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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 8 August 2019 ISSUE #187
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
Are you sitting down? If not I'll wait...
Good Now? Okay... posted just moments before wrapping up this month's
issue, Cirque du Soleil announced news that I... well, we've all been
waiting for... and here it is: "Our most iconic melodies reinterpreted
through today's lens will be released on August 16th! Only 4 days until
Alegria's soundtrack is yours!" Check out the video released with the
news - https://www.facebook.com/CirqueduSoleil/videos/2440342876222343/
for a few clips of the new music while we wait!
* * * X: THE LAND OF FANTASY PREMIERES * * *
Since we've last spoken, X: THE LAND OF FANTASY has made it's grand
premiere in Hangzhou, China. You'll find an article within that talks
briefly about the show, but unfortunately not much has reached the
English-speaking press on X. However, a few reviews can be found in
Chinese, such as:
- http://www.kaixian.tv/gd/2019/0812/737805.html
- http://www.zj.chinanews.com/jzkzj/2019-08-12/detail-ifzmwwss2356402.shtml
- https://ori.hangzhou.com.cn/ornews/content/2019-08/09/content_7242734.htm
The general consensus is, if my translator is working properly, X:
The Land of Fantasy is "stunning, shocking, worthwhile, high-energy all
the way.."
That's great news! We hope to hear much more out of Hangzhou shortly.
So stay tuned!
* * * UPCOMING CIRQUE SHOWS * * *
Earlier in the year I threw together a quick list of upcoming show
premieres, based on prior statements and rumors. With the announcement
of "'Twas the Night Before..." (press release within), it's time to
update and re-share that list. Here's what I have that's due from
Cirque du Soleil's main brand and Events + Experiences for the rest
of 2019 and into 2020 as of now. We're certain more will be added to
it shortly!
2019
----
10/4/2019 -- AXEL Premieres (Arena Show, North America)
10/10/2019 -- MESSI10 Premieres (Arena Show, Europe)
10/24/2019 -- R.U.N. Premieres (Resident Show, Las Vegas)
11/27 - 12/20, 2019 -- VITORI (in Malta)
11/29 - 12/29, 2019 -- "Twas the Night Before" (Chicago / NYC)
November 2019 -- AT SEA #5 (MSC Grandiosa)
November 2019 -- AT SEA #6 (MSC Grandiosa)
2020
----
March 2020 -- La Nouba Replacement (Resident Show, WDW)
March 2020 -- AT SEA #7 (MSC Virtuosa)
March 2020 -- AT SEA #8 (MSC Virtuosa)
April 2020 -- Tour 2020 (GC Touring Show, Montreal)
Summer 2020 -- Hommage #6
n/a - a Touring show starting in Chile
n/a -- ASTANA 2020 (Reflekt 2.0)
November 2020 -- MALTA #2
Enough Cirque for ya?
* * * WHO IS AXEL? * * *
Speaking of AXEL: the trailer for Cirque's new ice skating spectacular
has hit the Internet and it's already drawing ire from some fans for
it's strangeness, which you can see in the transcript below...
My name? Axel. Why? Dad was a Guns n Roses fan. Mom could do a
double axel in skating competitions, but I never saw her do it. My
nationality? Who cares? I was born on a plane. My parents were
traveling back home from Australia. It makes me an
extraterrestrial, I guess. Can I really call myself an artist?
Look, I play music and I draw. My music inspires my drawings and my
art inspires the music. It's all the same thing really, its an
expression of who I am. Im trying to create different worlds where
everything talks to each other, connects to the world, the
atmosphere, the mood, the energy. The guitar is my instrument.
Playing it is like drawing for me. Its the extension of my hands.
Red is my color, and my biggest fear is being irrelevant. My worst
memory was my dog being hit by a car when I was 8. It broke my
heart. I cried for days. She was brilliant. Lei is the new girl in
town. Her dad runs a coffee shop. I go there now and I dont even
like coffee. Why does she make my heart beat so fast? I dont need
to sleep much, so I guess that gives lots of time to work on my art
and music. Hey is stamina a superpower? Still working on finding
myself, but inspiration is everywhere.
See the video here: https://www.youtube.com/watch?v=DVzB7oUustA
Not long thereafter, another video was posted, featuring Behind the
Scenes footage of the character Axel singing and playing acoustic
guitar in his bedroom. An interesting choice to say the least, but
regardless of how you may feel about it, the videos are generating
buzz. (https://www.youtube.com/watch?v=DOZlwsLeCRE)
* * * SNEAK PEEK OF R.U.N * * *
Last month, San Diego Comic-Con attendees were treated to an exclusive
sneak-peek of R.U.N - Cirque du Soleil's first live-action thriller,
at the Con's Fandom Party. A specially created act inspired by R.U.N
was performed, showcasing a live performance by Tyler Bates, R.U.N's
music composer, as well as a voice-over narration written by filmmaker
Robert Rodriguez. The never-before-seen performance included pyro
elements, an epic rooftop battle, adrenaline-inducing motorcycle
tricking, and live-action stunts.
o) Pictures of the Performance:
https://www.facebook.com/runtheshow/posts/2280790445339802
o) Video of the Performance:
https://youtu.be/Gnu1kcubeRI?
o) Behind the Scenes of the Performance:
https://www.youtube.com/watch?v=j7UVOtmJHOg
Are You In? Then Keep reading!
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
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| Realy Simple Syndication (RSS) Feed (News Only): |
| < http://www.cirquefascination.com/?feed=rss2 > |
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\----------------------------------------------------/
- Ricky "Richasi" Russo
===========
CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
* Q&A -- Quick Chats & Press Interviews
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* Jean David's Quel Cirque, Part 8: "First Steps Across the Sea"
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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New Holiday Show: Twas The Night Before
{Jul.16.2019}
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Cirque du Soleil and The Madison Square Garden Company are pleased to
announce that an all-new, family theatrical production, Twas the
Night Before
will make its debut at The Madison Square Garden
Companys venues, The Chicago Theatre and Hulu Theater at Madison
Square Garden. Twas the Night Before
is an exhilarating new spin on
the beloved Christmas classic as only Cirque du Soleil can imagine.
This vibrant acrobatic spectacle about the joy of sharing and
friendship promises to spark lasting memories in the hearts of
children and adults alike. The production will run at The Chicago
Theatre from November 29 through December 8, 2019, for 17 performances
and at the Hulu Theater at The Madison Square Garden from December 12
through December 29, 2019, for 28 performances. Tickets go on-sale for
both shows on Friday, July 19, 2019 at 10:00AM (in both Central and
Eastern time zones.)
We are thrilled to return to Chicago and New York with our very first
production celebrating the Christmas holiday season, with a unique
take on a Christmas classic. 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. said Yasmine Khalil, Cirque du Soleil Chief
Executive Producer.
At MSG, were committed to bringing our audiences the very best and
most captivating entertainment available anywhere in the world, said
Darren Pfeffer, executive vice president, MSG Live, The Madison Square
Garden Company. 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.
For more information about Twas the Night Before
by Cirque du Soleil
at The Chicago Theatre and Hulu Theater at Madison Square Garden,
visit msg.com/family or call 866-858-0008. For the Hulu Theater at
Madison Square Garden run, groups of nine or more please call 212-465-
6080; discounts are available for groups of 20 or more. Tickets
starting at $40 at Hulu Theater at Madison Square Garden and $30 at
The Chicago Theatre.
Twas the Night Before
by Cirque du Soleil is the 49th original
production of Cirque du Soleil.
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«Joyeux Calvaire»: un hommage poétique!
{Jul.18.2019}
----------------------------------------------------------
{Article was translated from the original French via Google Translate}
Cirque du Soleil presented a poetic and romantic show on Wednesday
night with its tribute to the Cowboys Fringants, which greatly moved
the members of this popular Quebec band.
Its far too emotional for what my body and my soul can take, said
bassist Jerome Dupras, at the end of this premiere of Cirque du
Soleils Joyeux Calvaire show , Wednesday night, at the amphitheater
Cogeco of Trois-Rivières.
The audience could have expected an explosive show, like the colorful
group of dashing Cowboys, but the tribute presented was all about
poetry.
The opening number took place under the tunes of Hirondelles, a
sweet piece from the album LExpédition, with a solo artist flying
over the dangling trapeze scene. At the beginning of the show, a
couple languorously danced acrobatics from the top of their Russian
frame, sometimes blindfolded, on the Bye Bye Lou ballad. An artist
specializing in hula-hoop then captured all the attention, dancing
alone with hoops on the song Pub Royal, from the album Octobre.
THE BEAUTY OF WORDS
Tonight, what stood out a lot is the beautiful writing of Jean-
François. It added to all this visual. It was super beautiful! Said
violinist Marie-Annick Lépine. Jean-François Pauzé, who has written
several songs of the Cowboys Fringants, was pleasantly surprised by
the result.
He praised the audacity of Cirque du Soleil for highlighting more
unknown pieces from the general public.
For the author that I am, it was still fun to hear stuff that we
never play, he said. The team could not ignore the big hits, like
Toune dautomne and Les étoiles filantes, where the artists who
performed duets added a romantic touch. The decor also included an
artistic signature, with its many illuminated miniature houses that
regularly recalled during the 75 minutes of services, the suburb of
Repentigny in which the Cowboys frisky grew up.
FIERCE RHYTHM
At times, the frenzied rhythm dominated the scene, as during La
Manifestation, which mobilized the thirty artists of the production.
Dancers surprised the audience towards the end of the show, presenting
their energetic choreography, both feet in ponds of water. The piece
Par chez nous served a dynamic finale, with artists moving on fixed
bars. While attending this Joyeux Calvaire, the musicians of the
frisky Cowboys no longer felt the only ones clowning on the boards, in
front of so many acrobats. We have crusts to eat! Joked bassist
Jérôme Dupras.
{ SOURCE: Le Journal de Montreal }
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VStar CEO seeks new live entertainment opportunities
for parent Cirque du Soleil
{Jul.28.2019}
----------------------------------------------------------
Eric Grilly, CEO of Fridley-based VStar Entertainment Group, is
working to expand the performance portfolio of parent company Cirque
du Soleil Entertainment Group as executive head of studio alliances
for the Montreal-based global live-entertainment brand.
Grilly said he was excited to leverage his industry relationships and
experience to pursue partnerships with Hollywood studios and other
content license owners for Cirque while focusing on VStars childrens
stage shows.
[Cirque] is a creative powerhouse so the sky is the limit relative to
what we can do, Grilly said.
Under Grilly, VStar has struck deals to produce original touring shows
for Nickelodeon, under an exclusive five-year partnership, and NBC
Universal. Grilly has overseen VStars launch of the PAW Patrol
Live! production, which has sold 3 million tickets around the world
and is on a 30-city tour of China.
VStars newest show, Nick Jr. Live! will make its debut in
September, and Trolls LIVE! based on the 2016 film Trolls in
November, Grilly said.
Erics intimate knowledge of third-party partnerships, his industry
relationships and his expertise in live entertainment will provide
immense value as Cirque du Soleil Entertainment Group solidifies
itself as the worlds largest creator and producer of live
entertainment content, Jonathan Tétrault, president and chief
operating of Cirque du Soleil Entertainment Group, said in a
statement.
Grilly joined VStar as CEO in April 2016. His experience includes
serving as president of Alli Sports, a division of the NBC Sports
Group that created live entertainment experiences for brands looking
to reach millennials through action and adventure sports.
With two new shows this year, VStars workforce of 300 could increase
20% this year, Grilly said.
Cirque du Soleil Entertainment Group, which has 4,500 employees,
acquired VStar in 2018.
Q: What are you looking forward to with your appointment to this
additional role?
Im going to get to learn about all the different capabilities that
Cirque can bring to bear in these partnerships, so Im excited about
that. I enjoy the global nature of the business and thinking about
creating an experience and how we will tour and operate that
experience in a global geography. VStar will continue to focus on kids
and families, but Ill be looking at other opportunities across a
broader demographic scale as executive head of studio licensing.
Q: Where is the growth potential for live entertainment?
In the last 36 to 48 months, the live-entertainment experience has
become a priority in [brands] strategic planning and strategic
direction relative to their overall business strategy. Maybe one of
the bigger drivers is that families with young children today and
its being driven by millennials are trading things for experiences.
That has reprioritized how discretionary income is being spent. So
experiences, the unique ones that we create, these memories that we
provide, have been prioritized.
Q: What goes into forging licensing deals with studios?
Every partnership is unique in terms of the capabilities and the
resources that each partner brings to bear. More partnerships are
being created where rather than us simply licensing the rights to a
property or licensing the rights to [intellectual property] were
finding brands that want to invest in us. I like that, in that it
creates philosophical alignment relative to the creation and
production of a show when both parties share equally in the risk.
{ SOURCE: Star Tribune }
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Cirque du Soleil: The Great Chinese Seduction
{Aug.08.2019}
----------------------------------------------------------
{Article was translated from the original French via Google Translate}
It's tomorrow night that Cirque du Soleil will officially launch its
first permanent show in Hangzhou, China, in a brand-new 1,500-seat
theater built on the site of a former railroad yard. With X: The Land
of Fantasy , Cirque hopes to finally break through this coveted
market.
The arrival of the Circus in China inspired Quebec director Hugo
Bélanger ( Harold and Maude , Around the World in 80 Days ) the theme
of the meeting between East and West. Even the cast of X: The Land of
Fantasy , of which half of the 50 circus performers are Chinese,
reflects this "encounter".
"It's a huge project," says Hugo Bélanger, who has been designing the
show for three and a half years.
"Just to give you an idea, Robert Lepage's show Kà [presented in Las
Vegas since 2006] comes back four times here! It is very impressive. "
Since the sale of Cirque to the consortium led by the US investment
firm TPG Capital (in 2015), the deployment of the multinational
entertainment company in Asia, and in particular in China, has become
THE priority, despite the challenges (and collapses) encountered by
many foreign companies.
In the spring of 2017, Cirque's former creative guide, Jean-François
Bouchard (now at Lune Rouge), unveiled at C2 Montreal the models of
this new theater built in Hangzhou, a "small" city of 15 million
people. residents located 200 km from Shanghai - a real estate project
made by Chinese co-producer XTD and valued at 200 million US.
The scenic device of X: The Land of Fantasy is probably the most
sophisticated ever created by the Circus: 2 mobile islands of 750
seats each which rotate 360 ??degrees and move laterally. Four
distinct scenes, therefore, the longest of which is 100 meters long!
"This is a breakthrough for us, but I remain cautious because we are
still at the beginning of the wave of all that is live entertainment
in China", told us the CEO of Circus, Daniel Lamarre.
"I hope we are not too far ahead of the wave and that we will find an
abundant public to see it. One day there will be a market and that day
we will be there." - Daniel Lamarre, CEO of Cirque du Soleil
During the first show of the series of previews, last Saturday, the
Chinese public has responded, said Hugo Bélanger, who was chosen for
his ability to "tell a story." "The magic of the theater operated,
there were people of all ages, a lot of oh! and ah! a lot of applause.
They really reacted well. "
It must be said that the Cirque put the package, creating acrobatic
numbers of high aerobatics. Icarian games, acrobatic bungee, aerial
straps, tumbling, trampomur, Chinese mast: all the acrobatic arsenal
has been deployed. Luc Langevin even participated in the creation of
illusions numbers presented in X: The Land of Fantasy .
The role of the "faceless" narrator has been entrusted to Acadian
artist Mathieu Chouinard, one of only 10 Canadian artists involved in
the adventure.
A HERO FOR EVERY STEP
Contrary to the habits of the circus, which develops its concepts of
shows before building its theaters (this is the case of all the shows
presented in Las Vegas, for example), it was necessary for Hugo
Bélanger to write a scenario according to the concept. of the room.
"Each of the stands follows his own hero," he explains. In the yellow
tier, which represents the East and is directed by an empress, one
follows a boy, while in the red tier, representing the West, one
follows a girl. So, there is 20% of the story that is different from
one side to the other. "
The stands then move according to the story before facing each other
or standing side by side.
Hugo Bélanger, who has been in Hangzhou since February, was inspired
by Clint Eastwood's Flags of Our Fathers and Letters from Iwo Jima ,
which tell the same story during the Second World War - the first from
American view, the other on the Japanese side.
"I favored a fantasy world where two worlds [Aria and Petra],
represented by a dragon and a phoenix, were separated following an
earthquake and have been in dispute ever since. I invented a story
where a royal seal was broken in two and lost. With this prophecy that
once the two halves together, peace between the two worlds would
return. These are two children who are at the heart of this adventure
and this reconciliation. Hence the X of the title which symbolizes the
meeting of the two diagonals. "
NOT A "CHINESE" SHOW
Cirque wanted to avoid a "Chinese" show despite the fact that in this
city that seduced the European explorer Marco Polo at the end of XIII
th century, over 80% of tourists are Chinese.
"Young Chinese people are eager for things that come from elsewhere.
They do not want to hear more about legends and Peking Opera, they
want to open up to the world. " - Hugo Bélanger
Despite the pitfalls related to the political nature of the Chinese
empire, Daniel Lamarre looks forward to the future.
"I hope this show will then help us to establish the brand and Cirque
du Soleil, when I put my pink glasses, I think it may have the
potential to do for us in China show that the O 's made for us in Las
Vegas. If there is a big show that can work in China, that's it. If it
does not work, I do not understand anything anymore ... "
Have recent tensions between China and Canada had a negative impact on
Circus? Daniel Lamarre weighs his words well.
"Historically, it was an extremely important advantage to be Canadian,
we were welcomed as friends and it was fantastic. Today, we no longer
have that aura, but we are not treated like villains either, so I
would say we do not have too many disadvantages. "
What works for the Circus is that it will create jobs in China, says
Daniel Lamarre, who talks about at least 125 jobs, including a team of
Chinese technicians trained by the circus. "Circus brings a lot of
positive things to China, and that contribution, I believe, is
beginning to be recognized."
{ SOURCE: La Presse }
***************************************************************
Q&A -- Quick Chats & Press Interviews
***************************************************************
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The Faces of REBEL
{Jul.27.2019}
----------------------------------------------------------
{Article was translated from the original Catalan via Google
Translate}
Live new experiences, travel, meet people from all over the world,
act, dance, learn, have fun, improve, live a dream
They are verbs
used by artists and technicians who are part of the Cirque du Soleil
at the time to describe the benefits of your work. For them, it is an
experience to be part of the largest company in the sector worldwide.
I have always dreamed of working with the Cirque but I had never
imagined that one day I would have the opportunity to become a main
character, says Yoherlandy Tejeiro Garcia, the dancer that stars
Rebel.
He is one of nearly fifty people, featuring artists and technicians,
who make it possible for every night from Tuesday to Saturday during
the month of July to carry out the best show with the Cirque du Soleil
label. They work intensely to produce a show that begins to create
weeks before the first function, and they do so far from the
Principality. Specifically, everything starts in Montreal, where the
Canadian company has its headquarters. It is a process of creation
before and every act is separated previously separately, says Jorge
Tapia, councilor of the show. Once you have a concept of show
developed, you take to Andorra to put the pieces together. We do not
really test acrobatics, but transitions, Tapia describes.
When the show is already mounted and the premiere arrives, the hours
of work are reduced, although they continue to be a few. Tuesdays, on
the first day of the weeks function, begin the rehearsals at 3 pm,
and the rest of the days start at 4 pm, less Saturday, the last day,
in which they are already more shot and start training an hour later.
The technicians are always the first to arrive and then the artists
are coming to practice and make up.
The rest of free days and mornings take advantage of them to visit
different places in Andorra or other nearby cities, disconnect, relax,
train, group
Each artist and technician has their preferences, as
well as their history. Yoherlandy, for example, has taken advantage of
some time to be with his family, who has come to visit. During the
mornings we play a little, we walk, we join
Just now I am here with
my wife and my son and we do many activities, we take him to the park,
in the pool, we have also gone to Barcelona the two days pounds, he
says.
He is a native of Cuba, where he studied dance for eight years. In
2015 he decided to move to Canada, where his current partner resided,
to try his luck in this world. He soon had his first chance in the
Canadian company with a show that was held in Quebec. He continued to
make some events with a single representation with Cirque du Soleil,
but this year he received the great news that would give life to the
main character of the Andorran show. How did you get it? From a dance
television competition in Canada, where Rebels artistic director
Lydia Bouchard worked as a judge. He saw me during the entire
competition and when he finished he told me that I had a proposal for
me of a character who falls for the wrong person. At first I did not
believe it because it was something giant for me, describes
Yoherlandy. Now youve seen how every night from Tuesday to Saturday
between June 29 and July 28, you have thousands of eyes on you. Its
a challenge, he says.
Those who also have a great responsibility are the protagonists of the
Globe of Death number, an oval cage in which four motorcyclists go
round continuously, remaining a few centimeters from each other. Its
very dangerous, so we try every day, between an hour and an hour and a
half, says Jefferson Godoy, one of the four specialists. When they
are not on stage, they spend hours in the gym, or by checking the
bikes to ensure they are all in full condition. When we are inside,
we forget everything, the public, the music, the problems
We are
only the four inside, emphasizes the artist, who emphasizes that we
must have a confidence of 110 percent with those others . You also
need many years of practice to get into that ball and not shiver when
doing what they do. In the case of Jefferson, He was nine years old
with his bicycle, next to his father and grandfather, in Brazil, where
he was born.
At age 14 he was already on the stage with a motorcycle. In all these
years, but there is always room for fright. I suffered from injuries
to the ribs, hands, fingers and feet, I opened my head
These things
happen, says the Brazilian, who reminds us that 10 years ago I did
not have any fright. . He takes it with such passion that he is
already teaching his son of six years this particular art. Its crazy
about that. She sees it and she likes it. Then he comes with the
bicycle and when he can he puts himself inside the balloon to make
turns. I like to see how he does it, says Godoy as he smiles. At age
14 he was already on the stage with a motorcycle. In all these years,
but there is always room for fright. I suffered from injuries to the
ribs, hands, fingers and feet, I opened my head
These things
happen, says the Brazilian, who reminds us that 10 years ago I did
not have any fright. . He takes it with such passion that he is
already teaching his son of six years this particular art. Its crazy
about that. She sees it and she likes it.
Then he comes with the bicycle and when he can he puts himself inside
the balloon to make turns. I like to see how he does it, says Godoy
as he smiles. At age 14 he was already on the stage with a motorcycle.
In all these years, but there is always room for fright. I suffered
from injuries to the ribs, hands, fingers and feet, I opened my head
These things happen, says the Brazilian, who reminds us that 10
years ago I did not have any fright. . He takes it with such passion
that he is already teaching his son of six years this particular art.
Its crazy about that. She sees it and she likes it. Then he comes
with the bicycle and when he can he puts himself inside the balloon to
make turns. I like to see how he does it, says Godoy as he smiles. He
takes it with such passion that he is already teaching his son of six
years this particular art. Its crazy about that. She sees it and she
likes it.
Then he comes with the bicycle and when he can he puts himself inside
the balloon to make turns. I like to see how he does it, says Godoy
as he smiles. He takes it with such passion that he is already
teaching his son of six years this particular art. Its crazy about
that. She sees it and she likes it. Then he comes with the bicycle and
when he can he puts himself inside the balloon to make turns. I like
to see how he does it, says Godoy as he smiles.
ARTISTS BEHIND THE FOCUS
On the other side of the stage, there are also several stories related
to the Cirque du Soleil, with a high degree of responsibility. They
are those of the technicians who assist and collaborate closely with
the actors, dancers and specialists so that everything works
correctly. Peculiarly, they cannot always see the show. The show? I
have not seen it. You know a little about what is cooking and where it
is going, but we have to be careful that everything goes well, said
Basque Iñaki Allorbe, who is responsible for the part of the assembly
and the care of the acrobatic devices that are used to the show.
Others, however, are forced to have their eyes set directly on the
stage from beginning to end, as is the case with Tapia, who
coordinates the artistic section with the technician or in other
words, gives foot to everyone to know that its your turn. A job that
sounds stressful and its, a bit, it ironically. What strikes me is
that it is circus and, therefore, any mistake you have may cause
someone to hurt, points out in a more serious tone. The councilor is
from Mexico and only works with Cirque du Soleil in the show of the
Principality, which has been involved since 2016. Here is a very good
contract professionally, he says. The rest of the year is freelance
in events around the world.
It is a very different situation to that of other workers behind the
stage, such as Allorbe. He has worked for 15 years with the Cirque, an
opportunity that came to him as a result of some contacts he made when
he lived in England at the time. Its the fourth year I come here and
Im very happy. The best part is that normally when you go there you
go to large cities and there is facility to maintain contact with
nature. I like to go bicycle and in Andorra I never get bored, he
explains.
Also Valencian Isabel Ruiz Piti, in charge of costumes, has been
working for a long time in the summer show of the Principality,
specifically six, and emphasizes that a few weeks before they ask me
if it is good for me to come by what places, but I always try to book-
I give you the dates because here is a project that I really like.
ANDORRAN STAMP
Among so much nationality that is part of the Cirque du Soleil, there
is no Andorran. Nico Bordes is the only worker in the Principality in
the production of Rebel, a situation he likes because, he says, I
have the feeling of traveling at home and adds that its a luck and
a privilege. He is in charge of mounting the scenery of the stage,
but also has other extracurricular tasks as the only Andorran. One
of the jobs that I also find important within this group of Cirque du
Soleil in Andorra is that I make them a bit of a mountain and
gastronomic guide, says Bordes. This year, and after four summers
dedicated to the shows of the Canadian company, it has been able to
collaborate on shows from outside the Principality, in Saudi Arabia,
between mid-August and September. It is the first time that they
suggest leaving with them to another place and I take it as an open
door in this world, says Andorran, who has a varied professional
route and in winter he is a ski monitor in Pal Arinsal . Im really
looking forward to it, he adds.
And this is one of the most prominent parts of the profession: an
endless journey, especially for those who are fully engaged. Tapia
comments that this year I think I have been three weeks in Mexico.
Others, however, also see this as a negative point, since it does not
allow them to be with the family what they would like and assemble to
be able to stay longer at home. Allorbe, for example, points out that
he is going for seasons, but I am the one who is most at home, at
least I try, although he has come to live for a year in Japan and has
traveled around South America, Asia, Canada, the United States and
Europe working with the Cirque. It is a situation similar to that of
Ruiz, which explains that I am more at home because I am only in
events and I can choose what I do and what I do not.
For artists, the side of being able to be with the family is also
important. Yoherlandy points out that I have found a balance and I
try not to be long separated from my family. Jefferson Godoy,
however, finds himself more complicated at times and indicates that
it is not always easy to be away from home. My parents are in Brazil
and I have not been there for a long time. However, he points out
that my wife and son live in France and it is easier to see them. He
is the one who has the life of the circus, one of the oldest
professions and that has always been characterized by the difficulty
of maintaining a certain degree of stability. The best that
compensates for this aspect of work is love for the profession, as the
great majority of those who work there coincide. I am a lover of it,
its my passion and I love my job, concludes Godoy.
{ SOURCE: Diari dAndorra }
----------------------------------------------------------
A Q&A with 2 of VOLTAs BMX Bikers!
{Jul.31.2019}
----------------------------------------------------------
The top of the Cirque du Soleil tent, stretching across one of the
parking lots next to the Tysons II mall, peaks over the collection of
roadways as I drive into the neighborhood. The tent itself is a
massive spectacle, looming among the collection of hotels and
buildings. Touring Cirque du Soleils Volta is a massive enterprise
with hundreds of performers, staff and volunteers. I am there just
days before the first performance and there is a constant coming and
going as people set up for their months-long stay in Tysons, VA. The
grounds are bustling with movement and energy.
Inside the rehearsal tent that energy is multiplied. People are
exercising, stretching, warming up not just on the ground, but up in
the air. Trapeze rings and trampolines are actively in use as acrobats
warm up with running front flips, forward dives and aerial twists.
Within this bustling environment, DCTS interviewed two of the BMX
performers, AJ Amaya (above right) and Joel Bondu (above left). BMX is
the art of performing acrobatics, tricks and stunts on specially-
modified bicycles. Where the skill set is recognized for its extreme
sports competitive history, Cirque du Soleil has embraced the
athletes and the discipline as an art form.
Q. Every Cirque du Soleil performer is responsible for applying their
own makeup design. How challenging was that?
AJ: Coming from a background where Ive never done any sort of makeup
or drawing or any sort of skills like that. It was quite intense
learning that experience. This was at the Cirque du Soleil
headquarters. All of us BMX riders, when we first started, were in a
big classroom. They do this step-by-step process with each person. How
to hold the brush, how much to stroke. It was a group effort. We all
werent very good when we got started. First, when we had classes,
each one was two hours long, and I couldnt finish it. And we had them
almost every day. Through time I got a little better with stuff. We
have two layers of make-up. We have the creams, and then, after that,
the powders so it doesnt sweat off. Then we do all the dry stuff. The
eyebrows are so rough to get correct. I still, all the time, deal with
it. Some days are good. Some days are bad. Ive done a lot of TV
shows, and stuff like that, Americas Got Talent, and Ive always
snuck under the radar [of the makeup department]. Ive always talked
them out of it. I was quite terrified. The fact that I was able to
learn it is quite a cool thing.
Q. Aside from make-up, did they provide any other kind of training to
be part of performing?
AJ: They gave us make-up classes, dance classes, acting. Dude, it was
rough. Acting was the funnest. The dancing was so brutal.
Joel: Because were always doing a show, we dont learn as many tricks
as we do during a contest season. The tricks are a bit different. The
competitive tricks are a bit different. We try to go a little bit
higher than we used to. We try to follow the choreography. Since the
show started, the show is completely different. The level of the
tricks are crazy different. When I saw the show the first time I was
already impressed with the tricks. After I got to be in the show, the
level of the tricks were above my expectations. The level of riding is
very high.
Q. How long was the pre-tour rehearsal process?
AJ: We did it during the day. They called it Creation, that was six
months. I think something a lot of people dont know about Cirque du
Soleil is that every single thing that happens on the stage is
detailed to where somebody setting up a lamppost is practiced fifty
times for three hours to do it exactly at the right time with the
music, to move correctly with the people.
Q. Working around different acts and physical performances, has your
workout regimen changed?
AJ: For sure, Im more aware of my body. I try to be a lot more
flexible than before, and definitely take care of my body a lot more
than I did to compete. I try out different disciplines that I see with
the other folks for fun, jumping through hoops, swinging on the rings,
things like that. When I competed, my back would get really sore, and
Id have no idea how to loosen that up, and then I learned, here, that
its actually my legs that are overworked. If I stretch more and
worked them out it helps my back. Its been a few years since Ive had
that issue.
Joel: I feel better, I take more care of myself than I used to.
Stretching. Im eating better food. Eight to ten shows a week is
different than just going to the skate park with your friend and doing
a normal session.
Q. Whats your favorite trick?
AJ: At the beginning of the performance I do whats called a flair: a
flip with a twist over someone. Its like Wake up, were in this.
Here we go! I have to not only stay on the ramp, cause its not that
wide. I have to be pretty precise and go high enough so I dont hit
him, and stop quite quickly before I go into the audience.
Joel: When I do a big back-flip. Normally its a straight jump in
normal shows. This stage is made to ride it every way. Some tricks are
more impressive in this set up. The hardest part is getting used to
doing it the same way every night. When youre doing contests, youre
always one person. On the stage, its really tight, youre riding with
two or three people on the same ramp, so its hard to get used to it.
Q. What kind of modifications to the bikes were necessary for Volta?
AJ: Ive actually adjusted my bike quite a bit. The way the stage is
set up, its really, really small compared to what were used to in a
competition or a course, and its really tight. Our ramps are glass
and see-through, and they flex a lot. I raised my handlebars, making
sure my brakes are really smooth. It is my custom bike fully. It is
made for my size and geometry. I order everything from the tubes to
the tires.
Q. Are you responsible for your own maintenance?
AJ: Yes. They asked if we wanted a mechanic. Our whole career weve
always worked on our bikes. We would really like for us to be able to
work on our own bikes and know that everything was made safe to our
adjustments. We each have two bikes. We each have a spare bike to
continue the act.
Q. Aside from your act, whats your favorite act in Volta?
AJ: I like quite a few of them. Theres this one, called the Acro-
lamp. The guy [Joey Arrigo as Waz] is just so strong and makes it look
so easy. And you can tell hes put so many years of training. Its
hard for me to believe he can be in the air for such a long time and
do all these maneuvers. Its such a beautiful choreography as well.
Q. What is it like working with the Cirque community?
AJ: All of us respect each others crafts. I personally am a huge fan
of Cirque du Soleil: to see someone do something that they love and
theyre good at is a really cool thing to experience that. We get to
experience that every day. Everyone is super accepting and open to
teach you their skill.
Q. What does the average day look like for you and the performers?
AJ: Each act is different. Some artists have artistic calls at 6:30pm
for a 8 pm show. Some artists come at noon, stretch, ice. Everyone has
a different routine. Youre more than welcome to show up whenever you
need to or want to. To prepare yourself for the show. Like, our rope-
skipping guys, they come many, many hours ahead. By the time we clock
in they have all their make-up done. Theyre already warming up.
Theyre quite disciplined. I always try to show up a little earlier.
Do a workout, where its actually weights or cardio. Take my time to
have dinner and then do the make up to start the show. We warm up
during the show for our act.
Q. How does Cirque take care of you?
Joel: They have [physical and massage therapists]. They help us with
how to train and how to do it every night. Everything from eating to
training.
Q. What are peoples reactions when they find out you work for Cirque?
Joel: People get surprised. Oh! What are you doing for them? Its
really fun.
Q. With all the travel, do you ever miss home?
Joel: I think my family is happy for me, with what Im doing. At some
point, on tour, you feel like youre at home. You get used to it very
fast. Volta is a big family.
{ SOURCE: DC Theater Scene }
----------------------------------------------------------
Vocalists Add a Narrative Twist to VOLTA
{Aug.08.2019}
----------------------------------------------------------
Cirque du Soleils Volta is a rush of energy and hand-over-mouth gulps
of emotions. Currently decamped in Fairfax County, a quick saunter
from the raised Metro Silver Line station at Tysons II, Volta offers
eye-popping performances and pantomimed baggy-pants comedy.
Cirque du Soleil has been performing in the DC area since the late
1980s but what elevates the experience in Volta is the arena-style,
original music performed by a live band with two accomplished
vocalists who are very visible onstage. The music helps connect the
storyline for the over twelve separate circus acts.
I recently spoke to one of Voltas vocalists, Eric DeShan about the
vocalists contributions to Volta. The songs are a through-line
connecting the acts and the overall theme of Volta, DeShan says.
Since Volta is about a personal journey of self-discovery and self-
acceptance, I plant the seeds of possibilities for the storyline
about breaking free from the world around you.
The theme for Volta is this: a young man named WAZ is lost. He thinks
himself too different to be acceptable to the rest of the world.
Others laugh at him. So, he begins a journey to find himself beyond
the world that has mocked him, a world populated by humdrum and staid
folk called GREYS led by puppet masters, the controlling ELITES. To
find himself, he must be open to risk and change, including both
mental and physical challenges.
Each Volta act on WAZs journey has its own musical composition to
provide an aural landscape that acts as a jet fuel propellant. (It may
remind DMV theatergoers of Synetic Theaters wordless, physical
productions with music compositions by Konstantine Lortkiapnidze that
serves as plot pointers.)
Volta bursts with athletic endeavors of extreme physical and mental
challenge. But, they are pretty much silent performances without the
musical story-telling giving voice to the production. Sung by Eric
DeShan and Camilla Bäckman, the songs became a narrative-spine for the
visual physicality of Volta.
The generally throbbing arena-style music was composed by European
composer Anthony Gonzalez who created a stream of moody, emotional
moments to sync with the acrobatic performances. The music, played by
a live band, is an array of power-driven synth-pop with more inner-
personal melodic lines sung in harmony by DeShan and Bäckman.
The music and vocals are successful in creating inner feelings for
Volta, DeShan says. The musical numbers give emotional resonance to
the journey of self-discovery. As I witnessed at a recent
performance, the production comes alive as the audience begins to
decipher the journey as it takes on more visual colors in costuming
and lighting. The visuals are impacted by the music and voices as
DeShan noted in our interview.
Whats more, it is clear that the singers are not an invisible
afterthought. They are visual and aurally integral to the show. An
example: One act in Volta features the trampoline wall. Risk-taking
performers drop from two-story-high walls onto a trampoline, spinning
and tumbling in the air. As the act builds, the trampoline begins to
rotate and acrobats, both female and male, drop and pop. And there, in
the midst of it all, is DeShan, standing tall at the apex of the over
2 story apparatus. He took his own physical and mental risks standing
on top of that structure adding his voice to the drama.
DeShan grew up in Oklahoma. He studied opera and musical theater at
Oklahoma City University. Then it was off to NYC and Broadway. He has
performed with the national Broadway tour of Tommy masterminded by
Peter Townshend. A long-time lover of Cirque productions, DeShan began
his Volta tour in December 2018 when the show was in San Francisco.
In our interview, DeShan noted that Volta is an intriguing tale of
transformation about being true to ones-self. It is about the
ultimate liberation from the judgment of others.
How so? For DeShan, the vocalizing helps to connect Waz to the
audience. Here is example lyric from one of the Volta compositions;
Something has changed within me/Nothing will ever be the same, Im
done playing with logic.
For DeShan, Volta is a production that allows the audience to
surrender to the journey and the challenges that WAZ faces and
overcomes. From DeShans vantage points in the show, whether high
above, at center stage, or on the sidelines, Volta is a dream event
where the audience can take away its own interpretations and
excitement.
As another lyric goes from To The Stars:
Turning off the dark moon/Falling for my new sun
Im leaving you the cold/Im burning up the grey
Im leaving you the cold/And Im sending you a sign
{ SOURCE: DC Metro Theater Arts }
----------------------------------------------------------
Meet Geert Chatrou, Corteo's Whistler
{Aug.09.2019}
----------------------------------------------------------
I started whistling when I was about four years old. We lived in the
Eindhoven area of the Netherlands, and my dad whistled all the time.
It was impossible for him to whistle out of tune. He whistled a lot of
Bach, but also the Beatles. We whistled TV theme tunes together him
whistling one note, and me the next. I immediately produced a nice
tone. Within a few years, I was better than he was.
By 2003, when I was 34, I was working as a psychiatric nurse, and had
three young kids. That year we had a big Christmas dinner for the
family, and I remember whistling along to cheesy tunes like Rudolph
The Red-Nosed Reindeer. My sister-in-law asked me to stop several
times. At one point, I said: If there was a competition, I would
enter. Two weeks later, I received a text from her: Geert, youre
going to America. Ive just entered you for the World Whistling
Championships.
The auditorium was in a high school in Louisburg, North Carolina.
Everything was overwhelming. There were about 30 contestants some
terrible, some very good. Some people were really, really competitive.
It lasted two days and I won. The prize was a big trophy covered
with American flags and eagles. I had to go through customs with three
trophies: one for classical, one for popular and one for grand
champion.
After that, I started receiving my first invitations to do concerts
mostly classical, accompanied by symphony orchestras, string quartets
or, sometimes, just a piano. I was aware that I was the odd one out on
the line-ups, and I had yet to turn professional.
Then in 2007, I was asked to whistle in a big church in Leiden by an
entertainment company. I knew it would be special the queen of the
Netherlands, Queen Beatrix, would be there.
Normally at a concert there is a little security, but this was another
level, with sniffer dogs. A lot of the performers, who included
musicians and ballet dancers, were pretty nervous. When the queen came
in, a weird frisson went through the audience. I whistled Czardas by
Vittorio Monti; its a virtuoso violin piece that starts dramatically,
then gets faster and faster; in the third part there are some really
high notes.
There was a circus performer in a feathered bird costume, hidden in
the church ceiling. When I started my second piece, In A Sentimental
Mood by Duke Ellington, she descended on a hoop and landed on the
grand piano. Then I helped my bird down.
The queen was very appreciative: it was a special moment. Im not a
big royalist, but I saw what she means to a lot of people.
Now, Im a professional whistler. I made the transition last summer; I
had been working with homeless people, and felt close to burnout. Then
Cirque du Soleil emailed me to say they were looking for a whistler. I
went to Montreal to audition and they hired me in October; Im
travelling with them at the moment. I open the Corteo show as the
ringmaster. At one point I whistle Twinkle Twinkle Little Star as
beautifully as I can. Then I go into a duet with the violinist, backed
by an orchestra.
I do between 75 and 100 concerts a year and earn twice as much as I
did as a nurse. I also run whistling workshops. I practise all day,
but its hard for me not to whistle. I like to whistle recorder
concertos by Vivaldi, but also jazz or blues. I love to improvise.
The whistling community is getting bigger and bigger, and we often
meet each other at tournaments. Ive judged the past two World
Whistling Championships. Theres a Japanese whistler, Akiko Shibata,
who I think is brilliant. Shes one of my favourite whistlers right
now.
If people want to get into whistling, and they can afford it, they
should go to the championships. There are also videos on the internet
that can give you a feel for the quality of some of the top whistlers.
The best advice is to keep it joyful.
Its unbelievable that I get to see the world just because I can
whistle well. Its really silly. But the key is not to take it too
seriously.
{ SOURCE: The Guardian }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Alegria, Amaluna, Koozå, Kurios, Luzia, Totem,
Volta & Bazzar}
o) ARENA - In Stadium-like venues
{OVO, Crystal, Corteo, Messi10, AXEL}
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-25th Anniversary:
Gatineau, QC -- Aug 1, 2019 to Sep 1, 2019
Toronto, ON -- Sep 12, 2019 to Dec 1, 2019
Miami, FL -- Dec 20, 2020 to Feb 9 2020
Houston, TX -- Feb 21, 2020 to Apr 5, 2020
Austin, TX -- Apr 15, 2020 to May 17, 2020
Chicago, IL -- Jun 3, 2020 to Jul 12, 2020
Washington, DC -- Jul 23, 2020 to Sep 27, 2020
Vancouver, BC -- Oct 15, 2020 to Jan 10, 2021
Amaluna:
Oaks, PA -- Jul 24, 2019 to Aug 25, 2019
Winnipeg, MB -- Sep 14, 2019 to Oct 20, 2019
San Francisco, CA -- Nov 19, 2019 to Jan 12, 2020
Sacramento, CA -- Jan 22, 2020 - Feb 16, 2020
Bazzar:
Istanbul, TU -- Aug 21, 2019 to Sep 1, 2019
Cairo, EG -- TBA
Koozå:
Gijon, ES -- Jul 31, 2019 to Sep 1, 2019
Malaga, ES -- Sep 13, 2019 to Oct 6, 2019
Madrid, ES -- Oct 24, 2019 to Dec 8, 2019
Seville, ES -- Jan 15, 2020 to Feb 9, 2020
Kurios:
Singapore, SG -- Jul 5, 2019 to Aug 18, 2019
Sydney, AU -- Oct 2, 2019 to Nov 24, 2019
Brisbane, AU -- Jan 10, 2020 to Jan 26, 2020
Melbourne, AU -- Mar 12, 2020 to Mar 29, 2020
Adelaide, AU -- May 29, 2020 to Jun 7, 2020
Perth, AU -- TBA
Luzia:
Calgary, AB -- Aug 16, 2019 to Sep 22, 2019
Vancouver, BC -- Oct 3, 2019 to Dec 15, 2019
London, UK -- Jan 12, 2020 to Feb 16, 2020
Moscow, RU -- Mar 19, 2020 to Apr 12, 2020
Totem:
Gran Canaria, ES -- Jul 5, 2019 to Sep 22, 2019
The Hague, NL -- Oct 11, 2019 to Dec 1, 2019
Düsseldorf, DE -- Dec 19, 2019 to Jan 19, 2020
Munich, DE -- Feb 12, 2020 to Mar 8, 2020
Rome, IT -- Apr 1, 2020 to Apr 19, 2020
VOLTA:
Washington, DC -- Jul 25, 2019 to Sep 29, 2019
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
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
OVO:
Santiago, CL -- Aug 22, 2019 to Sep 1, 2019
Medellin, CO -- Oct 09, 2019 to Oct 26, 2019
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Portland, ME -- Aug 7, 2019 to Aug 11, 2019
Moncton, NB -- Aug 14, 2019 to Aug 18, 2019
Saint John, NB -- Aug 21, 2019 to Aug 25, 2019
Halifax, NS -- Aug 28, 2019 to Sep 1, 2019
Monterrey, MX -- Sep 19, 2019 to Sep 22, 2019
Guadalajara, MX -- Sep 25, 2019 to Sep 29, 2019
Mexico City, MX -- Oct 4, 2019 to Oct 13, 2019
Moscow, RU -- Nov 22, 2019 to Dec 8, 2019
Saint Petersburg, RU -- Dec 11, 2019 to Dec 15, 2019
Kazan, RU -- Dec 19, 2019 to Dec 22, 2019
Ufa, RU -- Dec 25, 2019 to Dec 29, 2019
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
CORTEO:
San Antonio, TX -- Aug 8, 2019 to Aug 11, 2019
Denver, CO -- Aug 15, 2019 to Aug 22, 2019
Hershey, PA -- Aug 28, 2019 to Sep 1, 2019
Turin, IT -- Sep 26, 2019 to Sep 29, 2019
Milan, IT -- Oct 3, 2019 to Oct 6, 2019
Bologna, IT -- Oct 10, 2019 to Oct 13, 2019
Pesario, IT -- Oct 17, 2019 to Oct 20, 2019
Leipzig, DE -- Oct 23, 2019 to Oct 27, 2019
Frankfurt, DE -- Oct 30, 2019 to Nov 3, 2019
Nuremberg, DE -- Nov 6, 2019 to Nov 10, 2019
Graz, AT -- Nov 13, 2019 to Nov 17, 2019
Brussels, BE -- Nov 21, 2019 to Nov 24, 2019
Paris, FR -- Dec 12, 2019 to Dec 15, 2019
Stuttgart, DE -- Dec 18, 2019 to Dec 22, 2019
Mannheim,DE -- Dec 25, 2019 to Dec 29, 2019
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
Antwerp, BE -- Mar 13, 2020 to Mar 22, 2020
Vienna, AT -- Mar 25, 2020 to Mar 29, 2020
Messi10:
Barcelona, ES -- Oct 10, 2019 to Nov 10, 2019
AXEL:
Cornwall, ON -- Oct 4, 2019 to Oct 5, 2019
Syracuse, NY -- Oct 11, 2019 to Oct 13, 2019
Huntsville, AL -- Oct 18, 2019 to Oct 20, 2019
Pensacola, FL -- Oct 24, 2019 to Oct 27, 2019
Tampa, FL -- Oct 31, 2019 Nov 3, 2019
Jacksonville, FL -- Nov 7, 2019 to Nov 10, 2019
Roanoke, VA -- Nov 14, 2019 to Nov 17, 2019
Worcester, MA -- Dec 5, 2019 to Dec 8, 2019
Quebec City, QC -- Dec 12, 2019 to Dec 15, 2019
Montreal, QC -- Dec 19, 2019 to Dec 29, 2019
'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
*) 2019 Dark Dates:
o) August 20 thru 21, 2019
o) September 21 thru 25, 2019
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
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...
o) Monday: Dark
o) Tuesday: 6:30pm
o) Wednesday: 6:30pm
o) Thursday: 8:00pm
o) Friday: 8:00pm
o) Saturday: 3:30pm & 8:00pm
o) Sunday: 2:30pm & 7:00pm
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
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o) WEBSERIES -- Official Online Featurettes
o) VIDEOS -- Official Peeks & Noted Fan Finds
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WEBSERIES: Official Online Featurettes
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*) TEST R.U.N
Prepare for a live experience, unlike anything youve ever seen
from Cirque du Soleil! R.U.N is a live-action thriller jam-packed
with stunts and chases thatll leave you on the edge of your seat.
o) EPISODE 1: "PLAYING WITH FIRE"
LINK /// https://youtu.be/4wBqllx0BDw
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VIDEOS: Official Peeks & Noted Fan Finds
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o) MEET THE ARTISTS! Behind the Scenes at...
- AMALUNA (Artists): https://www.youtube.com/watch?v=Osj4_3ULdWM
- AMALUNA (Crew): https://www.youtube.com/watch?v=z681ffX4Als
- JOYA: https://www.youtube.com/watch?v=AOq5xnmeWoA
- CORTEO: https://www.youtube.com/watch?v=cTizxcOXVsU
o) Music Videos for...
- MYSTERE | "En Ville": https://www.youtube.com/watch?v=3-14dUXjtU4
- LUZIA | "Pez Volador": https://www.youtube.com/watch?v=YoNWhjEnris
- JOYA | "Adventure at Sea": https://www.youtube.com/watch?v=gLTRyN6Dng0
- AMALUNA | "Enchanted Reunion": https://www.youtube.com/watch?v=bzwZS9KmF20
o) The Life of Cirque Artists
- VOLTA: https://www.youtube.com/watch?v=mWazP2dNHwg
- KURIOS: https://www.youtube.com/watch?v=fzwmSwVVFfU
o) The Life of Cirque Artist Kyle Cragle
https://www.youtube.com/watch?v=oeMd3iSTKqU
o) On Set with KURIOS:
https://www.tsingapore.com/article/on-set-cirque-du-soleil-kurios
o) The Story Behind Kurios
https://www.youtube.com/watch?v=T4Bstz-vlLM
o) Cirque Artists Do The Bottle Cap Challenge
https://www.youtube.com/watch?v=mSZ7V4Cpxhw
o) This Job Isn't Well Known But High in Demand!
https://www.youtube.com/watch?v=KKVOB19E6s8
o) Behind the Scenes with Cirque Musicians
https://www.youtube.com/watch?v=yaTsIupe-SA
o) KOOZA Makup Tutorial
https://www.youtube.com/watch?v=ARfBasCMS50
o) CORTEO Rigging Specialist Discusses Arena Load Ins
https://www.facebook.com/Corteo/videos/1048226248710077/
o) CRYSTAL: Discover Kevin Lapierre's Role
https://www.facebook.com/CrystalbyCirqueduSoleil/videos/700843227013007/
o) CRYSTAL: Get to Know Figure Skater Mary Siegel
https://www.facebook.com/CrystalbyCirqueduSoleil/videos/857893721255723/
o) KA: Follow Barri Griffiths (Chief Archer) Backstage
https://www.facebook.com/KA/videos/574905053036832/
o) LUZIA: Discover What Makes Our Show Unique
https://www.facebook.com/LUZIAbyCirqueduSoleil/videos/2078167449143561/
o) TOTEM: Watch Trapeze artist Guilhem Talk About Life on Tour
https://www.facebook.com/Totem/videos/863083224070568/
o) How much strength does it take to be an agile performer in our show?
Watch The A.V. Club's behind-the-scenes interview to learn about what
it takes to put on a successful performance:
https://www.facebook.com/theavclub/videos/401849427344861/
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FASCINATION! FEATURES
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Jean David's Quel Cirque, Part 8: "First Steps Across the Sea"
A Special Series Celebrating Cirque's 35th Anniversary
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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!
# # #
For years, wed dreamed of performing in Europe. We were convinced
that there was a place for our shows there. In 1989, a business
opportunity opened up for us. We needed a new show for our 1990-1991
North American tour, and Le Cirque réinventé (The Circus Reinvented)
with which we had opened the United States, became available to be
presented elsewhere. In Europe, Germany was our first choice. Circuses
are very popular there; they draw a sophisticated, affluent clientele.
We were determined to try our luck. Wed been negotiating with a
German producer for three months. But the agreement fell through at
the last minute. Clearly, there had been some misunderstanding. We
rushed to adjust our plans because the artists and technicians were as
good as hired. We had to find an alternative solution and in a hurry.
We decided to perform in London and Parisand do it on our own.
In London, we located a site, the Jubilee Gardens; we also found a big
top. We were pressed for time. London, the entertainment capital of
Europe, is enormous. The English knew nothing about Cirque du Soleil,
and we knew little about them; the challenge was considerable.
Nevertheless, we knew that just as in North America, the people most
likely to buy tickets and appreciate our show had an above average
level of education and family income.
After engaging in much preparation, and putting many safeguards and
installations in place, we premiered on July 31, 1990. But that
summer, England suffered its worst heat wave in 60 years. To make
matters worse, the big top wasnt air-conditioned. The heat wave
lasted a good three weeks; it was a disaster. The only tickets people
were buying were the least expensive seats on the side. The most
expensive seats, those around the ring and in the center stands were
empty. People who could have afforded to pay for them had fled the
city to take advantage of the fresh seaside air.
To top it all, opinions were divided in the English media about our
show. Some reviewers complained that our show was too clean, too
colorful. Journalists also grumbled that our performers smiled too
much and their teeth were too white. One magazine even quipped safe
sex, safe circus. It was a long, hot and humid summer, but the team
hung in there. September brought some relief; our target clientele
returned to the city; and word of mouth began to work for us. But it
was too little, too late; our financial losses were substantial. Yet,
we had drawn a little over 50,000 spectators, and it was some
consolation that no other Canadian cultural product had attracted as
many customers in a single run in London.
Paris was waiting. There, we didnt play in a big top; we performed in
a theater, in the form of a big top at Cirque dHiver Bouglione in the
11th arrondissement. Built under Napoleon III, the theatre was owned
by the Bouglione family, who were circus legends. We signed contracts
with TF1 and Groupe Europe, an important French media group. We were
privileged to work with some of the best people in the industry: Rose
Léandry, Gérard Louvin, Tony Krantz, and Dominique Larmoyer. It has
often been said that its tough to do business with the French. And
its true! Nothing that works elsewhere on the planet can work in
France. Everything had to be reconsidered, re-done: signs, slogans,
and communications. And yet, I love the French!
Finally, it was the day of the premiere. Ill let you in on a little
secret: it was the finest premiere evening in my whole time with
Cirque du Soleil. An absolutely magical evening that took your breath
away. Many of the oldest, most celebrated European circus families
accepted our invitation. Our room was filled with history. It was as
if ghosts were present. We got excellent reviews the media were less
divided than in London and French audiences loved our artists
sparkling costumes, smiles and white teeth. The Paris operation paid
for itself financially and even yielded a slight profit. But, before
we finished our run, the Gulf War broke out and along with it a
collective psychosis. We packed our bags and returned to Canada. Game
postponed due to bombing!
Know When to Say «No»
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Cirque National Suisse Knie asked us for permission to present Le
Cirque réinventé. It would be a follow-up to our visits to London and
Paris. From a Business perspective, the Knie family was requesting us
to grant them a licensing agreement for our show. It would assume the
production costs and pay royalties on ticket and merchandise sales.
Knie presented Cirque du Soleil on its annual tour of 60 cities,
villages and cantons. Under the Knies big top were united all the
elements of Le Cirque réinventé: music, décor, costumes, artists, and
direction. In addition, there were the Cirque Knie animals for which
we designed costumes matching the colors of the show. The entire
operation took place on Swiss territory.
After London and Paris, we believed that being involved in the Cirque
Knie tour was an excellent way to gain exposure with a new European
clientele and to test our product. It was 1991 and the tour was quite
a success everywhere. In Switzerland, Cirque Knie was an institution,
and its annual tour was eagerly awaited. In fact, the operation proved
so popular that the Knie family wanted us to come back
They were
eager to stage Nouvelle Expérience, which was capping off a
magnificent two-year tour in North America. The Knie offer was
interesting, but we decided to decline, and retain the possibility of
introducing our shows on European soil ourselves. Sometimes you have
to know how to say no.
Be Yourself
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In marketing our shows throughout the world, I kept certain basic
principles in mind. They were inspired by popular sayings my parents
taught me when I was a child. They apply to all sorts of situations.
In my professional life some are particularly relevant. Why look for
complicated theories when we can access our cultural background for
tried-and-true principles?
Here are two of the sayings: In Rome, do as the Romans do and If
you want something done well, do it yourself. These sayings propose a
straightforward approach to life. Taken together, they may seem
paradoxical. Lets look at the two. In Rome, do as the Romans do. In
international marketing, obviously you need to understand how locals
do things. That way you draw inspiration from them. Above all, you can
break down the resistance to your product or service. Globalization
has forced us to think globally but act locally.
To reduce the gap between consumers and our product, we had to reach
out to the community, become a part of it. We had to be aware of their
social and cultural context. All this was necessary to ensure the
success of our operations. In the process, we got to know
extraordinary individuals teeming with ideas.
As a rule, the people we met producers, promoters, public relations
consultants, communicators and the media found our openness charming.
In fact, some even became our friends. Yet, there was a drawback. Most
of the local collaborators we met on our travels were so eager to
share their expertise with us that sometimes they wouldnt take no for
an answer.
Usually, they werent aware of what they were doing. It was only
natural for them to suggest tried-and-true ways of doing things that
they used every day, and that worked very well most of the time.
Seldom, did these professionals completely understand that since our
product was original, it required an original approach. Thats when I
went by the dictum If you want something done well, do it yourself.
Our marketing objectives bore no resemblance whatever to those
normally driving the entertainment industry. We were operating on a
scale way beyond what our local partners were used to seeing. Hello.
You dont know us but were a circus the likes of which youve never
experienced. Were lugging around our big top, which seats 2500. Weve
decided to perform in your fine city, where well sell between 100,000
and 250,000 full-price tickets!
With ambitions came responsibilities. We had to make sure things were
done correctly. So we spelled out the way we wanted them done. And we
left no doubt in their minds about our expectations, clearly explained
the sequence of activities, presented a precise action plan, provided
the means for carrying it out and saw to it that our goals were
achieved.
Part of my job in Marketing was to act as Cirque du Soleil brand
manager. In the context of exporting our product, it felt more like
brand protection. We were presenting a live show to an audience inside
a venue closely resembling a huge sailboat. Careful! Its fragile! The
operation had to be carried out with the utmost care. I was not only
concerned about the uniqueness of our product; I was concerned about
its vulnerability. I knew that paying attention to detail would be
rewarded in the way the public, opinion setters and media perceived
us. It would also impact in our results.
People often asked me what were the differences between Japanese,
American, Dutch, Chinese, English, Canadian, and German customers.
Truth to tell, there were many. In the age of market globalization,
though tariff barriers have been abolished, cultural differences
fortunately have survived. Above and beyond differences in the
exportation process, the people had one point in common: as consumers,
they knew how to recognize quality in a product or service. Their
needs were real; their expectations constantly evolved.
Its important to remember that the personality of consumers is
continually changing. It may be surprising, but in this respect,
things move very fast! Its not that time is going faster; its that
the information disseminated is denser, more focused and, above all,
more pertinent. Technology is accelerating the circulation of ideas.
All this leads me to think that the 21st century wont tolerate
redundancy. Theres a tendency to eliminate it. The global village
really exists; whats more, it brings forth unforeseen developments.
The Cirque du Soleil marketing philosophy could be summed up in three
words: creativity, identity, and competitiveness.
CREATIVITY: Our product was innovative and universal. We always
invested in the creation of new shows and we clearly demonstrated our
capacity for renewal and transformation. Our greatest passion was the
pursuit of bold new artistic challenges.
IDENTITY: Our focus was youth, and more than 25 nations were
represented on our staff. In our organization, we affirmed our
cultural distinctiveness around the world, and we strongly supported
bold entrepreneurship.
COMPETITIVENESS: We set new standards of excellence in our sphere of
activity. In all our markets, our commitment to excellence became the
standard. We didnt aim to succeed at all costs; we simply wanted to
finish what we had begun.
In exporting our shows, we have been highly successful. We have met
with acclaim and affection around the world. Our most significant
marketing triumph was our unique positioning with our consumers. For
many entertainment industry observers, Cirque du Soleil was a sign of
things to come. It was an organization that positioned itself in a
context in which culture was the currency of human beings in search of
an identity.
To Be Continued...
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 19, Number 8 (Issue #187) - August 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.
{ Aug.12.2019 }
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