel or
Louis Vuitton, it was a trademark. And with his know-how and support,
we intended to develop the brand and make it increasingly popular with
the Japanese public.
After a few vigorous exchanges long remembered by my Japanese
counterparts, Yoshida came round to my point of view, which I took as
a sign of trust. It was a narrow escape. Eventually, the Cirque du
Soleil trademark was just as solidly established in Japan as it was in
the United States, Canada, and elsewhere in the world.
Gearing Up
----------
One morning early in the 1990s, I addressed the bimonthly executive
meeting of Cirque du Soleil. The company was engaged in an intense
period of activity: for us it was business as usual. I had asked to
make an important announcement to the entire management team. I really
set it up I was enjoying myself My friends I have big news, I
said, Starting tomorrow, Cirque du Soleil ticketing services will
function 24 hours a day, 7 days a week, 365 days a year! To say the
least, I hadnt anticipated the committees reaction. There were
shouts of: Sheer nonsense! It just cant be done. What are you
talking about? At least the meetings were never dull.
My colleagues were incredulous. I feared there would be a serious
learning curve. Management was absolutely convinced that what I told
them was impossible. They didnt believe we could change the way we
did things, especially in as sensitive an area as ticket sales. So I
pointed out that we had engaged in rigorously coordinated planning
with our ticketing centre and our tour development director to set up
a presale system in North America that eliminated delays from town to
town and year to year.
Everyone was curious to learn more, so I continued. I told them we
were even going to put tickets on sale for coming productions that
were getting under way in Montreal though we werent sure what the
content would be. The public was convinced of the quality of the
product we were offering them. What they really wanted was to have
good seats. We had already confirmed the scheduling for the new shows
with the artistic team. There remained to finalize an agreement in
principle with Montreals Old Port, which had already assured us of
their collaboration; that was enough for us to proceed with ticket
sales.
We were merely offering tickets for the new show. We would give
details about the production at the appropriate time and place. From
then on, there would always be tickets on sale for a Cirque du Soleil
show. Always. Our tickets would be available 365 days a year. Then I
said something that really made their eyes light up: These presale
changes will increase our liquidity!
My announcement that morning marked an important stage in our
companys revenue growth and capital management. From that day on,
there was no going back. We were innovative; we had to continue to be
and go even further.
To Be Continued...
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COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 19, Number (Issue #185) - June 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.
{ Jun.10.2019 }
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