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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 10 October 2019 ISSUE #189
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
* * * MESSI10 PREMIERES! * * *
Cirque du Soleil unveiled its newest show Messi10 with a world
premiere on Thursday, October 10th (10/10, get it?) at the Parc del
Fòrum in Barcelona, Spain. Messi and other stars lined the red carpet
for the first show, which by all accounts was a huge success for both
Cirque du Soleil and Messi. Cirque set the show up like a soccer
match: it lasts for 90 minutes and is divided into two 45-minute
halves. The stage is also designed to look like a soccer field.
Acrobats perform alongside some video clips of Messis career
highlights, honoring the all-time great. Check out a collection of
articles in our FEATURES section this month about MESSI10's premiere.
And for those interested in knowing even more about the new show, keep
an eye out for a new documentary - "Messi Cirque: The Creation of
Messi10 by Cirque du Soleil" - which will premiere on Rakuten TV
(https://rakuten.tv) on November 21st... For a sneak peek at what this
documentary holds, check this link: https://www.facebook.com/watch/?
v=422006568667941.
* * * A NEW BIG TOP SHOW FOR 2020 * * *
Something new is on the horizon! Cirque du Soleil is thrilled to
announce its new Big Top production, written and directed by renowned
artist and stage designer Es Devlin. In Cirque du Soleil 2020, the
audience will be touched by uplifting acrobatic choreography, startling
physical theatre and moved by the vibrant musical score, all infused
with the warmth of human interconnection. Through Director Es Devlins
exceptional creative lens, high-level acrobatics are woven within a
striking and disruptive visual universe.
This new big top experience invokes the power of the human performance
and communal experience which remain at the heart of all Cirque du
Soleil creations. It is a meeting of visual art and human performance,
a hymn to the vibrant communal experience that only a live show can
offer. Cirque du Soleil invites fans to meet under the Big Top in
Montreals Old Port starting April 23rd, 2020 and share the experience
of this new surprising and joyful live gathering.
Creation Director Chantal Tremblay said that the "intention for this
show is to surprise the audience with something bold, daring and
visually exciting." The show offers a "fresh creative take on what
we are. Vice President of Creation, Daniel Fortin adds that in
working with iconic visual artist Es Devlin to lead this new creation,
we are committed to making a strong and absolutely distinctive
creative statement in 2020. This show marks not only the start of a
new decade but also an exciting new era for Cirque. Writer, Director
and Set Designer, Es Devlin explains further: At the roots of Cirque
are exceptionally skilled humans performing at the limits of what is
humanly possible. There are no words, no text. But the strongest
story is understood: 2000 people all willing someone not to fall. Its
a potent communal experience, a travelling tent full of 2000 strangers,
all realizing at once that when it comes down to falling or flying,
we all want the same thing.
Renowned visual artist Es Devlin lives and works in London. Her multi-
disciplinary practice spans solo sculptural exhibitions in London and
Miami, avant-garde theatre in New York, experimental opera in Vienna,
iconic stadium pop shows and Olympic Ceremonies in London and Rio.
Devlins practice originated in small scale theatres in London,
progressed through The Royal Shakespeare Company, Royal Opera House,
and onto global opera houses, the Metropolitan Opera, New York and La
Scala, Milan. She has conceived large-scale touring shows with Beyoncé,
U2, Adele, The Weeknd and Kanye West as well as collaborations with the
theoretical physicist Carlo Rovelli and the actor Benedict Cumberbatch.
Amongst her many current projects, Devlin is designing the UK Pavilion
at World EXPO 2020.
Es Devlin is joined by...
o) Yasmine Khalil Executive Producer
o) Dan Fortin Vice President, Creation
o) Gabriel Pinkstone Producer
o) Es Devlin Writer, Director and Set Designer
o) Chantal Tremblay Creation Director
o) Lucie Janvier Production Director
o) Nicolas Vaudelet Costume Designer
o) Jade Pybus Composer
o) Andy Theakstone Composer
o) Daniel Cola Human Performance Designer
o) Jaque Paquin Acrobatic Equipment Designer
o) Lynne Page Choreographer and Collaborating Director
o) John Clark Lightning Designer
o) Jacques Boucher Sound Designer
o) Jérôme Delapierre Projection Designer
Cirque 2020 will be the company's 51st original production and 20th
Big Top Show. Tickets are on sale now!
BUY TICKETS HERE: https://www.cirquedusoleil.com/2020
WATCH THE TEASER HERE: https://youtu.be/6mDEzRoaTTg
LEARN MORE ABOUT ES DEVLIN HERE:
- Website: https://esdevlin.com/
- TED Talk: https://www.youtube.com/watch?v=CeOadxT7kPA
- Netflix: "Abstract: The Art of Design" Documentary
In Season 1 Episode 3: "Es Devlin: Stage Design"
* * * JOYA REFRESHES FOR SIXTH SEASON * * *
JOYÀ will begin its sixth season at Vidanta Riviera Maya with new
acts, new makeup and costumes, and a new culinary menu. Some notable
changes include: A new and exciting act of Aerial Rings Duo
performed by Argentine artists Flor Aracama and Nico Busso, will be
the first of its kind and an exclusive to Cirque du Soleil JOYÀ.
Performing on the spiritual scene, the eloquence, beauty and strength
of this duo are captivating and uplifting. We have restructured and
reprogrammed the technical specifications of the stage to show their
capabilities," said Joël Bergeron, artistic director of Quality at
Cirque du Soleil Entertainment Group. A new comedic number will
feature an additional moment of spontaneity, including audience
participation. "It is an element often played at Cirque du Soleil
shows because it transforms the audience from spectator to participant
in a fun and exciting way," Bergeron said. And a new culinary
experience created by Alexis Bostlemann, Vidanta's corporate chef.
Bostlemann and his talented team created a much more unique dining
experience to take the senses to the next level. Cirque du Soleil
JOYÀ is a unique multisensory experience, inspired by Mexico. A great
example of this is the gastronomic component of the show, something
that cannot be found in any other Cirque du Soleil show in the world.
We are sure that with the surprises and additions we have prepared for
this sixth season, JOYÀ will be an even more fun and interactive
experience for our visitors," said Norma Preciado, director of
Entertainment Marketing and Lifestyle of Grupo Vidanta.
* * * LAST, BUT NOT LEAST... * * *
And last, but certainly not least, we have a couple of important
milestones to highlight:
- MJ ONE celebrated its 3,000th performance on October 3, 2019
- CRYSTAL celebrated its 600th performance on October 4, 2019
- AXEL premiered preview shows on October 4, 2019
More? Keep reading!
/----------------------------------------------------\
| |
| 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
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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
* SPECIAL /// "Cirque Scores with MESSI10" - A Collection
of Articles Celebrating Messi10's Premiere
* "Bringing Corteo's Sound to Life" - A Sennheiser Pro Talk
Series interview with Christian Peterson - Head of Sound
* Jean David's Quel Cirque, Part 10 of 12: "Thinking Big"
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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ICYMI At NY Fashion Week, Hi-Tech Experience Steals Show
{Sep.05.2019}
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In the dynamic world of fashion, technology is increasing its
footprint every day. Brands like Rent the Runway, Moda Operandi and
Amazon are integrating new tools into their platforms to make customer
experiences seamless and enjoyable.
Enterprise software provider SAP is also expanding its presence in the
fashion industry, as its technology hits the runway for the third time
in September, showcasing tech-enabled designs and a newly enhanced
interactive runway app at New York Fashion Week (NYFW).
This year SAP partnered with Cirque du Soleil, the world leader in art
and entertainment, and Fashion-Tech designer and innovator Anouk
Wipprecht, to create the first-ever tech-enhanced designs. The designs
utilize SAP Qualtrics to capture participants inputs and delivers
custom-made beverages cocktails and non-alcoholic drinks and
fragrances to the individual.
WATCH A VIDEO DEMONSTRATION: https://youtu.be/BHkUiq9m4Rs
Also, the Runway by SAP app will again be incorporated in top-designer
Badgley Mischkas runway show to create new ways for viewers to
interact and provide real-time feedback during the shows.
With these innovative technology advances and utilizing participant
input to drive personalization, SAP is turning big data into a moment
of joy in fashion.
CIRQUE UNVEILS TECH-ENABLED DESIGNS BASED ON PARTICIPANTS INPUT
These original tech-enabled designs will come to life at NYFW.
Together, SAP, Cirque du Soleil and designer Anouk created Elixir
and Fragrance two designs, each including a dress and a suit, that
are centered around audience interactions to create the ultimate
customer experience. Heres how it works:
The experience begins when the participant first engages with the
design. The participant interacts with the model and design through a
tablet on their arm that takes them through a series of questions
using the SAP Qualtrics Experience Management (XM) platform. Feedback
from the interaction is analyzed and feeds the exact experiential and
operational data it needs to pick one of many expertly crafted
beverages or fragrances for each guest.
After the questions are answered, the design starts to work. All
fashionably hidden, through conveyor belts, pumps and capsules secured
by 3D-printed harnesses and accessories, the beverage design blends
different alcohols, fruit juices and flavors to craft the perfect
drink. While the fragrance design combines different scents creating a
personalized fragrance with a custom label delivering a world-class
product and brand experience for users.
The designs not only make the beverages and fragrances quickly, but
they are specifically catered to you. The designs know exactly what
you need a lavender-infused drink for when you are stressed, ginger-
infused for more energy, or even the perfect fragrance you did not
even know existed.
Hows that for the ultimate personalized experience?
SHOP WITH RUNWAY BY SAP
This year, whether you are at the show or watching, you can
participate in the runway experience by engaging in real-time with the
looks from the Badgley Mischka show on the Runway by SAP app. Simply
point your iPhone at the model and the app will identify what they are
wearing. You can then dive deeper into the look and like or love
the items, and add them to your wish list. You can share your wish
list with BM, and theyll alert you when items are ready for purchase.
The app uses the beacon technology and machine learning algorithms
that instantly recognize the looks as they walk the runway. BM has
incorporated the app into its show, giving the audience the chance to
engage and react to what they like and love, showing the designers the
feedback and influencing future designs and buying decisions. Its a
personalized experience for each user.
FUTURE OF FASHION AND TECHNOLOGY
On the last day of NYFW, SAP will contribute to an In Conversation
panel, led by Emma Rosenblum, Editor-in-Chief of Bustle Digital Group
with guests, Alicia Tillman, Global CMO of SAP, Marcus Wainwright,
founder of rag & bone, Diane Quinn, Chief Creative Officer at Cirque
du Soleil, and Aaron Duffy, CEO of Specialguest. These thought leaders
will discuss the impact of technology and experience in the fashion
industry across a wide variety of topics.
We are excited to return to our third New York Fashion Week with a
focus on creating more personalized and unique consumer experiences at
the intersection of technology and fashion, said Alicia Tillman,
Global CMO of SAP. Through our tech-enabled fashion designs, created
in collaboration with Cirque du Soleil, and our enhanced Runway by SAP
app, we wanted to demonstrate how our technology can translate direct
feedback and inputs to give designers the feedback they need to create
designs that are the most relevant to consumers today.
{ SOURCE: Forbes }
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IATSE #58 Picketing Alegría in Toronto
{Sep.12.2019}
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The International Alliance of Theatrical Stage Employees (I.A.T.S.E.)
Local 58 will be holding an informational picket outside the big top
at Ontario Place at 6:00 p.m. on September 12, to mark opening night
of Cirque du Soleils Alegria. The picket comes in response to
Cirques choice to use lower-paid, non-union labour to mount the
production.
After a 20-year relationship that saw I.A.T.S.E. Local 58 working with
Cirque to bring the Quebec-based circus companys productions to
audiences at the Port Lands and Ontario Place, the union was informed
by Cirque this year that the company would be using non-union labour,
at a rate of pay that is significantly lower than the skilled
stagehands represented by Local 58 have been paid since they began
working behind the scenes building sets, hanging lights and installing
the sound equipment that create the spectacle audiences have come to
know and love from Cirque.
We are hugely disappointed in Cirques decision to take the cheap
route on labour rather than honour a long-standing relationship 20
years in the making, says I.A.T.S.E. Local 58 president Justin
Antheunis.
The rate of pay for the non-union workers hired by Cirque du Soleil
for the remount of Alegria is as much as $10.00 lower per hour than
the wage Cirque paid Local 58 stagehands when they began providing
labour for the company in the early 2000s.
The fact that Cirque would rather line the pockets of a labour
provider than pay the skilled technicians what their knowledge and
experience is worth is deplorable, says Antheunis. Its yet another
example of a multi-national company coming to Toronto and trying to
drive down the wages of workers in this city, at a time when its only
getting more expensive to live here.
The picket line will be set up outside the big top at Ontario Place at
6:00 p.m., where I.A.T.S.E. Local 58 stagehands will be informing
patrons of Cirques unfair decision to use cheap non-union labour.
President Antheunis will be on-site to answer questions.
{ SOURCE: Canadian Newswire }
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More on Twas The Night Before
{Sep.12.2019}
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As the title suggests, Cirques first holiday show is inspired by the
familiar holiday poem called A Visit from St. Nicholas that was
first published anonymously in 1823 before Clement Clarke Moore
claimed credit for the work in 1837.
Cirque described the new family show as a vibrant acrobatic
spectacle incorporating feats of physical derring-do that long have
been a strength of the Cirque brand. The story line will follow the
journey of Isabella, a young girl whos become jaded by the hoopla
surrounding Christmas. The production aims to answer the question
whether Isabellas arrival in a topsy-turvy, upside-down, inside-out
world new world realized in the show will reignite the holiday spirit
in her.
Twas the Night Before
is a show created to entertain the whole
family, as well as the perfect opportunity for parents to introduce
the world of Cirque du Soleil to their children for the first time.
Yasmine Khalil, chief executive producer of Cirque du Soleil, said in
a prepared statement. We are thrilled to return to Chicago with our
very first production celebrating the holiday season, with a unique
take on a Christmas classic.
Added MSG Live Executive Vice President Darren Pfeffer, We are
thrilled to be partnering with Cirque du Soleil another name in
world-class entertainment on this one-of-a-kind production, which we
know will not only provide a unique celebration of the season, but
also inspire another generation to appreciate the creativity,
athleticism and artistry of Cirque du Soleil.
The new Cirque holiday show is the latest in a growing collection of
shows the entertainment company has unveiled since private equity firm
TPG Capital acquired a majority stake in Cirque in 2015. TPG
introduced new a strategic game plan to grow the brand and expand
Cirques presence globally with an array of new productions in
different types of venues.
SEE SOME STAGE RENDERINGS HERE:
http://www.cirquefascination.com/?p=13088
{ SOURCE: Chicago Business Journal }
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Cirque du Soleil Celebrates 30 Years In The UK
{Sep.18.2019}
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Cirque du Soleil marks its 30th anniversary in the UK with a
celebratory exhibition from 19 September to 9 October with free entry
at Londons historical Royal Geographical Society (with IBG). Fans can
immerse themselves in the story so far, understand the journey of
Cirque du Soleil, from creation to the travelling circus today, hear
the music, and take an up-close look at costumes, masks and more! A
truly global company with shows that have visited more than sixty
countries and using themes evoked from different cultures around the
world, the Royal Geographical Society (with IBG) is the perfect venue
for this exhibition celebrating 30 years in the UK alone.
From humble beginnings of street theatre, Cirque du Soleil has grown
from a company of 73, to more than 4,000 people, featuring artists and
employees from over 50 countries with more than 25 different languages
spoken.
The arrival of LUZIA next year, the companys 38th original production
themed around A Waking Dream of Mexico, will be the 14th production
to debut in the UK and marks 30 years since Cirque du Soleil first
brought its captivating magic and awe-inspiring acrobatics to the
country. Since 1990, when the first Grand Chapiteau was raised in
London to host Cirque Réinventé on the South Bank, just six years
after the companys inception in the streets of Québec in 1984, Cirque
du Soleil has astounded audiences of over five million in the United
Kingdom alone.
Attention to detail runs throughout every aspect of a show. From the
first stage design to intricate custom made costumes and precision
make up, Cirque du Soleils spectacular productions come together
through a multitude of talented technicians, artistic directors,
designers, engineers, carpenters, coaches and musicians, with world
renowned artists remaining the beating heart of excellence in every
show. From exquisite moments of beauty including OVOs Aerial Straps,
Amalunas Balance Goddess, Totems Lovebirds Trapeze, Quidams Aerial
Hoops and Varekais Flight of Icarus, to jaw dropping, heart stopping
acts including OVOs Russian Cradle, Totems Unicycle and Bowls,
Varekais Russian Swings, Dralions Teeterboard, Koozas Wheel of
Death and Amalunas Banquine, which wowed even Meryl Streep at the
BAFTAs in 2017.
With arena tours and big tops alike, Cirque du Soleils touring shows
have travelled across the country. For residency shows, Cirque du
Soleil found home at the Royal Albert Hall in 1996, when it returned
to the UK with Saltimbanco. Transforming the show from a Big Top tent,
to the iconic London venue has presented new challenges for every
Cirque du Soleil production that has walked through its doors. The
size, shape, unique space, entry points and heritage status of the
Royal Albert Hall mean many productions have adapted their shows to
work inside the hallowed hall. In 2008, Varekai was granted
Westminster Council approval for a purpose-built rehearsal structure
erected in the Halls West Car Park, measuring three stories high to
allow performers rehearsal time for the Russian Swings act and the
Hall raised the acoustic sound diffusers to accommodate rigging for
the OVOs Russian Cradle.
Making its European debut, Cirque du Soleil returns to the Royal
Albert Hall from 12 January 16 February with its production of
LUZIA. With Cirque du Soleils most technically challenging show to
install at the Royal Albert Hall to date, LUZIA will see a 14 metre
high water curtain rigged from the ceiling which can rotate 360
degrees and can create two dimensional images using water droplets and
blank spaces produced from 174 electromagnetic nozzles. The water is
treated, filtered and recycled for every performance and will become
the first ever production to use water at the Royal Albert Hall in
this way. As part of the exhibition, the Royal Geographical Society
(with IBG) have curated a special display relating to Mrs Patrick Ness
who visited Mexico in 1920. Her photography provided the wider world
at the time with a unique glimpse of this colourful and vibrant
nation.
Cirque du Soleil strive for commitment beyond the stage, aiming to
positively impact people and communities through creativity and art.
2019 saw a partnership blossom with The Duke of Sussexs charity
Sentebale, which helps youth affected by HIV in southern Africa.
Attended by the Duke and Duchess of Sussex, the premiere for TOTEM at
the Royal Albert Hall saw all proceeds from the evening going to
support Sentebales work and raise vital awareness for the programme.
At the helm of Cirque du Soleil, CEO Daniel Lamarre on celebrating 30
years in the UK says: We are genuinely happy to celebrate this great
anniversary with the United Kingdom. Over the years, we have always
been warmly welcomed in the UK, where we feel like home. We are
grateful for the constant excitement shared by the fans and hope that
this is just the beginning of many more shows and years to come!
The celebratory exhibition marking 30 years of Cirque du Soleil in the
UK takes place at The Royal Geographical (with IBG) Society from 19
September to 9 October and entry is free. Entry times Monday to Friday
10am 5pm, Saturday and Sunday 10am 4pm. For further information,
visit www.rgs.org. Please note, the exhibition will be closed on
September 26 between 10am and 12pm.
{ SOURCE: Broadway World }
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AEG Acquires Full Ownership of AXS Tickets
{Sep.19.2019}
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After months of negotiation with AXS co-owners TPG Capital and Dan
Gilberts Rockbridge Growth Equity, AEG has acquired 100% of AXS
Tickets, Billboard has learned.
The deal comes as AEG looks at the competitive landscape for concerts
going in to 2020, when a consent decree governing Live Nation expires
and restrictions on the $15 billion market cap company are finally
lifted. The deal also follows a period of rapid technologic
advancement at Ticketmaster and a decision by AEG officials to make
investments that had been difficult to execute due to AXSs previous
ownership structure, which required unanimous consent between TPG,
Gilbert and AEG for all material decisions.
The purchase comes after more than a year of negotiation and two
unsuccessful bids for AXS by rival ticketing companies. German firm
CTS Eventim looked into a merger or acquisition with AXS but passed
after it was clear AEG wouldnt give up operation control. Nathan
Hubbard with startup ticketing company Rival also made a bid for AXS
and, later, he entertained a bid from AXS to buy Rival. Neither deal
went anywhere.
With no buyers willing to agree to AEGs terms, the company was able
to hold out until it secured favorable conditions to buy Gilberts
group and TPGs shares, which were ready to free up cash and sell the
ownership stake in AXS it obtained acquiring Cirque du Soleil in 2015.
It was Cirque du Soleils Outbox ticketing technology that originally
powered the AXS ticketing system in a deal struck in 2011 to create a
competitor to Ticketmaster, which had completed the merger with Live
Nation the year before. In 2015, AXS merged with Veritix, the
ticketing company created by Gilbert, who owns the Cleveland
Cavaliers. As a result of the two partnerships, TPG and Rockridge
together held 62% of the company while AEG held a 38% stake.
As for competing against Ticketmaster, the company has had mixed
success. While it was able to secure an exclusive ticketing agreement
with the famed Red Rocks venue outside Denver (also home to AEGs
reclusive billionaire owner Phil Anschutz), it was unable to renew
several Veritix clients and struggled with growth. With full control
of AXS, AEG plans to develop its own secondary ticket offering and
potentially merge or acquire a new a ticketing partner.
Company officials are also considering pursuing a non-exclusivity
model for new clients, similar to the city-owned Greek Theatre in Los
Angeles, which is managed by SMG. Promoters who bring shows to the
building are welcome to use the ticketing technology of their choice
and officials with AEG are considering making a similar offer to
potential clients. Instead of paying an advance for upfront
exclusivity, venues using AXS would be allowed to use Ticketmaster for
any Live Nation shows brought to their facilities.
A non-exclusive model could be a competitive remedy to Ticketmaster,
which has continued to rapidly increase market share 10 years after
its merger with Live Nation, a deal that required Ticketmaster to
license its technology to AEG so the company could build a competing
ticketing solution.
The agreement also forbade Live Nation from withholding content from
buildings that signed with AEG, but allowed Live Nation to give
preference to venues that use Ticketmaster. That exception has made
the federal consent decree essentially unenforceable and AEG officials
have largely given up on an intervention from the Department of
Justice or the Federal Trade Commission. Sources tell Billboard that
DOJ officials have met with AEG executives over complaints of anti-
competitive behaviors, but have never charged Live Nation with
violating the agreement.
The consent decree was briefly discussed in a televised U.S. Senate
oversight hearing Tuesday between Senator Richard Blumenthal and Makan
Delrahim, assistant attorney general for the antitrust division.
Delrahim confirmed the DOJ had been examining allegations of
violations of the consent decree, but expressed doubt the department
would be able to prevail in a court challenge.
The current standard for a violation of a consent decree which is
probably why we havent seen enforcement of consent decrees, too many
of them was that the term has to be clearly unambiguous and you have
to prove it in the court to clear a convincing standard. I dont have
to tell you how difficult of a standard that is, Delrahim said in a
response to a question from Blumenthal.
Going forward, Delrahim explained, consent decrees coming out of the
DOJ will include provisions that force the parties to agree to a
lower standard for review, making it easier for court challenges of
violations.
After the hearing, Live Nation released a statement saying it had
always complied with their obligations under the consent decree and
added, We do not force anyone into ticketing agreements by leveraging
content, and we do not retaliate against venues that choose other
ticketing providers.
The statement also said the company worked closely with the
Department of Justice on the inquiries they have received during the
term of the consent decree and that the DOJ has thoroughly
investigated these complaints and has never found any material
violations.
{ SOURCE: Billboard }
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Boston Dynamics Robot Headed to Cirque?
{Sep.27.2019}
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Animal-like robots that started out as a military-funded research
project might be shipped off to the circus instead of the battlefield.
Cirque du Soleil says its in talks with robot maker Boston Dynamics
about using the four-legged Spot robot in its live shows.
The agile robots walk, climb stairs and open doors. They have become
famous on YouTube but havent been applied commercially since the
company was founded in 1992. Thats changing this fall. The Waltham,
Massachusetts, robotics firm revealed in a YouTube post this week that
Spot is now in mass production and shipping to select customers for
such uses as monitoring construction sites or inspecting energy
facilities.
Cirque du Soleil says its still in the ideation stage and
evaluating Spots potential in live entertainment.
SEE A VIDEO DEMONSTRATION OF THE ROBOT-DOGS HERE:
https://youtu.be/wlkCQXHEgjA
{ SOURCE: New York Post }
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Cirque R.U.Ns to 7Five Brewing Co
{Oct.07.2019}
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Cirque du Soleil has announced a partnership between Vegas Golden
Knights fan favorite Ryan Reaves 7Five Brewing Co. and upcoming show
R.U.N at Luxor.
A series of four parody movie posters are being released starting this
week, and the posters provide fans with instructions to enter to win
VIP access to the grand opening performance of the show alongside
Reaves himself. The posters are available as a gift with the purchase
of 7Five Training Day Golden Ale at 18 Lees Discount Liquor locations
across Las Vegas.
Ive always been a huge fan of Cirque du Soleil so 7Fives
collaboration with R.U.N is a great fit, said Reaves. I look
forward to attending the world premiere with one lucky fan and
experience the action unlike ever before on November 14. For more
information on the contest, visit RUN7Five.com.
***************************************************************
Q&A -- Quick Chats & Press Interviews
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Luzias Naomi Zimmerman Wows Crowds & Makes It Look Easy
{Sep.09.2019}
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From a young age, weve been told to reach for the sky. Well, one
woman took that advice seriously, and has reached new limits by
joining one of the most influential performance groups in the world.
Dealing with a frantic work schedule and relentless training isnt
easy for most, but Naomi Zimmerman, a Cirque du Soleil performer,
hasnt let any of those obstacles stop her from doing what she loves
most.
Zimmerman, 26, performs as an acrobat and dancer in the Cirque du
Soleil show Luzia, a tribute to Mexican culture that highlights
elements of light and water, combining the Spanish words for both to
form the name. In the show, Zimmerman performs an Adagio act, or sort
of acrobatic version of a dance number, accompanied by three male
partners who toss her in the air or swoop her in dizzying loops to
peaceful music. Its reminiscent of the death-defying tosses of a high
level cheerleading competition but so much more artistic.
I JUST THOUGHT, YOU KNOW WHAT? THATS WHAT I WANT TO DO.
THERES NO QUESTION ABOUT IT.
When youre in the audience, Cirque du Soleil performers make those
twists, turns, flips, and other tricks look effortless. Well, thats a
part of the job. Little do most of us know that it takes hours of
training and practice in order to make these performances come to
life. For Zimmermann, her training started at an early age, by getting
involved in gymnastics when she was only 5 years old. Through
gymnastics classes, she discovered her love for acrobatics and decided
to attend a circus school at 8 years old to push herself even further.
At the beginning I wasnt sure because Im a little bit shy, but
people were so welcoming and it was very acrobatics orientated, and I
really loved it, Zimmermann tells Elite Daily in an interview.
Zimmermanns love of acrobatics might have been what started her
journey, but once she realized she could make a career out of the
activity, she was all in. I discovered that people were actually
making this their job, Zimmermann says. So I just thought, You know
what? Thats what I want to do. Theres no question about it.'
Once she decided she wanted to make a career out of acrobatics,
Zimmermann auditioned in 2010 for professional circus school École
Nationale de Cirque in Montréal, Canada, and was accepted. Three years
later, Zimmermann was able to audition for Cirque du Soleil
immediately thanks to her schools association with the famous
performance company. However, when Zimmermann first auditioned, she
was told that there was no place available at the time and didnt
land the job.
They told me they would contact me when they found a spot for me or
need someone who fits my skill set, Zimmermann says. So, I decided
to perform in another show in Mexico.
When she didnt make the cut for Cirque du Soleil the first time,
Zimmermann could have given up. Instead, she continued to perform in
other shows until she was contacted by the company nearly three years
later in 2016. Zimmermann was asked to perform in Cirque du Soleils
show Luzia and accepted the role.
I CAN THROW MYSELF A LITTLE BIT HARDER BECAUSE I KNOW THERES
THREE PEOPLE TO CATCH ME, AND I LOVE THEM.
As an official Cirque du Soleil performer, Zimmermann definitely does
not have the standard 9-to-5 job. She starts her day by attending a
yoga or fitness class to wake up her muscles, and then heads to
training in the afternoon. During training, performers practice tricks
that need more development, or work on new tricks being incorporated
into the show. Even though Zimmermann isnt a stranger to perfecting
her moves, the preparation is rigorous. As an audience member, one
might think that these performers only have to put their game faces on
a few nights a week, but in reality, its hours of hard work. The show
puts on some eight to 10 shows a week, spending four to 12 weeks in a
city before moving on.
Our work is pretty rigorous, Zimmermann says. We have to train all
day and on our own time, so I dont think people always realize how
much work goes into this show. Performers get about eight months of
training for a new show before it goes on the road.
One of the things Zimmerman loves most about her act is the creative
aspect. The work that I do in my act is something very different and
something we created, Zimmermann says. Its something thats never
been done before, so thats what I love about my act.
Of course, performing in the air can be stressful, and relies a lot on
trusting your partners. Luckily for Zimmermann, shes developed close
friendships with her fellow performers and knows they have her back.
I can throw myself a little bit harder because I know theres three
people to catch me, and I love them, Zimmermann says.
AS AN ARTIST, NEVER BE SCARED OF BEING DIFFERENT.
One of the best perks for Zimmermann is the traveling. While Cirque du
Soleil has some 20 shows in active performances at any given time,
some of them are limited to one location while others move around. Her
show, Luzia, tours in countries such as Canada, the United Kingdom,
and Russia. For some, international flights can be draining, but for
Zimmermann, its an exciting perk. The aspect that I love the most is
the travel, Zimmermann says. Traveling with with this big family
that I get to work with every day is really nice.
Zimmermann may be filling up her passport, but spending so much time
on the road definitely takes away from family. However, Zimmermann is
grateful that her family recognized her talent from a young age and
has supported her throughout the entire process.
My family has always been very supportive, Zimmermann says. They
saw my talent and the potential I had when I was young. I was very
lucky in that department. I dont see my family very often since Im
traveling, but theyve come to see me perform in certain cities.
Zimmermanns resilience is proof that no one should give up even if
things dont initially work out. As long as someone is unique and
unafraid, Zimmermann is sure that hard work will pay off.
First of all, as an artist, never be scared of being different,
Zimmermann advises. The more unique you are, the more interesting
youll be. People will be drawn towards your work.
Not all of us can be circus performers, but Zimmermanns talent is
something shes taken to new heights literally.
{ SOURCE: Shelby Black | Elite Daily }
----------------------------------------------------------
Pisanu: Leading in the Age of Constant Decision-making
{Sep.13.2019}
----------------------------------------------------------
Davide Pisanu, Senior Vice-President Affiliated Businesses at the
Cirque du Soleil Entertainment Group and CEO of the Blue Man Group,
has worn many hats within the world-renowned performance company since
starting there three years ago. On top of his involvement with the
Cirque du Soleils partners, he currently oversees the groups
strategy and transformation and serves as the interim Senior Vice-
President for the Resident Show Division in Las Vegas.
This mountain of responsibility at a company that employs over 5,000
across its multiple divisions and subsidiaries is no small
undertakingbut, Pisanu is up to the task. His excitement for the
mental gymnastics of balancing the multiple portfolios under his
responsibility is, in fact, at the heart of his success with the
Cirque du Soleil Entertainment Group.
Its really about where you find joy and energy and seeking that
out, Pisanu explained. People are not going to pay you a certain
amount of money and give you a certain title for you to start counting
your hours. You need to make it work and the only way you do that is
by doing something that you enjoy. I get a lot of energy from solving
complex problems and doing things and transforming things and shaping
things.
As a native Montrealer, part of the joy that Pisanu derives from his
work comes from participating in a local success story. The Cirque du
Soleil Entertainment Group began as a performing circus troupe that
toured Quebec in 1980 under the moniker Les Échassiers,before growing
into the largest theatrical producer in the world.
For me being part of something bigger than I am and something
important for this city, this province, and this country was clearly a
part of [joining Cirque du Soleil], Pisanu said.
The convergence of francophone and anglophone cultures is as
emblematic of the city that the performance group has flourished in,
as it is of the businesss success. For Pisanu, the Cirque du Soleils
multicultural project has elevated Montreals status as a creative hub
to the heights of New York and Los Angeles.
Cirque du Soleils signature products, are truly influenced by the
meeting of two cultures: what people traditionally call European
circus and the North American circus tradition where you travel
between cities, he said. So its the meeting of a certain aesthetic
with a certain business model that is truly unique and probably the
only place where that could happen is Montreal.
Including a formative three-year period at McKinsey & Company, Pisanu
has had three careers over the course of his early forties as a
lawyer, a consultant, and an operator. He attributes his diverse
resume to his perpetual need for a challenge. He sees himself, not as
a classical operator, content to oversee a status quo, but as a
critical thinker who seeks to effect change and transformation.
I need to take things and bring them somewhere, Pisanu said. And
that somewhere needs to be different from where I first started. Some
people are really good at optimization: you take a business, you
optimize, and you keep running it. I think I need a little bit more
intensity.
Pisanu views non-linear trajectories such as his as an emerging trend
in todays uncertain world. Instead of steadily working their way to
the top of a given company, modern professionals always need to be on
the lookout for new opportunities.
Nobody knows what the world is going to look like twenty-four months
from now, which was not the case thirty years ago, Pisanu remarked.
Young people today have to be prepared to be constantly reinventing
themselves.
The unpredictability of business has also caused a shift in managerial
styles. Executives need to be willing to depart from standard models
and techniques like long-term development plans in favour of
adaptability.
Today, we make decisions constantly, Pisanu said. As a senior
executive I never really make a decision that is for five years later
because things change super fast. You set up a strategy because you
need a guiding star, but you need to be nimble and agile enough to
revisit your decision on an almost constant basis.
On the upside, leaders flexibility in the face of uncertainty allows
for a more participatory business model, even at big companies like
the Cirque du Soleil Entertainment Group. Pisanu acknowledges that it
can take personal courage to share new ideas, but he is also emphatic
that the rewards are well worth it. As a young senior executive,
Pisanu has experienced the benefits of that courage firsthand.
People are afraid of being judged for saying the wrong thing, he
said. But the less practice you have the less good you are at
imposing your presence. And this is something that compounds
throughout your whole career. If theres a time to make a mistake its
when you start.
{ SOURCE: Karl Moore; Forbes }
----------------------------------------------------------
DAngeli on Evolving the Brand and Promoting a New Show
{Sep.20.2019}
----------------------------------------------------------
Its an incredibly busy time for Cirque du Soleil, the Montreal-based
live entertainment giant that has redefined Las Vegas shows over the
past 25 years. It maintains seven of the most popular and successful
productions on the Strip and is currently gearing up to expand the
performance schedule for O at Bellagio to seven nights per week.
And then theres R.U.N, Cirques first live-action thriller, a
brand-new concept and production set to open October 24 at Luxor. Its
being described as an entirely different direction for a brand thats
built its reputation on avant-garde, circus-style shows like Mystére
and KÁ. There are no acrobats or clowns in R.U.N, which is
designed like a blockbuster Hollywood action film that comes to life
onstage.
Its a lot right now, but its awesome, says Lou DAngeli, vice
president of marketing and public relations for Cirques resident
shows division. Every show thats in the market right now is having a
good year. That doesnt mean we take our eye off them at all, but we
have a team dedicated to launching the new show. Its the first show
in six years weve launched here and its our No. 1 priority. And its
re-energized us. Our shows are fantastic and I come to work every day
excited to be there, but when you have a new project like this,
everybody gets amped up.
Everyone at Cirque is busy these days, but DAngeli is at the
forefront when it comes to introducing R.U.N to the world while
simultaneously growing the audience for other shows that have been
entertaining Las Vegas for a long time.
He started with Cirque and came to Vegas in 2009, moving his family
from Philadelphia where he had worked with Comcast Spectacor (which
owns the Wells Fargo Center, the NHLs Flyers and at that time owned
the NBAs 76ers) and then with World Wrestling Entertainment. He broke
through with WWE after success with a smaller regional offshoot,
Extreme Championship Wrestling, where he managed routing, sales and
marketing and even got some time in the spotlight as a somewhat
villainous wrestling manager character, known as Sign Guy Dudley and
Lou E. Dangerously.
DAngeli says he and his family quickly fell in love with Las Vegas
and the lessons he learned with the dominant WWE entertainment brand
were easily applied to his new career with Cirque du Soleil.
When I worked at the arena in Philadelphia, I remember people coming
downstairs and talking about this crazy tent show down the street,
like it was the craziest thing theyve ever seen, he says. That was
my first exposure to Cirque. No one could describe it. Its just so
trendsetting and revolutionary in creating live events and the WWE was
the same mentality.
So when I got to Cirque my challenge was to bring some of those old-
school, boots-to-the-ground ticket sales tactics, more of a grassroots
marketing approach, and we did that and have done that and we still
do. When you think about people going up and down the Strip, instead
of seeing a truck with a show logo, its a truck with a logo and a
video screen and somebody moving around and music and smoke. Its a
spectacle, and thats just a truck on the Strip, not even the show.
Being in Vegas makes you think like that, what can you do to amplify
everything.
A lifelong hockey fan, DAngeli was instrumental in Cirques unique
partnership with the Vegas Golden Knights, which started before the
citys NHL team dropped the puck for its first game. Hes looking to
expand on that kind of innovative partnership with other familiar
sports and entertainment brands with R.U.N, which is so different
from other Cirque shows that it could create new collaborative
opportunities.
We have been able to secure a bunch of stuff that we couldnt do
before because it didnt make sense, he says. You can force
partnerships and promotions but people can see if its not authentic.
What we did with VGK brought a lot of life to how partnerships can be
executed and the NHL caught wind of it fast and we were able to do
things with them, too. The next challenge is replicating that impact.
The action movie style of R.U.N should be a good fit with big-name
brands like WWE or UFC, but as always, the onstage product must
deliver. And the expectations of anything done by Cirque du Soleil are
understandably high.
The pressure is there now because we have to sell tickets and market
a show thats very different but completely necessary, DAngeli says.
For our brand to evolve, these moves are necessary. For us to find a
new audience and create new partnerships, moves like this are
necessary but also exciting and scary at the same time. You dont
really know until you know. But I know that the show is amazing.
{ SOURCE: Brock Radke, Las Vegas Sun }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Alegria, Amaluna, Bazzar, Koozå, Kurios, Luzia, Totem,
Volta, and Cirque 2020}
o) ARENA - In Stadium-like venues
{OVO, Crystal, Corteo, AXEL, Messi10, 'Twas The Night Before}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE, JOYA,
Paramour, X: The Land of Fantasy, and R.U.N}
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-In a New Light:
Toronto, ON -- Sep 12, 2019 to Nov 24, 2019
Miami, FL -- Dec 13, 2020 to Jan 26 2020
Houston, TX -- Feb 22, 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:
Winnipeg, MB -- Sep 14, 2019 to Oct 20, 2019
San Francisco, CA -- Nov 3, 2019 to Jan 12, 2020
Sacramento, CA -- Jan 22, 2020 - Feb 16, 2020
Bazzar:
Punta Cana, DO -- TBA
Cirque 2020:
Montreal, QC -- Apr 23, 2020 to Jun 21, 2020
Koozå:
Malaga, ES -- Sep 13, 2019 to Oct 13, 2019
Madrid, ES -- Oct 24, 2019 to Dec 22, 2019
Seville, ES -- Jan 15, 2020 to Feb 9, 2020
Lyon, FR Mar 19, 2020 to Apr 13, 2020
Tel Aviv, IL -- Jun 4, 2020 to Jun 30, 2020
Kurios:
Sydney, AU -- Oct 2, 2019 to Dec 15, 2019
Brisbane, AU -- Jan 10, 2020 to Feb 9, 2020
Melbourne, AU -- Mar 12, 2020 to Apr 13, 2020
Adelaide, AU -- May 29, 2020 to Jun 7, 2020
Perth, AU -- TBA
Luzia:
Vancouver, BC -- Oct 3, 2019 to Dec 29, 2019
London, UK -- Jan 12, 2020 to Mar 1, 2020
Moscow, RU -- Mar 19, 2020 to Apr 12, 2020
Totem:
The Hague, NL -- Oct 11, 2019 to Dec 8, 2019
Düsseldorf, DE -- Dec 19, 2019 to Jan 26, 2020
Munich, DE -- Feb 12, 2020 to Mar 8, 2020
Rome, IT -- Apr 1, 2020 to Apr 19, 2020
Milan, IT -- May 21, 2020 to Jun 21, 2020
VOLTA:
Atlanta, GA -- Oct 10, 2019 to Jan 5, 2020
Los Angeles, CA -- Jan 18, 2020 to Mar 8, 2020
Costa Mesa, CA -- Mar 18, 2020 - Apr 19, 2020
Denver, CO -- TBA
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
OVO:
Medellin, CO -- Oct 09, 2019 to Oct 26, 2019
Panama City, PA -- Nov 12, 2019 to Nov 17, 2019
Guatemala City, GT -- Dec 3, 2019 to Dec 8, 2019
Norfolk, VA -- Dec 27, 2019 to Dec 29, 2019
Charlotte, NC -- Jan 8, 2020 to Jan 12, 2020
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
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
Ekaterinburg, RU -- Jan 1, 2020 to Jan 5, 2020
Riga, LV -- Jan 15, 2020 to Jan 19, 2020
Krakow, PL -- Jan 23, 2020 to Jan 26, 2020
Gdansk, PL -- Jan 30, 2020 to Feb 2, 2020
Minsk, BY -- Feb 6, 2020 to Feb 9, 2020
Kiev, UA -- Feb 13, 2020 to Feb 16, 2020
Sheffield, UK -- Mar 6, 2020 to Mar 8, 2020
Glasgow, UK -- Mar 11, 2020 to Mar 15, 2020
Aberdeen, UK -- Mar 19, 2020 to Mar 22, 2020
Belfast, UK -- Mar 25, 2020 to Mar 29, 2020
Manchester, UK -- Apr 1, 2020 to Apr 5, 2020
Birmingham, UK -- Apr 8, 2020 to Apr 12, 2020
Nottingham, UK -- Apr 15, 2020 to Apr 19, 2020
CORTEO:
Milan, IT -- Oct 2, 2019 to Oct 6, 2019
Bologna, IT -- Oct 9, 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
Lisbon, PT -- Jan 3, 2020 to Jan 12, 2020
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
Santander, ES -- Feb 12, 2020 to Feb 16, 2020
Bordeaux, FR -- Feb 21, 2020 to Feb 23, 2020
Antwerp, BE -- Mar 13, 2020 to Mar 22, 2020
Vienna, AT -- Mar 25, 2020 to Mar 29, 2020
Montpellier, FR -- Apr 2, 2020 to Apr 5, 2020
Aix-en-Provence, FR -- Apr 8, 2020 to Apr 12, 2020
Lille, FR -- Apr 16, 2020 to Apr 19, 2020
Copenhagen, DE -- Apr 23, 2020 to Apr 26, 2020
Herning, DE -- Apr 29, 2020 to May 3, 2020
Nice, FR -- Aug 20, 2020 to Aug 22, 2020
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
Quebec City, QC -- Dec 12, 2019 to Dec 15, 2019
Montreal, QC -- Dec 19, 2019 to Dec 29, 2019
Detroit, MI -- Jan 2, 2020 to Jan 5, 2020
Milwaukee, WI -- Jan 9, 2020 to Jan 12, 2020
Tulsa, OK -- Jan 16, 2020 to Jan 19, 2020
Cincinnati, OH -- Jan 23, 2020 to Jan 26, 2020
Kansas City, MO -- Jan 30, 2020 to Feb 2, 2020
Nashville, TN -- Feb 6, 2020 to Feb 9, 2020
Greeneville, SC -- Feb 13, 2020 to Feb 16, 2020
Columbus, GA -- Feb 20, 2020 to Feb 23, 2020
Messi10:
Barcelona, ES -- Oct 10, 2019 to Nov 10, 2019
Buenos Aires, AR -- Jun 11, 2020 to Jul 5, 2020
'Twas The Night Before:
Chicago, IL -- Nov 29, 2019 - Dec 8, 2019
New York, NY -- Dec 11, 2019 - Dec 29, 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
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
NOTE: Starting January 2020, "O" performs 7 Days a Week
Two shows Nightly - 7:30pm and 9:30pm
*) Single Show Dates | 7:00 pm Only
o) Tuesday, Nov 5, 2019
*) 2019 Dark Dates:
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...
X: THE LAND OF FANTASY
Location: Hangzhou, China
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) Lyrics Video: "The Change" | VOLTA
We run, we yell
We dream of a fest
One agreement and a bow
Last, forever
If we're hurt, we try
We can't forget the pain
To the sky and light, we lose
and we stand
Nana Nana a...
When we dream
We're tossed in pain
We live again
To fight the dream
We stand
With all of our dreams
Nana Nana an...
We run, we yell
We dream of a fest
One agreement and a bow
Last, forever
If we're hurt we try
We can't forget the pain
To the gods we shine, bright
Nana Nana na...
If we're hurt we try
We can't forget the pain
To the gods we shine, bright
Nana Nana na...
Nana Nana na...
WATCH THE VIDEO HERE:
https://www.youtube.com/watch?v=wIo7oeeM7IQ
o) Lyrics Video: "Simcha" | «O»
Ko lé adja kouné
Émali kou ni ma ya
Ko lé adja kouné
É niti kou ya dé
Ko lé adja kouné
Émani tou li ni ma
Ko lé adja kouné
É niti kou ya dé
Stomé kra ya han ko yo do pou
É hé ka ya di nidjma koyé
Stomé kra ya han ko yo do pou
É hé ka ya nidjmé
Ko lé adja kouné
Émali kou ni ma ya
Ko lé adja kouné
É niti kou ya dé
Ko lé adja kouné
Émani tou li ni ma
Ko lé adja kouné
É niti kou ya dé
WATCH THE VIDEO HERE:
https://www.youtube.com/watch?v=y8Jn06_0b7s
o) Lyrics Video: "Kouyama" | Totem
Batou byèné
Bamanté kouviéné
Bané shuviéné
Bai-yi
Mokyéménti-a
Bamanté kouviéné
CHORUS
Koumaya
Kouamya yé luma
Koumaya-iyé
Koumaya
(x3)
Koumayé, koumayé
Koumayé, koumayé
Koumayéluma
Koumayé-ay-iyé
Koumayé-yé-luma
Koumayé-ay-iyé
Bamanté kouviéné
Eniwan souviéné
Bai-yi
Mokyéménti-a
Koumayé, koumayé
Koumayé, koumayé
Koumayé, koumayé
CHORUS (x2)
WATCH THE VIDEO HERE:
https://www.youtube.com/watch?v=6b18J9W_Li8
o) Lyrics Video: "Junoon" | KOOZA
Palkon pay chhupi roshni
(The sunlight hid on my eyelashes)
Chandni kho gayee
(The moonlight was lost)
Kho gayee
(It was lost)
Mehkee see subhah khil gayee
(The morning became fragrant like a flower and bloomed)
Is adaah pay kurbaan, kurbaan
(And would be sacrificed for this charm)
Junoon kaisa
(What kind of passion is this)
Yeh samaa, jahaan, aisa... aah
(How is the atmosphere/the world like this)
Rangon main bikhri roshni
(The sunlight split into colors)
Yeh junoon ishk ka, ishk ka
(The madness of love, of love)
Behki see subhah khil gayee
(This morning became a flower of emotion)
Yeh junoon ishk ka, ishk ka
(This madness of love, of love)
Junoon kaisa yeh samaa, jahaan, aisa... aah
(What kind of passion, this atmosphere, this world is...)
Khayaalon main
(In my thoughts)
Naa jaane kya hua, kaise, kyoon hua
(I don't know what happened, how, or why it happened)
Nigaahon main
(In the exchange of a glance)
Naa jaane kya hua, kaise, kyoon hua
(I don't know what happened, how, or why it happened)
Soona yeh dil tha, yeh kaise machal yaya... haah
(This heart was empty, how did it start to beat?)
Junoon kaisa yeh samaa, jahaan, aisa... aah
(This passion, this moment, this world just is...)
WATCH THE VIDEO HERE:
https://www.youtube.com/watch?v=Dh5Ds7M7ryE
o) Lyrics Video: "Klezmer Moment" | CORTEO
Si ça te fait du bien
Si ça te fait du bien
De te sentir un peu plus mal
Sens-toi bien mal
Sens-toi bien mal
pour te sentir un peu mieux
Sens-toi bien mal
Sens-toi bien mal
pour te sentir un peu mieux
Si ça te fait du bien
Si ça te fait du bien
De te sentir un peu plus mal
Sens- toi bien mal
Sens-toi bien mal
pour te sentir un peu mieux
Sens-toi bien mal
Sens-toi bien mal
pour te sentir un peu mieux
Mieux
Sans te sentir mal
Te fait du bien alors sens-toi bien mal
pour te sentir un peu mieux
Si ça te fait du bien
Si ça te fait du bien
De te sentir un peu plus mal
Sens-toi bien mal
Sens-toi bien mal
pour te sentir un peu mieux
Sens-toi bien mal
Sens-toi bien mal
pour te sentir un peu mieux
Si ça te fait du bien
Si ça te fait du bien
De te sentir un peu plus mal
Sens-toi bien mal
Sens-toi bien mal
pour te sentir un peu mieux
Sens-toi bien mal
Sens-toi bien mal
WATCH THE VIDEO HERE:
https://www.youtube.com/watch?v=rViA4hv8yOE
o) OTHER VIDEOS
- Corteo's Last Performance in US
https://www.facebook.com/Corteo/videos/3005138486223440/
- Crystal's Snowball Fight
https://www.facebook.com/CrystalbyCirqueduSoleil/videos/530211201114438/
- Building Crystal's Stage
https://www.facebook.com/EscenarioOCESA/videos/505040497009915/
- Congratulations to our very own Rigging Technician, Getti
Kehayova, for being the Guinness World Records holder of the
Largest Hula Hoop Spun; in addition to being the first female
to accomplish the task! Training for a year, Getti locked down
the title by spinning a massive 5.18 m (17 ft 0.25 in) hula hoop!
https://www.facebook.com/GuinnessWorldRecords/videos/921179451548676/
- KA Archer Training:
https://www.facebook.com/KA/videos/2390749680962199/
- RUN: Can't Have Action Without Stunts
https://www.facebook.com/runtheshow/videos/2374504129432122/
- RUN: Meet "The DJ"
https://www.facebook.com/runtheshow/videos/1152879968233196/
- RUN: Meet "The Bride"
https://www.facebook.com/runtheshow/videos/387680491909548/
- Alegria's Premiere in Toronto
https://www.facebook.com/Alegria/videos/2907123915969298/
- Meet Luzia's Aleksei, The Most Flexible Person in the World
https://www.facebook.com/CirqueduSoleil/videos/516396742532687/
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) SPECIAL /// "Cirque Scores with MESSI10" - A Collection
of Articles Celebrating Messi10's Premiere
o) "Bringing Corteo's Sound to Life" - A Sennheiser Pro Talk
Series interview with Christian Peterson - Head of Sound
o) Jean David's Quel Cirque, Part 10 of 12: "Thinking Big"
A Special Series Celebrating Cirque's 35th Anniversary
------------------------------------------------------------
SPECIAL /// "Cirque Scores with MESSI10" - A Collection
of Articles Celebrating Messi10's Premiere
------------------------------------------------------------
HOW CIRQUE TURNED TO THE GENIUS OF MESSI FOR INSPIRATION
From El País, a Spanish-language daily newspaper in Spain
The artistic spirit of the Argentine soccer star is the protagonist of
the world-renowned companys new production. EL PAÍS SEMANAL got a
sneak peek at the rehearsals in Montreal ahead of the premiere on
October 10 in Barcelona.
A red-and-white ball was the gift that Lionel Messi received on his
fourth birthday, on June 24, 1991. A legend was born at that precise
moment, as he reportedly proceeded to execute a series of mind-blowing
moves with his present. We froze when we saw all the things he knew
how to do, because he had never played soccer before, says his
father, Jorge, in Luca Caiolis biography, Messi.
Messis instinctive handling of the ball led to fame at an early age.
During the half-time breaks at matches played by the Newells Old Boys
club, his name would be called out and Messi, standing barely one
meter tall, would descend the stairs of Coloso del Parque stadium
without once dropping the ball from his feet. It is this artistic
spirit that Cirque du Soleil has captured in its groundbreaking show
Messi10, which is due to open in Barcelona on October 10.
Leo is the best in the world and we want to represent his skills on
the pitch his strength and determination, says Mukhtar Omar Sharif,
the shows director. But we are still a circus and this a show for
everyone, not just for soccer lovers.
The idea for the production originally came from José Manuel Pinto, a
former Barcelona goalkeeper and founder of Wahin Makinaciones Records,
who also happens to be an artist with Sony and a great friend of
Messis. I always believed there were a lot of parallels between
music and sport and that they fed into each other, says Pinto, who is
now a sound engineer.
Pinto took the idea to Afo Verde, president of Sony Latin America,
Spain and Portugal, who had already collaborated with Cirque du Soleil
on earlier projects. What if we do a show and combine it with soccer
ventured Pinto.
The Sony CEO was excited: Yes, we could tell the story of someone
like Michael Jackson or The Beatles, he replied. At which point,
Pinto interjected with, Well, I have a friend who is the greatest of
them all and hes still alive. It would be great to do it with someone
who is still living. And the CEO agreed: It would be fabulous!
Days later, Verde was at the Camp Nou stadium along with the Cirque du
Soleil directors to watch Messi in action and get some ideas together
for the extravaganza.
But while the proposal started to take shape, it still needed Messis
approval. I went to see him and explained the idea, says Pinto. I
knew he would like it because we had gone to see it [Cirque du Soleil]
with our families.
As Pinto had anticipated, Leo was all for it, though he was anxious to
know how the two different skill sets could be woven together.
Messi has followed the show and its developments closely, says the
shows creative director Sean McKeown at Cirque du Soleils Montreal
headquarters, where the artists are rehearsing against the clock from
dawn to dusk. We have had around five check-points with him during
which he only asked for a couple of things: that his family should be
represented since he feels that he would not have got into the elite
without them, and that we present acts that have never been seen
before in the circus.
Challenge accepted. He has broken and continues to break all records,
so it is up to us to come up with an unforgettable show, says
McKeown. And we will do it because these guys [referring to the
artists] are crazy. Its incredible what they manage to do simply by
setting their minds to it.
Some credit also has to go to Cirque du Soleils recruitment team. The
company has 46 artists from all over the world performing Messi10,
including countries such as Taiwan, Ethiopia, China, Ukraine, the
United Kingdom, Russia, Kazakhstan, Spain and the United States. All
of them are first-class athletes, each with their own specialty such
as the corde lisse, the trapeze, the spinning diabolo, contortionism
and the banquine act, which involves acrobats jumping on and off human
towers.
Cirque du Soleil has 60 people in their casting department as well as
20 talent scouts posted around the world. I saw there was an
audition, I went for it and it went well, says Catalina Vega, one of
the worlds top soccer freestylers, whose eye-watering agility with
the ball has earned her a starring role in the show. This is an
opportunity you cant miss because the gig could last for around 10
years, she says. But it does involve a lot of hours of work because
we are not just freestylers, we do everything.
Frenchman Gautier Fayolle, a seven-time world freestyler champion who
will perform with Catalina, agrees. This is a great experience
because I have a trainer for the first time who guides me, he says,
catching his breath after performing a number of stunts. It also
means I can try out a lot of new things that I couldnt try at home.
It is impossible not to look heavenwards when you enter the vast
Cirque du Soleil Big Top in Montreal, where the sets have been
created for this show. Everything appears to take place at vertiginous
heights, such as the acrobatics performed by a young artist named
Jimmy who is a former trampoline champion. I had two dreams to go
to the Olympics and to get into Cirque du Soleil, an ambition I had
after seeing the Alegria show many years ago, he says. Fortunately,
one of the two has come true.
After hours of rehearsals, all the artists gather in the dining room.
How do we look? asks Noé Chemel, a Belgian trampoline champion and
Europes number three in 2014. His mother thought jumping would take
the edge off his hyperactivity.
Another artist keen to know how the show is shaping up is the
Ethiopian contortionist Malik, who can bend his body in ways that defy
reason.
All the artists are eager for feedback from people other than their
trainers. We are so used to this routine that the things we do seem
almost normal, says Nacho Ricci, an Argentine who specializes in the
corde lisse a vertical rope and who is looking forward to the
premiere in Barcelona so that his friends can come and see him in
action. Ricci landed the gig after years of talks and emails that
concluded in an offer dependent on a video audition. They asked me to
show specific skills and also to perform some hip hop, something I had
never done before. But I guess I got what I wanted, he says.
Once the artists have been taken on board, Cirque de Soleil puts the
machinery in gear. We do everything in depth, says McKeown, because
its the detail that makes the difference.
First, after arriving at the talent factory in Montreal, the
successful candidates undergo all kinds of physical and psychological
examinations to check whether they need any minor surgery and to see
how they perform under stress. They also take measurements for the
costumes they will wear Cirque du Soleil has its own sewing studio
with 300 permanent employees.
We run up 16,000 costumes and make 1,200 pairs of shoes a year, says
James Lavoie. But for this show we will only use 165 different
pieces. I think we are creating our own version of a soccer universe
through our clothes.
Lavoie shows off a costume made from natural grass as well as a pair
of trousers that give the impression of being pixelated as though the
wearer was on TV. Messi tells us which ones he prefers, but we know
that he has approved them all, Lavoie adds.
The size of the sewing operation is matched by the rest of the Cirque
du Soleil headquarters, which cover 36,000 square meters. There is a
make-up room that offers 60 hours of courses while other spaces are
used to prepare the acrobats, many of whom have never had any training
in theater or choreographies, nor worked on facial expression.
In order to enter this Messi world, it is necessary to go through the
door to Les Studios Gilles Ste-Croix named after one of the Cirque
Du Soleils founders. This is a 20-meter-high pavilion that is still
not big enough for the main act; in Barcelona, the premiere will take
place in the immense Parc del Fòrum, which is more than 40 meters long
and 27 meters wide. The aim is to replicate a soccer pitch with the
spectators sitting around it. Preparations started on August 16 when
ships carrying the necessary structures and materials left Canada for
Barcelona. And as Messi stipulated, the end result will be unique.
We are not a traditional circus; rather, we create acts that have
never been done before, says Igor, one of the shows main trainers.
He made his career at the Moscow Circus and comes from a family of
circus performers. The key is to combine soccer with our artistry,
and I believe we have succeeded because, as far as Im concerned, this
is the best show Ive ever seen partly because of the level we have
aimed for and partly because of the response of the protagonists.
It is also thanks to the director, Mukhtar, who is crazy about soccer
and Manchester United. When they asked me to direct the show, my wife
said, This is just so you can watch more soccer, isnt it? And I
replied, Hell, no! This is my show! Although inside I was thinking,
The hardest thing will be to create a spectacle that lives up to the
worlds best player.
But this thought doesnt hamper any of the acrobats involved in
Messi10. Looking around, everyone excels at what they do, adds
Mukhtar. We are playing in the big leagues. The circus, like soccer,
is hard work. You get it wrong and you start again. You practice until
its perfect. You dont get to be number one without putting in the
effort.
But sometimes things do go wrong, and there is always the risk of
injury. This is a risky business, says Igor, who is working with the
freestylers. But Jimmy, who has just performed a series of jumps from
a swing, adds: Its something we dont think about. If we did, we
wouldnt even try to do it.
Meanwhile, Yang Huang, who started balancing acts at the age of seven
because her mother didnt want her simply playing with a ball,
explains how she prepares herself mentally. I put on music to stay
alert and keep my mind clear. Otherwise, you make mistakes.
In the event of injury, Cirque de Soleil has a team of
physiotherapists on hand. Its very difficult for people putting
themselves at risk every day and pushing their bodies to the limit not
to injure themselves, says Mariana, a Brazilian physiotherapist who
left the Cirque du Soleil to attend to injuries at the Brazil Olympics
in 2016, but who is now back for the Messi10 show. There are all
kinds of injuries but we work a lot in prevention so that when they do
happen, they are not so pronounced and dont take so long to heal.
With prevention in mind, Cirque Du Soleil has decided to innovate and
is working with RealTrack Systems, a physical activity monitoring
system devised by a Spanish-based company using Wimu, a wifi data
collection device used by Barça players, including Messi, to measure
acceleration, speed and distance as well as heart rate and physical
ability. Its new and we dont know if its going to work, says
Mariana. But it seems as though we can get data that helps to improve
the artists performance. We will see what the results are, then
decide if we will work with them going forward.
We always have a plan B in case someone gets injured or sick on the
day of the show, says McKeown. We try to have at least one
understudy for each artist because you never know what kind of injury
they could get and how long they will be out of action. But if theres
one thing we know is that in this world, the show must go on.
And this is about Messi: The story of a youngster with an ambition
that made him overcome all obstacles to become the best Number 10 in
history, according to the promotional material for the show.
But we want to explain that the 10 could be anyone a doctor, a
lawyer, Mukhtar adds. Its about someone having a dream and making
it come true through work and commitment.
There is, however, only one Messi just as there is only one Cirque
du Soleil. And together they have created something extraordinary.
* * *
CIRQUE DU SOLEIL SCORES WITH 'MESSI10'
From Billboard Magazine
The first strains of Pharrell Williams 2015 single Freedom play on
the stage of Cirque du Soleils new show Messi10, in which a face-off
between two groups of performers begins. As jersey-clad teammates
encourage the audience to clap to the music, three soccer players
dribble and spin balls on a stage that revolves and rises, while four
human jugglers mirror the freestylers moves -- only instead of balls,
the acrobats toss one another in the air.
Messi10, based on the story of soccer superstar Lionel Messi,
premiered Thursday (Oct. 10) in Barcelona, where Messi and his club
team reign over popular culture, positioning Sony Music to score big
as well. The country is also home to many Cirque fans; Spain is the
Montréal-based troupes second-biggest market, after the United
States. Following its initial run of Spanish dates, which are already
sold out, Messi10 will head to Buenos Aires, Argentina, in June 2020 -
- 10 shows have already sold out there in the presale -- and continue
on a five-year world tour that will include the United States. The
show, which Cirque refers to as a super production, is the first in
the billion-dollar companys 35-year history to have a sports theme.
Sony Music Latin Iberia chairman/CEO Afo Verde came up with the idea
for Messi10 with Pinto Wahín, a former Barcelona player turned artist-
producer now signed to Sony Music Latin, who composed two songs for
the show. Sony will license some master recordings and compositions
for the show.
Leo is the greatest player in the history of football and a world-
renowned figure, says Verde. Its a show that will tour the world
and is created for the world.
While Cirque, Sony and the shows producers declined to provide
financial details, the last time the company toured the globe with a
show based on a singular superstar -- Michael Jackson: The Immortal
World Tour (2011-14) -- it grossed $360.9 million over 501 shows,
according to Billboard Boxscore. At the time, it was the eighth-
highest-grossing tour ever. Messi10 is slated to run two years longer
than the Jackson show did.
I think this is the first time we collaborated with a music company
like Sony, says Messi10 writer-director Mukhtar Omar Sharif Mukhtar,
where they have been hugely involved with the production and
selection of the music.
According to Verde, the song selection reflects Messis favorites and
music that represents moments in his life. Messi himself has served as
a consultant for the show and its soundtrack, which includes versions
of songs by Shakira, The White Stripes and film score composer Hans
Zimmer, as well as Argentine artists Dread Mar-I, Los Cafres and Los
Fabulosos Cadillacs.
Verde brought the idea to PopArt Music, the Buenos-Aires based concert
and festival promoter that produced Cirques Sép7timo Día, inspired by
the songs of the legendary Argentine rock group Soda Stereo, which
sold 1.5 million tickets for its 2017-18 tour. PopArt then proposed
the Messi show to Cirque.
Instead of telling them they were crazy, we said wed think about
it, Cirque du Soleil executive producer Charles Joron joked. Since
the 1980s, the company has expanded with Las Vegas residencies,
acrobatic spectacles inspired by the film Avatar and the music of The
Beatles and Jackson, and a movie production deal. Since selling a
majority stake to U.S. private equity firm TPG Capital and Chinese
fund Fosun Industrial Holdings in 2015, Cirque has bought the Blue Man
Group, the Illusionists Magic Show franchise and family entertainment
company VStar. We are always expanding our universe and this show
fits that strategy, Joron says.
I dont think that we could have taken the template that we have been
using with Cirque music-wise for the last 30 years, says Mukhtar Omar
Sharif Mukhtar, writer and director of Messi10. Its a sports-
inspired show, and with sports comes a different type of energy, from
music that people know. Weve had shows before where there have been
two or three placements of known music, but I think this is the first
time we have actually collaborated with a musical company like Sony
where they have been hugely involved with the production and the
selection of the music, Mukhtar adds. Multi-Grammy-winning producer
Rafael Arcaute served as Sonys artistic director for the soundtrack.
In addition, Cirque musical director Hugo Montecristo composed music
for the show. We wanted to make sure that the transitions would still
have that Cirque magic -- so it wouldnt be just like a playlist of
songs, says Mukhtar.
We are entertainment entrepreneurs, PopArt director Matias Loizaga
says of his companys transition from local concert promoter to global
theatrical producer. That means being innovators and pushing
boundaries, not just promoting artists when they come to South
America. He predicts Messi10 will be a win for all involved. I think
it will mark a before and after for Cirque du Soleil.
* * *
MESSI10: CIRQUE's NEW SPORTS-THEMED SHOW IS A WINNER
From Billboard Magazine
With acrobats that fly across the stage with the speed of a ball into
a goal and heroic videos of Leo Messi, Messi10 is sure to please
crowds.
With acrobats that fly across the stage with the speed of a ball into
a goal, trapeze artists that literally take soccer moves to new
heights and heroic videos of Leo Messi, Cirque du Soleils Messi10
should more than meet expectations for the living legends global
legion of followers and football lovers in general. But the show,
which premiered Thursday night (Oct. 10) in Barcelona with Messi and
other Barça club players in the audience, transcends fan fever or
celebrity tribute, and does it so beautifully, representing the
physical and emotional essence of the game in a series of acts that
play out (like a match) during two 45-minute periods.
Messi10 is more muscle than flash. Its pure nerve, family
entertainment and poetic performance. Rather than a biography of the
man recognized as the worlds greatest soccer player, its a
conceptual ensemble piece that explores and elevates the idea of
teamwork and expands the usual definition of athlete through the
prowess of its international cast of trampoline acrobats, freestyle
soccer champions, aerial and tight rope artists, human jugglers,
dancers, a diabalo spinner, and a contortionist you'll not soon
forget.
Popart Music, the Buenos Aires-based concert and festival promoter,
executive produced Messi10 and Sony Music had unprecedented
participation (Messi also consulted and had approval). Mukhtar Omar
Sharif Mukhtar, writer and director of Messi10, is a former champion
competitive hip-hop dancer who proves with this show that he knows
about flow.
The result of this collaboration is a show that could appeal even to
those who usually stay far away from Cirque du Soleil glittering tents
or flashy Las Vegas theaters, and, also, notably, to younger
audiences. Messi10 is not glitzy, over the top, New-Agey or other
adjectives that have sometimes been used to describe past Cirque
productions. The costumes - mostly artful shorts and jerseys are more
fashion than fantasy.
The set is minimal, consisting of a stage made to look like a soccer
field, the apparatus for each act, and a lot of balls, some of which
are remote-controlled. A huge screen is at times placed on the stage
so that the performers can interact with Messi virtually (this works
better than it sounds). In one scene that also has to be seen to be
appreciated, a performer dominates an imposing robotic opponent. The
music includes songs by Pharrell Williams, The White Stripes and
Shakiras World Cup anthem La,La,La, as well as energetic electronic
tracks, the beat of bass drums, crowds cheering and the voices of
sports commentators. The producers have also enhanced the experience
by adding the Messi Challenge, a fun pre-game soccer skills test that
audience members can participate in before the show for the chance to
come on stage as the Messi of the day. Food trucks outside the tent
give the event a festival feel.
Spectators who dont know Messis story wont come away with a lot of
facts, but the show is definitely, on its most basic level, about
football. Theres a locker room scene in which soccer players who spin
balls with their feet compete with others who spin their teammates
bodies in the air; a match on a field-long trampoline on which the
players/acrobats advance past each by doing yards-high flips and
somersaults in the air, accompanied by Los Fabulosos Cadillacs
stadium classic Matador. In an at turns hilarious and head-shaking
(as in no way) bit, a contortionist mimics a player who's thrown
himself on the field exaggerating an injury, then goes beyond. Humor
is also provided by Mateo Amieba, a clown playing an out-of-shape
referee and the shows MC, who starts his schtick by getting the
audience to do a wave.
Perhaps the most directly biographical part of Messi10, and its
potential tearjerker, is an acrobatic choreography evoking Messis
childhood, performed to Hijo by Argentine group Los Cafres, which
has been transformed from a reggae song (one of Messis favorites)
into an emotional ballad in a new recording for the show.
Mukhtar has described Messi10 as being about the inspiring message of
the football astros character and career (Basically, with
perseverance anyone can be a 10- Messis team number). To play that
up, words like confidence, family and vision and Nike style
slogans like dont stop never give up flash and scroll onscreen
during the performance. That may be good reinforcement for the kids,
though it comes off as a little corny for the older crowd. Really,
its superfluous, since its the performers who in a more visceral way
transmit the shows most important message: that human beings can do
miraculous things if we work together.
At the end of the show on the night of the premiere, Messi came on
stage, where the entire cast was gathered, some waving flags, while
Shakiras La La La played. Without saying a word, he greeted the
performers, took an awkward bow, quickly headed off into wings.
------------------------------------------------------------
"Bringing Corteo's Sound to Life" - A Sennheiser Pro Talk
Series interview with Christian Peterson - Head of Sound
------------------------------------------------------------
Sennheiser's award-winning Pro Talk Series includes in-depth
interviews with the top industry luminaries, such as Manny Marroquin,
Al Schmitt, Ken Travis and more. In 2018, the Pro Talk Series won a
TEC Award for Outstanding Technical Achievement in the Audio Education
Technology category. Designed to serve as a valuable resource for
aspiring engineers, producers and audio enthusiasts, the series
focuses on the journeys of the worlds leading audio professionals and
their expert advice for a path to success. Season 2 on YouTube
features interviews with the industrys most respected audio
professionals, including Christian Peterson, Head of Sound for Cirque
du Soleil: Corteo. With a passion for sound since his childhood that
began with theatre and music performances, Christian Peterson has been
a staple in the live sound industry most especially with Cirque du
Soleil. As a kid, I really was passionate about sound I really fell
in love with speakers, microphones and recording music, he says. I
was determined by about probably 15 that live sound was what I wanted
to do. I was doing everything I could to go work at music festivals
and concerts, pushing cases the way a lot of us kind of get into the
industry. For me, the kind of turning point in my career was when I
started moving from small club shows into arenas and arena tours.
From there, Peterson moved into the Cirque du Soleil circuit after
approaching Kooza when it was touring in Australia. At that time, he
ended up landing a job with them after a lot of persuasion. That was
really fun it was a great experience and a great start with Cirque
du Soleil, he continues. Cirque du Soleil was a company [that] I
really wanted to work for. Since I was a kid, I'd seen the shows.
Quidam was the first one I saw when I was six years old, so it has
always been something that was part of my life. It's really rewarding
for me now, years later, to be in this environment, doing my part with
the company.
For the past year, Peterson has been serving as Head of Sound for
Cirques Corteo arena shows. Touring with Cirque de Soleil is a lot
of fun, he adds. We have a great professional environment where
we're working with some of the top-of-the-line equipment and artists,
and the shows are really well put together. The environment
we're
working with industry professionals
and the artists themselves and
the acts they perform are absolutely incredible, so it's really
rewarding for us to put on a show that is at such a great caliber.
According to Peterson, Corteo is about a clown who died and his
movement through into the afterlife, during which he's seeing all the
life events hed experienced. It's really special because it's about
a real person, he explains. And so all the makeup and themes are all
about people and humanity and some of the acts are incredibly
lifelike. The traditional Cirque du Soleil setting for this show was
in a big top [or] a grand chapeau, [which is] a giant circus tent
and this show actually did ten years in a circus tent before moving
into this arena adaptation. What this show brings that is different to
the other Cirque shows, especially in the arena sense, is that we're
not performing to a downstage audience. We're performing to two
separate sides and that really keeps the intimate feel.
Though the show is no longer under a big top, the arena settings make
it possible for the production to still have that circular setup, with
audiences across from one another, thats synonymous with circus
performances. It's a really interesting stage [and] there's a lot of
dynamic movement, continues Peterson. We've got angels flying in and
out of the picture
[and] a large revolving section on the stage, so
artists and musicians are constantly moving about for sound. That's
interesting because we have a lot of musicians who get out from their
band pits and theyre actually playing on stage as well.
In planning the audio for the show, Peterson had to find body
microphone solutions that would play nicely with the dynamic and
continually moving format of the show. Everyone has wireless
microphones and in-ears, so they can play and be quite agile on
stage, he says. There's a lot of movement [and] change of image with
the music and the sound. One of our challenges in audio is bringing
the image from a solo character on stage to a full live song that
might be played supporting an actor. There are some songs that are
really big and powerful, like a rock show almost, and there are
[others] that are really intimate. A lot of the sound we're really
pushing and pulling image, emotions and feeling wherever you're
sitting in the audience, we want to try and replicate that feeling.
Among Corteos sound team is a dedicated PA Tech assuring a consistent
sound regardless of venue and that's a big challenge we have,
continues Peterson. The sound plays a really important role by
reinforcing the music and the imagery of the music, in relation to the
artists on stage. So, if an artist has an act that needs to look as
big as possible or actually look as small as possible, we can really
do that with not only the dynamics of the band, but also the dynamics
of how we're mixing the show and where we're placing things visually
as well in relation to the ear. The cool thing about having surround
speakers and so many zones of PA is that we can move some things
around visually. You might notice [that] a lot of our PA is [uniquely]
all gold as opposed to black cabinets in the air. [This] blends really
well with the set and design, and really fits in with what's going on
on-stage. It's really important for the audience to take in the full
immersive experience of the act with the music and they really go
hand-in-hand. We don't want people to think about sound, we want
people to think about how fantastic the music was on the show. We
really want to reinforce that and create that emotion and imagery
through the sound, but really through the music, and we're just
supporting them the entire way.
When were tuning the PA, we have a number of reference microphones
we put across the room; we're doing lots of averages. There's lots of
different zones of the PA that we're covering. Whether it's on stage
with what we call the cross fires, which do an on-stage fill as well
as the front audience we want to make sure that each person is
getting the same kind of image [and feeling] on stage.
Because of the Cirque du Soleil environment and high-quality show, one
challenge that Peterson and his team face is ensuring there is never a
show-stop. We want to have redundancy every single step of the way,
he says. If something was to go down, anything at all, we always need
to have a plan B or a plan C, and further.
So, if it's the front of house console [that goes down,] the monitor
console is also doing a front of house mix the entire time;
subsequently, if it's the monitor console [that has a problem], the
front of house console is also doing in-ear mixes for the band. We
have all these tracks running behind the band as well, and we can drop
that in at any time we wish. It's all played live, but if ever
anything was to happen on any microphone, artist or anything at all,
we have everything played to a click track. We could flip all the
inputs on the consoles, both the monitors and front of house, and
continue on like nothing happened at all. On the monitor side,
Peterson says the show is running a Soundcraft V8000 console, we're
doing a number of different mixes for the artists [and] eight band
members. We also have mixes for front of house,
coms and other
utility sources.
For PA Drive, Peterson and his team run AES with MADI Fiber for audio
signal between the consoles and stage boxes. The backbone of the
system is our direct-out MADI matrix, he says. All the audio from
the stage boxes [and] consoles [to] recording computers and keyboard
computers, all comes in as MADI fiber. Then we're also running a
network ring for all our data, so at any point of our system we can
access almost every other unit via web browsers through our network.
For the band pits, the two band leaders [are] running a redundant
keyboard rig. They have Yamaha [MOTIF] XF8 keyboards for the internal
sounds and they're also controlling some contact sounds via MADI. They
also have another separate Roland controller each, which is
controlling [redundant playback] on Ableton, as well as cues in the
show. So, whilst the entire show is running live, everything is still
multi-tracked and sitting there ready to go to the click-track that
were all listening to. When the bandleader switches from primary to
redundant, it also sends a MIDI trigger to send a command that changes
the MADI matrix, so there's almost no loss in audio and the show can
run with the backup tracks. If anything happens, we can always switch
into one of the backup lines, fix the problem and have them back up
and running live again.
For audio gear on Corteo, Peterson relies on a Soundcraft Vi6 console
at front of house. We're using all 96 channels and pretty much all of
the buses it's a very packed board, he explains. That's running
the main mix for the show, as well as running the backup lines for the
monitor console for the artists. We're then sending that audio to the
Galileo and Callisto's from Meyer Sound, and that's running through a
Meyer system as well we've got 24 Melodies, Miracast for delays,
700-HPs for subs and some 600-HPs. We [also] have front fills [and] a
number of surround cabinets that I floated out in the audience with
some big chandeliers hanging underneath them. We use a cue station
system with three matrix units to do that. In addition, we're also
running a Waves MaxxBass unit that gives us some low-end harmonics as
well as some compressors on the vocal and headset microphones. Our
male and female vocalists who are wonderfully talented sometimes
sing with the rest of the band in the band pits are on DPA headsets
with Sennheiser [6000 Series] transmitters, and they're walking around
the stage singing as well. So it's really cool to see them come out
and perform with the artists on stage but then also form back part
with the band.
When the vocalists are on-stage, they are outfitted with DPA 4088
microphones and while in the band pit singing with the band, they are
on Neumann KMS 105s, which sound absolutely fantastic, says
Peterson. With the handheld microphones, the vocalist can kind of
move about the mic and really get the dynamics they wish. On headsets,
you really have to control that a little bit for them and ourselves at
front of house. For the characters on stage, a number of them are
miced up
on headset microphones,
on hairline microphones and
on
lavs. And that is dependent a lot on their costume as well as what
they do on stage. Mauro, our lead character, has a headset microphone
[and] it's really important that we have a great close-mic sound for
him. One of our vocalists is not only performing an aerial piece,
she's also singing as well, so we have her hairline miced, and the
great thing about the Sennheiser 6000 Series packs is that they're so
low-profile and weigh absolutely nothing, she can wear that [during] a
whole trick she's falling from great heights and it doesn't bother
her at all. A lot of our artists are really great at putting their own
headset on and knowing where the microphones should sit or shouldn't,
and that really helps us as well in the sound department, giving them
the ability to kind of know where they should be sitting.
In the band world on the show, we have to have a lot of control over
the dynamics, of course, because we're so close to the audience and we
really [want to keep] that close intimate feel. We can't have a drum
kit blasting away right next to an audience member. So, we have a
Roland V-drums kit that has some great sounds on it our drummer Alex
is fantastic on that. He's also on-stage playing some drums, which is
really cool to see when the drummer comes out on stage and plays live.
We have a lot of live percussion, so it really keeps that feel. We're
really lucky on this show, we have such a great relationship with the
band. I think one tool that anyone can have on a successful show for
sound, is to have a great band and have a really good relationship
with them. They're amazingly talented, really easy to work with, and
it really makes our lives so much easier. They really embrace when we
try new things and try and help them, and we're constantly listening
together and talking about sound. It's really rare to have that
environment, so [its] very special.
Everyone in the band has a switch microphone, which enables them to
communicate with each other as well as with the front of house and
monitor engineers. They use Sennheiser e 835s, and that's really
important because the band is split up in four different areas. We
want to make sure they have complete communication control the entire
time. If something goes wrong [or] they need a hand with something,
our RF technician can run out and help them during the show. In the
drum and percussion pit, whilst the electric drums don't need to be
miced up, we have a lot of acoustic percussion and, for that, we use
Sennheiser and Neumann microphones. We've got Sennheiser e906s, KM
184s from Neumann and a couple of e 604s from Sennheiser.
In other systems and other the shows, we might have used analog
wireless microphones, but the Sennheiser 6000 series really helps us,
explains Peterson. Being all digital, we have no issues with harmonic
distortion. They're really easy to use and even simple things like the
networkable chargers, so we can see in WSM from any computer in our
rig what the battery life is looking like for the next round of
batteries we are going to be putting in, as well as the ones I've
already got on-stage. So it really helps us with redundancy in terms
of that. Moving every week, we obviously have to do a new frequency
coordination for every city we're in. [I think] one of the issues that
manufacturers had before was the latency that digital brings in,
especially when so many other parts of the system [are] digital as
well the console, the in-ears and so forth. [Sennheiser] really has
brought the latency down to almost negligible, and it really helps us
to have a real-time monitoring system [with the artists].
Obviously, we've got some great gear [here at Corteo]. It's been an
awesome experience building this kit over the last year, and I've
certainly learned a lot. Advice I'd give to people getting into the
industry would certainly be to broaden your skills in a networked
environment. Networked audio is definitely the primary backbone for
pretty much every major system you see these days, and I'd say that
any experience in an IT field is almost more important than tuning a
drum kit or micing up a guitar amp. It can be daunting, but it's also
really exciting with what you can do at the same time. So, I really
think it's important that we really nurture [new people in this
industry] and give them great support and advice, because they're the
people are going to be working alongside you in years to come.
You can watch the 3-part interview with Christian Peterson here:
o) Part 1: https://youtu.be/45oTKIQ6V3M
o) Part 2: https://youtu.be/xBl4ninRb3A
o) Part 3: https://youtu.be/-a9uaKZnMaE
And if you're interested in other interviews in the series, check them
out here: https://en-us.sennheiser.com/protalkseries
------------------------------------------------------------
Jean David's Quel Cirque, Part 10 of 12: "Thinking Big"
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!
# # #
Cirque du Soleil had a lot riding on a successful return to the
European market in 1995. Repeating the errors we made in 1990 was not
an option. This time we had to get it right. The company had grown in
maturity and experience over the years. We had far more means at our
disposal. Wed take Europe by storm. It would be an extraordinary
adventure.
In 1994, we decided to set up a headquarters there. Several cities
were considered: among them, London, Berlin, Munich, even Paris. Most
of us would have opted for the latter, but we were in Europe to do
business, and compared with other countries we were contemplating,
France unfortunately didnt offer the same advantages to foreign
companies wishing to set up shop. Finally we chose Amsterdam. In fact,
the tax people were the ones who convinced us. The Dutch government
allowed the best tax breaks. We established a permanent division:
Cirque du Soleil Europe. Holland also gave us access to a highly
qualified, multilingual workforce, and Amsterdam turned out to be a
fine city to live in.
I applied for executive director of this fascinating project. I was
eager for a new challenge. My wife was more than willing to move, and
our two sons, aged five and seven, loved to fly. Unfortunately, my
application was promptly turned down; there was another candidate,
Danny Pelchat, a friend of mine, who had been with Cirque du Soleil
from the very start.
According to my bosses, they needed my marketing expertise for the
entire operation. Oh well, I thought. At least I tried. I ended up
spending a lot of time in Europe anyway. Guy specifically asked me to
divide my time between the Montreal headquarters and the Amsterdam
office until the project could fly on its own in Europe. So, for the
next two years, I worked two weeks in Amsterdam and two in Montreal
every month: a kind of intercontinental ping-pong!
The first thing we did was to put together a management team: a little
band of mercenaries. Actually they were management types drawn from
the ranks of the company. They were real go-getters. An odd assortment
perhaps, but highly motivated, passionate and, above all, determined.
Europe had a great circus tradition. There were scores of companies
from all nationalities. Theyre mainly small local troupes performing
under very basic conditions. Primarily catering to a family clientele,
their shows are simple, charming, and unpretentious. Of course,
France, Switzerland, Italy and Germany boast big circuses as well.
Archaos, a nouveau cirque troupe from France was a sort of techno,
Madmaxstyle circus. It targeted a clientele that I jokingly call
hooligans. But the other circuses take a traditional approach
emphasizing rigor, quality and professionalism. At the time, Roncalli
from Germany was the biggest circus in Europe. It offered spectators a
one-ring circus with animals and gave a great deal of attention to
detail: it was a classic of its kind. We admired and respected all of
these circuses. In a way they were our peers. We shared the same
milieu, art and origins.
The entertainment industry was well aware that we were offering a
concept, a product unlike anything else. Our reputation was solidly
established and the principal European actors feared our entry in
their market. Yet, for the general public, we were unknown, mere
foreigners. Confident in the originality and the strength of our
product, we prioritised on two additional aspects that could set us
apart from the competition: venue and marketing.
By venue, I mean the site, the Grand Chapiteau, the big top, which we
transported with us. In North America, we had a 2500-seat blue and
yellow striped big top. It had a European look and a traditional form
pleasing to North Americans. In Europe, on the other hand, there was a
plethora of blue and yellow striped big tops. We also noted that most
European reception tents were tiny. Circuses use these tents to check
tickets and sell souvenirs and refreshments. Above all, they serve as
a meeting place and the commercial center of the circus.
We were looking for something to set us apart from our competitors. So
we built a spectacular white big top, the Grand Chapiteau, along with
a gigantic modernistic reception tent. The interior was magnificent:
mounted on the two main masts were huge mechanized sculptures in the
form of aviaries revolving overhead. Absolute works of art! The
creator, set designer Michel Crête, did a magnificent job. Visitors
were literally blown away as they entered the service tent. The site
had a futuristic look with everything in whitetents, trucks and
caravans. Passersby craned their necks trying to find out what was
going on inside the Grand Chapiteau. The mere sight of our
installations amazed people. It was the talk of the town. Of course,
that was the purpose of the exercise!
Marketing was the second component of our effort to rise above the
others. In this domain, we combined an outstanding track record with
extraordinary expertise. European traveling circuses tend toward the
traditional. As a rule, theyre highly mobile. Their engagements last
only a few days but they visit a large number of towns and villages.
The nearly century-old practice of touring allows circuses to perform
before sold-out audiences while cutting financial risks to a certain
extent. Their advertising campaign consists mainly of plastering
posters around town. Its a tried and true method recognized by
everyone, and the public in particular. Some circuses even advertise
in the newspapers, often offering discount coupons. A little
unsophisticated perhaps, but, we must admit, it works pretty well for
them
We had developed another approach in North America, a highly effective
advertising campaign that mobilized all the media. For a new market,
the company invested up to 10% of the total projected revenue, or even
more, in advertising. For example, if the sell-out revenue for a city
was expected to be $5 million, it pumped $500,000 into an advertising
campaign, including media relations expenses.
Compared with other types of shows, we always made very ambitious
revenue projections for each city. In that respect, other circuses
didnt begin to compare. So we operated from a position of strength,
with resources that allowed us to conduct advertising campaigns
combining newspapers, television, radio, billboards, as well as
posting in buses and on the streets. Our campaigns had an incredible
impact on the public: they had never seen such a media blitz. But on
the Old Continent, it seems form and protocol are everything. At
least, thats whats some people tried to make us believe.
Germany accounted for nearly half of our first tour. With a huge
population of over 80 million people, it is a major market. Germans
are a proud and articulate people, eager consumers of cultural
products. They have been called the Americans of Europe. The German
press is highly diversified: powerful national dailies, avant-garde
magazines, brilliant journalists, a numerous and active regional press
with the same obsession for detail, research, analysis and accuracy.
So Germany became a reference point for the entire first operation.
We set up a sort of brains trust of friends and business associates
from the entertainment, recording and television industries. We asked
the group to assess our strategies, give us insights on peoples
lifestyles, and establish new contacts. At a meeting in Munich in
1994, the sages described the highly complex and sophisticated
German media. They underlined the importance of securing a proper
introduction to the principal editors, bureau chiefs and journalists.
This phase of our entry into Germany had a decisive effect on the
quality and extent of press coverage we could expect. For an operation
like ours to succeed, our advisers were unanimous: we had to enlist a
big German star, a celebrity from the entertainment community who knew
the people who counted. We needed someone whose stature and
credibility would enable us to obtain tangible results and excellent
press coverage. The group was absolutely insistent about this
recommendation. Guy bought into the idea and encouraged me to act
promptly.
But I wasnt convinced. I just couldnt see myself spending a few
hundred thousand euros to hire a perfect stranger who had nothing in
common with us. I understood the reasoning, but the idea didnt jive
with my sense of who we were. Yes, the German press was sophisticated,
but all the same! Surely, we could do something better with the money.
I returned to our Amsterdam offices to mull it over. Nevertheless I
admired and respected the brains trust. Two key elements in their
recommendations were indisputable. First, we needed to identify the
key German media figures, recognize the decision-makers in each
sector, and classify them according to their skills and credibility.
In other words we had to put together a press list to meet our needs.
One of our friends in Zurich, a PR agent in the cultural area, did
business in Germany. We invited him to spend a couple of days in
Amsterdam. For a few hundred euros, he helped compile a list of names,
addresses and telephone numbers. That took care of the first point.
The second point concerned the need for adequate representation with
these media people and institutions. Six months before, we had hired a
press attaché, Andrée Deissenberg. A young woman in her early
twenties, she had dual citizenship (French and American) and spoke
fluent French, English and German. She was a graduate of the
Université de Paris, and the Cirque du Soleil was her first real job.
At the time, she admits, she was very shy, but her intelligence
allowed her to overcome this slight handicap. As far as Im concerned,
she embodied many of Cirque du Soleils essential values and
qualities: youth, originality, innocence, multiculturalism, and a
promising potential.
So we assigned her to make the initial contact with the German media.
She was well prepared and I was convinced she would succeed. A few
weeks later, she visited the editorial rooms of the biggest German,
Austrian and Dutch dailies and magazines. Everywhere she went, she was
a hit, never failing to earn an enthusiastic response. She was a
terrific representative. There was real synergy between her
personality, the company, the show and our approach to the European
market. Of course, Andrée didnt go to the media with empty hands. She
even offered some of them an incredible press junket.
In the fall of 1994, we gave a few dozen journalists, photographers,
directors, and television people the opportunity to get to know Cirque
du Soleil at our expense. The weeklong trip took them to Montreal to
visit company headquarters, and especially to see Saltimbanco, the
show that we hoped would conquer Europe. It was being presented in
preparation for the major tour. Then our guests were flown to Los
Angeles totake in Alegria on Santa Monica Pier. Finally, they were
off to Los Vegas, to see Mystère; playing to sold-out audiences since
1993, the show was permanently located at Treasure Island Hotel. The
junket could have been dubbed Operation Knockout
Everyone on the trip
came away stunned by the world of Cirque du Soleil. Theyd never seen
anything like it.
It all added up to a dazzling media campaign. Our futuristic venue and
innovative marketing campaign mirrored the shows quality and
originality. The campaign generated tremendous energy and enthusiasm.
Some dailies and magazines even ran articles praising our marketing
operations. More important, the tours bottom line fully met our
expectations; the results were extraordinary.
Considering the frenzy of activity surrounding our European tour
preparations and the many things that had to be put in place for a
successful operation, Guy Laliberté advised me to Go easy. He
thought we should avoid making a lot of noise and alarming people
(other circuses, for instance). We didnt want to be seen like a big
North American company arriving on the continent and hustling
everything under the sun
He urged me to keep a low profile. I shared
his concern and promised to give the matter special consideration.
I did point out that we couldnt hide our record of achievement from
the press and the public. Besides we were in a development phase, and
the costs for the whole operation were exorbitant and the financial
objectives were equally high. No one on the management team wanted a
deficit. Guy absolutely agreed with me on that point. So I thought we
had to put our best foot forward. Ironically, not long after, once
everything was in place, I came up with the name The Bulldozer Tour.
My European marketing strategy took account of the fact that the
continent was laying the groundwork for unification. Negotiations,
projections and debates had been the medias daily bread for years.
The countries concerned were preparing for a new status; they were
about to give birth to one big Europe. It was the fulfilment of a
dream. The negotiations were sending waves of exhilaration and
excitement through every sector of society. Something extraordinary
was happening. At the close of the century, people were witnessing a
pivotal moment in history.
It was in this context that I put in place our marketing operation. It
occurred to me that we must take advantage of the repositioning of the
continent. And why couldnt we? It was just a matter of perspective.
In Europe, the time and the events were providing a magnificent
opportunity that was well within our grasp. We would position
ourselves as one of the advantages offered by the new Europe: a world-
class show from Cirque du Soleil, a forward-looking company setting up
a Pan-European tour network. Cirque du Soleil would reap the benefits
from the current of change sweeping the continent.
We had encountered a similar situation on our first visit to Atlanta
in 1991. The city had just been awarded the Olympic Games. Buoyed by
the authorities and the media, the public was basking in the feeling
that Atlanta had arrived as an international city. News of our coming
was somehow associated with the new status by some opinion leaders in
the world of culture and the arts. The local media quickly bought into
the idea and people saw our arrival as a foretaste of the cultural
events that the city would host during the Olympics
We could hardly
have asked for better strategic positioning. We played to sold-out
audiences.
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COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 19, Number 10 (Issue #189) - October 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.
{ Oct.11.2019 }
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