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Fascination Issue 184
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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 5 May 2019 ISSUE #184
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
It should come as no surprise that Alegría: In a New Light takes
center stage in this month's issue, as the show made its worldwide
premiere on April 18th, followed by its gala premiere on April 25th.
Inside you'll find texts from the Press Kit, which was released at
the end of April ("ALEGRIA: The Return of an Icon, in a New Light")
and a small collection of articles/reviews found in the press on the
show's premiere ("Alegria Returns in Force" - A Collection of Articles
Celebrating Alegria's Premiere). Of course, we also wanted to talk
about the show's new soundtrack but as many of you know, the new album
- which was due to be released on April 25th - was delayed for reasons
unshared. With no new release date given, we can only speculate as to
the reasons for the delay (the addition of an accordion? A complete
change in music from what was recorded?), but there's no denying the
new music is certainly in demand. And considering some of the hatred
this new version of Alegria has stirred up amongst some fans, this is
a good thing, even if it's frustrating to wait. What we don't have to
wait for is Alegria's tour plans through early 2021. Check out the
ITINERAIRE section to see where Alegria's blue-and-white swirled
big top (so named "SOHÏEL" by Guy Laliberte before the final dress
rehearsal audience. The name means "Messenger of the Sun") will be
TENTATIVELY going throughout 2019 and 2020!
That being said, there's PLENTY of other news to highlight this month.
In fact, thanks to an article from the Las Vegas Review-Journal (that
you can read in full within, we can celebrate the fact that Mystère,
(which just celebrated its 12,000 performance) has had its contract
extended another five years. ... and if I believe (hotel owner) Phil
Ruffin, and I do, the show is there forever, Lamarre said. Lamarre
also went on to say that Cirque never considered reassessing its
staging of MJ ONE following the explosive HBO Documentary "Leaving
Neverland", nor is it ready to pink-slip the acrobats in its shows.
I think the challenge for us is each show has to be distinctive, to
have new ideas to apply to acrobatics. Were not saying no, forever.
But now, our clientele looking for acrobatic shows is very well
served. Mr. Lamarre is speaking of the company's new show "R.U.N",
which does not feature the acrobatics that Cirque du Soleil is famous
for. Opening October 24th, R.U.N is presented as a kind of Fast &
Furious action-adventure film set for the stage - a new project you
also can read all about within.
In addition to other projects - which include SYMA, VARELIA, VITORI,
REBEL, and JOYEUX CALVAIRE from Cirque du Soleil's recently rebranded
Events + Experiences subsidiary (previously 45 DEGREES), there's
something called "Cirque du Soleil AXEL" on its way. Registered on
April 11th, this trademark is to be used for "Entertainment services,
namely, conception, creation, production, and presentation of theatrical
performances; conception, creation, production, distribution and
presentation of audio-visual performances and multimedia entertainment
content rendered live and recorded for the purpose of distribution
through broadcast media; production of multimedia theatrical
performances." As always we'll have to wait and see what this will
end up being!
And I think that will do it for this month.
So, let's go!
/----------------------------------------------------\
| |
| 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
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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
* "ALEGRIA: The Return of an Icon, in a New Light"
Texts from the Press Kit
Edited By: Ricky Russo - Atlanta, Georgia (USA)
* SPECIAL /// "Alegria Returns in Force" - A Collection
of Articles Celebrating Alegria's Premiere
* Jean David's Quel Cirque, Part 5 of 12: "Persuasion"
A Special Series Celebrating Cirque's 35th Anniversary
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
***************************************************************
LA PRESSE -- General News & Highlights
***************************************************************
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ICYMI: Discover SYMA and VARELIA from Cirque at SEA
{Apr.10.2019}
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Cirque du Soleil at Sea is a unique entertainment concept created by
MSC Cruises, the worlds largest privately owned cruise line, and
Cirque du Soleil, the world leader in live entertainment. In March
2019, two brand new Cirque du Soleil at Sea shows, SYMA and VARÉLIA,
launched on board MSC Cruises new flagship, MSC Bellissima. The
leading cruise line has revealed today details of the inspiration and
creative process behind these two original new shows along with the
exclusive first images of the spectacular performances.
Every element of each new Cirque du Soleil at Sea show is unique from
the concept and storyline, the characters, the costumes and makeup
through to the music, staging and sound effects. The concepts are
first developed by the experienced and talented creative team based at
Cirque du Soleils international headquarters in Montreal, Canada.
Following a rigorous casting process and intensive ideation workshops,
the shows are then refined and brought to life on board the ship in
the custom-built entertainment venue, the Carousel Lounge, designed to
meet the specific needs of Cirque du Soleil.
The long-term partnership will result in eight original shows that can
only be seen on board the Meraviglia class ships. Each ship will offer
two brand new contrasting shows to deliver a truly unique and intimate
experience for MSC Cruises guests.
SYMA is a fantastical odyssey into the heart of an imaginary world,
and the search for a mysterious island inhabited by phantasmagorical
creatures. The guests on board MSC Bellissima are embarking on a
journey of discovery, just like the main character of the show.
Immersive video images, an original set design, bioluminescent
lighting and acrobatic feats make SYMA an unforgettable show.
VARÉLIA is a tale of modern chivalry where love and courage triumph
over the greatest divides. A medieval tale with a futuristic twist,
VARÉLIA follows a classic story arc in a cartoonesque world which adds
a humoristic touch. Audiences will delight in the acrobatic feats, the
laser show and the unique set design.
CHECK OUT IMAGES OF SYMA AND VARÉLIA HERE
LINK /// http://www.cirquefascination.com/?p=12519
With these two new shows, Cirque du Soleil continues to push creative
boundaries with the introduction of innovations in staging, makeup,
costumes and performances. Some of the highlights include:
o) The Underwater Creatures characters in SYMA have ultraviolet
iridescent makeup, which, along with parts of their costume, glow
under special lights built into the custom-made Carousel Lounge
o) The creative team have used video projection mapping for the first
time in SYMA to project content onto tangible set elements and
props on stage to add yet another visual element to the show. This
technology enhances the guest experience by animating static
objects and surfaces.
o) The finale of VARÉLIA includes a breathtaking roller skating duo
spinning at incredibly high speeds while completing complex tricks.
This, coupled with an aerial hoop duo, creates a spectacular floor-
to-ceiling climax.
o) Laser lights are used in VARÉLIA to create a futuristic and
changing set design. They convey the theme and atmosphere of the
show. With a strong focus on aesthetic principles the lasers create
graphic figures and illusions where Cirque du Soleil at Sea artists
can thrive.
Cirque du Soleil at Sea can be booked in advance at a reduced rate or
whilst on board during the cruise for any remaining seats. Guests can
either book to enjoy a three-course menu of palate-pleasing dishes
served before the show (35), or sip on a specialty cocktail (15) and
enjoy the pre-show that begins 30 minutes before the start of the
Cirque du Soleil at Sea performance.
MSC Meraviglia was the first ship to debut the new Cirque du Soleil at
Sea concept with the launch of the two shows VIAGGIO and SONOR in June
2017 and recently celebrated the 1,000th performance on board., Work
is already underway for the next shows for MSC Grandiosa, that will
launch in November 2019.
{ SOURCE: MSC Cruises }
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Cirque/FCAD launch The Future of Live Entertainment Lab
{Apr.10.2019}
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Cirque du Soleil Entertainment Group (CDSEG) through its innovation
lab, Nextasy, and FCAD, Ryersons Faculty of Communication and Design
have come together to launch The Future of Live Entertainment Lab
(FOL!E), dedicated to innovation research in the live entertainment
industry. This powerful initiative combines Ryerson Universitys
strength as Canadas leader in innovative, career-oriented education,
with CDSEGs expertise as a live entertainment global leader, to
create a laboratory that will focus on using technology to enhance
human performances, developing methodologies for live audience
analytics, and generating deep insights into social and economic
paradigms shaping the industry.
Weve always invested internally to push the boundaries of our own
creations and creative minds, but FOL!E is our first official step to
open up our research and development initiatives to the outside world.
There is no doubt this academic partnership will contribute to pushing
the live entertainment industry to the next frontier. says Diane
Quinn, Chief Creation Officer at Cirque du Soleil Entertainment Group.
Charles Falzon, Dean of FCAD says, We are thrilled to have found a
partner who has at heart as much as we do, the training of the next
generation of live entertainment leaders. FCADs research is at the
intersection of technology and creative storytelling and who better to
partner with than Cirque du Soleil, the biggest and best Canadian
cultural export who has raised the bar of innovation in those fields
for the last three decades.
Housed in the Catalyst at FCAD, a new interdisciplinary research hub
home to 20 labs and centres, FOL!E will bring together faculty and
students from FCADs nine creative schools to develop projects in
high-interest areas for academic and field-based research. Under the
leadership of Louis-Etienne Dubois, faculty member in the School of
Creative Industries and newly appointed Director of FOL!E, researchers
will also have access to CDSEGs expertise and audience insights
coming from the Groups facilities worldwide including its
international headquarters in Montreal.
Through a unique interdisciplinary approach that blends technology and
creativity, CDSEG has committed funding and expertise to tackle
questions of how the changes in audience preferences, emerging
technologies and shifting economic conditions are creating new
possibilities for the live entertainments industry. FOL!Es
initiatives and findings on the potential social, educational, and
commercial impacts will be disseminated through academic conferences,
journals, an annual showcase event and through Nextasys online
platform that shares trends and insights in live entertainment and
creative innovation.
ABOUT FCAD
The Faculty of Communication and Design is the cultural and creative
hub at Ryerson University. With its nine prestigious schools in media
and creative industries, FCADs interdisciplinary innovation and
education are shaping the future of the creative industries.
ABOUT RYERSON UNIVERSITY
Ryerson University is Canadas leader in innovative, career-oriented
education. Urban, culturally diverse and inclusive, it is home to more
than 45,300 students, including 2,600 Masters and PhD students, 3,800
faculty and staff, and nearly 198,000 alumni worldwide.
{ SOURCE: Cirque du Soleil }
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45 DEGREES Becomes "Cirque du Soleil Events + Experiences"
{Apr.24.2019}
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Cirque du Soleil, the world-renowned live entertainment provider, has
announced a new identity for their events and special projects
division. Formerly called 45 DEGREES and a subsidiary, the newly named
Cirque du Soleil Events + Experiences now operates within Cirque du
Soleil, charged with expanding the companys bespoke live
entertainment offerings to an international clientele under the
strength of one unified brand.
Cirque du Soleil Events + Experiences leverages the brands trademark
creativity and technical ingenuity to produce truly unique
entertainment that is tailored to meet the needs of partners. For
nearly two decades, the companys events branch has operated
successfully in both the public and private sectors. Its portfolio
stretches from corporate events for Fortune 500 companies, to cultural
attractions commissioned by heads of state, to live performances on
some of the most-watched television broadcasts in history. Notable
examples include the launch of Microsoft Kinect, the creation of
Cirque du Soleil at Sea, an exclusive partnership with MSC Cruises,
and two appearances at the Academy Awards.
The events division has extended the Cirque du Soleil brand beyond
its traditional activities. explains Yasmine Khalil, Chief Executive
Producer of Cirque du Soleil and President of Cirque du Soleil Events
+ Experiences. Events + Experiences initiatives continue to be a key
part of our business and we remain focused on raising the bar in the
industry with creativity and innovation for new partners the world
over.
ABOUT CIRQUE DU SOLEIL EVENTS + EXPERIENCES
Cirque du Soleil Events + Experiences creates and produces bespoke
live entertainment for an international clientele who are looking for
one-of-a-kind, world class experiences. Whether its private events,
tourist attractions or large-scale productions, each venture is
tailored to meet the clients objectives and leverages Cirque du
Soleils unique wealth of creative expertise. For nearly two decades,
the division has amassed an impressive portfolio that includes
performances at the XLVI Super Bowl Halftime Show and the 84th Academy
Awards, and gained accolades for their work on the T.O. by Lipton ad
campaign, the Expo Astana 2017 show REFLEKT, as well as Helene
Fischers 2018 concert tour show design.
Cirque du Soleil Events + Experiences is more than circus
entertainment; their awe-inspiring imagination can generate endless
possibilities making them the ideal partner in the business of amazing
audiences. Cirque du Soleil Events + Experiences is a division of
Cirque du Soleil. Find out more at cirquedusoleil.com/events.
{ SOURCE: Cirque du Soleil }
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ONOD 2019 Raises Over Six Million Dollars
{Apr.27.2019}
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One Drop is thrilled to announce the final results of One Night for
One Drop imagined by Cirque du Soleil presented by MGM Resorts
International and COLGATE. More than $6 million were raised by the
generous support of the foundations partners and donors during the
seventh annual philanthropic event held inside the O Theatre at
Bellagio Resort & Casino on March 8, 2019.
The evening spotlighted an exclusive lineup of six spectacular live
auction items and experiences that raised over $1.35 million, in
addition to funds from ticket sales and donations, totaling more than
$6 million. For the first time ever, this years sold-out event was
featured on CBS Television Network and the one-hour, primetime special
garnered more than two million views, creating further awareness and
advocacy for access to safe water around the globe. All proceeds will
directly support One Drops safe water access initiatives in some of
the worlds most vulnerable communities, as well as educational
efforts throughout the Las Vegas community.
One Night for One Drop imagined by Cirque du Soleil, co-written and
directed by André Kasten and Leah Moyer, mesmerized the 1,800
spectators with an emotional production that included award-winning
film score composer Hans Zimmer, celebrated Las Vegas headliner Blue
Man Group, internationally recognized choreographers Andrew Winghart
and Alexander Ekman, as well as world-renowned creatives Keone and
Mari. The performers, who all generously volunteered their time, took
the audience on an empathetic journey, drawing inspiration from human
connection, friendship, beauty, nature, love and loss, in an aquatic
ambiance.
{ SOURCE: One Night for One Drop }
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R.U.N the first live action thriller by Cirque du Soleil
{Apr.30.2019}
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Desert at dawn. A chapel. A gangland wedding is abruptly interrupted.
A guy is running for his life. What has he done? What is it worth
risking his life for? Follow two clans in this never-ending chase
where a striking Bride leads a series of fast paced, thrill-a-minute
events through the fictional dark undergrounds of Las Vegas. Prepare
to clench your teeth and grip your armrest. 75 minutes of pure live
action. Are you in?
What would happen if a blockbuster Hollywood action movie was combined
with a creative Cirque du Soleil stage production?
Cirque du Soleil Entertainment Group is excited to announce R.U.N a
groundbreaking new show and the entertainment groups first live
action thriller, premiering at Luxor this fall. R.U.N is an
unprecedented entertainment experience, using live action performance,
cutting-edge technology and multimedia to explore the world of stunts.
Audiences will be plunged into a sensory experience where special
effects collide with human performance, pushing viewers to the edge of
their seats. Chapter by chapter, guests will be taken through a
gritty, cinematic story featuring bold, rebellious and fearless
characters. The show will follow two clans in an adrenaline-filled
adventure where a striking bride leads a series of fast-paced chases,
combat and stunts through the fictional dark underground of Las Vegas.
Daniel Lamarre, President and CEO of Cirque du Soleil Entertainment
Group, said, R.U.N is very different from the other shows within the
Cirque du Soleil portfolio. With R.U.N, we will reinvent the concept
of a thriller, drawing inspiration from action movies and graphic
novels. This action-packed live performance happening in front of and
around the audience, will offer a new form of entertainment to a more
diversified Las Vegas guest. We are really excited to bring this
unique and edgy concept to Luxor.
Months in development and still in its larval stages, R.U.N is an
aggressive departure from Cirques proven formula, in Las Vegas and
abroad. This show is Cirques clear attempt to create an action-movie
experience in a live Las Vegas Strip production. Expect characters to
zoom about on motorcycles and hyped-up cars. There are promises of
fistic flourishes, too. There will be people chasing each other.
There will be people literally running around you. There will be
fights, Lamarre says. The difference here is, its a show and not a
movie. Youre not just sitting there, you are part of the action.
The shows title itself is action-driven. The production had been
loosely referred to under the working title Jump, but Lamarres 21-
year-old son, Arthur, saw the word run, and called off the letters,
Are you in? When you see it that way, you feel the possibility of
being part of the action, Lamarre said. That is what we were looking
for.
A MAJOR DEPARTURE
-----------------
R.U.N will be the companys 47th original production and 10th
resident show presented on the Strip, and it marks a major departure
from what audiences have come to expect. There wont be an acrobat in
sight. Although the Montreal-based entertainment company is known for
its aerialists, tumblers, contortionists, divers and the like, Cirque
is proclaiming this show the dawn of a new era. We see it as the
first live action thriller by Cirque du Soleil. If you take the [top]
10 movies today, [likely] nine out of 10 are action. And thats why we
thought there was potential to do a live action show, says Daniel
Lamarre.
The company assembled a team split between Hollywood professionals and
in-house experts to bring this show to life. Film director Robert
Rodriguez (From Dusk til Dawn, Alita: Battle Angel) wrote the
story, and composer Tyler Bates (Guardians of the Galaxy, Atomic
Blonde) wrote the music. Stage director Michael Schwandt, whose work
spans both television and live performance, is directing. Hollywood
stunt experts are helping coordinate the blockbuster elements, while
Cirque du Soleil executives are making sure that R.U.N works as live
theater and wows audiences in the way theyve come to expect from the
companys productions.
We have always wanted to work with people from the stunt industry,
Daniel Lamarre said. There is a similarity between acrobatic acts and
stunts artistry, which is a mix of human performance and technology.
We gave them a mandate to invent a new type of life experience, a
hybrid between Hollywood film and live performances.
Lamarre says Cirque du Soleil has always nurtured its relationship
with Rodriguez. Because of his movie experience he was able to write
a story that will be compelling. And the narrative will be easy for
the audience to [follow], he says. We have brought together a team
that has expertise in stunts, movies and visual effects and the Cirque
du Soleil side has amazing experience in theatrical, sound and live
performance.
You have that group coming from the stunt/movie industry combined
with our Cirque creative and production people that are used to live
[entertainment] and thats why I like this idea, Lamarre said. Movie
people working with live people to deliver an immersive experience.
When you sit in your seat, we want you to forget youre watching
something and feel more like you are a part of something. You will be
surrounded by giant screens and visual effects and a lot of stunts
happening live.
And that experience will start when you walk in the lobby. You will
have the feeling as you put your first foot in the door that you are
moving into a different world, Lamarre says of the theater that was
occupied for 10 years by Cirque du Soleils collaborative production
with illusionist Criss Angel. We are adding screens and we are
surrounding the spectator as much as we can to create this idea being
part of the action. You might see a scene where a portion of it will
be totally live but the background might be movies. When we have
conducted our research about what people were looking for in terms of
new content in Vegas, people wanted to see a show where theyre not
just there as a spectator but they have the feeling that they are a
participant. And thats why immersive is the key word.
Taking inspiration from graphic novels, R.U.N uses live action
performance, technology and multimedia to explore the world of stunts.
Set in the underground of Las Vegas, R.U.N actually features a script
unlike most Cirque shows that centers on a striking bride who
leads a series of fast-paced chases and combat sequences. There will
be around 60 cast members and as of this announcement, 90 percent are
selected. Our casting department has been overwhelmed by how many
stunt people there are so now, its almost like we have opened a new
branch, says Lamarre. And we have conducted workshop for many months
now to make sure that the stunts would remain very credible when they
are live.
COURTING YOUNGER AUDIENCES
--------------------------
Lamarre says he hopes the show will attract younger audiences who are
perhaps more likely to catch the latest Avengers movie than to buy a
ticket for live theater. We are quite spoiled or lucky that we have
been able to maintain a huge volume of tickets on the Strip, Lamarre
says. Im not complacent. We do need to surprise people all the
time. Bringing an energetic action movie to life is part of the
strategy to attract younger audiences.
We looked to our audiences who are seeing Cirque du Soleil shows, and
those who are not seeing Cirque shows there are a few, Lamarre
said, chuckling. We talked to people who are show-goers, and people
who are not and asked, What kind of content can we offer to you? It
was quite compelling in that live action would be a genre to attract
new people, and also a genre that Cirque du Soleil fan would find
interesting. Cirque fans who want acrobatics can find them at any of
the companys other Strip shows. We want to give people something
totally, totally different, Lamarre says. When people see Cirque on
a banner, they expect spectacle.
For Las Vegas audiences whove grown accustomed to Cirques acrobatic
spectacles, Lamarre hopes R.U.N will defy expectations. I would
like you to walk from the theater, shake your head and say, Oh my
god, they got me again.
Although it remains the dominant entertainment force in terms of
ticket sales on the Las Vegas Strip, Cirque recognizes that audiences
are changing and demand is evolving. You have no idea how important
it is for us to go in a new direction, Lamarre says. Were hoping to
attract a younger crowd. And as soon as you see the visual of this
show, you will get it in a heartbeat.
An innovative and distinctive show that will push the limits of a live
entertainment experience, R.U.N is the 10th partnership between Cirque
du Soleil and MGM Resorts International.
Throughout MGM Resorts more than 25-year relationship with the
creative geniuses at Cirque du Soleil, we have watched them deliver
spectacle after spectacle, wowing guests from around the world and
giving them new reasons to visit, said George Kliavkoff, MGM Resorts
President of Entertainment & Sports. This fall, the launch of R.U.N
at Luxor, a show that represents a complete departure from anything
Cirque du Soleil has created before, will mark a new and exciting
phase of this very successful partnership.
This is the first of many new and exciting stories coming out of the
Luxor, but this is the biggest and were really excited about it,
said new Luxor President and COO Cliff Atkinson. Its going to be a
significant show and its really going to change not only MGM Resorts
entertainment offerings, but were also really excited for Cirque to
be able to present this departure from what its done in the past.
Despite all the Montreal-based company has achieved in Las Vegas and
its near-synonymous relationship with Strip entertainment, Lamarre
said the creation of an original show remains a challenging, exciting
and nerve-wracking endeavor. You have no idea of the anxiety, he
said. And its healthy. Because if we say, Were Cirque du Soleil
and so people will come, it wouldnt work. That would be the
beginning of the end. Were just totally blind right now, diving in
and hoping for the best. We are not stupid either, we have experience
and we have great people and I think we are mitigating our risk by
doing our homework. But you never know in live entertainment how
people are going to react and thats the excitement of working in the
entertainment business in this city in particular.
R.U.N will begin performances on October 24, 2019 and play in the
R.U.N Theater at Luxor Hotel and Casino 10 performances a week,
Wednesday through Sunday at 7 p.m. and 9:30 p.m. Tickets are on sale
now and start at $69 plus tax and applicable fees. Tickets can be
purchased by visiting RUNLASVEGAS.com, by calling (702) 352-0221, or
(855) 706-5433 as of May 1, or in-person at the R.U.N Theater box
office.
{ SOURCES: Cirque du Soleil, Las Vegas Sun, Las Vegas Review Journal,
Hollywood Reporter, and San Francisco Chronicle }
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Cirque du Soleil to Perform VITORI (Victory) in MALTA
{Apr.30.2019}
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Cirque du Soleil will be performing Victory, a show especially
created and exclusively performed in Malta
Cirque du Soleil will be performing 28 shows over six consecutive
weeks, starting from the 27 November, through till the 20 of December
in Malta, the Malta Tourism Authority has announced.
Speaking at a press conference, at the Mediterranean Conference Centre
on Tuesday, MTA Chairman Gavin Gulia said Cirque du Soleil would be
performing shows daily from Tuesday to Sunday, with two shows per day
on the weekends.
We are honoured that Cirque du Soleil is coming to Malta, and hope
that it will go a long way in enhancing the reputation of the Maltese
islands, but also the MTA in the production and importation of events.
The MTA has focused heavily on events, and hopes to see Cirque du
Soleil become one of its foremost flagships, Gulia said. He added
that the MTA hoped that the brand would bring more visibility to
Malta.
Tourism Minister Konrad Mizzi said that it had been a milestone of the
ministry to contract Cirque du Soleil to perform in Malta. We felt
that there was a gap in the market and that it would be well received
by not only the Maltese but tourists alike. Hoteliers have already
experienced their excitement that Cirque du Soleil will be performing
during the later part of the year.
Mizzi said, said that the show, which has been specially created for
Malta entitled Victory will be centred around a chess team. We have
secured a contract with Cirque du Soleil that will ensure, a new show
is performed exclusively in Malta for the duration of our three-year
contract with the brand.
The entertainment groups vice-president, Daniel Lamarre said that
they were proud to bring Cirque du Soleil to Malta for the very first
time, in Cirque du Soleil history. The performance is created
exclusively for Malta, with the 60 minutes production being the first
of the three-year agreement, which will be presented right here at the
MCC, Lamarre said.
{ SOURCE: Malta Today }
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Criss Angel fires a shot at Cirque as R.U.N is announced
{May.01.2019}
----------------------------------------------------------
Criss Angel has thrown a fireball at Cirque du Soleil, and the
companys new production R.U.N.
On Tuesday, the day Cirque announced its new, immersive, action-movie-
fashioned stage show at Luxor, Angel posted the social-media message,
Sorry, @Cirque its already been done with a kissy-face emoji and
the #CrissAngel #Mindfreak @PHVegas #immersive tags.
The posts was highlighted by three photos of Angels latest show at
Planet Hollywood, Criss Angel Mindfreak, two of which show fiery
scenes. One of those shots shows Angel in Human Torch mode, posing
amid plumes of pyro.
A Cirque spokeswoman had no comment when asked about the post. Neither
Angel or his PR agency, Kirvin Doak Communications, have responded to
text for comment. KDC is in the precarious position of simultaneously
representing Cirque, Angel and one of Angels production partners at
Planet Hollywood, Base Entertainment.
Officials with Caesars Entertainment, which owns Planet Hollywood, did
not respond when asked if Angel was posting with the companys
consent, or was speaking independently.
With this post, Angel might well have touched off an early rivalry
between his thundering show and Cirques new thrill-seeking
production. Angel, who has called his Planet Hollywood show the most
technologically advanced live-entertainment production on the planet,
was a Cirque headliner for a decade at Luxor. His second show,
Mindfeak Live, closed in October. R.U.N is the replacement and
opens Oct. 24.
On April 19, Angel announced he was cutting the 9:30 p.m. shows from
his schedule at Planet Hollywood so he could reduce the wear and tear
on his left shoulder. He plans to undergo rotator cuff surgery in
March. Angel also reported his show will run through 2024.
Meantime, R.U.N is to play out in a fully scripted, blockbuster-
style format of chase scenes through Las Vegas and hand-to-hand-
combat. Its very logo indicates the productions action-adventure
intent, with blood dripping from the show title.
The new show also is a dramatic departure from Angels magic-centered,
star-fronted, format. As Cirque President and Chief Executive Officer
Daniel Lamarre said Monday morning, Having a star is not part of the
plan. As with most of our shows, the show is the star.
{ SOURCE: Las Vegas Review-Journal }
----------------------------------------------------------
Cirque Rates #1 in Canadian Reputation Study
{May.02.2019}
----------------------------------------------------------
Entertainment company Cirque du Soleil outperformed all other Canadian
companies to earn the number one ranking in the fifth annual 2019
Canada RepTrak 50, the largest corporate reputation study ever
conducted in Canada, Reputation Institute announced today. Mountain
Equipment Co-op (MEC), which ranked number one for two consecutive
years, fell to the number two spot. Cascades and Canadian Tire are the
only two companies that maintained a rank in the top 10. Jamiesons
six point increase translates into an eight point rank jump, moving
from 11th to 3rd most-reputable Canadian company in 2019.
Cirque du Soleil built its reputational safety net by delivering an
outstanding performance across all of the key business areas of
reputation, said Stephen Hahn-Griffiths, chief reputation officer at
Reputation Institute. The company stands alone as being excellent
when it comes to mastering the reputation balancing act.
The study by Reputation Institute, a technology-enabled, data-driven
insights company and provider of reputation measurement and management
services, was conducted last January and February. It measured the
reputation of more than 400 of the largest and most visible companies
in Canada and captured nearly 41,000 individual ratings. Once
measurement filters were applied, 209 companies were eligible for
inclusion within the 2019 Canada RepTrak 50.
The top 10 Canadian companies in the 2019 Canada RepTrak 50 are:
01. Cirque du Soleil
02. Mountain Equipment Co-op
03. Jamieson Vitamins
04. Cascades
05. Home Hardware
06. Interac
07. Canadian Automobile Association
08. IMAX Corporation
09. Canadian Tire
10. Metro Inc.
Major strategic business factors underscored the significant increase
in reputation for Canadian companies vs. non-Canadian companies that
operate in the country. These factors included the practice of good
governance, the workplace, being perceived as a good corporate
citizen, and elevation of leadership as being vital to the overall
reputation increase of Canadian companies. The highest improvement
came in the area of innovation.
In 2019, innovation has emerged as a significant reputational
differentiator for Canadian companies, said Hahn-Griffiths. They are
on the verge of unleashing their enhanced innovative capabilities and
breaking into the top 20 Bloomberg Innovation Index for the first time
since 2015. By continuing to push the innovation envelope, Canadian
companies are raising their game and becoming more competitive with
foreign companies.
About Reputation Institute Reputation Institute (Ri) helps leaders
at the worlds largest companies build credibility with the people
that matter most to them by delivering data-driven insights about how
they are truly perceived. We do this with RepTrak®, an unrivaled
technology that provides actionable insights across industry,
competitor, and company analysis. Past and present clients have
included Whirlpool, Barnes & Noble, JP Morgan Chase & Co., LEGO, P&G,
Cisco, and Telefonica, among many others. For more information, please
visit www.reputationinstitute.com
{ SOURCE: Business Wire }
----------------------------------------------------------
Lamarre: Acrobats still part of the act; MJ One to stay
{May.08.2019}
----------------------------------------------------------
Daniel Lamarre is not ready to pink-slip the clowns and acrobats in
Cirque du Soleil.
I think the challenge for us is each show has to be distinctive, to
have new ideas to apply to acrobatics, Cirques CEO and president said
this past week in an interview in the companys Las Vegas headquarters.
Were not saying no, forever. But now, our clientele looking for
acrobatic shows is very well served.
Lamarres company has just announced R.U.N, a show it stresses does
not not feature the acrobats and clowns that made the company famous.
The company is expanding beyond the gymnasts and aerial and aquatic
artists bounding around its other six shows on the Strip. Opening Oct.
24, R.U.N is presented as a kind of Fast & Furious action-adventure
film set for the stage.
The companys energy is behind that new show, the first Cirque show to
open on the Strip since Michael Jackson One launched in 2013. Lamarre
spoke of the Cirque universe beyond the new show. Some highlights, and
note Lamarres repeated use of machine in describing the company:
Cirque never considered reassessing its staging of MJ One: Lamarre
answered, No, no, when asked if the explosive HBO documentary Leaving
Neverland had initiated discussion of pulling the Jackson tribute show
from Mandalay Bay. Lamarre reiterated that Cirque is not involved in the
Jackson estates litigation against HBO. He added, The good news there
is that were still selling very, very well, and its almost as if there
is a movement right now from the Michaels fan to really support everything
he does
including MJ One.
Other production shows cant match the Cirque marketing machine: Look no
further than Fuerza Bruta, which flamed out after five weeks at a
reinforced tent at Excalibur. We are still in a unique position in Las
Vegas, and we saw it recently when Fuerza Bruta came in and they had to
shut it down after a few weeks because they didnt have the machine, the
marketing machine, that we have, Lamarre said. Before you buy ticket to
so a show other than a Cirque du Soleil show
you will have to struggle,
because I have so many shows to offer to you. I know a lot of people who
have come here and seen two shows, three shows, with Cirque du Soleil and
they dont get bored. That dominant situation were in has allowed us to
maintain the level of ticket sales to succeed.
Cirque is opting for dynamic pricing in its ticket strategy: The 40
percent off for Love or 2-for-1 deals for Zumanity are results of
demand for tickets across all Cirque shows. We did not have this until
after 2012, when we found it was a little bit more difficult for us in
this city, Lamarre said. But now we have dynamic pricing, a little
bit like an airline company, where we can play with our ticket pricing
depending on what day of the week, and the occupancy level and all of
that.
We have been able to keep about the same level and even a little
bit more ticket sales overall as weve done this. The shows are much more
stable than people like to think.
Under Cirque, Blue Man Group is an international production: Blue Man
Group has been U.S.-centric, North American-centric, and Cirque 450
cities around the world, and has a distribution machine that is totally
unique, Lamarre said. Nobody in the world tours at that scale. So when
you do an acquisition like Blue Man Group, you can tour that show in 450
cities as well.
Mystere has been extended at T.I. Weve renewed the contract for an
additional five years, and if I believe (hotel owner) Phil Ruffin, and I
do, the show is there forever, Lamarre said. It has been there for 25
years. It is the granddaddy.
Will Cirque du Soleil remain the Strips predominant production company
in five years? Totally, and I would hope that we would be growing,
Lamarre said. This one is a major test for us because if R.U.N can
achieve what we think it will achieve, then it will bring another growth
pattern for Cirque du Soleil.
As for anyone who wants to partner with the company in future acquisitions,
Lamarre said, Were still in the lookout, always
yep, because the
business model we have developed is working and now it has intrigued
interest from people. Now, people are calling us.
{ SOURCE: The Las Vegas Review-Journal }
***************************************************************
Q&A -- Quick Chats & Press Interviews
***************************************************************
----------------------------------------------------------
BWW Interview: Lauren Herley & Jennifer Lecuyer of BAZZAR
{May.02.2019}
----------------------------------------------------------
BroadwayWorld checked in with BAZZARs leading lady, Floating Woman
portrayed by Lauren Herley, and the Artistic Director of the show,
Jennifer Luceyer:
Q. Welcome to Doha, how do you like it?
Lauren: I have had a nice time. We had some time off when the tent was
getting a set up and getting transferred from Oman to here. I found
some nice discoveries in the Pearl, there are lovely studios here and
I did some teaching and training there. It was very nice. I find the
food here very good.
Jennifer: I didnt have as much time as Lauren did. Things go
extremely fast in tours so we dont really get to see much but we did
a media shoot with some of our talented dancers and acrobats in the
shows. We visited amazing museums.
L: I visited the Museum of Islamic Art.
J: And I visited the one that has sand sculptures which is shaped
naturally.
L: And there is also Qatar Museum.
J: Beautiful architecture, they were all amazing.
Q. Before we move into questions about production, would you like to
tell us about yourself? How you started your career, how did you
start with working in Cirque du Soleil and everything else?
L: For me, I started my ballet classes when I was six years old and
from there I transitioned to competitive artistic gymnastics but
continued bar trainings in ballet. Until the age of seventeen, I was
focused on those. Then, I transitioned to circus. I moved to San
Francisco and Montreal. I graduated from a school there; school of
artist for circus. Immediately after that I started touring
internationally.
J: I am coming from a figure-skating background and moved to the
dancing. From dance I moved to aerial arts and started working as
aerial dancer. As an artist, you have to keep planning on your next
steps so in the last few years I was taking a step back from the stage
and signing contracts for aerial directing. From one contract to
another; I ended up with the Bazzar with incredible artists and
technicians.
Q. Great story! Speaking of Bazzar, it was premiered on 14th of
November, 2018 in Mumbai, India as the first Cirque du Soleil show
in India. If we will rewind back to your memories of the date; how
was your experience?
L: Its so funny that I was thinking about it today because I shared a
picture and expressed how butterflies were fluttering, so many
butterflies. I did a lot of international premiers in my career but
Bazzar was highly special. We were taking something back to its roots;
we were going back its very source which the show was created of
including being in a country Cirque du Soleil has never been. I took a
lot of element of courage for the team. It was so special and gave me
a lot of nerves but only the good ones. It was emotional and awesome.
J: The crowd there too
Every single night was full, full, full. The
reaction as well was so loud and sincere. We had such great audiences,
so I believe that the audience was fed by watching the show and
artists on the stage was fed in return by their reactions. It was a
beautiful experience.
Q. We wish to ask Lauren a bit of her character who is childlike, pure
and a little bit of curiosity added into the mix; how do you find
yourself in her?
L: I think sometimes you get cast for a role if the directors say that
shell be able to tap into this character or sometimes they see
elements of the character which you have already. I think I got the
part because both of these reasons; because I really have to tap into
this floating woman character and have to leave me ego aside. As I
tapped into her world, I fell in love and got to rediscover her every
night. Also, Jennifer as our artistic director; gives me fresh and
awoke moments that I dont realize which are sincere, strong and
beautiful. She tells me; oh this will work! Which makes me realize I
can go further in that direction. Actually my director gave a note to
me about floating woman describing her as a sensual doll. Doll part is
covered by the make-up design for her which is kind of childlike but
on the other hand, she wants to be sensual which requires to be
grounded and knowing her capabilities as a woman. In the meantime,
having a heart of a kid and trusting in people and things by allowing
her body to be swept away by the power and emotion.
J: I feel that Lauren has done a continuous research for the character
by adding details and trying new things all the time which allowed
character to grow so much and have many facades including having a big
contribution to the performance.
Q. Amazing. Actually this brings me to my other question and this one
is for you Jennifer; it is abundantly clear that Cirque du Soleil
has a slightly different type of performance understanding than
which we know as a stage performance such as theater or musical.
Considering the difference of the experience as well what do you
think is your artistic perspective of the show?
J: It is important to keep the directors visions all the time. During
the process of the creation, you cannot answer all the questions about
the show. It has to live in time and space so we can figure out the
past and answer the questions. My job is to remember the words of our
show director and be honest of what show has to say. I am not putting
my vision in it but looking at the bigger picture to see what works
best for the show, for the seed, the center of the show. After that I
feel more confident of bringing ideas forward. It is not about what I
think but what serves the best. Then we have discussions with the
artists such as yes, I saw it but it made me think of another thing,
lets try that. During the time I try to be completely honest; my
suggestion doesnt have to be the best option all the time, of course.
Thats why we have our long discussions which makes us grow into it.
Q. Great ambiance to work in. Well proceed with very common question;
what is your favorite character and scene of the show?
L: Thats hard! It is impossible to select one character from the show
because they all add up to create Bazzar as what it is. I cant say
any of the characters but there are some of my favorite moments from
the show are my interactions and eye contacts I get to make for a
moment as I pop out of the box. I get to make eye contact with other
characters and it takes me to the point of here and now. It gets me to
a point where I can actually play with my team. It is not just some
choreography but I feel the oh, yes! These are some of the moments
that I really connect with somebody and it becomes a real play on the
stage rather than directions of stand there, look there.
Q. And what about yours?
J: I cannot select any of the characters but guess that I appreciate
the parts grown with a lot of details. There are quite a few of those
moments in the show and keep adding a new one everyday even just
yesterday, Lauren and I were discussing of a transition and we found
what was going to work so well. As a specific example of a moment with
layers of details; in the act we have a scene with one of our
musicians and he is really interacting with main characters. At first
he was just present without theatrical attributes. Then we developed
him with our main character, Maestro who is portrayed by Steven. It
turned out to be a big part of the show. Now to think of it if we
hadnt had him; it wouldnt work. We would make it work but it
wouldnt be the same as it is now. We would miss the affection. There
are many moments like that in the show with various characters. Some
of the dancers have taken over and developed the roles and if they
wouldnt, we would have missed those moments.
L: Also it is part of Jennifers job. She has a great instinct as an
artistic director and she sees those fine details that often cause
huge difference over time, on the quality of the show. These are the
things that the audience will never know that we spent hours on but
thats makes them have the wow effect and moved by the show.
Q. So true, details are the heart of the show.
L: Details.
J: Details!
Q. What do you think the audience should expect from the show? What
should they be discovering about the themselves and the show?
L: We should keep some secrets! They should come for an experience for
themselves, of course. On the other hand, what is special about Bazzar
is we are high energized individuals. We go something important to
say, each and every one of us and making sure the audience can feel
that until the very end. The audience should expect to be swept away.
Q. Only leaving the prospective audience with more curiosity!
Considering that you have been to Mumbai, Delhi, Abu Dhabi, Muscat
and Doha; where do you think the show will take you next?
L: Oh la la!
J: Where are we going? Well, we know that our next city is Beirut. We
are staying in the Mediterranean region. We have our eyes on Turkey as
well. The goal of Bazzar is to bring the Cirque du Soleil to bring the
circus to the places where they have never been. If you heard of a
country where the Cirque du Soleil been before, chances are you wont
be seen us there! We are breaking boundaries and going in to uncharted
territories for the Cirque du Soleil to make people discover the
beauty of the circus. Thats one of the reasons why this is such an
exciting tour. Well be able to be in countries which we have never
been as well and we have such an eclectic group of people. We are a
beautiful family going into new places.
Q. Do you have anything to add for our lovely readers?
J: Keep an open mind and just join our adventure; this is a very
family friendly show ad everybody is welcomed in our tent. As I
mentioned; this is a multicultural group of people and everyone is
welcomed. They will love it here.
L: We like it full, having to share it a tent full of people.
J: Yes!
L: As in Abu Dhabi, it was full every night and people let themselves
to fulfill the experience the most. We engaged with the eye contacts
and everything. The more, the better.
J: We have seven more opportunities to enjoy the experience together.
We are so ready to welcome them.
Q. Ill make sure everyone I know to see this show.
J: Thank you!
{ SOURCE: Broadway World }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia, Totem & Volta}
o) ARENA - In Stadium-like venues
{TORUK, OVO, Séptimo Día, Crystal & Corteo}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE & JOYA}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Alegría-25th Anniversary:
Montreal, QC -- Apr 18, 2019 to Jul 21, 2019
Gatineau, QC -- Jul 31, 2019 to Sep 1, 2019
Toronto, ON -- Sep 12, 2019 to Dec 1, 2019
Miami, FL -- Dec 21, 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:
Phoenix, AZ -- Mar 15, 2019 to Apr 14, 2019
Los Angeles, CA -- Apr 25, 2019 to May 26, 2019
Livingston, NJ -- Jun 12, 2019 to Jul 14, 2019
Oaks, PA -- Jul 24, 2019 to Aug 25, 2019
Winnipeg, MB -- Sep 14, 2019 to Oct 20, 2019
Bazzar:
Beirut, LB -- TBA
Koozå:
Valencia, ES -- May 30, 2019 to Jul 7, 2019
Gijon, ES -- Jul 31, 2019 to Aug 18, 2019
Malaga, ES -- Sep 13, 2019 to Sep 29, 2019
Madrid, ES -- Oct 24, 2019 to Nov 24, 2019
Kurios:
Sendai, JP -- Apr 19, 2019 to May 29, 2019
Singapore, SG -- Jul 5, 2019 to Jul 21, 2019
Sydney, AU -- Oct 2, 2019 to Oct 27, 2019
Brisbane, AU -- Jan 10, 2020 to Jan 26, 2020
Melbourne, AU -- Mar 12, 2020 to Mar 29, 2020
Adelaide, AU -- TBA
Perth, AU -- TBA
Luzia:
New York City, NY -- May 3, 2019 to Jun 9, 2019
Hartford, CT -- Jun 19, 2019 to Jul 21, 2019
Calgary, AB -- Aug 16, 2019 to Sep 22, 2019
Vancouver, BC -- Oct 3, 2019 to Nov 24, 2019
London, UK -- Jan 12, 2020 to Feb 16, 2020
Totem:
Geneva, CH -- May 9, 2019 to Jun 16, 2019
Gran Canaria, ES -- Jul 5, 2019 to Sep 22, 2019
The Hague, NL -- Oct 11, 2019 to Nov 10, 2019
Düsseldorf, DE -- Dec 19, 2019 to Jan 19, 2020
Munich, DE -- Feb 12, 2020 to Mar 8, 2020
VOLTA:
Chicago, IL -- May 18, 2019 to Jul 6, 2019
Washington, DC -- Jul 26, 2019 to Sep 8, 2019
Atlanta, GA -- Oct 10, 2019 to Jan 5, 2020
Los Angeles, CA -- Jan 17, 2020 to Mar 8, 2020
Costa Mesa, CA -- Mar 18, 2020 - Apr 19, 2020
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
TORUK - The First Flight:
St. Petersburg, RU -- May 8, 2019 to May 12, 2019
Helsinki, FI -- May 15, 2019 to May 19, 2019
Vilnius, LT -- May 22, 2019 to May 26, 2019
Prague, CZ -- May 29, 2018 to Jun 2, 2019
Munich, DE -- Jun 5, 2019 to Jun 9, 2019
Zurich, CH -- Jun 12, 2019 to Jun 16, 2019
Manchester, UK -- Jun 20, 2019 to Jun 23, 2019
London, UK -- Jun 26, 2019 to Jun 30, 2019
OVO:
São Paulo, BR -- Apr 19, 2019 to May 12, 2019
Asuncion, PY -- May 31, 2019 to Jun 8, 2019
Buenos Aires, AR -- Jun 15, 2019 to Jun 30, 2019
Cordoba, AR -- Jul 18, 2019 to Jul 28, 2019
Santiago, CL -- Aug 23, 2019 to Sep 1, 2019
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Peoria, IL -- May 8, 2019 to May 12, 2019
Grand Rapids, MI -- May 15, 2019 to May 19, 2019
Saginaw, MI -- May 22, 2019 to May 26, 2019
Frisco, TX -- Jun 13, 2019 to Jun 16, 2019
Philadelphia, PA -- Jun 20, 2019 to Jun 23, 2019
Allentown, PA -- Jun 26, 2019 to Jun 30, 2019
Kingston, ON -- Jul 3, 2019 to Jul 7, 2019
Erie, PA -- Jul 10, 2019 to Jul 14, 2019
Charlotte, NC -- Jul 17, 2019 to Jul 21,2019
Indianapolis, IN -- Jul 24, 2019 to Jul 28, 2019
Manchester, NH -- Aug 1, 2019 to Aug 4, 2019
Portland, ME -- Aug 7, 2019 to Aug 11, 2019
Moncton, NB -- Aug 14, 2019 to Aug 18, 2019
Saint John, NB -- Aug 21, 2019 to Aug 25, 2019
Halifax, NS -- Aug 28, 2019 to Sep 1, 2019
Moscow, RU -- Nov 22, 2019 to Dec 8, 2019
Saint Petersburg, RU -- Dec 11, 2019 to Dec 15, 2019
Kazan, RU -- Dec 19, 2019 to Dec 22, 2019
Riga, LV -- Jan 15, 2020 to Jan 19, 2020
CORTEO:
Cedar Rapids, IA -- May 1, 2019 to May 5, 2019
Dayton, OH -- May 8, 2019 to May 12, 2019
Windsor, ON -- May 15, 2019 to May 19, 2019
Hamilton, ON -- May 22, 2019 to May 26, 2019
London, ON -- Jun 13, 2019 to Jun 16, 2019
Boston, MA -- Jun 19, 2019 to Jun 30, 2019
Baltimore, MD -- Jul 3, 2019 to Jul 7, 2019
Columbia, SC -- Jul 10, 2019 to Jul 14, 2019
Estero, FL -- Jul 17, 2019 to Jul 21, 2019
Sunrise, FL -- Jul 24, 2019 to Aug 4, 2019
San Antonio, TX -- Aug 8, 2019 to Aug 11, 2019
Denver, CO -- Aug 15, 2019 to Aug 22, 2019
Hershey, PA -- Aug 28, 2019 to Sep 1, 2019
Turin, IT -- Sep 26, 2019 to Sep 29, 2019
Milan, IT -- Oct 3, 2019 to Oct 6, 2019
Bologna, IT -- Oct 10, 2019 to Oct 13, 2019
Pesario, IT -- Oct 17, 2019 to Oct 20, 2019
Leipzig, DE -- Oct 23, 2019 to Oct 27, 2019
Frankfurt, DE -- Oct 30, 2019 to Nov 3, 2019
Nuremberg, DE -- Nov 6, 2019 to Nov 10, 2019
Graz, AT -- Nov 13, 2019 to Nov 17, 2019
Brussels, BE -- Nov 21, 2019 to Nov 24, 2019
Paris, FR -- Dec 12, 2019 to Dec 15, 2019
Stuttgart, DE -- Dec 18, 2019 to Dec 22, 2019
Mannheim, DE -- Dec 25, 2019 to Dec 29, 2019
Granada, ES -- Jan 15, 2020 to Jan 19, 2020
Zargoza, ES -- Jan 22, 2020 to Jan 26, 2020
Vitoria-Gasteiz, ES -- Jan 29, 2020 to Feb 2, 2020
Santiago de Compostela, ES -- Feb 5, 2020 to Feb 9, 2020
Seville, ES -- Feb 12, 2020 to Feb 16, 2020
Antwerp, BE -- Mar 13, 2020 to Mar 22, 2020
Messi10:
Barcelona, ES -- Oct 10, 2019 to Nov 10, 2019
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
*) Single Show Dates | 7:00 p.m. Only
o) Friday, May 31, 2019
o) Sunday, June 9, 2019
o) Friday, June 14, 2019
o) Sunday, June 23, 2019
*) 2019 Dark Dates:
o) May 18 thru 22, 2019
o) August 20 thru 21, 2019
o) September 21 thru 25, 2019
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 9:30pm
*) Single Show Dates | 7:00 pm Only
o) Tuesday, May 21, 2019
o) Tuesday, Jun 25, 2019
o) Tuesday, Nov 5, 2019
*) 2019 Dark Dates:
o) 9:30 PM Performance of May 22
o) 9:30 PM Performance of June 26
o) 9:30 PM Performance of November 7
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Friday through Tuesday, Dark Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Thursday through Monday - Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
PARAMOUR:
Location: Stage Theater New Flora | Hamburg, Germany
Performs: One/Two Shows Nightly...
o) Monday: Dark
o) Tuesday: 6:30pm
o) Wednesday: 6:30pm
o) Thursday: 8:00pm
o) Friday: 8:00pm
o) Saturday: 3:30pm & 8:00pm
o) Sunday: 2:30pm & 7:00pm
R.U.N:
Location: Luxor Las Vegas (USA)
Performs: Wednesday through Sunday - Dark: Monday/Tuesday
Two Shows Nightly - 7:00pm and 9:30pm
SHOWS BEGIN OCTOBER 24, 2019
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) WEBSERIES -- Official Online Featurettes
o) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
WEBSERIES: Official Online Featurettes
---------------------------------------------------
*) FINDING HOME
Ever wonder what our artists from VOLTA, LUZIA and Amaluna dream
about having in a home? In this exclusive series in which we
partnered up with realtor.com, each episode depicts the concept
of home for our touring artists, who share moments of bliss with
their brothers and sisters across their Cirque du Soleil journey.
The series makes parallels with Cirque du Soleil shows, acts and
artists from VOLTA, Amaluna and LUZIA and to the attributes of
home by Realtor.com.
o) EPISODE 2: "Nelson's Story" {Apr.09}
Nelson Smyles, acrobat on LUZIA, loves to jump around.
Discover why he dreams of having a big swimming pool in
this episode of Finding Home
LINK /// https://www.youtube.com/watch?v=021D0qTWMTM
o) EPISODE 3: "Amanda's Story" {Apr.15}
Amanda Zidow, cellist, singer and character on Amaluna,
grew up in a house filled with music. Learn more about
what home means to Amanda in this last episode of Finding
Home, in partnership with realtor.com.
*) WE ARE VOLTA (YOUTUBE)
What is life on tour like? The most random object you travel with?
What do you miss most about a normal lifestyle? Find out what our
VOLTA artists reveal in this new web series, We Are VOLTA.
o) EPISODE 2: "What's Unique About it?" {Apr.06}
LINK /// https://www.youtube.com/watch?v=_w8qfQJaQA4
o) EPISODE 3: "How Did You Join the Circus?" {Apr.13}
LINK /// https://www.youtube.com/watch?v=J-Glwh2n2I4
o) EPISODE 4: "How do the Artists Fuel Up?" {Apr.19}
LINK /// https://www.youtube.com/watch?v=S3F-KgUwmVU
o) EPISODE 5: "How do you find Inspiration?" {Apr.27}
LINK /// https://www.youtube.com/watch?v=a0JzKs6Z7P4
o) EPISODE 6: "Why do you Love your CIRCUS job?" {May.04}
LINK /// https://www.youtube.com/watch?v=n8Gd4TMyr0w
*) PASCAL SIOUI'S ALEGRIA BEHIND THE SCENES VIDEOS
Like he did with VOLTA, through his Facebook and Instagram pages,
Pascal is posting videos that he shot during the creation of the
new Alegria.
o) VIDEO 1: A Teaser
LINK /// https://www.facebook.com/Psioui/videos/10157697394799305/
o) VIDEO 2: Installation of the bed in the Powertrack at Scène Ethique
LINK /// https://www.facebook.com/Psioui/videos/10157704831979305/
o) VIDEO 3: Commissionning of the Turntables and Powertracks
LINK /// https://www.facebook.com/Psioui/videos/10157710399969305/
o) VIDEO 4: Final week at Scène Ethique: Turntable & Powertrack Testing
LINK /// https://www.facebook.com/Psioui/videos/10157716177029305/
o) VIDEO 5: First Week at the CDS Studio
LINK /// https://www.facebook.com/Psioui/videos/10157722250734305/
o) VIDEO 6: Setting up the Masts, Cuopla, and Stage at IHQ
LINK /// https://www.facebook.com/Psioui/videos/10157735820764305/
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
o) Full Drone Tour of KA Theater!
LINK /// https://www.youtube.com/watch?v=iCoJtPbXP98
o) The Transformation of Alegria's Unforgettable Costumes
LINK /// https://www.youtube.com/watch?v=H4C0Icoc4Gg
o) Get to Know the New Artists of Alegria
LINK /// https://www.youtube.com/watch?v=HHv2HpWY7wo
o) Creating the New Alegria Stage
LINK /// https://www.youtube.com/watch?v=s-Zpu1dTgvY
o) Alegria Acts Revealed - a Sneak Peek
LINK /// https://www.youtube.com/watch?v=lxinzpI8F3A
o) World Premiere of the Alegria Red Carpet in Montreal
LINK /// https://www.youtube.com/watch?v=STInXCB2LKo
o) Alegria Fan Video Mashup
LINK /// https://www.youtube.com/watch?v=6J2n7bPabuM
o) Kurios Music Video: "Fearsome Flight"
LINK /// https://www.youtube.com/watch?v=enfGx7IC2Ys
o) Mystère's Performance at the Vegas Golden Knights Game
LINK /// https://www.youtube.com/watch?v=qKv5JJ_-Ksc
o) Another ABC's of Cirque du Soleil
LINK /// https://www.youtube.com/watch?v=UiFicdc5tKA
o) BMX Legend Mat Hoffman #CirqueWay For a Day on the VOLTA Stage
LINK /// https://www.youtube.com/watch?v=s1E7DX79f8s
o) Amaluna Music & Lyrics | "Elma Om Mi Lize"
LINK /// https://www.youtube.com/watch?v=J6SbR03MWOM
o) VOLTA Music & Lyrics Video | "Elevation"
LINK /// https://www.youtube.com/watch?v=4zfExknxPCk
o) What Does Leo Messi Mean to You?
LINK /// https://www.youtube.com/watch?v=uHa7_pCwhJ0
o) ¿Qué significa Leo Messi para ti?
LINK /// https://www.youtube.com/watch?v=httu8UP36VM
o) HAND BALANCING on CANES | What's it like for this JOYA artist?
LINK /// https://www.youtube.com/watch?v=5t9ICsPDGIg
o) KA Music & Lyrics Video | "Threat"
LINK /// https://www.youtube.com/watch?v=Rv2SIKDbpiM
o) A special performance on the latest episode of Arabs Got Talent!
LINK /// https://www.facebook.com/arabsgottalent/videos/822546038117214/
o) CORTEO: Johan Juslin and Alexandr Yudintsev Backstage Tricks
LINK /// https://www.facebook.com/Corteo/videos/2901678646516564/
o) CRYSTAL: Meet Emily
LINK /// https://www.facebook.com/CrystalbyCirqueduSoleil/videos/315629582413011/
o) OVO: Meet Our Singer, Larissa Finocchiaro
LINK /// https://www.facebook.com/OVO/videos/576798136153803/
o) AMALUNA: Meet the Performance Medicine Team
LINK /// https://www.facebook.com/Amaluna/videos/299481044082147/
o) AMALUNA: Meet the Clowns!
LINK /// https://www.facebook.com/Amaluna/videos/1739359539499064/
o) AMALUNA: Meet the Stage Managers
LINK /// https://www.facebook.com/Amaluna/videos/1125782707582791/
o) AMALUNA: Meet the Sales & Customer Experience Team
LINK /// https://www.facebook.com/Amaluna/videos/2376353775934630/
o) TOTEM: Introducing our new Backup Act. Straps!
LINK /// https://www.facebook.com/Totem/videos/351068308853860/
o) PARAMOUR: Opening Night in Germany
LINK /// https://www.facebook.com/paramourthemusical/videos/1108588229265379/
LINK /// https://www.facebook.com/paramourthemusical/videos/845730495761449/
o) LUZIA: Live from the New York City Premiere!
LINK /// https://www.facebook.com/LUZIAbyCirqueduSoleil/videos/458035621405624/
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "ALEGRIA: The Return of an Icon... in a New Light"
Texts from the Press Kit
o) SPECIAL /// "Alegria Returns in Force" - A Collection of
Articles Celebrating Alegria's Premiere
o) Jean David's Quel Cirque, Part 5 of 12: "Persuasion"
A Special Series Celebrating Cirque's 35th Anniversary
------------------------------------------------------------
"ALEGRIA: The Return of an Icon, in a New Light"
Texts from the Press Kit
------------------------------------------------------------
Beloved by fans around the world, Alegría returns to the Big Top to
share its timeless story of resilience and hope. As one of Cirque's
most iconic productions, Alegría not only helped define the companys
signature style, it also paved the way for its worldwide expansion.
Under the Big Top or in its arena configuration, Alegría was presented
in 255 cities and seen by more than 14 million spectators worldwide
over the course of its 19-year run, until its farewell tour in 2013.
The shows theme song, which was nominated for a Grammy Award in 1995,
continues to be a fan favorite. With its signature songs, acrobatics
and memorable characters that have helped define the Cirque du Soleil
aesthetic, Alegría is the reincarnation of a classic, reinterpreted
for the age, and rekindled to inspire fansold and new alike.
THE SCENIC ENVIRONMENT
----------------------
The Alegría set is an evocation of the architecture of power, both
past and present. It is inspired by handcrafted artistry and
goldsmithing on a grand scale within a contemporary environment.
The stage is spread out on three levels. The highest level is a portal
between the closed world of the monarchy and the outside world. The
middle level symbolizes the royal court, while the lower level
represents the street where ordinary folk move about and where
encounters between the old aristocracy and the people. Lighting is all
about contrast, and this is especially true of Alegría, which is based
on the idea of duality and the counterpoint between light and shadow.
The lighting goes from more traditional to more contemporary, with the
use of mobile mirrors located on the elevated part of the stage. A
series of suspended lamps above the stage serve both as chandeliers
inside the royal castle and acrobatic apparatus for the artists. Other
aspects include...
THE CROWN The first thing one notices upon entering the Big Top is
the majestic Crown at the back of the stage with its organic curves,
towering spikes (of which there are 120) and lighted branches. Lush
vines have sprouted on (totaling 975 meters in length) and invaded the
structure, as if nature had reclaimed its rights in this world adrift
in time. LED lights placed on the tip of several of the Crowns 64
branches, combined with other lighting fixtures attached to the
structure, give the impression that light emanates from the Crown
itself in this dark world where miracles are about to materialize.
THE CURTAIN The giant Crown curtain is the emblem of royal power on
which appears an ever-watchful salamander, the symbol of the French
Renaissance as well as the inspiration behind the set of the original
version of Alegría. Twisted and deformed, the old kings sinister
Throne has lost a lot of its polish and even some parts over time.
(The Crown curtain was printed in Germany in a single pass on a giant,
seamless piece of fabric that is 33.5 meters wide and 6 meters high.)
THE SCEPTRE The royal Sceptre, which Mr. Fleur clutches firmly in
his hands as if someone could snatch it away at any moment, represents
the handover of power from the old aristocratic order to the people.
It is like a stolen jewel in this unruly monarchy. Apart from its
symbolic significance, the Sceptre has multiple uses including as a
lighting fixture, a music box, a clown prop, and Mr. Fleurs third
leg.
COSTUMES
--------
The Alegría costume design evokes a once glorious kingdom now in
decay. In this dusty, stuffy kingdom in dire need of hope and renewal,
the costumes of the old Aristocrats have progressively become
tattered, ragged and frayed. The colors and motifs, once bright and
radiant, have faded over time. The fabric of the artists clothes and
their bodies have cuts and scratches that mark the passage of time.
These marks and textures were digitally printed on the fabric, and
these features also found their way into the make-up design. For both
the costumes and the make-up, the approach was to highlight the human
dimension of the characters by showing the artists shapes, facial
features and hair in a word, their humanity.
The lead character, Mr. Fleur, is inspired by the fool in the royal
court. Thus the artists body movements are exaggerated, as is his
elongated black brimmed hat and overly bushy eyebrows. It took more
than 20,000 hours of work to put together the costumes of the show.
Artisans spent 300 hours alone making Mr. Fleurs costume, which
contains 5 meters of electrical wire. The lace that covers the
crinoline of the White Singers skirt is time-worn and threadbare.
This character is an artist bursting with talent who comes from the
street, like a golden-voiced Edith Piaf emerging from the bowels of
the city after overcoming the vicissitudes of a tough life. She
continues to sing of hope amidst the darkness and the gloom. The
Singer in Black, more tenacious than her counterpart, is clad in a
modernistic, angular dress to match her resolve.
The Aristocrats symbolize all of those who resist change and cling to
their old values. The older members of this decrepit aristocracy sport
extravagant hats and hide behind their jumbled, flamboyant costumes
that have seen better days. The powder on their faces has caked and
flaked over time. In this kingdom caught between reason and unreason,
some of the Aristocrats faces are ornamented with old jewels, a
testament to their status. One of the Aristocrats wears personalized
monocles in the form of a silicone-based prosthesis while others have
overly long noses and oversized, removable eyes.
The Angels are extensions of humans in the afterlife. They are humans
with a past, a history, a lifetime worth of experience. They bear the
scars of their life on Earth, and their costumes are threadbare, with
a patina effect created using textile printing techniques. Their
costumes acquire luminous, golden hues as light slowly brightens up
their world.
More than 1,000 meters of fabric was printed using a technique called
sublimation, which fixes the images in the fibers of the material.
There are 96 costumes and 533 different costume elements in the show.
As an example, the mesh used in the costumes of the Bronx is made of
the same material used in making hockey nets. Designers spent nearly
500 hours developing the make-up concepts and more than a thousand
hours teaching the artists how to apply it to their own faces.
Approximately 1,800 items are used in applying make-up: 1,500 brushes,
2 km of foil paper, 12 gallons of coconut oil and 1.4 kg of glitter.
CHARACTERS
----------
Mr. Fleur -- Following the mysterious disappearance of the king, Mr.
Fleur pictures himself as the legitimate heir to the throne and
clumsily tries to impose his authority. The old kings fool, Mr. Fleur
is a conceited, manipulative and unpredictable character forever
caught in a tug-of-war between reason and unreason, between an
overpowering urge to charm and a desire to control.
The Bronx -- The Bronx spring forth from the street. Fiery and full of
energy, they try vigorously to defy the established order. Together,
they will shake the pillars of power, lighting the spark that will
trigger changes in the very heart of the kingdom. The Bronx offer a
glimmer of hope in a world of gloom.
The Nymphs -- The Nymphs personify the purity of youth. Graceful and
delicate, they navigate the space between heaven and earth. They
symbolize the dual forces at play in Mr. Fleurs mindreason and
unreason, but also empathy and apathy - which fuel his quest for
power.
The Angels -- With the distinctive golden star their wear on their
solar plexus, the Angels embody the intangible wind of change, the
inner transformations propelled by the desire for a better world.
Imbued with humanity, these beings from the afterlife carry on their
bodies the scars of their earthly life. With their mere presence, the
Angels generate a celestial energy that lifts the soul.
The Aristocrats -- Strange heirs to power in this dusty and timeless
world, the Aristocrats seek to retain their privileges by siding with
the Fool; they aim to maintain the status quo at all costs and so
avoid being swept away by the winds of change. Their once splendid
attire has become threadbare. On their faces, strangely distorted by
the passage of time, one can see the fear of progress and the selfish
desire for power.
The Singers -- Opposite yet complementary forces, the Singers in Black
and in White are paragons of resilience. The Singer in Black embodies
commitment, tenacity and the indomitable power of hope. The Singer in
White is naïve, yet wise in the face of adversity. Together, they
become an unstoppable, inspirational force in this realm longing for
light and hope.
The Clowns -- At first Mr. Fleurs allies, the Clowns also have fun at
his expense. Brothers in humor, this pair of zany Aristocrats is at
ease in this crazy environment and make light of any situation.
Wielding the power of imagination and friendship, they both witness
and comment the profound changes at play in their world.
MUSIC
-----
The musical score of Alegría has been passed through the prism of
todays aesthetic and features totally new arrangements. The score
mixes electronic and rock sounds with acoustic and orchestral
elements, including brass, strings and accordion sounds, all in sync
with the narrative of the show. The sounds associated with the Angels
and Nymphs have more poetic undertones while the music connected to
the lively Bronx namely in the Crossed Wheel, Fire Knife Dance, and
Powertrack numbers has a distinct underground feel. The song Alegría
the shows inspirational anthem is performed in its entirety in
the finale.
ACROBATIC PERFORMANCE
---------------------
As the king of fools attempts to take the throne, all that glitters is
not gold. But when a spark of life shines, shaking the foundations of
the old order, a resilient new movement emerges from the heart of the
kingdom, carried by an invigorating wind of change, and driven by a
hunger for a brighter world.
ACRO POLES -- The Aristocrats, eternal masters of the established
order, try to stay close to power in order to maintain their status.
They flaunt their talent, hoping to convince the new king that change
is unwelcome in the Kingdom
at least as far as theyre concerned.
Artists deftly manipulate the pillars of power the traditional
symbols of their supremacy in a high-flying act combining Russian
bars and banquine. In this innovative act, artists balance and bounce
on poles normally used for pole vaulting, which are held horizontally,
enabling flyers to execute a stunning aerial ballet above the
catchers heads.
CROSSED WHEEL -- Shaking the foundations of the old order, a Bronx
performs a number with a new-fangled apparatus the first physical
manifestation that powerful forces of change are brewing at the very
heart of the kingdom. Using his own impetus to roll forward and
backward, an artist becomes a human gyroscope as he performs fluid
acrobatics inside and around two intersecting wheels.
SYNCHRONIZED TRAPEZE DUO -- The Angels arrive like a gust of fresh air
in this crazy kingdom. Perched on side-by-side swinging trapezes, two
artists perform intricate spins and breathtaking maneuvers in perfect
sync. This swinging trapeze duo features new acrobatic ideas, using
vertical movements and variations in the swinging axis.
FIRE KNIFE DANCE -- An enthralling light surges from the hands of a
Bronx and comes alive in an energizing rebirth. An artist demonstrates
complete mastery of his craft. He doesnt juggle with fire; he IS
fire. He eats, breathes, and touches the flames, while his sticks
become virtual extensions of his body.
AERIAL STRAPS -- On a blanket of snow, a Bronx and an Angela
harbinger of change intertwine in this troubling world led by the
confused Mr. Fleur. Symbolizing the connection between earth and sky,
an exceptionally dynamic aerial straps duo flutters in the after-storm
as the aerialists separate and reunite in an embrace high above the
stage, their bodies forming striking geometric patterns.
HULA HOOPS -- Out of this emerging new world appears a Bronx a
paragon of pure beauty who sets out to mesmerize the kingdom with
her talent. Using all her limbs, indeed her entire body, an artist
dazzles with her ability to spin and twirl a multitude of hoops.
POWERTRACK -- In a burst of energy, the emerging movement takes the
kingdom by storm, creating a breaking point, both literal and
symbolic: the stage breaks open with a deep rumble that symbolizes the
shaking of the foundations of the stuffy aristocratic order. A group
of tumblers brimming with talent and torque demonstrate their prowess
as they soar into the air while executing dynamic gymnastic and
tumbling displays in unison and in counterpoint, reaching astounding
heights and speeds on two elongated trampolines that criss-cross at
the centre of the stage.
HAND TO HAND -- The Nymphs evoke the fragile balance between darkness
and light. Two female performers demonstrate great strength, balance
and flexibility in this yin-and-yang hand-to-hand number in which the
smaller of the two is flung into the air and does handstands on top of
her partners upraised hands.
HIGH BARS -- The kingdom is rebuilt on new foundations as the two
bearers of change the Bronx and the Angels come together as a
brighter world emerges at last. Three high bars set close to 10 meters
above the stage become the aerial playground for daring flyers (the
Angels) who soar to and from the arms of mighty catchers (the Bronx),
suspended by their knees on a cradle swing. These complex linkages in
the sky require flawless coordination, skill and timing. The
breathtaking act culminates in an impressive leap into the net.
* * *
The classic power struggle of old-meets-new has been reinterpreted
through todays lens including new costumes and set design, a
renewed acrobatic vocabulary, and new musical arrangements to ensure
it is as inspiring now as it was at the time of its creation in 1994.
As classics often do, the show explores themes that remain relevant
despite the passage of time the quest for power, the thirst for
change, and the triumph of light over darkness. Carried by an
intangible wind of change, an emerging movement strives to shake the
established order, instilling hope and renewal to bring light and
harmony to their world. With its joyful spirit, Alegría is a vital,
energizing force driven by a thirst for a brighter world.
Alegria performs in Montreal until July 21, 2019, and then moves on to
Gatineau, Toronto, Miami, Houston, Austin, Chicago, Washington DC and
Vancouver. Check the ITINERAIRE section for the current touring
schedule!
------------------------------------------------------------
SPECIAL /// "Alegria Returns in Force" - A Collection of
Articles Celebrating Alegria's Premiere
------------------------------------------------------------
CIRQUE SEEKS TO BRIDGE GENERATION GAP WITH ALEGRIA REVIVAL
MONTREAL GAZETTE | April 17, 2019
Daniel Ross, Dominique Lemieux, and Émilie Therrien all have a birds
eye view of the generation gap between the original Cirque du Soleil
creation Alegria and the 2019 reboot because all three have worked
on both shows.
Ross, the director of creation for the Cirque, was the general stage
manager for the touring production of Alegria in 2000, working first
with the production in Biloxi, Miss., and then touring with it in
Australia.
Lemieux did the costumes for the first production of Alegria way back
in 1994 and she is back doing costumes for the 25th anniversary
rethink that is set to have its world premiere under the Cirque big
top at the Old Port on April 18. Lemieux is one of the only people
returning from the original production team to do the same job a
quarter of a century later.
Therrien began her circus artist career as an acrobat on that original
creation of Alegria, and she toured the globe with the show for five
years. Therrien has segued into working as an acrobatic coach and
choreographer in recent years, and she is the acrobatic performance
designer and choreographer on the new Alegria.
Ross is well aware that audiences have changed in the years since
Alegria first wowed folks in 1994 (and helped launch the Cirque
internationally).
I have a feeling that if people saw Alegria as it was in 94, because
of the way the circus, theatre and multimedia arts have evolved, I
think they would probably be disappointed if they saw exactly what we
saw on opening night in Montreal in 1994, Ross said.
Everything has changed since then. People have been exposed to the
circus arts a lot and I think the expectations are different than they
were back then.
So for us, the objective isnt to present exactly the same show but
to make them relive that experience again. So they sit there and get
the same feeling.
For her part, Therrien says she felt like she was floating on a cloud
touring with the show back then. Now, as a coach and choreographer,
she looks in admiration at todays acrobats.
For sure the artists have evolved over 25 years, Therrien said.
Their level of technique has really improved compared to 25 years
ago. What they can do is much stronger than 25 years ago.
The desire to do better, to push ourselves is always there, just like
it is in professional sports.
Its like the duo trapeze number. Its way stronger than it was in
the original show. Also we have better technology for the trapezes.
Today, when the Cirque du Soleil takes on an artist, there is so much
support available to help him or her develop to the maximum of their
capacity. Twenty-five years ago, we didnt have that kind of support.
And thats really a kind of beautiful evolution.
As for Lemieux, she feels some things havent changed for Alegria over
the past quarter-century.
What I keep from the original Alegria is the message of hope, said
Lemieux, who designed the costumes for all of the Cirque du Soleil
productions between 1989 and 1998, including Saltimbanco, Mystère,
Alegria, Quidam, O, and La Nouba. (She also did the costumes for
Céline Dions first Las Vegas production, A New Day.)
Recreating Alegria with new characters for a new generation, it
allows us to relive what it was like the first time, added Lemieux.
Its about updating those characters and to reflect on where weve
come to and to look at our own lives today.
When you do a revamp of an older work, you really have to read deep
into the work and you have to adapt to the way people look at the
world today, which is obviously different than it was 25 years ago.
And the priorities have changed too in the hearts of people. I think
weve made it more human.
At the April 10 news event to launch the show, director Jean-Guy
Legault said Alegria is a cry from the heart from people in moments
of great distress.
Without mentioning names, he talked of a crazy person trying to impose
himself on a kingdom and it didnt take much of a stretch to think
he might be referring to U.S. President Donald Trump.
First of all, theres no political message, Ross insisted. One of
the things we noticed from reading all of the notes from the creation
of the original one is that the creators were often referring to
things happening in the world that touched them. Things that made them
sad, that made them feel that maybe the world was a bit of a dark
place, and I think the need to make a show about hope and about the
spirit of humankind came from that.
So, yes, were anchoring ourselves in the world we live in today and
we realize were dealing with the same kinds of things in the world
that make us feel at times a bit hopeless and sad. So the need for
that light is there. But Id call it more of a social message than a
political message.
It was put to him that most of us would argue that in fact the world
is a darker place now than it was 25 years ago when Alegria first
premiered.
Its possible, Ross said. I hadnt thought of it that way. But,
yes, I guess its possible and maybe that makes (Alegria) more
needed.
{ SOURCE: Montreal Gazette }
* * * * * *
ALEGRIA RETURNS IN FORCE
La Presse | April 26, 2019
(Translated to English via Google Translate)
There was of course an air of déjà vu (and already heard) last night
in the Old Port of Montreal, with this programmed return of Alegría,
emblematic piece of Cirque du Soleil, created here even 25 years ago
and removed from the circus fleet just five years ago.
It should not be forgotten that Franco Dragone's show, created in
1994, propelled Cirque on the international stage. To quote Gilles
Ste-Croix, "it was a good vintage". No wonder he's been shooting for
two decades. There is also the music composed by René Dupéré (and his
words in invented language) - Vai Vedrai , Kalandéro and the theme
song Alegría -, put together in an album that is, to this day, the
best-selling circus.
All that to say that the decision to resurrect Alegría, already seen
by 14 million spectators, probably had little risk, the Circus relying
on the huge capital of sympathy enjoyed by this production.
The creative team led by director Jean-Guy Legault - who staged
Cirque's tribute series in Trois-Rivières - still did his homework.
Although the acrobatic skeleton of the original show has been
preserved, the whole has been reviewed, updated, new numbers have been
added, in short, despite the familiarity of the object, there is still
an impression of novelty.
Acrobatically, the Cirque does what it does best: it gives us plenty
of sight. From the opening number of banquine and acro poles
(captivating) to the duet of aerial straps (exhilarating), passing by
the cross wheel number of its creator and performer Jonathan Morin
(original) and that of the famous power track , these trampolines
cross, where we attend a fabulous acrobatic ballet, the Circus hits
hard.
The first part of the show concludes with an incredible fire dance
number, led by a dazzling artist (Lisiate Tovo), who takes an obvious
(and contagious) pleasure in juggling his inflamed batons. Trained by
an all girls band .
For the scenario, it's less conclusive. It was originally about a
fight between the Bronx - this vigorous young generation - and the Old
Nostalgic Birds - an old guard clinging. Excellent starting point, by
the way. But this rivalry seems to us little exploited in the new
version. We find the costumes of the two camps and the setting of the
Gothic palace with its golden throne, but for the concept of the "new
order", one must be imaginative ...
There are the two singers (one in white, the other in black), who
embody the shadow and the light, but it's as if we wisely wanted to
focus on the circus, which does not may not be a bad thing, you say.
Moreover, the second part - where we find several of the original
numbers, including the learned contours of hula-hoop Elena Lev (who
was 12 in 1994!) - ends with a grandiose aerial number.
Originally created by Andrei Lev (Elena's father), the number of bars
is executed by means of an aerial device which recalls the parallel
bars of gymnastics, except that the acrobats start at 10 meters above
sea level. above the ground and are caught flying by carriers hanging
from the legs to a swinging frame. A tour de force, performed by
artists in a state of grace, which made a real impact in closing the
show.
A word about the clowns, these unloved circus, who always manage
(despite us) to tear us off smiles. They are led here by two
charismatic Spaniards (named Pablo) who tell their friendship sawtooth
with a lot of humor. On the other hand, the presence of Mr. Fleur,
this madman of the king who is a little guide of Alegría , is
cumbersome and his intentions, not very clear. Even he seems to wonder
what he's doing here.
There are certainly some small adjustments to make to connect all the
points, but one is still in front of one of the best and most
acrobatic productions of the Circus.
Under the Grand Chapiteau of the Old Port of Montreal, until July 21
* * * * * *
ALEGRIA: A SUCCESS!
Journal de Montreal | April 25, 2019
(Translated to English via Google Translate)
Cirque du Soleil is celebrating the 25th anniversary of one of its
most outstanding shows, "Alegria", by giving it life under a tent, in
a revamped and up-to-date version. Sometimes powerful, sometimes
light, the replay is quite successful.
It is more the song emblematic of the production than its various
paintings which marked the memories during the birth of "Alegria", in
1994, and crossed the time. The air was selected for a Grammy Award in
1995 and pioneered the commercial radio repertoire as well as any
popular star tube.
However, the fresco is sufficiently majestic to justify its revival
and modernization.
The story of "Alegria" - a class struggle and power after the death of
a king who has left his people in uncertainty - hardly takes on relief
and can not be easily deduced in the sequence.
It also includes several large comic clowning interludes (as in other
creations of Cirque du Soleil), which hatch the fluidity of the story
and cause a frequent break of tone, even if they are adorable and
friendly.
However, we will not need to know the frame in depth to delight in the
ambitious visual deployment of "Alegria". Assembled, costumes -
evocative of dust and misery as finesse and lace - Dominique Lemieux,
makeup Nathalie Gagné, the scenography of Anne-Séguin Poirier and, of
course, the music of René Dupéré, arranged by Jean- Phi Goncalves,
offer a charming experience from many points of view.
Fire and snow
The portions of the "fire dance" (remarkable, which "ignited" the
bleachers of joy, no pun intended, Thursday, the smell of the flame
adding to the scenic experience), and that of the false storm Snow
(confetti!), which has nothing to envy to the "Slava's Snowshow", just
before intermission, are real jewels to watch, which move in addition
to entertaining.
Several other acrobatics of "Alegria" also strike the imagination: in
the first issue, which suggests a gathering of the population, the
acropolis jumps impress. Ditto for the airstraps in the second part,
which make us hear the "blessed song" for the first time of the
performance. The prowess of a solo wheel is enough to make even the
most hooked hearts dizzy. Always captivating, the flights of trapezes
generated an enthusiastic response to the floor Thursday.
The final, against the background of hand-to-hand and air bars, causes
several exclamations.
Some scenes of "Alegria" are long. Some will see a lack of rhythm;
others, an assumed languor. "Alegria" takes its time and claims to
fully implement its contexts. A possibly conscious and decided choice
of the director Jean-Guy Legault, who reworked the skeleton that had
conceived Franco Dragone 25 years ago.
Less playful than "Luzia" or "Corteo", for example, and less boosted
than "Volta", the work is perhaps not the most accessible of Cirque du
Soleil's repertoire, but impresses by its grandiloquent character and
poetic.
Since he always does a good job of humming the "Alegria" of the
chorus, "Alegria" certainly deserved his resurrection.
"Alegria" is presented in Montreal until July 21st, and will move to
Gatineau from August 1st.
* * * * * *
CIRQUE DU SOLEIL PRESENTS THE WORLD PREMIERE OF THE REVIAL OF ALEGRIA
Montreal Theater Hub | April 26, 2019
(Originally written in English)
Cirque du Soleil presented last night in Montreal the World Premiere
of the revival of its signature production Alegría. In celebration of
the shows 25th anniversary, Cirque du Soleil reinterprets Alegría
through todays creative lens, including an enchanting visual
universe, percussive acrobatic acts, as well as renewed musical
arrangements.
Several political, cultural and sports celebrities and influencers
walked on the Alegría red carpet, among them: Sarah-Jeanne Labrosse,
Pierre Lapointe, Céline Bonnier, Robert Charlebois, Mikaël Kingsbury,
Milk & Bone, Sophie Nélisse, Katherine Levac, Noemie Lacerte, Michel
Côté, Alicia Moffet, Half Moon Run, Mike Ward, some players of Impact
de Montréal and Alouettes de Montréal. Montreal reviewers reserved a
warm welcome to the revival of Alegría.
The return of Alegría
One of Cirque du Soleils most iconic productions, Alegría not only
helped define the companys signature style, it also paved the way for
its worldwide expansion. Under the Big Top or in its arena
configuration, Alegría was presented in 255 cities and seen by more
than 14 million spectators worldwide over the course of its 19-year
run, until its farewell tour in 2013.
Beloved by fans around the world, Alegría is returning to the Big Top
to share its timeless story of resilience and hope. The classic power
struggle of old-meets-new has been reinterpreted through todays lens.
Carried by an intangible wind of change, an emerging movement strives
to shake the established order, instilling hope and renewal to bring
light and harmony to their world. With its joyful spirit, Alegría is a
vital, energizing force driven by a thirst for a brighter world.
With its signature songs, acrobatics and memorable characters that
have helped define the Cirque du Soleil aesthetic, Alegría is the
reincarnation of a classic, reinterpreted for the age, and rekindled
to inspire fansold and new alike.
* * * * * *
ALEGRIA FROM CIRQUE DU SOLEIL: A DAZZLING COMEBACK!
Montreal Nightlife | April 26, 2019
(Translated to English via Google Translate)
Thursday evening was the great media premiere of Alegria , the remake
of Cirque du Soleil, under the marquee of the Old Port of Montreal.
The show is presented from April 18 to July 21 and will then move to
Gatineau in August.
First of all, it is not a question of the original show of Alegria,
but of an adaptation.
It is in a sober decor dominated by an enormous crown of thorns
adorned with lights that the colored characters wander and arrive on
stage.
Monsieur Fleur, former madman of the king, seizes the staff of power
and becomes, by the very fact, the king. Follows the appearance of
aristocrats quite zany by their theatricality and their costume, the
two singers, one white and the other black, clowns, nymphs and so on.
History wants to illustrate the passage from darkness to light and the
duality between these two powers.
First of all, be aware that all numbers are simply breathtaking. We
find classic numbers of trapezes or aerial straps. The show begins in
force with an aerial ballet on Russian bars placed horizontally.
Where the show ignites is during the issue with a Samoa warrior who
masters fire sticks with his whole body. The fire becomes an integral
part of him and one even felt his heat under the big top. At that
moment, the whole room was gasping.
Although the numbers are beautiful, it is difficult to understand the
narrative. The character of Mr. Fleur is not very charismatic in his
role of villain. The duality between good and evil was little felt.
And, although it is an adaptation of the original Alegria show, the
musical score is only an echo of the old show.
We found partially the same sonority and musicality. At the moment the
song Alegria start, we are disappointed. If there is a song we want to
hear, that's it. Now, in the show, she is very sweet, almost like a
music box.
All in all, I had a good time and some were just magical. Cirque du
Soleil brilliantly handles the art of looking for emotion in the
viewer. All the public had stars in their eyes when a huge blizzard
invaded the room. Simply wonderful.
I also want to highlight the beautiful voices of the two singers. The
costumes are always thoughtful. The presence of musicians on stage who
interact with the acrobats added a playful aspect. Hat to the battery
player.
It makes all the difference to have real musicians on stage.
In short, thank you for the beautiful evening.
------------------------------------------------------------
Jean David's Quel Cirque, Part 5 of 12: "Persuasion"
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.
# # #
Cirque du Soleil mastered the art of information control or, if you
like, public communications. Media relations played a pivotal role in
our companys success. Above all, much like publicity it helped boost
ticket sales. Media relations directly affected everything written or
said about our shows and organization.
For over 50% of the clientele, the rumor mill and word of mouth were
the most important factors in drawing their attention to our product.
Media relations fed the rumor mill. It was peoples perceptions of the
company that mattered. I was so conscious of this that in the souvenir
program for the 1985 tour, I included a quotation by Laurence J.
Peter: Competence, like truth, beauty, and contact lenses, are in the
eye of the beholder.
In 1984, on its first Quebec tour, Cirque du Soleil was just a small-
scale operation, but it was already earning full-page reports in the
major dailies. Already, it was as if we were giants. The whole series
of reports in the media was meticulously planned to support the sales
effort. And this applied to every other marketing operation.
Before a tour got underway, we mapped out our media relations
activities. We determined the content of our press kit containing all
the information we wanted to give the media as we traveled from town
to town. The kit was completely adapted for every show and updated for
every town on the tour.
From the start of our second year, we established relations with
journalists and the media. Journalists were always hungry for content.
More specifically theyd ask us what subjects to cover. So we crafted
a series of press releases indicating newsworthy coverage angles. It
was astonishing to see newspapers gobbling up our press releases and
reproducing them word for word. Sometimes the papers copied our
spelling mistakes! Its still like that now. Thats the media for you!
But over the years, we met outstanding journalists who went way beyond
our humble press kit.
In 1985, we launched our Quebec-Ontario tour. The new show debuted in
Montreal. But a week went by, and the Montreal daily La Presse still
hadnt deigned to publish a review. When I queried our press attaché,
Lise Huneault, and our local media relations agent, Danielle Papineau-
Couture, they confirmed that not a single journalist from the paper
had attended one of the performances.
We needed the article; press coverage was essential to the success of
our operations. Friends informed me that La Presses Arts and
Entertainment editor refused to cover the event, claiming that Cirque
du Soleil wasnt really a circus. What an insult! I was doing a slow
boil. My friends tried to calm me down. But I wasnt having it. I
called him up and told him Id be dropping by in an hour and that it
would only take a few minutes of his time.
He was courteous enough, but he reiterated that the paper had no
intention of covering the event. I calmly pointed out that we were a
young cultural organization in Quebec. I added that the average age of
the employees was about 20 to 21, that we were taking enormous risks
launching the enterprise, that we were doing our utmost to succeed and
that the artists were giving their all on stage to please the
audience.
Can your newspaper, the biggest French-language daily in North
America, just out of respect for them, give them a review? I asked.
Write what you like, but at least, write something; they deserve some
feed-back! To sweeten the pill, I reminded him of the wonderful two-
page article on Michael Jackson that his team had published in the
Arts and Entertainment section on the previous weekend edition. We
finally got a review the next week. It wasnt exactly glowing, but we
got it. It was the last time I had this kind of trouble with the
paper.
In every city on the tour, we hired a local media relations agency,
ideally, a small firm specializing in theatre. Its better to be a big
client with a small agency than a small client with a big agency. We
liked to work with enthusiastic people who had direct control over
their activities. A number of these agencies had a contract with
Cirque du Soleil for many years; some still have.
The agencies were a key component in our operations. They helped us
figure out the whos who in a town. We needed the information for
our premiere invitations. The first performance was a turning point in
our whole marketing operation. In a way, thats when our artistic and
marketing teams came together on the ground. On the night of a
premiere, I used to tell my colleagues in the creative end of things:
The balls in your hands now!
In the months and weeks before we arrived in a town, we wove a vast
web of advertising and media relations. On premiere night, the web was
deployed. The premiere was the spark that gave our whole undertaking
meaning. It crystallized our marketing activities. Our best sales
argument by far was the show itself. The show triggered an informal
but extremely powerful communications process: the rumor mill, word of
mouth.
To enhance the force and quality of the rumor, we carefully selected
our guests working closely with our media relations agency.
Invitations were sent out to partners and sponsors and to people in
the media. Then I made sure to invite everybody whos anybody in the
arts and culture milieu. My reasoning was quite simple: our show was a
cultural product that redefined the standards.
So whats more natural than to be judged by your peers! They had
earned credibility in their community. So systematically, our guest
list included poets, sculptors, writers, singers, dancers, actors,
theater directors, painters and art critics. They enjoyed expressing
their opinion in public; we simply gave them the chance to do it.
From town to town, from tour to tour, we executed the same marketing
plan. Important aspects of the message we conveyed went unchanged. For
every show, we grouped all the press relations parameters and
activities in one document: the media relations guide. Basic but
extraordinary tool, it contained all the distinctive elements of the
show: the story angles to cover, the sequence of press relations
activities for each city as well as the ways and means. Everything was
there. The guide was an ideal tool for the agencies and for us as
well. It enabled us to exert greater control over media activities and
content.
In choosing reporting angles for journalists, I targeted every section
in a major daily. The aim was to place an article or a photo in each
section of the key dailies in every tour city. My approach was clear:
We have news for you! We would target the main News section with the
arrival of the convoy; the Around Town section with the assembling of
the big top; that of Arts and Entertainment through in-depth
interviews with the director and the artists as well as the review of
the show; the Style section with anecdotes of life on the tour;
Fashion with the shows costumes; the Food/Cooking section with our
restaurant, the kitchen team and our menus; Business with our sponsors
and the growth of our company; and the Sports section with the
Olympic-class caliber of our athletes
At the very least, we were determined; not aggressive, simply
determined. We were candy for the media: we offered them youth,
fashion, performance, logistics, business, creativity, a touch of the
avant-garde, and exoticism.
In 1992, when Saltimbanco was created in Montreal, I organized an
event that would become a fixture in the organization, an annual
meeting with all the press relations agencies and our principal
associates to present our new show, inform them of the latest
developments and let them know about projects in preparation. We
discussed every aspect of our activities. It gave everyone a chance to
benefit from other peoples experience. A genuine happening! The
meetings soon became highly popular not only because they were
extremely useful and effective, but also because the participants got
to meet collaborators from all over the world. Thus, we were able to
harmonize our communications activities worldwide.
Globalization imposes a certain rigor. When we have a message to
deliver in one town we must disseminate the same messages all over the
planet. An interview with a journalist in London may appear almost
simultaneously in newspapers in Los Angeles, Toronto, and Sydney,
Australia.
Are you true to yourself and your principles?
Choosing Your Partner
---------------------
Right from the beginning, our sponsors were also our suppliers and
creditors. We negotiated with them as best we could in the early
years. During that period, Cirque du Soleils attitude towards
sponsorship evolved. We had little money and means at our disposal; so
we were open to any interesting proposal from sponsors. But the
proposals didnt come when we needed them. As a result, our position
hardened somewhat about sponsorship, and we came to appreciate the
notion of artistic integrity.
As time went by, we became increasingly protective of our product. We
found it difficult to accept proposals that might detract from the
show. The artistic dimension predominated; we got used to functioning
that way. Lacking sponsorship, we were forced to rely on ticket sales
and merchandise to maximize revenues.
Better to offer a superior artistic product of integrity than a
mediocre heavily sponsored work. We received some curious requests
made in all seriousness: to paint in giant format a sponsors logo on
the outer canvas of the big top, to place a car in the ring when the
public arrived, and to make a sponsors product part of one of the
acts.
We used to say, Look, were not a shopping mall! Certainly, the
distinction between the world of entertainment and that of consumption
has been blurred. Shopping malls entice their customers with
extraordinary cultural experiences, offering exotic environments that
put them in the right frame of mind for shopping.
We made every effort to point out to potential sponsors the obvious
differences between a music festival and our product. For example, a
business that had a stage bearing its name in an open-door festival
would also benefit from the exposure generated by televised reports.
With Cirque du Soleil on the other hand, the sponsors banner inside
the big top would disappear from view the moment the show began. In
the late 1980s, I met a director of a big Canadian oil company who
said that our trademark enjoyed greater notoriety than his firm. He
feared Cirque would eclipse his firm
Nevertheless, we were well aware
of the value of sponsorship and partnering with companies.
The partnerships developed an extremely stimulating business dynamic.
I found those relationships enormously enriching. They presented new
challenges and forced us to be more rigorous and more professional. We
also had to be creative in reaping the benefits of sponsorship. During
negotiations, we endeavored to make sure that sponsors fully grasped
the meaning and extent of their investment. We asked a simple
question: How can we help you meet your marketing objectives? This may
seem strange, but we sometimes met business executives eager to
sponsor us without really knowing how to integrate us into their
marketing activities. They just wanted to be associated with Cirque du
Soleil.
In assessing the performance of a partnership, it is a good idea to
recall the objectives and determine whether they have been met. Before
we became truly successful, we formulated a sponsorship policy that
excluded certain companies from any future partnership: arms dealers,
fast-food chains and, obviously, cigarette manufacturers.
There were many reasons why a sponsor might want tobe associated with
Cirque du Soleil: quality, originality, creativity, authenticity, and
a sense of the avant-garde. But the one element that sponsors find
most appealing is our extraordinary clientele. The majority of our
clients are women, 60% of them aged 24 to 45. They had a higher level
of education and family income than average. Children constituted only
a very small part of our client base.
To obtain this kind of information, right from the start, I set up a
survey mechanism for our patrons. In each city, year after year, we
confirmed our client profile, assessed the performance of our
communications activities and determined the publics degree of
satisfaction with our product and services (ticketing, reception,
merchandise, etc.). It was a valuable investment.
Our findings were the same all over the planet. Analyzing the results
enabled us to fine-tune our advertising campaigns and to determine the
essential elements of our marketing operations. Compiling the data
gave us feedback about the quality of our services. We forwarded the
results of these surveys to the departments concerned. So, in each
town, we could offer a product that met our customers expectations.
The members of the artistic team were the only ones who didnt want to
let the results influence their work. Yet, they insisted on knowing
them, though they denied using them.
People cautioned us against making shows based on surveys. I shared
their opinion, and I didnt wish to influence decisions affecting the
productions, but I thought it was vital that the public had the
opportunity to give their opinion about the artistic side of our
activities. Sponsors were eager to see these reports, and the
characteristics of our clientele never ceased to be the envy of their
marketing specialists.
Over the years, we had the opportunity to work with very big companies
and smaller ones, too. In some cases, the presence of sponsors was
essential in launching a tour: Kirin Lager and Nissan in Japan or
Schöller AG in Europe. In other cases, the quality and originality of
the partnership set a new standard: AT&T in the United States, Oetztal
Arena in Europe, Acura in the United States, Canadian Airlines
International Ltd. in North America, Ultramar in Quebec, etc. In every
case, at the heart of these agreements, were people who shared our
passion and who were committed to the success of our business
relationship. With them, we built precious friendships.
Internationalizing Cirques activities created a fair number of
sponsorship challenges. Finding firms ready to work across boundaries
in this domain was amazingly difficult. Most sponsorship decisions
involving activities in foreign countries were taken in the capitals
concerned in a context of decentralization. Though globalization is a
fact it is yet to take effect in cultural event sponsorship. It has
wider acceptance in sports, particularly in the Olympic Games because
they have become highly televised and commercialized.
Do you have another way of looking at things?
Packaging
---------
Based on my experience in advertising, I decided that from the start
we needed to control our communications and do it ourselves. I
didnt want to work with an advertising agency where the atmosphere is
fiercely competitive. Besides, we couldnt afford to pay for one! So,
early in 1985, we decided to set up a graphics section. I remember
calling Thérèse Mondor, my girlfriend at the time: we got married
since then
Thérèse was a gifted, young graphic designer working in a
small but excellent graphic design agency run by a friend of mine. I
said to Thérèse, I need someone in graphics and I thought of you. Im
offering you $50 a week more than you make now. But theres one
condition: you have to bring your drawing table and chair. In
graphics, people werent using computers at the time, at least not in
Quebec. The company had hardly gotten started and already we had to
think about cost cutting. Thérèse accepted the offer; it was the
beginning of a long and remarkable work relationship.
Thats how we developed over the years, with the help of freelance
collaborators, our advertising imagery, and line of merchandise. For
every show, we created an original visual directly inspired by
comments from the team of designers. Like the shows, our visuals and
base lines were universal. Very rarely (in Paris and Japan) did we
have to modify a visual. Michel-Thomas Poulin was one of the freelance
artists who did the most to shape the Cirque du Soleil style. Michel-
Thomas designed all the images and illustrations for the shows from
1985 to 1994. Some like Saltimbanco, Alegria, and Mystère visuals are
still being used. Ideally, the marketing and artistic teams agreed on
the choice of a shows base line and visual. We held lengthy
discussions, trying to identify the aim and intent of every show.
These discussions would end just in time for us to launch the
advertising campaign
Each group had its legitimate needs, and when
the discussions came to an impasse, we let Guy Laliberté decide.
Every year, the Cirque du Soleil poured millions of dollars into
advertising. The quality and extent of these investments directly
affected our results; so it was hardly surprising that we were loath
to leave as strategic an operation as an advertising campaign in the
hands of strangers. In North America and in Europe, we conducted over
85% of the negotiations and media placement; this was a major
marketing operation. And many people around the world made a valuable
contribution. Selling tickets is a retail activity. So as in any
business, we could measure the impact of advertising on sales.
As the years went by, one thing became crystal clear: our product was
unique; it deserved exceptional marketing. We developed and
experimented with a marketing practice that we adapted to places and
circumstances. The ads in major newspapers and specialized weekly
publications could represent up to 50% of our investments; outdoor
signs, billboards and advertisement on buses, up to 20%; television,
radio, and eventually the Internet accounted for the rest. We spared
no effort in creating a veritable media event.
Cirque du Soleil established media partnerships in every town. By
involving our partners in the presentation of the show, we were able
to increase the value of our advertising campaigns two-, three-, even
four-fold. We created our own ads and we produced our own radio and
television commercials. It was important for me to feel that our show,
advertising art and campaign deployment were intimately related. When
every aspect of the process meshed, I felt like a violinmaker who has
controlled every phase in the building of a magnificent instrument.
To Be Continued...
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COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 19, Number 5 (Issue #184) - May 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.
{ May.09.2019 }
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