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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 12 December 2019 ISSUE #191
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter. Once again there've been a lot of announcements,
so let's get to it!
* * * DISNEY 2020 IS... DRAWN TO LIFE! * * *
Cirque du Soleil Entertainment Group and Disney Parks, Experiences
and Products are thrilled to announce DRAWN TO LIFE, the highly
anticipated, new family friendly show coming to Walt Disney World
Resort in Lake Buena Vista, Fla. Written and directed by Michel
Laprise, this collaboration between Cirque du Soleil, Walt Disney
Animation Studios and Walt Disney Imagineering will open for previews
March 20, 2020, and officially premiere April 17, 2020. The show will
take residency at Disney Springs.
Cirque du Soleil Entertainment Group President and CEO Daniel Lamarre,
says, "For Cirque du Soleil, this is a beautiful way of celebrating
Disney's legacy in the art of animation. This new and exciting
production is most certainly the best way to highlight the privileged
relationship we have with our colleagues at Walt Disney World and our
joint commitment to continually bring audiences new experiences that
surpass their expectations."
The show is a result of years of research and extraordinary
collaboration that included extensive visits to Disney theme parks,
Walt Disney Archives, Walt Disney Imagineering, Walt Disney Animation
Studios, Pixar Animation Studios, The Walt Disney Family Museum, as
well as hands-on work between Disney animators and Cirque du Soleil.
ln fact, the Cirque du Soleil teams collaborated extensively with
legacy animators to create the show.
Read the full announcement within...
* * * KÀ HAS A NEW ACT! * * *
Earlier this year, the KÀ creative team set out to shake up the epic
production by adding a high-energy acrobatic act to the opening scene
of the show. A rare endeavor that kicked off a world-wide search for
talent that led all the way to Ethiopia. Check out this insider's
look at the integration process for KÀ's newest addition, ICARIAN
GAMES! - check out this video: https://www.facebook.com/watch/
?v=2449197935296016 - it looks fantastic!
* * * THE FIRST HOLIDAY ALBUM FROM CIRQUE DU SOLEIL? * * *
Discover the soundtrack of "'Twas The Night Before...", the first-
ever Cirque du Soleil Christmas show filled with a flurry of love,
Christmas cheer and rip-roaring fun.
01: "'Twas the Night Before..."....... (4:26)
02: "God Rest You Merry, Gentlemen"... (5:17)
03: "Jolly"........................... (2:29)
04: "Up on the Rooftop"............... (4:15)
05: "The Spark"....................... (2:03)
06: "O Come, O Come, Emmanuel"........ (5:38)
07: "O Holy Night".................... (4:32)
08: "Angels We Have Heard on High".... (2:36)
09: "O Christmas Tree"................ (3:40)
10: "Shchedryk"....................... (3:55)
11: "Do You Hear What I Hear?"........ (4:25)
12: "Deck the Halls".................. (4:24)
13: "Joy to the World"................ (2:23)
Released on December 6, 2019, hear the new soundtrack worldwide on
Spotify (http://open.spotify.com/album/5PVVkM9ApJwTUG81CPUfON). Or,
you can also purchase the album via Google Play Music and iTunes.
* * * HOMMAGE #6 IS A TRIBUTE TO DIVAS QUÉBÉCOISES * * *
In 2020, the 6th installment of the Tribute Series exclusively at the
Amphithéâtre Cogeco in trois-Rivières will highlight the great female
voices of Quebec. Trois-Rivières 2020 is a musical work that goes
through the ages to celebrate the vibrant and alive legacy of Quebec
icons. Tickets are now on sale! https://www.cirquedusoleil.com/trois-
rivieres-2020
* * * R.U.N FOR ONE NIGHT FOR ONE DROP 2020 * * *
One Night for One Drop is back: the 8th annual edition will be held
on Friday March 27, 2020 at the Luxor Hotel & Casino in Las Vegas
featuring a thrilling performance of R.U.N the first live action
thriller by Cirque du Soleil. The evening begins with an intimate,
sponsor-only, cocktail reception the perfect setting to network with
our exclusive crowd. Guests will then take their seats in the theater
for the live auction where exquisite, once-in-a-lifetime experiences,
travel, and luxury goods are presented and available to bid on. This
impressive auction will be followed by the thrilling performance of
R.U.N. The evening is only just beginning... guests will cap off the
night with an epic, immersive party. This unforgettable extravaganza
with food, beverages, and surprise guest performances will be held in
true Cirque du Soleil style and is guaranteed to leave a lasting
impression expect the unexpected! Get tickets to this event here:
https://onenight.onedrop.org/en/tickets/
* * * IS CIRQUE COMING TO CIRCUS CIRCUS? * * *
According to the Denton Daily, on Wednesday, December 4th, Treasure
Island owner Phil Ruffin told the state Gaming Control Board that "The
Illusionists," which he says is playing in New York and is Cirque du
Soleil's most successful show, would be housed in a 2,000-seat, $11
million theater to be built on the front side of the Circus Circus
property. "We have a long-term relationship with Cirque du Soleil, we
have the Mystere' show at Treasure Island, a very successful show,"
Ruffin told board members. "We have a commitment from the president of
Cirque du Soleil to put a show in Circus Circus and so we've had
meetings on that. I firmly believe that a Strip property has to have a
permanent show and that's the deal struck." But after Ruffin's
appearance, a Cirque official wouldn't confirm plans for a show. "We
are always discussing opportunities with our partners but have no new
projects to confirm at the moment," said Cirque Director of
Publications Ann Paladie. So, I guess we'll see!
* * * CIRQUE + VIDANTA = NEW SHOW IN NUEVO VALLARTA * * *
At the five-year anniversary of Cirque du Soleil JOYÀ in Riviera Maya,
and celebrating its unrivaled success, Grupo Vidanta and Cirque du
Soleil officially announced the launch of an exciting new show that
will include a mesmerizing high-level gastronomic experience.
"With the launch of Cirque du Soleil JOYÀ, Grupo Vidanta forever
changed the entertainment landscape of Mexico by creating the must-see
and world's only Cirque du Soleil show and dinner experience. Now,
propelling forward with our multi-year operating experience, we are
certain the new theater and culinary experience currently being built
in Nuevo Vallarta will be an unforgettable experience for the senses
that will once again present to the world a unique and unmatched
tourist attraction available only in Mexico," said Iván Chávez,
Executive Vice President of Grupo Vidanta.
The new theater will be located in an area dedicated to Cirque du
Soleil in Vidanta's entertainment parks currently under construction in
the Vallarta area. In addition to the theater and show, the area will
feature multiple acrobatic and artistic attractions where guests can
immerse themselves in the world of Cirque du Soleil, where outdoor
animations will come to life.
"Throughout our unique collaboration and long-standing partnership,
Cirque du Soleil and Grupo Vidanta have always shared the same vision
for high-quality entertainment and captivating experiences. We are
thrilled to embark on this second venture; it's an opportunity to
unleash our creativity within the exquisite surroundings of this new
Vidanta resort," said Daniel Lamarre, President and CEO of Cirque du
Soleil Entertainment Group. This will be the 53rd creation of Cirque
du Soleil and its 16th resident show.
* * * "NYSA" IS BERLIN 2020 * * *
Long for a world you've never imagined! Cirque du Soleil NYSA is an
exhilarating blend of inspired storytelling, spectacular artistry and
breakthrough acrobatics; a show to take you beyond what you can
imagine.
Cirque du Soleil Entertainment Group is thrilled to announce Cirque du
Soleil NYSA, its first permanent show in Europe, written and directed
by renowned stage directors Lulu Helbæk and Simone Ferrari. Presented
and co-produced by Live Nation, the show will premiere in Berlin,
Germany, at Theater at Potsdamer Platz starting October 28, 2020.
Celebrating 25 years since the first Cirque du Soleil production in
Germany, Cirque du Soleil NYSA is the world-renowned organization's
first permanent show in Europe, it's 21st permanent show and 52nd
original production. The brand new and exclusive production will
premiere at Theater am Potsdamer Platz, where it aims to thrill
audiences from the German capital and the metropolitan area along with
German and international tourists long term. About 400,000 people per
year will be able to witness unique performances, specifically
conceived for the Theater am Potsdamer Platz.
Cirque du Soleil Entertainment Group President and CEO, Daniel Lamarre,
says, "For Cirque du Soleil, this is a beautiful way of celebrating a
25-year relationship with the city. This new and exciting production
is most certainly the best way to highlight the privileged bond we
have with Berlin."
Read the full release within...
* * * LAST, BUT NOT LEAST... * * *
And last, but certainly not least, we have a couple of important
milestones to highlight:
- LUZIA is this year's special ARTE production. Check out the
schedule here: https://www.arte.tv/de/videos/093018-000-A/
cirque-du-soleil-luzia/ (Pssst, "O" will also be broadcast.
"O" was 2017's ARTE special)
- Corteo Arena celebrated its 500th performance on November 16th
- BAZZAR Celebrated its 200th performance on November 18th
- Mystere celebrated it's 12,345th performance on December 5th.
https://www.facebook.com/Mystere/posts/10157825667849919
More? Keep reading!
/----------------------------------------------------\
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- Ricky "Richasi" Russo
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CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
* Q&A -- Quick Chats & Press Interviews
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* "R.U.N. For The Exit?" - A Collection of Articles
Reviewing R.U.N at its Gala Premiere
* "A Look at Cirque at Sea II: SYMA & VARELIA"
By: Ricky Russo - Atlanta, Georgia (USA)
* Jean David's Quel Cirque, Part 12 of 12: "The Revelator"
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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JOYÀ Celebrates 5th Anniversary with a Re-imagined Menu
{Nov.12.2019}
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Cirque du Soleil JOYÀ the only Cirque du Soleil show in the world
that includes a culinary experience celebrates its fifth anniversary
with the unveiling of a brand new haute-cuisine menu, masterfully-
crafted by Grupo Vidanta's Executive Chef Alexis Bostelmann. Since its
launch in 2014, Cirque du Soleil JOYÀ has become one of the most
critically acclaimed and popular attractions in Mexico.
The gastronomic experience is a prelude to the Cirque du Soleil show,
which can only be seen at Vidanta's Riviera Maya resort. Chef
Bostelmann showcases his creative culinary acumen to the fullest and
offers a renewed experience complimented by extraordinary artistic
touches that immerse guests in an unforgettable adventure from the
moment they taste the first course.
"Each element of this magnificent show served as my inspiration, where
imaginative curiosity is met with unexpected discovery. My goal was to
present a menu rooted in historical meaning that parallels the show's
beloved storyline so that once the performance begins, guests will
connect all the details for a completely immersive theatrical
experience," Bostelmann said.
The meticulous reinvention of JOYÀ's gastronomic experience took Chef
Bostelmann and his team of approximately 70 people more than six-
months to conceive and create. From chocolate imported from the state
of Tabasco, to lobster from the Caribbean coast, each course boasts
locally-sourced ingredients, inspired by traditional Mexican dishes.
The result is an immersive culinary experience like no other.
The show's dining experience begins with a playful salad of edible
flowers, Iberian ham, optional pre-Hispanic protein, served with a
decadent lobster taco, sweet potato and fresh ceviche made from the
catch of the day seasoned with coconut, mint and passion fruit; a
perfect balance of flavors.
The culinary journey continues as a glass chest of jewels is served,
featuring a mini shrimp skewer and seaweed salad topped with a
delicate pearl made of coconut milk. Then, a choice of salmon with a
chili sauce and a beet crust, or a dish inspired by the show's
prehistoric tableau: steak presented in a meteor rock with a braised
rib meant to resemble the bone of a dinosaur served with garden
fresh vegetables and a ginger, coconut and sweet potato mash.
In order to ensure that every guest can enjoy the full gastronomic
experience, chef Bostelmann created a new vegetarian option, an
odyssey of flavors: quinoa risotto with pickled cauliflower beet, and
an exquisite avocado mash presented in a storied, travel trunk. For
young children, a delectable pasta option is served.
The majestic ending to this one-of-a kind experience is the
illustrative dessert plated within the pages of "Le tableau périodique
des pâtisseries" book. This show stopping presentation offers a new
decadent flavor profile that juxtaposes bitter and sweet, rich and
airy, that enables guests to enjoy and engage with the variety of
elements layered throughout the final course.
With more than 1,650 shows and 900,000 visitors, Cirque du Soleil JOYÀ
is a bona fide success. And the new gastronomic experience promises to
surprise and delight all those who have already seen this
extraordinary show as well as those who will be visiting it for the
first time. Cirque du Soleil JOYÀ is presented at the Cirque du Soleil
Theatre at Vidanta Riviera Maya.
{ SOURCE: Cirque du Soleil }
----------------------------------------------------------
"Twas The Night
" Re-imagines Iconic Holiday Poem
{Nov.13.2019}
----------------------------------------------------------
Santa and Cirque du Soleil: It's not a terribly obvious association.
An AARP-eligible gent with a body like a bowl of jelly is not, after
all, what comes to mind when one thinks of the extraordinary acrobats,
tumblers and aerialists that define the eye-popping aesthetic of
Cirque's many shows. But that's about to change or so hopes James
Hadley, the writer and stage director of Cirque du Soleil's "Twas the
Night
" When the production premieres in Chicago later this month, it
will mark Cirque's first foray into a Christmas-themed spectacle. No
need get your stockings in a twist: Santa won't be a contortionist
with eight-pack abs, Hadley said. Still, he is intent on putting a new
spin (so to speak) on the adventures of St. Nick.
For the better part of a year, Hadley has been deconstructing the
iconic 19th century poem "Twas the Night Before Christmas," searching
for acts to bring its beloved stanzas to life. "It's almost 200 years
old," Hadley said of the 1823 poem first published in a New York
newspaper. "It's had an enormous impact on how we see Christmas. The
names of the reindeer, the description of Santa, the visions of
sugarplums. The challenge was finding acts that could fit the verses,
but in a surprising way," Hadley said.
That means walking a fine line between honoring tradition and avoiding
cliché. Out: Dancing sugar plums. In: Hula-hooping acrobats. "We
wanted to rediscover the poem, not rehash it," Hadley said. "The goal
is to discover a new perspective on characters and images we know so
well, to see them through Cirque's prism."
The discovery starts with a character named Isabella, a young girl
Hadley describes as "disconnected" from her family, and from Christmas
itself. "She's at that age where it's not cool to hang out with your
family," Hadley said. "Young people change, sometimes very suddenly,
when they become young adults. Parents usually need to adapt, to find
a different way of relating to them."
For Isabella and her father, a howling blizzard becomes an entry to a
new way of relating. "The storm transports her into the world of the
poem, into a different dimension," Hadley said.
The poem (which is attributed to Clement Clarke Moore and Henry
Livingston Jr., depending on who one asks) provides an abundance of
gorgeous imagery for Cirque's artists to bring to life, Hadley said. A
Canadian "lamp act" featuring aerialists dancing far above the stage
on a flickering chandelier in a manifestation of the "moon on the
breast of new fallen snow." A quartet of Taiwanese diablo performers
will use the art form's intricate mixture of juggling, gymnastics and
dance to personify Santa's key characteristics twinkling eyes,
cherry nose and snow-white beard among them.
"One of my main challenges was finding acts that could connect to
Christmas and help link the beautiful passages in the poem. For
instance, "as leaves before the wild hurricane fly.'" That's a
perfect phrase to describe an aerial act," Hadley said. Other acts
aren't so literally imagined. A flying turkey soars over the audience
in one scene. A group of in-line skaters help create the sense of an
icy wonderland. "When they come sliding in, it's almost a bunch of
people tobogganing down a mountain of snow," Hadley said.
Unlike Cirque's previous 49 original shows (which have been centered
on topics ranging from sex to the Beatles to synchronized diving),
"Twas the Night
" is solidly geared toward families, Hadley said. It
is also the first Cirque production to launch in Chicago since 2009's
critical/commercial trainwreck "Banana Shpeel."
Hadley is diplomatic about the last time Chicago hosted a world-
premiere Cirque show.
"What I love about Twas the Night' is that it's coming back to our
roots, Cirque du Soleil's roots. It's acrobatics, front and center.
That's the backbone of the show," he said. "And I love the overall
message people change. Relationships change. But traditions can keep
people united. Whether it's to families related by blood or that we've
created for ourselves."
{ SOURCE: Catey Sullivan, Chicago Sun-Times }
----------------------------------------------------------
Guy Laliberté Investigated Over Cannabis Claims
{Nov.13.2019}
----------------------------------------------------------
Canadian entrepreneur Guy Laliberte, founder of the Cirque du Soleil
circus company, appeared before a judge in French Polynesia on
Wednesday over claims of cannabis cultivation.
Lune Rouge, a Montreal-based entrepreneurial organization headed by
Laliberte, said in a statement that he was being investigated for
alleged complicity in cultivation, possession and use of cannabis. The
organization said that Laliberte has not been charged with drug
trafficking and he left the courtroom in Tahiti without any
conditions.
"The disproportionate importance given to this matter, which is
generally trivialized for someone in possession of several plants of
cannabis for strictly personal use, greatly surprises me," Laliberte
said in a statement. "On a different note, however, I would like to
highlight that Faa'a's gendarmes were very courteous, and have treated
me in a professional and respectful manner, which is a bright spot in
this misadventure. "Obviously, I will continue to co-operate with the
judicial authorities of French Polynesia."
The company said Laliberte was being questioned over cannabis grown
for personal use on his private island of Nukutepipi in the French
collectivity of islands in the South Pacific. The organization said
Laliberte, 60, is a medical cannabis user. The statement also said
Lune Rouge was collaborating with local authorities in their
investigation.
An assistant to lawyer Yves Piriou, an attorney based in the capital
Papeete, confirmed he was in court representing Laliberte. Under
French law, which applies in French Polynesia, planting cannabis, even
for personal consumption, is illegal.
Ilana Amouyal, a Montreal-based lawyer who was born in France and
practised law there, said even if Laliberte had a Canadian certificate
allowing him to access medical marijuana, it wouldn't apply in the
French Pacific territory.
The French National Assembly last month passed a law to legalize
therapeutic cannabis for a two-year trial period beginning in early
2020. But under the law, medicinal marijuana must be prescribed by a
specialist at a hospital and purchased from the hospital pharmacy for
the initial purchase, Amouyal explained.
It is also reserved for people suffering from very specific illnesses
or chronic or intense pain, meaning the number of people permitted to
use it is very restricted.
Under the French penal code, sentences related to cannabis can vary
depending on the charge from a maximum of one year in jail for
consumption to a maximum of 20 years for production or fabrication,
along with hefty fines.
{ SOURCE: HuffPo Canada }
----------------------------------------------------------
A Behind-the-Scenes Look at WDW 2020 Show!
{Nov.21.2019}
----------------------------------------------------------
Today, Cirque du Soleil met with the media to share a first look
inside the new, yet-to-be-named Cirque du Soleil show that is set to
debut at Disney Springs at the Walt Disney World Resort on March 20,
2020.
"This show is a love letter to the art of animation," said Michel
Laprise, writer and show director. "And it's just a pure joy for us to
explore the richness and the authenticity and the audacity of Disney
animation."
"It's a show really based on love," Laprise added.
The creative team was reassuring: Mickey Mouse would not juggle and
Goofy would not be on the trampoline. In fact, there wouldn't be any
of Disney's mascots on the stage. This original creation coming to
Disney Springs celebrates the art of Disney animation in Cirque du
Soleil's signature way, with a tribute to the craftsmanship that makes
Disney so extraordinary. The show will transport the audience into the
world of Disney animation with new original acrobatic sequences,
dazzling choreography, musical masterpieces and whimsical characters.
The main character is Julie. Raised by animators, Julie discovers a
love of animation herself, and goes on to follow her dream. "It's a
show about love. The love of a father for his daughter, who grew up
with all the Disney characters, and the love of a craftsman for his
craft. Julie will receive a message from her father who will tell her
basically: now it's up to you to take over, to create the illusion of
life and find your own signature," said Laprise.
Michael Jung, Creative Director at Disney Imagineering, added that
Disney expressed two demands: first, that it be a show for the whole
family, "with heart and humor", and second, that the characters of
Disney brand were well represented even though they would not be
"physically" on stage. "We did not want it to be a musical," he said.
According to the Disney Parks Blog, the show's physical feats will
"amaze", while performances require "astounding athletic skill". The
musical score will "shake the soul", and the story "tugs deeply at the
heart".
The score will be written by Benoît Jutras, who wrote the scores for
La Nouba, "O", and Quidam. Costumes designed by Philippe Guillotel
(LOVE, IRIS, Kurios, and Paramour). Sceonography by Stephane Roy
(Zumanity, Kooza, Kurios). But acrobatics? Germain Guillemot has
Russian Swings, Icarian Games, Korean Plank, Russian Cradle Wheel,
Hand-to-Hand, Aerial Straps and Swings on tap for the show.
CHECK OUT THE VIDEO HERE:
https://youtu.be/DHSQMTBdiZQ
{ SOURCE: Walt Disney World }
----------------------------------------------------------
Cirque du Soleil NYSA - Berlin October 2020!
{Nov.21.2019}
----------------------------------------------------------
Long for a world you've never imagined! Cirque du Soleil NYSA is an
exhilarating blend of inspired storytelling, spectacular artistry and
breakthrough acrobatics; a show to take you beyond what you can
imagine.
Cirque du Soleil Entertainment Group is thrilled to announce Cirque du
Soleil NYSA, its first permanent show in Europe, written and directed
by renowned stage directors Lulu Helbæk and Simone Ferrari. Presented
and co-produced by Live Nation, the show will premiere in Berlin,
Germany, at Theater at Potsdamer Platz starting October 28, 2020.
Celebrating 25 years since the first Cirque du Soleil production in
Germany, Cirque du Soleil NYSA is the world-renowned organization's
first permanent show in Europe, it's 21st permanent show and 52nd
original production. The brand new and exclusive production will
premiere at Theater am Potsdamer Platz, where it aims to thrill
audiences from the German capital and the metropolitan area along with
German and international tourists long term. About 400,000 people per
year will be able to witness unique performances, specifically
conceived for the Theater am Potsdamer Platz.
Cirque du Soleil Entertainment Group President and CEO, Daniel Lamarre,
says, "For Cirque du Soleil, this is a beautiful way of celebrating a
25-year relationship with the city. This new and exciting production
is most certainly the best way to highlight the privileged bond we
have with Berlin."
Marek Lieberberg, CEO of Live Nation in Germany, Austria and
Switzerland, has been instrumental in bringing this project to life.
"We are excited about this world premiere as we all share the same
fantastic vision of inspiring audiences with outstanding events. That's
exactly what the new original Cirque du Soleil show at Theater am
Potsdamer Platz will achieve. My special gratitude to our partners
from Cirque du Soleil for the trust they have placed in us."
Since Cirque du Soleil's first visit in Germany in 1995 with
Saltimbanco, 14 of its productions visited 16 cities in the country.
Known for its cosmopolitan values and international appeal, Berlin
will be the setting for this first permanent show created for a
European city.
"We wanted to tell a story which belongs to and is inspired by Berlin,
its residents, and its status as a European cultural epicenter, while
making it universal so that people from all over the world can relate
to the show and its characters", adds Daniel Ross, Creative Director.
This modern tale follows the story of Nysa, a fearless young woman who
longs for adventure and open skies. Her curiosity and courage will
give her the power to step into the unexpected and fly towards new
worlds. Inspired by youth and its desire to push the boundaries and
aspirations for a better future, the character looks to the outside
world for a sense of what life could be if she let her imagination
soar and if she allowed herself to take risks. This new Cirque du
Soleil production will invite the spectator to long for a world
they've never imagined.
Signing their first collaboration with Cirque du Soleil, Lulu Helbæk
and Simone Ferrari explain that "as Europeans, we are thrilled and
honored to create the first resident Cirque du Soleil show in Europe.
It's a dream come true. It comes at a time in our lives where we feel
the urgency to speak about the exploration of the unexpected, a
fundamental process for the evolution of mankind and its societies. As
creators, we seek to expose the humanity hidden in every character, to
show their contradictions and their quest for a world that has never
been imagined before. This show will inspire you and will propel you
into a new world. You are invited to abandon yourself to the unknown
and discover a new reality, a reality where touching the sky is not
only possible but striving for it will change the world."
CREATIVE TEAM
o) Chief Executive Producer Yasmine Khalil
o) Vice President, Creation Daniel Fortin
o) Line Producer Nathalie Enault
o) Creative Director Daniel Ross
o) Stage Directors and Writers Lulu Helbæk and Simone Ferrari
o) Set and Props Designer Jean Rabasse
o) Costume Designer Elen Ewing
o) Human Performance Designer Jérôme Le Baut
o) Acrobatic Equipment Designer Ewen Seagel
o) Sound Designer Jean-Michel Caron
o) Production Director Inigo Alonso Ezcurdia
{ SOURCE: Cirque du Soleil }
----------------------------------------------------------
Welcome to "Avenue du Cirque" in Montreal!
{Nov.29.2019}
----------------------------------------------------------
{This article was translated from its original French via Google
Translate}
The Borough of Villeray-Saint-Michel-Parc-Extension announces that
part of 2nd Avenue located between Jarry Street East and Deville
Street, in the Saint-Michel, will change its name to Cirque Avenue, a
tribute to the artisans of the circus arts sector, including Cirque du
Soleil.
The announcement of the new place name took place this morning during
a ceremony at the international headquarters of Cirque du Soleil in
the presence of Mme Giuliana Fumagalli, Borough Mayor, Mme Magda
Popeanu, Vice President of the Committee Executive of the City of
Montreal, responsible for culture and diversity of Montréal, Mr.
Jonathan Tétrault, President and CEO of Cirque du Soleil's business, M
me Diane Lemieux , Chair of Directors TOHU, by Sébastien Guénette,
President of the Board of Directors of the National Circus School and
members of the Circassian community of Montreal.
"Naming a place allows us to highlight aspects of our culture, our
identity. It allows us to remember who we are and where we come from.
This change of name allows us to recognize the immense contribution of
the circus arts to the development of our cultural metropolis and the
international influence of Montreal," said Ms. Magda Popeanu, Vice-
President of the Executive Committee of the City of Montreal,
responsible for Montreal's culture and diversity.
"By choosing to establish its international headquarters in Saint-
Michel in 1997, Cirque du Soleil has become a leading player in the
revitalization of the neighborhood. We are happy to take advantage of
its 35 th anniversary of foundation to celebrate its contribution to
the development of Saint-Michel . Through the new place name, we want
to pay tribute in a lasting way to the artisans of the circus that
make our district the City of circus arts," said Mme Giuliana
Fumagalli, mayor of Villeray-Saint-Michel-Park-Extension.
"There are more than 20 years, Cirque du Soleil is rooted on the 2nd
Avenue in the district of Saint-Michel with the desire to infuse a
creative and inspiring energy in its new environment," says Jonathan
Tétrault, president and chief executive officer of Cirque du Soleil.
"As we celebrate our 35th anniversary this year, we are honored and
grateful for this change of name that recognizes the positive impact
created by the circus arts. We are determined to remain a committed
and involved neighbor with the large community of the borough of
Villeray-Saint-Michel-Parc-Extension and the City of Montreal."
"The Avenue du Cirque represents the foundations of what brings Cirque
du Soleil, the National Circus School and TOHU together since the
creation of the Cité des Arts du Cirque in Saint-Michel . For TOHU,
sustainable development through culture, especially the circus, brings
people closer to Saint-Michel , who are at the heart of the
organization's three core values: the circus, the earth and the human.
This gazetteer change confirms that our everyday actions make a real
difference, "said M me Diane Lemieux , Chair of Directors of TOHU.
"Montréal is proudly positioned on the international scene as a hub of
creativity and innovation, and the Cité des arts du cirque is an
eloquent symbol. By placing the word Circus in its toponymy, the City
of Montreal stresses the importance of the largest circus company in
the world, whose quality stimulates a unique artistic ecosystem and
reflects on all of us, "added Sébastien Guénette, President Board of
Directors of the National Circus School.
The toponym "Avenue du Cirque" will come into effect next March.
The City of Circus Arts
In 1997, Cirque du Soleil decided to set up its international
headquarters, a place of creation, training and production, in the
Saint-Michel district. This decision was a precursor to the
development of the Cité des arts du cirque. At the dawn of the 2000s,
Cirque du Soleil, the National Circus School and En Piste, the
National Association of Circus Arts, unite around a promising idea: to
build adequate and accessible infrastructures to reaffirm their
leadership and position Montreal as the international capital of
circus arts. They will establish a non-profit organization to
accomplish this purpose.
In addition to Cirque du Soleil, the Cité des Arts du Cirque is now
home to the TOHU, an organization dedicated to the dissemination of
circus arts, thanks in particular to its theater and its festival, the
École nationale de cirque, which hosts students from around the world
to learn from Montreal's know-how, and Julie-Hamelin Park honoring the
memory of the co-founder of Cirque Éloize, author, designer and
producer of Finzi Pasca.
{ SOURCE: CISION }
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R.U.N: Robert Rodriguez's Alita follow-up
{Nov.30.2019}
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RUN, the latest project from Alita director Robert Rodriguez, opens
with the main character interrupting a wedding, swiping a heart-shaped
necklace with a secret purpose, and igniting a war between the rival
gangs Street Kingz and Blackjax. With echoes of Rodriguez's work on
Sin City, it's heavily influenced by the style of graphic novels, and
the pulpy, sometimes sleazy story includes a car chase through the
desert, a near-drowning, a torture scene, and a climactic motorcycle
battle. Oh, and it's not a movie: Run is a live stage show performed
by Cirque du Soleil, five nights a week at the Luxor hotel-casino in
Las Vegas.
Rodriguez introduces the main character, known as "Me," crashing
through a window from the screen into an impressively staged set piece
featuring stunt performers combat fighting amid the audience. But
nothing announces RUN's ambitions to be an action movie in a live
theater setting like the subsequent transition into giant opening
credits.
Set to a cover of Twenty One Pilots' "Jumpsuit" by film composer Tyler
Bates and Bush's Gavin Rossdale, the credits splash the names of the
show's creative team (including Bates, who created the original music,
and Rodriguez, who wrote the script) in massive letters. Me paces in
contemplation beneath the huge screen in front of the stage.
The beats of a propulsive action movie provide RUN with the structure
for a series of ambitious stunt performances. It's a new direction for
Cirque, which has six other resident shows in Vegas: It's the first of
the group's shows to feature a scripted narrative and dialogue, the
first to focus on stunts rather than circus arts, and the first to be
created in collaboration with a Hollywood filmmaker.
"There have been people at Cirque working on the idea of doing a show
featuring stunts for about four years now," explains producer Gabriel
Pinkstone. "We're always looking for different stuff, and frankly we
explore a bunch of stuff that doesn't work out and that you never see.
And then we explore things that get us excited, and that's where we
ended up with this."
As with all Cirque productions, RUN went through a lengthy development
process before its premiere, with contributions from numerous creative
personnel. "The one thing that is really great about this forum, this
environment, is it's truly a team sport," says Bates, who was
recruited on the strength of his scores for action movies like 300,
Atomic Blonde and the John Wick series.
"As we went through the process, we were like, we need to get the
real deal in,'" Pinkstone says of reaching out to Rodriguez and Bates.
"When you get that flavor in the script and that flavor in the music,
it's huge. And then we bring our expertise in human performance and
everything that comes with that, and put it all together, and here we
are with a live action thriller."
The "live" part of that tag line means that RUN's performers are
putting on movie-style stunts directly in front of an audience every
night. The heart-shaped necklace that Me swipes from characters known
only as the Bride and the Groom serves as the MacGuffin for the thinly
sketched plot. It's the kind of simple, broad outline that might have
formed the plot for a platformer a decade ago. Video games are one of
the major influences cited by the show's director Michael Schwandt and
creation director Stefan Miljevic.
The films of Rodriguez and Bates were even more influential,
especially 300 and Sin City, and graphic novels, like the Frank Miller
books that inspired those two films. As indicated by the lack of
specific character names, the characters in RUN are also meant to be
easily identifiable. Me wants the heart necklace and to reunite with
the Bride (his ex). The Groom wants to get the necklace back and to
kill Me. The Bride is caught in the middle.
"They're not going to be able to speak, so you can't get that personal
with it, because the audience would just not know what's going on,"
Rodriguez says. "We had to go with the archetypes, so that even from
far away, you know, okay, that's the Groom, that's the Bride, and
that's Me. You have to just be able to follow and know instantly who
you're looking at." All of the dialogue comes in the form of voiceover
narration or is delivered in the extensive video segments that play
between set pieces (and sometimes make the show feel like watching an
elaborate movie with occasional in-person interludes).
Although the show's roots are in action movies, video games, graphic
novels, theme-park stunt shows and Cirque's own long history, RUN
really is its own unique entity, and if it's still finding its footing
soon after premiering, that, too, is part of Cirque's development
process. The company never stops tweaking the shows, even its first
Vegas production, Mystere, which has been running since December 1993
at the Treasure Island hotel-casino. Every Cirque production is a
constant work in progress.
RUN was developed as a series of action sequences before the story was
even constructed, and the show works best when the narrative and the
stunts can work in tandem. "It wasn't as if Robert could just write
whatever he wanted to write without regard to what we need to do live
on stage, because it just wouldn't work like that," Schwandt says. "We
still have to make the story work with the performance that we decided
we wanted to include in the show."
RUN's biggest flaw is that it hasn't consistently resolved that
tension, but sequences including the onstage car chase, a warehouse-
set fight with multiple performers set on fire and the final gang
battle via motorcycle stunts are so impressive on their own that it
doesn't really matter how they relate to a story or characters.
It's clear that the creative team was aiming for a smoother
integration, though. "You connect the voiceover with the character you
saw on the screen, and now you follow him through the show, and you'll
always know what's going on," Rodriguez says. "It's great, so the
audience is never confused. Because otherwise if you lose track, you
might lose interest, and then it's just a bunch of stunts."
"I'm very happy with how it turned out, because you never think, Oh,
they're stopping the story now to do the stunts,'" Pinkstone adds.
"They're just in the story, like they are in Mission: Impossible or
John Wick or anything else." Neither Mission: Impossible nor John Wick
has yet made it to the Las Vegas stage, but with acclaimed filmmakers
like Rodriguez willing to lend their talents to Cirque, it's enticing
to think what someone like Christopher McQuarrie or Chad Stahelski
could do with the same opportunity.
{ SOURCE: Polygon }
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'Twas the Night Before...' Not as Stirring
{Dec.02.2019}
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Magical and wondrous two words that invariably come to mind when
describing Cirque du Soleil.
For some 35 years now, the genius of Montreal-based Cirque has been
the ability to take us to places beyond our imaginations, filled with
glorious costumes, ethereal music, incomparable circus artistry, mind-
boggling sets and, well, a whole lot of razzle-dazzle.
Magical and wondrous could also describe the Christmas season, in all
its commercialized, tinsel-and-garland, deck-the-halls, haul-out-the-
ivy, Sugar Plum Fairies and Ghost of Christmas Future fabulousness.
Put 'em all together and we're talking joy to the world, right?
Well, yes and no.
" 'Twas the Night Before
," Cirque's first foray into the realm of
holiday show, made its world premiere Friday night at the Chicago
Theatre. Inspired by the centuries-old poem "A Visit from St.
Nicholas" (better known as " Twas the Night Before Christmas,"
credited to Clement Moore), the show, a co-production with the Madison
Square Garden Co., is heavy on fiery acrobatics and surprisingly light
on Cirque spectacle.
The story begins with a father (Alexis Vigneault) reading the beloved
poem to his iPad-toting, Beats-wearing daughter Isabella (Michelle
Clark), who shows no interest in the recitation nor its holiday
sentiment. Her exasperated father storms off in a huff, and suddenly a
storm of another kind appears as Isabella's journey begins (and it is
here that the show takes some of its cues from two more seasoned
Christmas Eve "travelers": Clara from "The Nutcracker" and Ebenezer
Scrooge). Isabella is guided at times by a small ensemble of dancers
who are keepers of tiny sparks of light illuminating the way and
serving as the transitions between acts.
The land of the poem comes to life through a series of acts, beginning
with Nicole Faubert and Guillaume Paquin on the aerial duo straps. A
powerful pas de deux, indeed, though the confines of the Chicago
Theatre's proscenium stage do them few favors. Soon after, a spoiled
rich girl (Katharine Arnold), decked out in all things merry and
bright, transforms into a high-caliber contortionist who uses a
hotel's steel luggage cart as her aerial stage.
Eventually the journey takes us to an emotionally charged and
beautifully choreographed aerial lamp solo routine by Vigneault, and
the evening's most exciting act (and on this night the biggest crowd-
pleaser judging by applause) by a quartet of diabolo artists (Ming-En
Chen, Tsung-Ying Lin, Ting-Chung Wang and Chia-Hao Yu) who seriously
amp up the wow factor.
One slight bump in the night and the story line from stage
director/writer James Hadley is an entr'acte of sorts, set atop a
grand bed and featuring funnyman Francis Gadbois. With an expressive
face and sinewy mannerisms befitting a long line of Cirque clown
artists, Gadbois (along with an audience member plucked into service
for the shtick) takes way too long to get to the punchline.
The two-level set design by Genevieve Lizotte consists of a lone
backdrop, cascades of silver garland and icicle curtains accented by
lighting designer Nicolas Brion's colorful homage to minimalism, and a
slanted wall/ramp for acts to slide up or down or characters to perch
upon. James Lavoie's costumes, while shimmery and festive, are a far
cry from the impossibly imaginative togs we've come to expect from
Cirque du Soleil. There is music throughout (at times drowning out a
narrator's voice) pre-recorded and reimagined arrangements/vocals of
familiar Christmas hymns and secular hits and original compositions by
Jean-Phi Goncalves.
Isabella ultimately gets her moment in the spotlight in an impressive
hula hoop routine, but will it be enough to rekindle the holiday
spirit in her? Will she and her father finally reunite? Will St. Nick
make an appearance to our wondering eyes? Will giant, inflatable,
peppermint-striped candy-inspired balls find their way out into the
audience? Only a Grinch would tell.
{ SOURCE: Chicago Sun-Times }
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'Twas The Night Before Has Cirque Dazzle, But Not Heart
{Dec.02.2019}
----------------------------------------------------------
Two factors explain the massive crowds this past weekend for "'Twas
the Night Before," the new seasonal attraction at the Chicago Theatre.
One is the abiding pull of a family visit to the Loop to absorb some
holiday atmosphere, a reminder of how, even in this age of Amazon,
we're still attracted to historic urban centers as harbingers of
meaningful togetherness. The other is the power of the brand known as
the Cirque du Soleil.
So is the show, a world premiere headed to New York, any good? Santa
Cirque's got a mixed bag. And he's not yet fully in control of his, or
our, emotions.
Some of the issues are a consequence of Cirque not being able to fully
control its own environment at the Chicago Theatre, where the
watchword is security and crowd control, not adding to the sweetness
of your Christmas. You are not, dear reader, to be transported in the
lobby to some kind and magical place, especially if you follow through
the metal detector a smidgen too close to your loved one. And once
you're in the theater, you'll be beset by acoustic problems severe
enough to render much of the show's recorded narration unintelligible.
Reports of this vexing sound issue filled up my mailbox prior to my
own attendance on Sunday afternoon. They'll have fixed that by Sunday,
I thought, as I read the missives between bites of turkey. Nope. Still
a problem. Tricky joint for speakers, the Chicago. But others have
figured it out.
Let's move on to the good stuff. Despite the title, "'Twas the Night
Before" is not a literal or sentimental show for little kids, but a
sophisticated entertainment that should also work well for tweens and
even cynical teens, mostly due to a cool design pallet and a very
interesting soundtrack mashing up traditional Christmas music in a
highly contemporary fashion. If you are a churchgoing person, your
eyebrows might rise at a certain disconnect between sacred lyrics
("Oh, night divine!") and, say, a scantily clad aerialist, but for
most folk, the accompaniment, when it stays away from the Mannheim
Steamroller school of seasonal arrangements, is distinctive enough to
work. And everything is ecumenical and family-friendly.
In essence, Cirque has taken traditional circus acts and given them a
holiday-style presentation, including rollerbladers, aerialists, an
aerial-straps duo, a block juggler, tumblers, diabolo wranglers and
hoop divers. In most cases, the circus professionals are clad in
holiday themes; the hoop divers are Santa's reindeer, for example, and
fine prancers they are. As you'd expect from Cirque, these
international acts are top drawer the show has to be heavy on the
silks because there is not enough room on the shallow Chicago Theatre
stage for a full-blown trapeze, but silks happen to be my favorite and
you won't lack for "oohs" or "ahs." If you are a veteran of Cirque
attractions, you'll notice more legit choreography in this show; it's
very much in the vogue of the network holiday special, but the dancers
are among the show's strengths and the movement is fresh and fun.
The biggest weakness of the piece, which is written and directed by
James Hadley, lies in the main frame, which revolves around a girl,
Isabella (played by the adult Michele Clark) who turns on her iPad
when her dad (Alexis Vigneault) tries to read her the traditional poem
in the title. She then is transported on a journey inside the poem. Or
something like that.
Any parent will be down with an idea that tells kids to turn off their
electronic devices, but the emotional connection between the two leads
(and their audience) still needs a lot of work you don't feel either
the problem they are having or its resolution, mostly because the
emotional truth of the narrative doesn't get enough attention. It's
weird. Many of the circus people in the show (such as the aerialist
Tuedon Ariri and the skaters Rosie Axon and Adam Jukes) come with
sophisticated emotional presentations, as has often been the case at
Cirque, but the leads, whose faces often look blank, don't create the
crucial overarching roadmap of vulnerability and mutual need. I think
they could fix that before New York.
Given the quality of much else of the artistry, I'll wager you and
yours will still have a good time. I would not drop $200 bucks a
person on this show (which is the price of some of the peak tickets
now), but you should be able to find a cheaper entree if you peck
around the seating plans. The show is short enough to allow for
dinner, shopping and whatever else you traditionally do in our grand
old city at this time of year.
{ SOURCE: Chris Jones, Chicago Tribune }
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CDS + Deed3D for X: The Land of Fantasy
{Dec.03.2019}
----------------------------------------------------------
July 2019, Cirque du Soleil raised the curtain on its most recent
permanent show in China: X the Land of Fantasy, which offers an
astonishing staging combining heart-pumping acrobatics, state-of-the-
art visual and sound effects, and high-tech scenic and theatrical
elements. Divided into two sets of intimate revolving bleachers, the
theater offers an unprecedented immersive experience to 1,500
spectators who benefit from a unique perspective of 360 degrees on the
massive 100-meters wide mainstage and the central structure consisting
of nine panels of 121 square-meters each that shape-shift as the story
unfolds.
The 420 square-meter "forest" is the highlight of the stage, but
creating it was quite a challege. Limbs needed to be lightweight to
allow easy scene changes but also durability, so as not to crumble
after a few days use. Deed3D Technologies partnered with Cirque du
Soleil to find the right tensile and flex properties to make the 3D-
printed "forest" a reality.
The tree limbs (the longest of which are 3.7m) were printed in FDM
ABS-M30 plastic a strong and cost-effective material. Deed3d chose
PC-ABS plastic, taking advantage of the strength and durability of
both ABS and PC plastics, to produce the middle connector parts. Nylon
12 material was used for those pieces that required maximum
flexibility.
In order to ensure that the shows can be staged on time, Deed3d
mobilized 5 sets of Stratasys Fortus 900mc and more than 20 sets of
450mc and 380mc. The company delivered hundreds of finished tree limbs
within 30 days of order. And after six months of rehearsal and
performance, the 3d printed parts are still intact!
Mr. Hou the CEO of Deed3d Technology emphasizes, "as a leading 3D
printing service, we equipped with over 50 sets of Stratasys printers,
to realize the small batch production of rapid prototyping. And one of
the biggest benefits of Stratasys printer is it can easily switch
different materials."
CHECK OUT SOME IMAGES HERE:
http://www.cirquefascination.com/?p=13383
{ SOURCE: 3D Print.com }
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VITORI Wows Audience at MCC
{Dec.04.2019}
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A show-stopping performance by some of the world's best acrobats is
holding the audience at the Mediterranean Conference Centre in
Valletta in awe.
Cirque du Soleil is presenting an original show, titled Vitori, for
the first time in Malta. But the long-awaited spectacle is not only
about acrobatics, as there is also live singing and a lot of dancing
going on. The plot is inspired by chess, the ultimate game of logic
and rational thinking, with the characters being chess pieces or
chessmen. Two teams go head to head on a huge chessboard, ready to
wage a battle. However, this is not a story about war...
When the Golden King falls in love with the Black Rook, he embarks on
reckless moves to capture her heart, throwing this orderly world into
disarray. As he tries to get closer to his love, he faces a
pretentious, narcissistic monarch and his fearsome Queen. All this
happens in a poetic, glossy and black and white world represented by a
giant chessboard that occupies the MCC stage. The 24 dancers and
acrobats use aerial silks, a Russian bar, acrosport and a high
line/slackline to perform breathtaking numbers while moving to a
rhythmical, modern score with deep electronic undertones. The Golden
King leads the charge with his spirited cello playing but the
soundtrack is interspersed with soaring melodies, driven by the
soulful voice of the Black Rook.
The 60-minute show is endowed with extravagant costumes, featuring
geometric lines and shapes with an added touch of folly and whimsy.
Some of the costumes have sizeable extensions such as the geometrical
horse heads worn by the Knights. Other memorable costumes include a
stunning black samurai outfit worn by the Black Queen and a black
crinoline dress donned by the Black Rook.
Behind the show is a creative team comprising writer Geneviève Dorion-
Coupal, choreographer Peter Chu, costumer designer Sébastien Dionne
and performance designer Benoit Potvin, among others. There is also a
nine-strong artistic team that includes acrobatics coach Émilie
Therrien and general stage manager Travy Rivard.
CHECK OUT SOME IMAGES HERE:
http://www.cirquefascination.com/?p=13391
{ SOURCE: The Times of Malta }
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Disney 2020 is... DRAWN TO LIFE!
{Dec.10.2020}
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Cirque du Soleil Entertainment Group and Disney Parks, Experiences and
Products are thrilled to announce Drawn to Life, the highly
anticipated, new family friendly show coming to Walt Disney World
Resort in Lake Buena Vista, Fla. Written and directed by Michel
Laprise and with Fabrice Becker as Director of creation, this
collaboration between Cirque du Soleil, Walt Disney Animation Studios
and Walt Disney Imagineering will open for previews March 20, 2020,
and officially premiere April 17, 2020. The show will take residency
at Disney Springs. Tickets are on sale now at cirquedusoleil.com.
Cirque du Soleil Entertainment Group President and CEO Daniel Lamarre,
says, "For Cirque du Soleil, this is a beautiful way of celebrating
Disney's legacy in the art of animation. This new and exciting
production is most certainly the best way to highlight the privileged
relationship we have with our colleagues at Walt Disney World and our
joint commitment to continually bring audiences new experiences that
surpass their expectations."
The show is a result of years of research and extraordinary
collaboration that included extensive visits to Disney theme parks,
Walt Disney Archives, Walt Disney Imagineering, Walt Disney Animation
Studios, Pixar Animation Studios, The Walt Disney Family Museum, as
well as hands-on work between Disney animators and Cirque du Soleil.
ln fact, the Cirque du Soleil teams collaborated extensively with
legacy animators to create the show.
"What fascinates us is that moment when life appears in drawings. Just
like in an acrobat's body, the visceral physicality of animation. The
way they perform, the way they create the illusion of life," says
Michel Laprise Writer and Show Director.
Increating this show, we've brought to life an extraordinary new
entertainment experience for the whole family," said Josh D'Amaro,
President Walt Disney World Resort, "It blends all the heart, humor
and joy of Disney storytelling with dazzling new acrobatic
performances and effects never before seen in a Cirque du Soleil
production."
This new show follows the story of Julie, a courageous and determined
girl who discovers an unexpected gift left by her late father: an
unfinished animation piece. Guided by a surprising pencil, she embarks
on an inspiring quest sprinkled with her Disney childhood memories.
Through this journey, she learns to imagine new possibilities and
animate the story of her future.
Drawn to Life will transport guests of all ages into the world of
Disney animation in Cirque du Soleil's signature style. This entirely
new experience will wow Walt Disney World guests and Cirque du Soleil
fans, while bringing timeless Disney stories to life in an
unforgettable new way.
"It has been a fantastic collaboration between Cirque du Soleil, Walt
Disney Animation Studios and Walt Disney Imagineering. We had the
chance to work with some of the animators that have worked on iconic
Disney movies. You'll get to meet some of your favourite characters,
but maybe in a very different way," says Fabrice Becker, Creation
Director.
With an international cast of more than 65 artists, the Cirque du
Soleil theater located in Disney Springs at Walt Disney World Resort,
will welcome up to 1,580 spectators for each show, five days a week.
CREATIVE TEAM
-------------
o) Chief Executive Producer -- Yasmine Khalil
o) Vice President of Creation -- Daniel Fortin
o) Chief Creative Officer -- Diane Quinn
o) Executive Producer -- Charles Joron
o) Creative Director -- Fabrice Becker
o) Writer and Show Director -- Michel Laprise
o) Set Designer -- Stephane Roy
o) Costume Designer -- Philippe Guillotel
o) Make-up Designer -- Eleni Uranis
o) Acrobatic Designer -- Germain Guillemot
o) Acrobatic Equipment Designer -- Danny Zen
o) Music Composer -- Benoit Jutras
o) Projection Designer -- Mathieu St-Arnaud
o) Projection Designer -- Félix Fradet-Faguy
o) Projections Producer -- 4U2C
o) Production Director -- Matthew Whelan
o) Magie Nouvelle -- Raphaël Navarro
o) Puppets Designer -- Johanna Elhert
o) Sound Designer -- Jonathan Deans
o) Light Designer -- Martin Labrecque
o) Comic act Designer -- Joe de Paul
o) Choreographer -- Kostiantyn Tomilchenko
o) Chroeographer -- Andrew Skeels
For Walt Disney Animation Studios
o) Custom Animation -- Eric Goldberg
For Walt Disney Imagineering:
o) Executive, Theatrical Development -- Michael Jung
o) Executive, Music Studio -- Matt Walker
o) Vice President, Production -- Natalie Woodward
o) Producer -- Omar Kamal
o) Principal Technical Director -- Larry Sonn
DRAWN TO LIFE is the 50th original production of Cirque du Soleil.
Tickets are on sale now: www.cirquedusoleil.com/drawn-to-life
{ SOURCE: Cirque du Soleil }
***************************************************************
Q&A -- Quick Chats & Press Interviews
***************************************************************
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How to Whistle Like a Pro and Blow Away Your Friends
{Nov.26.2019}
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Winner of numerous international championships, Lomax has mastered his
craft in ways we mere mortals can't. Unlike those who can barely hold
a tune while whistling, Lomax hits every note precisely, even going so
far as to practice with a frequency tuner to ensure accurate pitch.
His range spans three octaves. ("On a good day, maybe four," he says.)
He can break notes fast enough to whistle acrobatic songs like Rimsky-
Korsakov's "Flight of the Bumblebee." He whistles while inhaling and
exhaling to extend notes to impressive lengths. And he incorporates
flourisheslike tremolo, humming, vibratoto take his pitch-perfect
pucker style to the next level.
One of those flourishes, his signature sound, emulates an instrument
he remembers hearing as a kid in church: the Hammond B3 Organ. The
trick is to hum while whistling, he says, using the cavity between his
nose and his upper palate to resonate the noise. "It just gives it a
different, unique sound."
His passion for whistling has taken him around the world. He's visited
stadiums to whistle the national anthem for crowds of thousands. He's
toured with Cirque Du Soleil's Corteo show as Mr. Loyal, The Whistler.
He's appeared on the small screen as a guest on The Tonight Show and
Hannah Montana. He's even released an album of whistled Christmas
songs.
Though few whistle at his level, Lomax remains insistent that anyone
can improve their whistling. "It just takes practice, practice,
practice," he says.
Check out the video below to learn more about Lomax and the keys to
professional whistling.
Sean Lomax likes to tell people he came out of the womb whistling.
"I've been whistling ever since I can remember," he says. "That's what
I do. I love it."
SEE A VIDEO HERE:
http://www.cirquefascination.com/?p=13365
{ SOURCE: Wired }
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LV Weekly: What Inspires RJ Owens?
{Dec.05.2019}
----------------------------------------------------------
If you've seen Cirque du Soliel's classic Mystère, you've seen RJ
Owens as Bebe François, the bonneted clown whose innocent, toddler-
like antics provide many of the show's biggest laughs. But like
everyone else involved with Cirque, Owens has talents and passions
that exist far outside his nightly role, from sleight-of-hand (he's a
magician by trade) to curing his own meats (he's a committed foodie).
Owens recently shared a few of the things that inspire his ever-
searching mind.
Q. Let's talk Bebe François. How did you find your way into that
character?
Well, luckily, when I was asked to audition for Mystère, I was on tour
with Saltimbanco, which was one of the original shows Cirque put out.
And we had a stage manager on the show who was traveling with her 2-
year-old son. For about two weeks before I came to Las Vegas to
audition live, I babysat Benicio every single day. Just to watch how
he acted, what he did, how he walked, how he processed things. When I
was given the role and came to Las Vegas, I was given carte blanche to
create, and so I took insight from having babysat Benicio. They kept
asking me if I wanted to watch François DuPuis, who created the role,
and I said no. I didn't want to copy anybody, I didn't want to imitate
anyone. I wanted to be me and real. And to this day, I still have not
seen François do the role.
Q. Did any of Benicio's mannerisms make it directly into the
character?
Subconsciously, yes, all of them did. Watching him and seeing how a
child throws himself forward when they walk, as opposed to an adult
who leads with something, gets a stride. A child doesn't comprehend a
process; they see something, they throw their body in that direction,
momentum takes over and they're walking. And the constant waving. I
don't wave like a princess; my waves are a little subtle. I see you,
how you doing? Trying to get your attention. Oh, and also his
curiosity; he was just such a curious toddler, and that's what my baby
is. Bebe François is just this curious creature who wants to see
what's going to happen next, no matter what the outcome. Mystère is
the only show that opens with a clown act. It's a daunting task to
engage 1,600 people, and get them on your side when you don't speak
their language and you're a 400-pound baby.
Q. Cirque has completely changed my perception of clowning. What they
allow you to do in Mystère is just so different from the clowning I
knew growing up.
Absolutely. I mean, I was a white-faced friendly clown. I did birthday
parties and all that stuff. And Cirque really changed my perception of
clowning as well. There was a certain stigmata attached to Cirque du
Soleil clowns when I was growing up: "Oh, those weird French people."
And then you meet them and they're still weird, and they're still
French, but boy, are they talented. They really take the risks and
think outside of whatever box they're put into. And they realize that
anything can be funny, but the real magic comes when they can turn
sadness into funny.
Q. You run with a crowd of extraordinary talents, both on- and
offstage. Who are some other local performers whose work grabs you?
I'm a huge adoring fan of Amy Saunders of The Miss Behave Gameshow.
[And] I have to say my boys, man. They're all Cirque, of course. My
two costars in Mystère, Jimmy Slonina and Johnny Miles. It's an honor
to share a dressing room with them. We have some of the strangest,
most beautiful conversations. Unfortunately, none of us share any time
together on stage, but we create in the dressing room. And my other
boy is Brett Alters, from Opium; he also works with Piff the Magic
Dragon. The four of us are a really big force of nature to be reckoned
with. And then, of course, Penn and Teller inspire me because of their
"I don't care anymore" attitude. They care so much about the art they
put onstage. Don't get me wrong, they love their audiences. But
they're not catering to anybody; they're doing it for themselves.
They've been putting so much new magic in their act the last year and
a half, almost a trick every month. And being a former magician, that
is just unfathomable to me.
Q. A former magician?
Well, actually, right now I'm working with a local performer named
Matt Donnelly, an improv artist who was tasked by Penn Jillette to
become a magician. [Donnelly is also a writer for Penn & Teller: Fool
Us and cohost of the Penn's Sunday School podcast.] They were talking
at a Fool Us rehearsal, and Matt said, "I bet you anybody with good
improv skills would make a great magician." And Penn says, "You know
what, you're right. And it's going to be you." So, he tasked him with
learning a magic trick. And Matt, being gung-ho, said, "Well, to hell
with that. I'm going to do a whole show." Matt hired me as his
director and magic consultant.
Now he's Matt Donnelly, Mind Noodler.
It's beautiful to see a magician onstage who's unflappable. If
anything goes wrong, Matt can cover with his improv skills. Matt is
another one of the guys I love to watch; he can do anything.
Q. How often do you get to practice magic these days?
Oh, I practice every day, but perform hardly ever. I actually kind of
succumbed to Matt the other day: We host a podcast called Abra
Kadabra, where we talk about magic, but also about life and what have
you. Every middle-aged man in America has a podcast now, it seems. And
I realized that I'm living vicariously through Matt, because I'm
designing all of his magic effects and directing his show and helping
him light. I desperately want to keep performing [magic]. As a matter
of fact, I have a meeting coming up about hosting a burlesque show in
Las Vegas. A true burlesque show, not the pseudo-nouveau burlesque
that's out there now, but an actual 1920s Odeum Theater burlesque
show. Three acts, interstitials, variety, political acts, what have
you. And that'll give me a chance to actually ply my trade again and
do magic.
Q. Maybe this is something you can answer for me: Do the magicians in
this town ever get together and talk shop?
Actually, there are several meetings of magicians. I don't attend any
of them, because they're usually during times that I'm working, with
the exception of one. There's a show [on the third Thursday of every
month] called Vegas Wonderground. It's hosted by Jeff McBride, who is
an incredible performer. And he brings him magicians from all over the
world. They do three separate shows, they do two stage shows and a
closeup show. It's about five-and-a-half hours of magic a night. A lot
of magicians go there, and we go out to a local restaurant afterwards.
Magicians will hang out with each other and discuss things if they're
confident enough in their own performance skills.
Q. Speaking of local joints, where do you go to relax?
I have become a huge fan of PublicUs, because it's close to my house,
and it's got decent coffee. I mean, I roast my own coffee at home, so
normally I will have had my coffee before I go there, but I'll always
get a coffee just because it's what you do when you go to PublicUs. I
really enjoy the kids that are working there. I mean, you go there
twice and they know your name and what you're drinking. It's so unlike
the corporate coffee shops, where you feel like you're putting upon
the people who are taking your order. And I love meeting people there,
because I love to turn them onto the food. I'm a fan of their waffle
with lemon curd, ricotta cheese and candy pecans. If it's nighttime
recharging I need, there's a plethora of places I'll go. I love
Frankie's Tiki Room quite a bit because of the alcohol content. I love
Dino's because of the denizens. For me, Dino's on a Sunday night,
after shows, is just fantastic. I sat there one night with a coworker,
and this kid and three of his friends came in. It was his brother-in-
law, his sister and one of their friends on his 21st birthday. And I
proceeded to sit there and teach him how to be a man on his 21st
birthday, because he came in a bro. I was, like, "Oh, no, no, no.
We're going to nip this in the bud right now." I taught him how to
order whiskey. I talked to him about life. He was 21, still living
with his parents, and I said, "You need to move out. You're 21 years
old, you've got a fantastic job. Get out." Changed this man's life; I
know I did.
Q. What are you reading right now?
I've actually delved into several books. One is Handsome Jack by John
Lovick, whose persona onstage is "Handsome Jack." He did a brilliant
thing: He wrote this book as his character, which is nothing like him
as a human being. His character is very smarmy, snarky and better-
than-thou. I'm also reading a really sick mentalism book by [Theodore]
Annemann, which is just wonderful. I do a lot of artisanal stuff at my
house. I cure my own meat, I roast my own coffee, I make ice cream. I
have a still; I make my own whiskey, I've just gotten into cheese
making, so I'm making cheese at my house. And so, I've been collecting
books on charcuterie. Just looking at different cultures' ways of
making charcuterie, or making salted, cured meats, ranging from
Italian to Middle Eastern to Indian to Korean to Thai. I've been
reading a bunch of books on that. I can't give you any names, because
I don't want people to buy them. I want them to be my special secret.
Q. I'll only ask you for one last secret: What does Vegas' creative
culture need that it doesn't currently have?
What Vegas needs is less people saying no and more people saying yes.
We've got people like Troy Heard running Majestic Repertory, and Kate
St-Pierre doing shows with the Lab LV. And the artists that are
showing up to First Friday, being vulnerable and putting their work
out there, and saying, "This is me. This is my art. I don't care if
you buy it. I would love you to buy something from me, but this is my
art."
We need people who are just not afraid to say yes, not afraid
to be vulnerable. And who just aren't afraid to put themselves out
there and say, "Look, world. Here I am. Love me or leave me. Let's
just make art."
{ SOURCE: Las Vegas Weekly }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Alegria, Amaluna, Bazzar, Koozå, Kurios, Luzia, Totem,
Volta, and Cirque 2020}
o) ARENA - In Stadium-like venues
{OVO, Crystal, Corteo, AXEL, Messi10, 'Twas The Night Before}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE, JOYA,
Paramour, X: The Land of Fantasy, and R.U.N}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Alegría-In a New Light:
Miami, FL -- Dec 13, 2020 to Feb 17 2020
Houston, TX -- Feb 29, 2020 to Apr 12, 2020
Austin, TX -- Apr 22, 2020 to May 25, 2020
Chicago, IL -- Jun 5, 2020 to Jun 28, 2020
Washington, DC -- Jul 23, 2020 to Sep 27, 2020
Vancouver, BC -- Oct 15, 2020 to Jan 10, 2021
Amaluna:
San Francisco, CA -- Nov 3, 2019 to Jan 12, 2020
Sacramento, CA -- Jan 22, 2020 to Feb 23, 2020
Hong Kong, CN -- Apr 2, 2020 to Apr 26, 2020
Bazzar:
Punta Cana, DO -- Jan 29, 2020 to Feb 23, 2020
Cirque 2020:
Montreal, QC -- Apr 23, 2020 to Jun 21, 2020
Koozå:
Madrid, ES -- Oct 24, 2019 to Jan 5, 2020
Seville, ES -- Jan 15, 2020 to Mar 8, 2020
Lyon, FR Mar 20, 2020 to Apr 13, 2020
Tel Aviv, IL -- Jun 4, 2020 to Jun 30, 2020
Zurich, CH -- Sep 4, 2020 to Sep 27, 2020
Kurios:
Sydney, AU -- Oct 2, 2019 to Dec 29, 2019
Brisbane, AU -- Jan 10, 2020 to Feb 23, 2020
Melbourne, AU -- Mar 12, 2020 to Apr 26, 2020
Adelaide, AU -- May 29, 2020 to Jun 7, 2020
Perth, AU -- Jul 15, 2020 to Aug 2, 2020
Luzia:
Vancouver, BC -- Oct 3, 2019 to Dec 29, 2019
London, UK -- Jan 12, 2020 to Mar 1, 2020
Moscow, RU -- Mar 19, 2020 to Apr 12, 2020
Gran Canaria, ES -- Jul 7, 2020 to Aug 23, 2020
Valencia, ES -- Sep 11, 2020 to Sep 27, 2020
Totem:
Düsseldorf, DE -- Dec 18, 2019 to Feb 2, 2020
Munich, DE -- Feb 13, 2020 to Mar 22, 2020
Rome, IT -- Apr 1, 2020 to Apr 19, 2020
Milan, IT -- May 21, 2020 to Jun 21, 2020
Prague, CZ -- Jul 17, 2020 to Aug 2, 2020
VOLTA:
Atlanta, GA -- Oct 10, 2019 to Jan 5, 2020
Los Angeles, CA -- Jan 18, 2020 to Mar 8, 2020
Costa Mesa, CA -- Mar 18, 2020 - Apr 19, 2020
Denver, CO -- Apr 30, 2020 to Jun 7, 2020
Portland, OR -- Jun 18, 2020 to Aug 2, 2020
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
OVO:
Norfolk, VA -- Dec 27, 2019 to Dec 29, 2019
Augusta, GA -- Jan 2, 2020 to Jan 5, 2020
Charlotte, NC -- Jan 8, 2020 to Jan 12, 2020
Tallahassee, FL -- Jan 17, 2020 to Jan 19, 2020
Pittsburgh, PA -- Jan 23, 2020 to Jan 26, 2020
Albany, NY -- Jan 29, 2020 to Feb 2, 2020
Phoenix, AZ -- Feb 20, 2020 to Feb 23, 2020
Boise, ID -- Feb 27, 2020 to Mar 1, 2020
San Diego, CA -- Mar 5, 2020 to Mar 8, 2020
El Paso, TX -- Mar 12, 2020 to Mar 15, 2020
Edinburg, TX -- Mar 19, 2020 to Mar 22, 2020
Lafayette, LA -- Mar 25, 2020 to Mar 29, 2020
Greensboro, NC -- Apr 2, 2020 to Apr 5, 2020
Savannah, GA -- Apr 8, 2020 to Apr 12, 2020
Knoxville, TN -- Apr 15, 2020 to Apr 19, 2020
Frisco, TX -- Apr 23, 2020 to Apr 26, 2020
Fort Worth, TX -- Apr 30, 2020 to May 3, 2020
Bloomington, IL -- May 7, 2020 to May 10, 2020
Louisville, KY -- May 13, 2020 to May 17, 2020
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Saint Petersburg, RU -- Dec 11, 2019 to Dec 15, 2019
Kazan, RU -- Dec 19, 2019 to Dec 22, 2019
Ufa, RU -- Dec 25, 2019 to Dec 29, 2019
Ekaterinburg, RU -- Jan 1, 2020 to Jan 5, 2020
Riga, LV -- Jan 15, 2020 to Jan 19, 2020
Krakow, PL -- Jan 23, 2020 to Jan 26, 2020
Gdansk, PL -- Jan 30, 2020 to Feb 2, 2020
Minsk, BY -- Feb 6, 2020 to Feb 9, 2020
Kiev, UA -- Feb 13, 2020 to Feb 16, 2020
Sheffield, UK -- Mar 6, 2020 to Mar 8, 2020
Glasgow, UK -- Mar 11, 2020 to Mar 15, 2020
Aberdeen, UK -- Mar 19, 2020 to Mar 22, 2020
Belfast, UK -- Mar 25, 2020 to Mar 29, 2020
Manchester, UK -- Apr 1, 2020 to Apr 5, 2020
Birmingham, UK -- Apr 8, 2020 to Apr 12, 2020
Nottingham, UK -- Apr 15, 2020 to Apr 19, 2020
Amhurst, MA -- May 15, 2020 to May 17, 2020
Trenton, NJ -- May 20, 2020 to May 23, 2020
St. Catharines, ON -- May 27, 2020 to May 31, 2020
Providence, RI -- Jun 3 to Jun 7, 2020
Hartford, CT -- Jun 10 to Jun 14, 2020
Bridgeport, CT -- Jun 17 to Jun 21, 2020
Cleveland, OH -- Jun 24 to Jun 28, 2020
Ottawa, ON -- Jul 2 to Jul 5, 2020
North Charleston, SC -- Jul 22 to Jul 26, 2020
Lausanne, CH -- Sep 9, 2020 to Sep 13, 2020
Hanover, DE -- Sep 16, 2020 to Sep 20, 2020
Leipzig, DE -- Sep 23, 2020 to Sep 27, 2020
Stuttgart, DE -- Oct 7, 2020 to Oct 11, 2020
Nuremberg, DE -- Oct 14, 2020 to Oct 18, 2020
Frankfurt, DE -- Nov 13, 2020 to Nov 21, 2020
Cologne, DE -- Nov 25, 2020 to Nov 29, 2020
CORTEO:
Paris, FR -- Dec 12, 2019 to Dec 15, 2019
Stuttgart, DE -- Dec 18, 2019 to Dec 22, 2019
Mannheim, DE -- Dec 25, 2019 to Dec 29, 2019
Lisbon, PT -- Jan 3, 2020 to Jan 12, 2020
Granada, ES -- Jan 15, 2020 to Jan 19, 2020
Zargoza, ES -- Jan 22, 2020 to Jan 26, 2020
Vitoria-Gasteiz, ES -- Jan 29, 2020 to Feb 2, 2020
Santiago de Compostela, ES -- Feb 5, 2020 to Feb 9, 2020
Santander, ES -- Feb 12, 2020 to Feb 16, 2020
Bordeaux, FR -- Feb 21, 2020 to Feb 23, 2020
Antwerp, BE -- Mar 13, 2020 to Mar 22, 2020
Vienna, AT -- Mar 25, 2020 to Mar 29, 2020
Montpellier, FR -- Apr 2, 2020 to Apr 5, 2020
Aix-en-Provence, FR -- Apr 8, 2020 to Apr 12, 2020
Lille, FR -- Apr 16, 2020 to Apr 19, 2020
Copenhagen, DE -- Apr 23, 2020 to Apr 26, 2020
Herning, DE -- Apr 29, 2020 to May 3, 2020
Stockholm, SE -- May 7, 2020 to May 10, 2020
Gothenburg, SE -- May 13, 2020 to May 17, 2020
Leeds, UK -- Jun 18, 2020 to Jun 21, 2020
London, UK -- Jun 24, 2020 to Jul 5, 2020
Dublin, IR -- Jul 8, 2020 to Jul 12, 2020
Palma de Mallorca, ES -- Aug 7, 2020 to Aug 16, 2020
Nice, FR -- Aug 20, 2020 to Aug 22, 2020
Helsinki, FI -- Oct 1, 2020 to Oct 4, 2020
Turku, FI -- Nov 18, 2020 to Nov 22, 2020
Vilnius, LT -- Nov 26, 2020 to Nov 29, 2020
Toulouse, FR -- Dec 17, 2020 to Dec 20, 2020
Pamplona, ES -- Dec 25, 2020 to Jan 3, 2021
AXEL:
Worcester, MA -- Dec 5, 2019 to Dec 8, 2019
Quebec City, QC -- Dec 12, 2019 to Dec 15, 2019
Montreal, QC -- Dec 19, 2019 to Dec 29, 2019
Detroit, MI -- Jan 2, 2020 to Jan 5, 2020
Milwaukee, WI -- Jan 9, 2020 to Jan 12, 2020
Tulsa, OK -- Jan 16, 2020 to Jan 19, 2020
Cincinnati, OH -- Jan 23, 2020 to Jan 26, 2020
Kansas City, MO -- Jan 30, 2020 to Feb 2, 2020
Nashville, TN -- Feb 6, 2020 to Feb 9, 2020
Greeneville, SC -- Feb 13, 2020 to Feb 16, 2020
Bakersfield, CA -- Mar 12, 2020 to Mar 15, 2020
Prescott Valley, AZ -- Mar 19, 2020 to Mar 21, 2020
San Jose, CA -- Mar 24, 2020 to Mar 28, 2020
Las Vegas, NV -- Apr 3, 2020 to Apr 5, 2020
Everett, WA -- Apr 9, 2020 to Apr 12, 2020
Tucson, AZ -- Apr 17, 2020 to Apr 19, 2020
Rio Rancho, NM -- Apr 23, 2020 to Apr 26, 2020
Eugene, OR -- May 14, 2020 to May 17, 2020
Spokane, WA -- May 21, 2020 to May 24, 2020
Victoria, BC -- May 28, 2020 to May 31, 2020
Abbotsford, BC -- Jun 4, 2020 to Jun 7, 2020
Kelowna, BC -- Jun 11, 2020 to Jun 14, 2020
Kamloops, BC -- Jun 18, 2020 to Jun 21, 2020
Prince George, BC -- Jun 25, 2020 to Jun 28, 2020
Edmonton, AB -- Jul 2, 2020 to Jul 5, 2020
Saskatoon, SK -- Jul 9, 2020 to Jul 12, 2020
Lethbridge, AB -- Jul 16, 2020 to Jul 19, 2020
Regina, SK -- Jul 23, 2020 to Jul 26, 2020
Medicine Hat, AB -- Jul 30, 2020 to Aug 2, 2020
Messi10:
Barcelona, ES -- Oct 10, 2019 to Jan 4, 2020
Buenos Aires, AR -- Jun 11, 2020 to Jul 5, 2020
'Twas The Night Before:
New York, NY -- Dec 11, 2019 - Dec 29, 2019
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
NOTE: Starting January 2020, "O" performs 7 Days a Week
Two shows Nightly - 7:30pm and 9:30pm
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Friday through Tuesday, Dark Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Thursday through Monday - Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
PARAMOUR:
Location: Stage Theater New Flora | Hamburg, Germany
Performs: One/Two Shows Nightly...
X: THE LAND OF FANTASY
Location: Hangzhou, China
R.U.N:
Location: Luxor Las Vegas (USA)
Performs: Wednesday through Sunday - Dark: Monday/Tuesday
Two Shows Nightly - 7:00pm and 9:30pm
DRAWN TO LIFE (Disney 2020):
Location: Walt Disney World Resort (USA)
Performs: Tuesday through Saturday - Dark: Sunday/Monday
Two Shows Nightly - 5:30pm and 8:30pm
NOTE: Preview Shows from March 20th through April 16th
perform only 1 day a week, at 5:30pm.
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
- The Making of MESSI10
https://www.youtube.com/watch?v=SZlHRUOlI9k
- The Life of a Freestyle Skater from AXEL
https://www.youtube.com/watch?v=nI-MtMM3M1A
- Twas The Night Before Official Music Video
https://www.youtube.com/watch?v=uAxOYsnDH6I
- A Day in the Life of a Cirque Musician
https://www.youtube.com/watch?v=-aQcISvn19E
- Behind the Scenes with Video and Stage Designers
https://www.youtube.com/watch?v=1IyHgDq-Eiw
- A Day in the Life with Cirque Ice Skaters
https://www.youtube.com/watch?v=3tpIbia4Jb8
- AXEL: Hero of the Day Music Video
https://www.youtube.com/watch?v=agF6NJKBFdw
- A Day in the Life of a Cirque Power Couple
https://www.youtube.com/watch?v=LBBnP5uYBs8
- JOYA: The Dive Music Video
https://www.youtube.com/watch?v=NY6xYrTfljM
- A Day in the Life of a Cirque Painter
https://www.youtube.com/watch?v=mcKu5VSgx00
- A Day in the Life of a Cirque Aerialist
https://www.youtube.com/watch?v=eYOD90tpGKs
- VOLTA: Inside Me Music Video
https://www.youtube.com/watch?v=oCv0HIis_tQ
- MJ ONE Artists Bring to The Community In This Way
https://www.youtube.com/watch?v=406J2trqRNM
- OVO: Secret Samba Luv Music Video
https://www.youtube.com/watch?v=7fGnIVabfC4
- Never Before Seen Footage of CRYSTAL
https://www.youtube.com/watch?v=4wrdkso1k_g
- MAC Cosmetics Recreates ANGER
https://www.youtube.com/watch?v=DHF41X5s6Jc
- MAC Cosmetics Recreates SADNESS
https://www.youtube.com/watch?v=Ah4gJJMEvE8
- MAC Cosmetics Recreates HAPPINESS
https://www.youtube.com/watch?v=YEbs49yEh0o
- The Life of Artists from R.U.N
https://www.youtube.com/watch?v=18g2CIDXstw
- Meet AXEL's Compser, Philippe Brault
https://www.facebook.com/CirqueduSoleilAXEL/videos/805575766545938/
- All About AXEL's Set Design
https://www.facebook.com/CirqueduSoleilAXEL/videos/532263434019250/
- Get to know CORTEO's Eve Willems
https://www.facebook.com/cirquejobs/videos/2364178477175693/
- Discover CORTEO's Band Leader, Roger Hewett
https://www.facebook.com/cirquejobs/videos/596282827807836/
- Meet CRYSTAL's Acrobatic Porter, Leon Fagbemi
https://www.facebook.com/CrystalbyCirqueduSoleil/videos/580357556069981/
- Meet CRYSTAL's Kiryl Shatau
https://www.facebook.com/CrystalbyCirqueduSoleil/videos/2444035509142960/
- A Sneak Peek of "Boom Brawl" from the opening of R.U.N
https://www.facebook.com/runtheshow/videos/666317923894799/
- Meet MESSI10's Stage Manager, Serge Côté
https://www.facebook.com/MessiCirque/videos/600408190699675/
- Meet MESSI10's Makeup Designer, Véronique St-Germain
https://www.facebook.com/MessiCirque/videos/746336439220410/
- The Inspiration Behind 'Twas The Night Before
https://www.facebook.com/CirqueduSoleil/videos/1013993795601515/
- Meet Some of the Behind-the-Scenes Team of Twas The Night Before
https://www.facebook.com/CirqueduSoleil/videos/583649519111678/
- Take a Peek at Show Costumes for Twas The Night Before
https://www.facebook.com/CirqueduSoleil/videos/2730109180368326/
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "R.U.N. For The Exit?" - A Collection of Articles
Reviewing R.U.N at its Gala Premiere
o) "A Look at Cirque at SEA II: SYMA & VARELIA"
By: Ricky Russo - Atlanta, Georgia (USA)
o) Jean David's Quel Cirque, Part 12 of 12: "The Revelator"
A Special Series Celebrating Cirque's 35th Anniversary
------------------------------------------------------------
"R.U.N. For The Exit?" - A Collection of Articles
Reviewing R.U.N at its Gala Premiere
------------------------------------------------------------
R.U.N' BALANCES ITS MESSAGE
John Katsilometes, Las Vegas Review-Journal
"R.U.N" is a lesson in balance, on and off the stage. The creators of
the new Cirque du Soleil show have made a concerted effort to distance
the production from previous Cirque projects, while still capitalizing
on the company's familiar artistic brand.
The name of the company so dominant on the Strip was almost edited out
of the show's formal marketing efforts. In the end, Cirque survived,
and is reinforced as the producer of the new action thriller at Luxor.
"There was a lot of conversation early on about how to do that, and it
went back and forth and came to a company decision," "R.U.N" director
Michael Schwandt said Thursday morning, hours before the show's
premiere in the former Criss Angel Mindfreak Live Theater. "There are
two sides to that coin. The show would have been judged differently if
we had not used Cirque, because there would have no attachment or
affiliation to the name but the name carries a lot of clout,
especially here.
"It's really great for the company to say and show what it has created
in Las Vegas and how different it is."
"R.U.N" is set apart from, say, Cirque's original Strip resident show,
"Mystere," in that it tells a linear story devised by Hollywood
director and writer Robert Rodriguez with an English-language
narrative and even onstage dialogue. The story centers on the
aftermath of a a wedding gone violently awry in a hardened, fictional
version of Las Vegas.
The company has stressed from the beginning of development that
"R.U.N" is not an acrobatic show, instead incorporating film-styled
stunts. Consequently, "R.U.N" performers have been reconditioned to
perform stunts that look sloppy and graceless.
"A traditional acrobat always sticks the landing, they want to be
clean and perfect, because that is the safest way to do something,"
Schwandt said. "But most of the times in this show, they look messy
and grimy, to give the perception of danger. You land on your chest,
your back, you neck. We are redefining what is perfection."
One constant in any Cirque show is risk. An artist navigating an
electric bike fractured his clavicle in a spill on the opening night
of previews.
Audience feedback has been mixed. Traditional Cirque fans have not
warmed to the show as readily as those who have no preconceived
connection to the company.
"People either love or hate the differences," Schwandt said. "A lot of
people maybe bought a tickets when they went on sale thinking they
were going to see the new Cirque du Soleil show, and had an
expectation of what that was. But conversely, there have been a lot of
people who have come into this and absolutely been blown away and are
happy with the differences and the newness we have created.
"You definitely can't please everyone, so we are not trying to do
that."
* * *
R.U.N' NEEDS TO EXPAND ITS APPEAL
John Katsilometes, Las Vegas Review-Journal
Cirque du Soleil has gone off the rails, on purpose.
"R.U.N" has opened at Luxor. The show opened Thursday night at a
breakneck pace, all up in your face, all over the place. If these
performers were not onstage, you'd call the cops. All of this is by
design.
"R.U.N" is a dramatic departure from Cirque du Soleil's proven
approach in Las Vegas. Give the company credit for staying on message
in this one. From the very start, Cirque execs and members of the
creative team have emphasized and even warned that this show would
never be a sequel to the whimsical "Mystere." It's a graphic novel
come to life.
To justify its reported reported $62 million price tag and fill a
1,500-seat theater, Cirque needs "R.U.N" to be a blockbuster. Maybe it
will get there. But right now it's a cult film, targeted at a new
Cirque audience. These are characteristically younger tourists who are
not likely to be drawn to the venerable Cirque productions on the
Strip. That is not a massively populated demographic.
Sometimes, in talking to members of the creative team, I'm left
feeling the shorthand message is, "If you hate O,' you'll love
R.U.N.' "
In this new endeavor, acrobatics have been tossed in favor of such
cinema-fashioned stunts as fistfights and martial-arts maneuvers. The
characters are dark, brooding, layered in leather and ink. There is no
interest in making us laugh. But wince? Yes.
We knew going in that "R.U.N" would simulate violence, but this is the
first Cirque production to incorporate a lengthy torture scene. We
have a contortionist whose limbs are broken in one segment (finally we
have found an apt use of contortionists' skills on a Vegas stage) and
a sideshow artist hoisted over the stage with what is best described
as an apparatus attached to his eye sockets.
There are no Spermato, no oversized babies, no clowns cavorting on a
watercraft.
The tight, linear story, written by screenwriting craftsman and
director Robert Rodriguez ("Sin City" among his triumphs), follows a
bride and groom at the center of a gangland conflict after their
wedding is busted up. Two rival factions the Blakjax and Street
Kingz are fighting over the bride's studded, heart-shaped necklace.
The story unfurls only after a wondrous opening segment in which the
two sides fight it out in the middle of the theater those seated in
the row on the middle aisle are told to keep their feet behind the
safety tape on the floor or risk being stomped. The performers shout,
curse, flip around and eventually scramble to the stage. These
segments under the capable direction of Michael Schwandt, who worked
with Donny Osmond on his Peacock numbers in "The Masked Singer."
The production credits are projected on the big screen, as if you are
inside a grand movie theater. This is also a novel approach for
Cirque, which has not specifically named or credited its artists
onstage before "R.U.N."
In fact, much of the experience does have a cinematic, rather than a
live performance, atmosphere. Cirque officials have occasionally, and
accidentally, referred to the show as "the movie." At the back of the
stage and off to the sides, the production makes ample use of
projections, with live artists bursting through small openings.
The video scenes are familiar to Las Vegans and anyone who has
frequented the city Dodge Chargers zoom through the desert with Red
Rock Canyon in the background; a turn into downtown shows the famous
El Cortez marquee; we visit the Neon Boneyard; a "Casino" sign has
been placed atop the Ogden high-rise; the Strip landscape is routinely
displayed, with The Linq's High Roller next to The Strat in a nifty
use of creative license.
As with any Cirque show, the effects and especially the human
artistry are breathtaking. Producers have added a high measure of
fire, both real and digitized, to make the performers look like human
torches. The use of electric bikes, vaulting high across the scenes
from ramps on both sides of the stage, is a dazzling use of the
theater's aerial space. The robust soundtrack from Tyler Bates (former
guitarist for Marilyn Manson who has scored "Hobbs & Shaw" and "300,"
among other action films) designed to keep adrenaline high.
The idea in "R.U.N" is for the audience to build through word of mouth
and online accounts, which have been mixed. Repeat business will need
to make the show a hit, even though you know the whole story, and its
carefully orchestrated climax, after a single viewing. That, too, is a
Cirque first.
"We are trying to bring a very different type of show on the Strip, so
this is exciting," Cirque President and CEO Daniel Lamarre said before
Thursday's show. "If I had to make any comparison, I feel the same way
I felt when we opened Zumanity' in 2003. People are going to have to
understand, from the get-go, that they are not here to see Mystere.'"
The production needs to evolve and catch on, but is there enough time?
To borrow from the title of Cirque's ambitious production, the clock
is now running.
* * *
AGGRESSIVE INNOVATION MARKS ACTION-PACKED 'R.U.N'
Brock Radke, Las Vegas Sun
There are only two questions that really matter when it comes to
Cirque du Soleil's new resident show "R.U.N" at Luxor, hyped as a
first-of-its-kind live-action thriller. Does it deliver on the heavily
promoted promise to bring something new and cool to the Las Vegas
Strip? More importantly, is it entertaining?
Thursday night's grand opening performance easily answered yes to both
questions. From the moment of the protagonist's first appearance not
at center stage but busting through a window along one of the
theater's sidewalls behind half the audience it's clear that "R.U.N"
will be unlike any other show experience in Vegas and perhaps anywhere
else. It's a fast-paced 75 minutes stocked with stunts, combat,
motorcycles and all-around-you action, but well-defined characters, a
pronounced plot, extensive live and pre-produced video footage and a
hard-boiled soundtrack are equal contributors to a truly innovative
presentation.
"R.U.N" opened for preview shows at Luxor on October 24 after Cirque
du Soleil announced the production in April, noting it would move away
from the company's signature acrobatics and avant-garde artistic
vision. Acclaimed action and horror filmmaker Robert Rodriguez wrote
the script, and there are obvious stylistic similarities between
"R.U.N" and his 2005 graphic novel-inspired flick "Sin City."
Versatile stage director and producer Michael Schwandt is the
director, and music producer and film score composer Tyler Bates
created the show's soundtrack, a rock-electronic hybrid that also
incorporates a remixed version of New Order's "Blue Monday," among
other songs.
The show begins as a film. The story starts on the stage's huge video
screen as the main character, identified only as "Me," trudges into a
desert chapel somewhere beyond the boundaries of a fictionalized Las
Vegas, a man on a mission to break up a wedding and retrieve
something. He gets what he needs and flees the church with a horde of
slickly dressed goons in hot pursuit. The chase moves through the Neon
Museum Boneyard and some familiar Fremont East-area downtown streets
before the movie comes to life throughout the theater and the audience
learns this conflict is part of an ongoing gang war between the bad-
guy Blakjax and the sorta-good-guy Street Kingz. A big battle ensues
in an abandoned fireworks factory that catches fire, of course, as
"Me" slugs it out with arch nemesis "The Groom" and motorcycles whiz
by.
All of this is just the opening scene, made apparent by an incredible
introductory credits sequence that makes the beginnings of James Bond
movies seem boring. Such a direct approach to storytelling is
something new for Cirque, best known for creating hazy dream worlds in
its other Vegas shows. It's the defining innovation of "R.U.N,"
stronger even than the adult-oriented tone, the cinematic violence and
the stunt-centered core of the performance. The narrative is built
around predetermined action set pieces, but the story is everything
and Cirque has never created a show this way before. If you're a fan
of the other Cirque shows on the Strip, "R.U.N" will be a fascinating
watch on several different levels.
The action continues at a seedy Vegas motel; in a flashback sequence
that explains the Romeo and Juliet-style love triangle between "Me,"
"The Groom" and "The Bride"; in a twisted doctor's torture chamber
that will really make you wonder if you're still watching a Cirque
show; and during a creative car chase offering total sensory overload.
There are plenty of plot twists and surprises along the way, and the
final battle offers impressive motorcycle stunts that feel too big for
the stage (in a good way). The story ends where it began with a
satisfying conclusion that ties up loose ends and leaves you catching
your breath.
The best way to judge an action movie is to ask yourself if you'd want
to watch it again. Since this show essentially puts you inside such a
movie, you're definitely going to need to see it again, if only to
catch all the action you missed. "R.U.N" carves a new path for Vegas
shows and live entertainment in general, and that makes it a must-see,
even if this genre or category isn't your cup of tea. It's simply too
different and inventive to ignore.
"R.U.N" is performed at 7 and 9:30 p.m. Wednesday through Sunday at
the R.U.N Theater at Luxor (3900 Las Vegas Blvd. South, 855-706-5433).
* * *
R.U.N FOR THE EXIT - CIRQUE'S LATEST IS AN EPIC DISASTER
Sam Novak, Unfiltered Vegas Blog
If we can applaud entertainment companies for expanding outside of
their comfort zone, then we're surely entitled to speak up when they
cross the line. That's what's been happening since Cirque du Soleil
premiered R.U.N: The First Live Action Thriller at Luxor a few weeks
ago. The public reaction has been overwhelmingly negative.
The outcry towards R.U.N has gotten so strong that I was bashed on
Twitter for penning an opinion-free article describing the structure
and content of the show for a freelance gig.
Just how bad is it when readers DEMAND a negative review? Well
pretty
darn bad indeed. R.U.N could have easily fallen into the category of
"So awful that you have to see it". Which is amusing when you consider
that those very words described the previous occupant of Luxor's
theater Criss Angel BeLIEve. That smelly heap of garbage somehow
made it through ten long and miserable years (and several major
overhauls) before Cirque could bleach away the stench and move forward
with their next offering.
But this is what they came up with for their newest show? I couldn't
for the life of me recommend R.U.N to anyone in good conscience
not
even an enemy. It's an ugly, inconsistent, poorly-planned and
sloppily-executed mess that lies there like a dead body in a ditch.
That is, except when characters are shouting F-bombs, being wheeled
through the audience strapped to a torture device, having a syringe of
drugs pumped into their arm or suspended over the audience by a metal
claw driven into the face.
Yes, those things really happen in a Cirque du Soleil show
.and people
get up and walk out during these revolting sequences night after night
(or so I've been told). It certainly happened during a Saturday 7pm
timeslot that I attended. It's also worth noting that despite plenty
of nationwide advertisements and billboards all over the city, the
auditorium was shockingly empty
..perhaps 25 percent of the seats were
taken, and that's not counting the two upper sections that are blocked
off and covered with canvas. Ouch.
So how could something so awful make it past a brainstorming session,
let alone twice-a-night performances on the Vegas Strip? Your guess is
as good as mine. But let's be real here
.Cirques reputation as a top
provider of entertainment isn't what it used to be. Viva Elvis did so
poorly for ARIA that they ripped out their gorgeous theater when
replacement production ZARKANA tanked there, too.
There have been numerous other missteps in the past few years that
have allowed Spiegelworld (Absinthe, Opium and Atomic Saloon Show) to
take away and put a new shine on Cirque's tarnished crown. And the
failing attendance of Cirque's six other resident productions has led
to rumors of them pulling out of Vegas altogether in the next few
years. That's what happens when you glut the market on a worldwide
scale. You're forced to eat your own tail just to survive.
Does anyone remember IRIS, the $100 million Cirque du Soleil resident
show in Hollywood that closed after only 16 months? How about
Paramour, the New York-based musical which did so poorly that
Broadway's LYRIC Theater paid Cirque $23 million just to close up and
leave? There were other high-profile flops like Zaia in Macau, Zed in
Tokyo, Banana Schpeel (New York/Chicago) and the first attempt to
launch BAZ in Las Vegas (yes, it was Cirque that brought BAZ to
Mandalay Bay before pulling out mere weeks into the run).
For some reason, Cirque du Soleil has been obsessed with Hollywood as
of late. They seem to think that people want to pay over $100 to see a
movie salute
at a time when people are skipping the cinemas and doing
Netflix-and-chill at home. Besides film-centric IRIS and Paramour,
they collaborated with director James Cameron on Worlds Away, a
fantasy film that barely made a blip at the 2012 box office. Then
Cirque produced TORUK The First Flight, a poorly-reviewed touring
show (based on Cameron's AVATAR) that one magazine called "A
troubling, redface spectacle".
Cirque even considered doing a Quentin Tarantino musical, but chose
BAZ instead
because Tarantino films are so dark and violent! In an
interview for Los Angeles Magazine in 2015, Cirque Theatricals Scott
Zeiger had this to say:
For the Record: Tarantino was going to be playing in Montreal. I went
and loved it. I brought all of the top dogs from Cirque parent to see
it. While all of them liked it, they were afraid for Cirque to get
involved with this brand because the content of [Tarantino's] films is
pretty violent and deals with subject matter that might not be on the
same wavelength with Cirque du Soleil's more spiritual, love-oriented,
happier themes."
Yet here we are with a brand new $63 million production written by
film director Robert Rodriguez, the man behind super-violent films
like Planet Terror, Machete, Machete Kills and From Dusk Til Dawn.
Somehow the company that once brought you glorious productions like
Mystere and The Beatles LOVE thinks you want to spend an evening
and
your hard-earned cash
watching the kind of show you'd slip into at
Universal Studios for free to get out of the heat.
People just didn't care about the characters or what was going on all
around them in the theater.
That in itself shows just how tone-deaf Cirque has become to our
current culture. And R.U.N lacks any kind of wink-wink fun that
audiences might expect from the show's advertisements. People are
depicted as being tortured, killed and burned alive. One character has
his arms and legs pulled out of joint and broken (with the sound of
bone cracks amplified by Luxor's megawatt sound system).
Speaking of the sound system, this show is absolutely deafening. About
five minutes in, my ears were literally hurting and my head began to
throb. Fortunately, I'd read some online reviews warning about the
extreme decibel level and brought along a pair of earplugs that stayed
in place until the lights came up.
So can this show be saved? Yes, it can. When Le Reve premiered at WYNN
back in 2006, it was received so poorly that performances were cut and
the production received a major retooling. Now it's considered one of
the best shows on the Strip
because audience reaction was analyzed and
changes were made. And that HAS to happen with R.U.N, too.
I predict a full closure for this show and a massive gutting. Costumes
and sequences will be tossed out and the torture depictions have to
go. Right now. There is no charismatic leading man to cheer for, no
emotional investment in the fates of the characters, and even the plot
("retrieve a necklace to win" belongs in a video game, not a stage)
will need to be refashioned into something people care about. A
kidnapped child, perhaps? A damsel in distress? Anything but a pendant
holding some secret data.
The opening sequence, which is an actual film, goes on for far too
long. From the get-go, people will be wondering "Did I just pay $300
to take my date to a movie?". When flesh-and-blood characters actually
appear, their performances and stunts will have you shrugging. Gang
fights are so choreographed and punches so fake that you'll think
you've wandered into a high school production of "West Side Story",
despite silvery mylar costumes and moon boots that belong in a 90's
boyband video.
Imagine if this show was built around an actual, heroic movie star!
How cool would it be to watch the likes of Van Damme, Stallone, Chris
Pratt or Dwayne Johnson doing their best stunt work before your eyes?
Even a life-action version of a familiar movie would be a cool
idea
perhaps Rodriguez's own SIN CITY, a hit film based on the works
of Frank Miller. Now THAT is something I could recommend, not this
violent, rambling and ugly excuse for a show.
And yes, there were children in attendance despite a disclaimer
stating that the material is intended for mature audiences 13 and up.
I questioned a box office attendant as to whether they enforce this
policy and she told me that they do not
it is a recommendation, not a
restriction.
R.U.N is not a show for kids. Or teens. Or adults
or anyone, for that
matter. Run as far away from R.U.N as you can
and don't look back.
Sorry, Cirque, but you've lost it
and heads are certainly going to
roll.
------------------------------------------------------------
"A Look at Cirque at SEA II: SYMA & VARELIA"
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
In 2017, MSC Cruises partnered with Cirque du Soleil, the world-leader
in live entertainment, to offer a unique onboard experience: Cirque du
Soleil at Sea. With this unique long-term partnership, MSC Cruises has
set new standards in live entertainment at sea, with 8 original and
breathtaking shows not available anywhere else in the world, launching
exclusively across MSC Cruises' Meraviglia generation ships. 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 with COSMOS and EXCENTRICKS recently announced for MSC
Grandiosa (that launched in November 2019), we thought now was a good
time to take a dive into SYMA and VARELIA, the two shows that launched
with MSC Bellissima back in March 2019.
THE ONBOARD EXPERIENCE
----------------------
The entertainment experience takes place six nights a week, in a
multi-million-Euro, custom-made entertainment and dining venue, the
Carousel Lounge, where guests can enjoy dinner or cocktails and then
watch the Cirque du Soleil at Sea performances.
The Carousel Lounge was designed to meet the unique needs of Cirque du
Soleil. The state-of-the-art live entertainment venue is equipped with
the latest cutting-edge technology, complex rigging systems, a 360-
degree rotating stage and high-pecification audio & lighting equipment
to elevate the performance to the next level. Designed as an intimate
performance space, The Carousel Lounge holds 413 guests for each show,
making the interaction between the guests and performers even more
special.
The name "Carousel" was chosen to convey the combined spirit of MSC
Cruises, offering unforgettable experiences, and of Cirque du Soleil's
unique performances, evokes festive and magical emotions. There is
something inherently captivating about a carousel. Associated with
childhood memories of festive outdoor fairs, it conjures up visions of
music, colours, lights, movement all combined in a unique,
breathtaking experience.
SYMA: SAIL BEYOND IMAGINATION
-----------------------------
A fantastical odyssey into the heart of an imaginary world, and the
search for a mysterious island inhabited by phantasmagorical
creatures.
Aboard her boat, a young sailor with a prolific imagination dreams of
fabled lands. While navigating a violent storm, she capsizes, sinks
into the depths of the sea, and finds herself in the enchanted kingdom
of mermaids. Returning to the surface, the sailor is lost and
disoriented. A giant sea creature, emerging from the waters, comes to
her aid and guides her to a mysterious island. There, she meets a
strange being defying the laws of gravity. The sailor descends with
him into the heart of the island where she ventures into a surreal
jungle. While in the jungle, the sailor meets the chief of the tribe,
a character who is all at once intimidating and benevolent, who
recognizes the sailor as one of his own. Before leaving this enchanted
island, the entire tribe gathers for a ritual and festive celebration.
The sailor returns to reality, her heart rich with the experiences
from the edge of imagination. Immersive video images, an original set
design, bioluminescent lighting and acrobatic feats make SYMA an
unforgettable show.
* ACTS
The Storm - Aerial Pole
Underwater - Bungee Dance
The Strange One - Leviwand / Manipulation
Magical Jungle - Antipodism
The Bounce - Skipping
* SHOW INSPIRATION
- An Island in the Middle of the Ocean: The original idea was that an
MSC Cruises' ship is like an island in the middle of the ocean. The
guests on board MSC Bellissima are embarking on a journey of
discovery, just like the main character of the show.
- Journey of Initiation: The show title could have been some place'
as it is all about exploring the world, travelling from different
places and meeting with extravagant creatures. The journey matters
more than the destination. SYMA is the story of a journey of
initiation: a rite of passage for the young sailor. Drawing strength
from Mother Nature, the character will experience the torments of
danger, fear, solitude but also the wonders of discovery, friendship,
hope and beauty.
- Physical & Organic Materials: During creation, mood boards were a
mix of vivid colours and natural textures. All the scenographic
elements are tangible, physical and organic. The key stage device is a
threefaced pyramid which will serve different purposes: acrobatics,
scenography, props and will also be used as a canvas for video
mapping.
* SHOW CHARACTERS
- The Sailor: Syma, a young sailor, has a prolific imagination. She
still has her child-like mind and she uses origami to channel her
imagination. She is adventurous and, after many days of mental
preparation, she sails away from her coastal village to reach a
legendary island. Throughout her exploratory journey, she will
encounter fear, hope, beauty and friendship. Syma is a sailor and a
brave adventurer. She is known for her affinity for lollipops,
which give her lips a gradient color. She also has prominent freckles,
a result of her prolonged escapades in the sun.
- The Underwater Creatures: They embody the legendary mermaids of the
ocean. Living in a parallel underwater universe, these fascinating
deep-sea creatures dance a hypnotic and weightless ballet. They will
save the sailor and bring him back to surface. These enchanting
aquatic creatures can charm and hypnotize. Their makeup will transform
depending on the time in the story and stage lights thanks to the use
of UV makeup.
- The Giant Jellyfishes: These two giant translucent characters will
help Syma to cross the ocean to get to his mysterious destination: the
legendary island.
- The Strange One: He is an eccentric outcast, living alone near the
beach. He defies the laws of gravity and mesmerises whoever he
encounters. He will guide Syma to further explore the depths of the
island jungle.
- The Nymph: These vivid bushes are no ordinary plants. From this
surreal jungle, a nymph emerges and plays with spherical fruits.
- The Chief: The Chief is the leader of the island tribe. At first
intimidating behind his big mask, he turns out to be benevolent and
will recognise Syma as one of his own. He will give her a very special
present: a magical origami that can help her travel to this fantasy
island whenever she wants and protect her from future dangers.
- The Islanders: They love to party and gather for festive
celebration! With them, Syma will participate in a joyful rite of
passage. After the festivity, Syma will return home riding a giant
origami bird; she will return to reality.
* SHOW MUSIC
SYMA's score is epic and cinematic, lyrical and adventurous. The
performance is a saga of many twists and turns and a formidable inner
journey. The music conveys the emotions the characters and the
audience can all experience when embarking on a wild and unknown
adventure: fear, hope, dangeralong with the wonder and beauty of an
imaginary world.
* SHOW COSTUMES
The creatures we meet along our Sailor's journey are inspired by
nature, sporting an organic aesthetic. Each character has a unique
textile pattern. Bones, fossils, X-rays of marine fauna and fish
scales have all been infused into the design of costumes. The knots,
braiding, straws and raffia were used to convey the more primitive
spirit of the show authentically, rather than have them feel as though
they were created with modern methods of fabrication.
* SPECIAL EFFECTS
Video Projection Mapping: Video projection mapping is used during the
show to project visual content on tangible set elements and props,
such as the 3-faced pyramid and the mask of the Chief. This technology
enhances the guest experience by animating static objects and
surfaces. The feeling of watching objects becoming alive is very
exciting. We want guests to ask themselves, "How did they do that?"
This visual effect also helps the narration of the show, bringing life
to the story on stage. It creates an immersive experience in the
intimacy of the Carousel Lounge.
VARELIA: LOVE IN FULL COLOR
---------------------------
Discover VARÉLIA, a tale of modern chivalry, where love and courage
triumph over the greatest divides.
Varélia is a princess whose rare violet skin has isolated her from the
rest of the world. She dreams of finding acceptance and of her prince
charming to save her from her sorrow. Nearby, a young blind man is
also lonesome. One moment changes his destiny: meeting Varélia. It's
love at first sight. The maleficent Mr. Pourprier, obsessed by the
color violet, thwarts their budding romance and kidnaps Valéria.
Distraught by the disappearance of the princess, the young hero
formulates a plan and assembles a crew of friends to rescue his
beloved. At the end of the epic battle, the villain is defeated. True
love conquers all. Delight in the acrobatic feats, the laser show and
the unique set design of this futuristic medieval tale.
* ACTS
The Princess - Dance Trapeze
The Hero - Slack Wire
The Villain - Cube Manipulation & Contortion
The Rescue Plan - Diabolo
Happily Ever After - Roller Skating & Duo Cerceau
* SHOW INSPIRATION
- Hybrid Fairy Tale: The show title could have been some time' as it
mixes eras using chivalry novel codes with modern and contemporary
elements. A medieval tale with a futuristic twist. The inspirations
lie in the cartoon world using a simple story arc but offering a
multi-layered interpretation with a humoristic touch. In VARÉLIA, like
in comic books, the physical differences become strengths. Loneliness
is a common emotional state, shared by the Princess and the Hero. They
recognise themselves as the same, yet different. This is a story of
love, a love that is threatened when a Villain kidnaps the Princess.
The Hero and his friends manage to deliver her while defeating the
evil one. A happy ending then seals this classic yet modern storyline.
- Graphic Lines, Lights and Illusions: The scenography is based on an
intangible and virtual universe. From the very beginning, the idea was
to play with laser lights to create a changing and futuristic-like set
design. The lasers are used to create geometric-shaped architecture
and set elements, as well as a storytelling device; helping the story
progress (the Hero's teepee, the Villain's cage).
* CHARACTERS
- The Princess: Valéria is rejected because of her rare purple skin
colour. This difference has shaped her strong personality. She has
felt sad, isolated and bored for her whole life but an unexpected
encounter will change the course of her lonely life. Varélia is the
heroine of the story and her most striking feature is that her skin is
purple. In order to achieve a realistic composition, the purple was
highlighted with a light pink. It took three makeup trials to get the
right shade of purple.
- The Hero: The young Hero is blind and has been struggling to find
his place in the world. He's caught in his own inner imagination. But
his love for Varélia will reveal him to the world and change his
destiny.
- The Villain: The maleficent Mr Pourprier is an eccentric character
who is obsessed by the colour violet and dreams of having a purple
wife. Soon, he encounters the Princess and in a fit of madness,
kidnaps her. But she soon will be rescued. The villain is a comedic
antagonist. Despite the chaos he causes, his antics make him an
audience favorite. So, we purposely exaggerated his eyebrows and used
some pink around his eyes to emphasize the madness of the character.
- The Racoon: He's the Princess' best friend, he is very friendly and
protective.
- The Joggers: They come in the morning to do their jogging in the
park, as usual. They are the amusing crowd, the archetype of the hip
city dwellers with funny caps and reading glasses. They will help the
story move forward.
- The Warrior Friend: With his agility and skills, the warrior friend
will help the Hero come up with a rescue plan to deliver his beloved
Princess. His act is the rehearsal of the rescue plan. It is a blend
of martial arts and weaponry.
- The Angels: They're the inhabitants of Cloud 9, the cherubim of
Heaven. They are the representation of romanticism and celebrate Love.
They perform for the new couple and everyone bathes in joyfulness.
* SHOW MUSIC
The original music concept for VARÉLIA relies on two artistic
statements: first, use classical music in conjunction with electronic
beats to counteract the cold aspect of the lasers and second,
personify the main characters with specific instruments (the piano for
the Princess, strings for the Hero, brass for the Villain, etc). The
show experience is very well-balanced with the techno-like visual
effects and the timeless classical music.
* COSTUMES
The colors in VARÉLIA are more saturated, with higher contrasts, for a
cartoonesque look. The white and purple hair, animals in Tartan
clothes
we are in an altered reality! Urban looks, inspired by current
fashion, are made with more technical materials and processes: double
mesh, tissue spacer, molded silicone, 3D patterns and laser cutting to
name just a few.
* SPECIAL EFFECTS
Lasers: Laser lights create an intangible, futuristic and changing set
design. They convey the theme and atmosphere of the show. With a
strong focus on aesthetic principles and the safety of both the
artists and the audience, the set of lasers create graphic figures and
illusions where Cirque du Soleil at Sea artists can thrive. The
creative team worked hand-in-hand with the technical team to make this
possible, as it is quite a technical challenge, and ensured a rigorous
testing process.
CREATIVE TEAM
-------------
NATHALIE ENAULT Line Producer
With a bachelor's degree in History of Arts, Nathalie started her
career in TV production in 1991, transitioning quickly to live show
production, where she occupied various roles such as Props Project
Manager, Production Stage Manager and Production Manager. Mainly
working for Cirque du Soleil for the past 21 years, Nathalie has
collaborated on more than ten new show creations and even more events
and special projects. She has also worked on projects with Just for
Laughs Festival, Cirque Éloize and the United Nations, to name a few.
Nathalie currently acts as a Line Producer for different projects in
development as well as managing the partnership with MSC Cruises and
the creation of the new Cirque du Soleil at Sea shows.
ANH-DAO BUI Production Director
Anh-Dao joined Cirque du Soleil in 2002 as an assistant director for
the production "KÀ" followed by "ZAÏA", "TOTEM" and "MICHAEL JACKSON:
The Immortal World Tour". In 2013, she had lived in China for over a
year while collaborating on the "Han Show". Upon her return to
Montreal, Anh-Dao held the positions of project manager for C:LAB,
assistant production director on "VOLTA", project administrator at
Vigie Creative and was responsible for the production of special
events.
DAVID POULIN Creative Director
David has been involved in the entertainment industry for more than 20
years, in theatre, music, film and circus arts. He started at Cirque
du Soleil in 1998 as a stage manager and later as a stage coordinator
on "Saltimbanco", "Varekai", and "Corteo". Since then, he has
participated in numerous productions as an assistant director: "Quebec
400th", "Kinect Launch", "Kurios", "Sep7imo Dia", "Chemins Invisibles
Chapitre V", "JOYÀ" and "Iris".
BENJAMIN DUPONT Stage Director
A graduate of Industrial Design, Benjamin joined Cirque du Soleil in
2008 in the Research and Development department. In 2013, he joined
the Creative Guide's Office where he worked on events and show
concepts including an immersive experience with Walt Disney
Imagineering and the short film "Sparked - A Live Interaction with
Drones". As a Creative Lead at 45 DEGREES, he applied his unique
conceptual approach to the staging of several creations including
"Scalada: STELAR" in Andorra and the 2018 Dubai World Cup.
EDESIA MORENO BARATA Acrobatic Performance Designer and Assistant
Director
Edesia, once an elite athlete, was recruited by Cirque du Soleil in
1998 as an artist. For over 10 years, she travelled the world with the
shows "Saltimbanco" and "Corteo". Passionate and creative, she
transitioned into creative roles such as performance designer, art
coach, acrobatic choreographer, director and event designer. Since she
joined Cirque du Soleil, she has collaborated on no less than 35
productions.
NICOLAS VAUDELET Costume Designer
Nicolas was trained by the giants of the fashion world: Christian
Lacroix, Christian Dior, Louis Vuitton, Givenchy, Sonia Rykiel and
Jean-Paul Gaultier. With the latter, he participated in designing the
costumes for Madonna's Confession Tour. A frequent traveler, he also
worked with Franco Dragone (Le Lido France) and MGM (Macao). Based
in Montreal since 2017, he regularly collaborates with 45 DEGREES:
"Helene Fisher Tour 2017-2018", "Dubai World Cup 2018", "Diva" in
Andorra.
MARYSE GOSSELIN Makeup Designer
Maryse has worked in the field of performing arts for fifteen years
through rich collaborations in the theater and circus universe. At
Cirque du Soleil, she has participated in dozens of shows since 2013
such as "LUZIA", her first as the makeup designer. SONOR and VIAGGIO,
the Cirque du Soleil at Sea shows aboard MSC Meraviglia followed. Most
recently, Maryse created the makeup design for "BAZZAR".
FÉLIX-ANTOINE COUTURIER Music Composer
Upon completing his studies in classical guitar, Félix began his
musical career as a member of two bands. As either a solo artist or in
a group, he went on tour, created albums and contributed in writing
and recording more than 100 songs. Now a multi-instrumentalist, a
director and an arranger, in 2014 he released his debut album "Comme
un seul homme" as a singer-songwriter. In 2017, he composed the music
for "Scalada STELAR" by Cirque du Soleil.
MATHIEU POIRIER Lighting Designer
Mathieu has been a lighting designer and photographer for fifteen
years. He first studied flute at the Conservatoire de musique de
Montréal and before branching out to photography while studying at
Dawson College. Self-taught, he transferred his passion for
photography to the performing arts while completing his first lighting
designs. For him, scenic lighting creates a photographic ensemble
always in motion.
JEAN-SÉBASTIEN BAILLAT Video Content Designer
Jean-Sébastien Baillat has been active in the world of design and
digital arts for the past 15 years and remains one of the most
influential designers in Quebec, with clients like Moment Factory,
4U2C, Silent Partners Studios, Cirques du Soleil, Red Bull Music and
the Montreal Museum of Fine Arts. Amongst other things, he has signed
the video direction 2017-2018 of Helene Fischer, a German popstar who
gained numerous awards and prizes. Throughout his career, Jean-
Sébastien Baillat has won more than 200 national and international
awards in design, including a Lion (Cannes).
PIERRE-LUC BRUNET Sound Designer
Pierre-Luc is passionate about performing arts and the unique human
aspects that excite different societies around the world. A true
globetrotter, he travelled the world and collaborated with Moment
Factory, Cavalia, Just for Laughs ("Grease" and "Fame"), XYZ ("City
Walk") in Dubai, Phare the Cambodian Circus, "Darwin Festival" and
"Adelaide Fringe" in Australia and finally with LSS Productions ("The
Producers").
EDGAR ZENDEJAS Choreographer
Edgar spent 18 years as a dancer in Les Ballets Jazz de Montreal,
where he evolved as a choreographer. Internationally recognised for
his expertise and his eye for innovation, he has collaborated with
Starlight, Franco Dragone and the National Circus School. For Cirque
du Soleil, Edgar was an artistic consultant on "TOTEM" and worked with
the C: LAB. Furthermore, he's actively working on Project Lorca, a
hybrid dance company that combines contemporary dance and circus arts.
ERIC BOUCHARD Technical Director Theatre
Eric made his debut at Cirque du Soleil in 2001 with the production of
"Varekai." Then, for nearly 10 years, he occupied the role of senior
lighting consultant to support various shows. In 2010, ready to take
on new challenges, he turned to the role of automation project manager
on "Amaluna" and "Kurios." In 2014, he rejoined Cirque du Soleil at
Sea as the technical director responsible for supervising the creation
of the Carousel Lounge and the overall production of the show.
RICHARD PIQUET Technical Director Production
Richard is an experienced technical director. He began his career in
the world of motion theatre as a technical and touring director with
DynamO theater. He continued his career with the touring show "Rain"
(Cirque Éloize). Technical director of La Tohu for 12 years, he's
worked with multiple circus companies across various events. Within
this realm, he collaborated on several occasions with Cirque du
Soleil.
------------------------------------------------------------
Jean David's Quel Cirque, Part 12 of 12: "The Revelator"
A Special Series Celebrating Cirque's 35th Anniversary
------------------------------------------------------------
Today a consultant in creativity and event marketing, Jean David was
one of the pioneers of Cirque du Soleil, where he led the marketing
department for 15 years (from 1984-1999), introducing the magic of the
Grand Chapiteau to the whole world. During his tenure, David
distinguished himself through innovative methods by commercializing
the Big Top and introducing its magic to other cultures on four
continents.
A man of vision but also a determined entrepreneur, Jean David acted
as Vice President of Entertainment, Sales & Marketing at the WYNN
Hotel in Las Vegas before moving to India for 18 months, where he led
a pre-feasibility study for the creation of an innovative project: the
Mumbai International Creative Center, an international resort centered
around the theme of creativity.
In his 2005 book - "Quel Cirque!" ("What a Cirque!") - David offered
his views on leadership and revealed the innovative qualities that
contributed to Cirque du Soleil's enormous success in marketing,
management, creation and exploration. There was only one problem... it
was written in his native French. Thankfully, David himself translated
and web-published an English-language version of his book and we've
collected the relevant Cirque-related chapters for this 12-part
series.
Jean David's "Quel Cirque" is a fantastic read and as Cirque du Soleil
celebrates its 35th anniversary this year, we thought this would be
the perfect year to share these texts with you. So, without further
ado, Quel Cirque!
# # #
From the time Cirque du Soleil began performing in 1984, something
fascinating occurred. Many people were moved to tears by the end of
every performance. The comments we gathered from spectators were
heartfelt and sincere. It was beautiful to see. People were touched by
the originality and the simplicity of the spectacle. We were offering
an entirely new and original type of show.
In addition, the artists were street entertainers who found themselves
on stage before a captive audience. They had mastered the art of
interacting with the public. This intimate relationship between
artists and public became a defining characteristic of Cirque du
Soleil. Its creations left audience enthralled. Everywhere we went, we
encountered the same reaction, enthusiasm, and appreciation. It was a
marketing manager's dream. It was really extraordinary to be able to
count on such a fantastic product.
In the early years, I spent a good deal of time at the big top. I made
it a point to be there when the public arrived and when they left. I
wanted to see the people to meet our spectators, our customers. Time
after time we got the same reaction. Who we were and what we were
offering the public gradually became clearer in my mind, but I still
lacked the words to describe what I saw and felt.
One day, in 1986, I was attending a show in Toronto. Sitting in the
last row, my friend and I were observing the performance and the
audience reaction. My friend asked me why people everywhere loved our
shows. I pointed out that the success was largely due to the artists
whose industry and skill had previously gone unrecognized.
There is something noble about public entertainers. They possess
energy, spontaneity, freshness and desire. It was as if the troupe was
riding a incredibly powerful wave. Our task was to stay on top of the
situation and to make sure that everything ran smoothly. It was a
little like surfing: when there's a huge wave and you have to keep
from falling off.
Franco Dragone's arrival as artistic director marked a new era at
Cirque du Soleil and gave a new dimension to the shows. Dragone was
inspired by the commedia dell'arte "a form of popular comedy dating
back to the Middle Ages, at the time when farces were performed in
various regional Italian dialects; professional troupes, composed of
minstrels and wandering acrobats, perfected a form of entertainment
adapted to the general public."
Working closely with set designer Michel Crête, costume designer
Dominique Lemieux, lighting designer Luc Lafortune, choreographer
Debra Brown, along with composers Réné Dupéré and later Benoît Jutras,
Franco Dragone instituted a more coherent creative approach. His
intent was to give meaning to the artistic experience. Together, the
team went on an extraordinary journey, an unparalleled exploration of
the human spirit in which each show pushed the limits.
In this creative process, certain characteristics emerged. Language,
as such, played no part in the works: no words were spoken, just
sounds or phonemes intended to express feelings, emotions, and
situations. It was almost like an invented language. The advantage of
using sounds was their universality; they were not culture specific;
they were universal: audiences everywhere understood them. This
approach did much to establish the universality of our product. The
same show was performed unchanged in New York, Vienna, Madrid, and
Hong Kong.
The artistic team's commitment to communicate with spectators through
emotion soon became a hallmark of Cirque du Soleil. The set design,
costumes, lighting, choreography, music, and artistic performance
combined to create an atmosphere that gave spectators a heightened
sense of participation and conveyed the intent of the artists on stage
and every acrobatic stunt in a surreal environment.
During my years at Cirque du Soleil, there was an ongoing discussion
between Marketing and the artistic team about the story a show was
attempting to depict. Was there a narrative thread? And if so, what
was it? Since each new production was an original creation, Marketing
never knew in advance what message or story the show intended to
convey. Often, we had to wait for the performance in front of the
public and media before we could formulate a description.
In marketing, our work included introducing new shows to the press and
public. It was a challenge to explain what the work was about. The
decor conjured up this, the costumes evoked that, the music
transported us to another universe, the acts were breathtaking, and
the clowns weren't always intended to be funny
In my department, the
staff grumbled a bit because they wanted something concrete, something
they could get their teeth into, but my confidence in the artistic
team was unshakable.
Leaving the shows, the spectators often had the same comments: it's
the most wonderful thing we've ever seen. The story was extraordinary,
incredibly beautiful. I realized that spectators were making up their
own story. They invested the spectacle they witnessed with meaning.
And that meaning was extremely personal.
Spectators all over the globe left the big top with the feeling that
they had taken part in an adventure. Gilles Ste-Croix and my other
colleagues on the creative side, never failed to tease me about that!
"You see, Jean, the spectators don't need us to tell them a story;
they see and they understand." To work for Cirque du Soleil, you
needed a sense of humor.
I carried out an analysis of audience participation independently of
the artistic team. I took the time to analyze the impact of the work
on the public from the spectator's perspective and not as a theater
critic trying to explain the work. Understandably, we were inundated
with that sort of review. My fascination with the issue of audience
participation was very personal, a reflection of my curiosity about
the relationship between communications and society. As the years went
by, my desire to understand what was really happening grew and I
intensified my research and analysis. I thought that the spectator
viewing our show was analogous to a visitor at a museum observing of a
painting.
Standing before a painting in a museum, we tend to search within us
for internal cultural and personal frames of reference. It is a normal
response that allows us to assess, appreciate, and appropriate the
work. We do it automatically. The need to understand obliges us to
identify an occurrence, a situation, a feeling, or an idea in our
memory to situate the work. The more abstract, diffuse or vague the
object of our attention, the deeper, more arduous the search for a
frame of reference. We categorize the object, and invest it with
meaning, intimately relating it to our own life story. In doing so, we
revisit and, to a certain extent, validate our identity.
Of course, this process is short-lived: only a matter of seconds. We
engage in it "unconsciously" every day and in many circumstances. For
example, you go to the store and admire a stunning new dress
collection. Or you contemplate buying a new car and visit showrooms
feasting your eyes on the latest models. It is exactly the same
process as when you're looking at a magnificent painting. You look
inside yourself to see what you relate to, to see the object you can
really identify with. The example of the museum visit enables us to
see this phenomenon more clearly. We can replay the process in our
head and analyze the various stages involved.
For Cirque du Soleil spectators, the same phenomenon occurs but it is
far more intense. As observers, they are invited to delve inside
themselves to give meaning to the spectacle on stage. They are
inhabiting an extraordinary game, literally a mind game! The elements
and stimuli presented by the artistic team are very broad, quite
vague, indefinite enough that they give spectators the chance to
imagine for themselves the true meaning of what they're observing.
They are explicitly invited to complete what they're seeing. The
overall artistic effect is a unique, highly intense experience.
Every show directed by Franco Dragone incorporated the notion of a
living work of art, in which the spectator's mind was flooded with a
set of highly original stimuli. A plethora of colors in movement,
omnipresent music in many tones that shaped the whole experience, a
magnificent décor open to interpretation. Characterizing his art were
the absence of stars, cultural barriers and competition. Complementing
these qualities were the universality of language pushed to the
extreme, the keen sense of risk juxtaposed with fear, joy, hope,
happiness, anger, melancholy, and the absurd. Dragone's work appealed
to a whole range of emotions in a single instant.
Dragone's work pushed the boundaries, aiming to stimulate the brain
and engage the mind. Thus, the spectators were invited to complete the
work; their minds were so stimulated that they had no other choice but
to make instant associations between the elements of the show. Thrust
into a totally unaccustomed situation, spectators underwent a unique
sensory experience.
They were projected into a process in which they had to explore their
own feelings and emotions. They played every role, performed every
acrobatic feat; they were both the music and the light. In reality,
what the spectators saw was a part of themselves that they'd never
seen before. No wonder most spectators left the show beaming broadly.
That's why customer satisfaction levels exceeded 90%.
The spectator's experience takes place at the border between the
conscious and the unconscious. Have you ever wondered what you can do
in a billionth of a billionth of a second? Well, that's all it takes
to form an idea. Our spectators were captive actors, rather than a
captive audience; they had no alternative but to get involved.
Cirque du Soleil made spectators see themselves in an entirely new
way, with unprecedented intensity. The word that best encapsulated the
Cirque du Soleil experience was "authenticity." This, I believe,
accounted for the enormous popularity of our productions. People were
coming to see themselves, to discover themselves.
Of all Cirque du Soleil's shows, the best, the most complete, the most
innovative, and the most captivating was O, performed at Hotel
Bellagio in Las Vegas. The show was the last product at the end of the
creative process implemented by Franco Dragone and Cirque du Soleil's
artistic team.
In fact, the team exploded within months of O's delivery. According to
the official version, the time had come for them to move on to
something new, but in reality, they had attained their ultimate goal.
Show after show, the team had gone on a quest in the world of the
imaginary, exploring the vast human landscape.
In their decade-long quest, they inventoried nearly the entire range
of human emotions. This magnificent journey into the universe of our
souls, this investigation of human nature ended abruptly with the
creation of O. The work was a celebration of "life, love, and death,"
as the official Cirque du Soleil media kit put it. Like the artistic
team, senior management also blew apart, swept away by the impact of
O, the Revelator, as I like to call it.
I think the word Revelator best describes the show's effect on the
audience. It opens you up, tears away your mask, and invites you to
reveal yourself to others. It is a fascinating phenomenon of spectator
participation, unique to the Cirque du Soleil experience. O's impact
explains the power of the company's previous productions. That's why
I'd like to take the time to examine the various aspects of the work.
The interface between spectator and show reaches maximum proportions
and the intensity between the two is incredible. For the audience, the
overall experience reaches new heights thanks to the nature and force
of the elements involved. Like previous Cirque du Soleil shows, O
propels spectators on a roller coaster ride of thoughts, feelings and
sensations.
But what quickens the senses even more is the presence of water: 1.5
million gallons of it to be exact. In psychology, water symbolizes the
unconscious. And in this case, the symbolism takes real and dramatic
form. Water consecrates the depth and fluidity of the spectator's
experience.
To fully absorb the experience, spectators delve within themselves for
references that will give meaning to their participation; they have no
choice; their mind has embarked on an ultimate odyssey. It is
astonishing to see spectators' reactions and body language right from
the opening minutes of the show. They are riveted to their seats,
awestruck, unsettled by the presentation. There is no returning, they
are completely enthralled.
That's when the Revelator effect begins. Spectators reflexively dig
deep inside their resources; but the force of the interface and the
fluidity of the elements create a vortex setting off a process of
integration and auto-transcription across the spinal column, the
nervous system and the unconscious. Spectators grasping for some frame
of reference, suddenly plunge into the deepest part of themselves.
Amazingly, they become both the lead actor and the only witness of the
phenomenon. It's as if they have been ensnared by their own curiosity
and propelled into the heart of an undreamed of event, for which they
are absolutely unprepared.
In a way, each spectator is a microcosm of the global village.
Integration and auto-transcription combine to provoke what I call "a
flooding of the global village." A deluge of the self. In the process,
spectators acknowledge and experience every part of their being. They
truly get in touch with themselves and they are obliged to take
possession of themselves. They have been literally "possessed" by a
completely unexpected form of intelligent life possessed by
themselves. For some people, it comes as quite a surprise. The thought
process of the spectators is deployed throughout their organism and
acquires a kind of measurable energy mass. The phenomenon can be
expressed by the equation: E = GC2. Energy (thought) is equal to
gravity projected at the square of the speed of light. I believe it is
a unique phenomenon in the world, which merits our attention, because
the consequences for the individual and society are, to say the least,
unparalleled.
There's an interesting analogy that helps us understand and assess the
impact of the phenomenon. It's as if the entire universe suddenly
acquired a center so it could situate itself, define itself, and find
a reference point. Considering the entropic nature of the environment
in which we live, I would describe the Revelator effect as a
"staggering reversal." Each spectator embodies this center, this frame
of reference, and must therefore decide whether or not to assume the
"responsibility." In the days, months and years that follow,
individuals are impelled to discover and reveal their true identity.
So they are driven to take stock because for the first time in their
lives they feel empowered.
It's as if spectators enter an immense mansion full of riches,
treasures and ideas. In passing, they discover the owner's manual
containing details about the residence. They're encouraged to see the
many possibilities and advantages available, and they are urged to
note the obligations that accrue to their situation. Their impulse is,
of course, to do a little internal housecleaning. Then, comes the most
difficult part: they decide what they're going to do with the
information they've just received. They're confronted with more and
more events that permit less and less latitude. Despite themselves,
spectators in turn become revelators of identity, setting off a
remarkable chain of events in their environment.
To date, nearly ten million people have seen O and have been exposed
to the Revelator. I have always thought that Cirque du Soleil shows
had a positive effect on the public, but I must admit that this show
goes much further. To a certain extent, it "situates" individuals in
their true context and restitutes them to themselves for one brief but
intense moment. WOW! Spectators are agape; they leave the theater
awestruck. They know something extraordinary and transcendent has
occurred, but they're incapable of describing it since nothing in
their cultural and educational background has prepared them for it. I
don't think the casino owners could ever have imagined they would
offer their distinguished clientele entertainment like this; it isn't
really described in the program.
The creative process launched and developed by Franco Dragone and the
Cirque du Soleil artistic team ended up devising a formidable feedback
machine for people in search of authenticity. It's like the ultimate
happening, a mutant factory, a fantastic braingate technology with, in
particular, undreamed of effects on our environment.
The Finish Line
---------------
In 1987, we signed an agreement-in-principle with Australia's Sydney
Festival, an important cultural event held in January, the middle of
the summer down under.
Cirque du Soleil was slated to play there in January 1988. In the
previous months, we had been involved in the planning and preparation
for our arrival in the Los Angeles market. Meanwhile, at the other end
of the globe, the announcement of our participation in the Sydney
Festival raised the hackles of Australian trade unions, who saw us as
a threat to local jobs. The Australian press reflected the unions'
fears, giving us even greater cause for concern!
Cirque had never performed in Australia before. Furthermore, there was
a strong resurgence of protectionism in the country. How could we
seriously consider undertaking an operation of such scope in such
circumstances? In mid-September, a few days after our triumphant debut
in Los Angeles, I went to Melbourne and Sydney to assess the
situation, rate the chances of success and try to forge strategic
alliances. Given our success in Los Angeles, why should we risk going
to Australia? And the union controversy was an excellent pretext for
not going. Let's shelve the project. Game postponed for eleven years!
We returned to Australia as we were setting up the Asian division.
Directed by my friend, Hélène Larivée, the division was headquartered
in Singapore. Australia was part of a tour plan that initially
included Japan, Hong Kong, and Singapore. We used Saltimbanco to
penetrate the market. I dubbed Saltimbanco Cirque du Soleil's flagship
because it opened doors for us in many countries.
The Australian project was ambitious. It was carried out amidst the
country's feverish preparations for the Summer Olympics. We counted on
highly qualified and efficient local human resources; they were an
extraordinary team. We worked with Michael Edgley and Andrew Guild,
the best producers in Australia. The whole operation was a smoothly
running model of precision and rigor. We benefited from the vast
experience of our local collaborators and our business partners. The
tour was a huge success; the audiences were remarkably generous and
spontaneous. It was a real pleasure.
The Australian tour was my last professional activity with Cirque du
Soleil. Power doesn't interest me. I'm for individual expression and a
free exchange of ideas. After 15 years with the organization, I had to
admit that though I had helped build the enterprise it did not belong
to me. In fact, it had never belonged to me. As far as the owners were
concerned, the values and principles that had guided me along the
journey were no longer priorities. On the day before the Australian
tour premiered in January 1999, I met with Daniel Gauthier and Guy
Laliberté in Sydney. We reached an agreement about the terms of my
departure, which I set for June 16, 1999, the date of Cirque du
Soleil's fifteenth anniversary. The end of the journey.
Key to the Future
-----------------
I don't have a crystal ball; I can't predict Cirque du Soleil's
future. I do believe that the company has fulfilled its mission. The
company's most significant undertaking and its greatest contribution
was the development of the creative process and the work of the
artistic group that led to the production of O. The show was Cirque du
Soleil's crowning achievement. Since then, it has been repeating the
formula, trying to use it for all sorts of applications. There's
nothing wrong with this; on the contrary. That's the way our consumer
society operates in the economy of redundancy. The organization set
the bar so high that it will take time to come down; unless
When I left, I suggested that my bosses set up a creativity training
and promotion program in the organization. My reasoning was as
follows: Cirque du Soleil was considered an innovative enterprise by
industry and the public. And what was innovative about Cirque du
Soleil? The shows! They didn't follow up on the idea. What role does
creativity play in the company?
Well creativity is central to the daily activities of a core group of
individuals: designers and their assistants, a few artisans and that's
about all. The other 2500 employees are involved in drudgery much like
the workers in any factory or assembly line in Detroit, Bordeaux,
Amman, Manchester, Mexico, Taipei, Melbourne, Calcutta, Tel-Aviv,
Kiev, Düsseldorf, Teheran, or Osaka.
Unfortunately, Cirque does little to encourage employee creativity.
People are asked to show up, do their job, follow the rules, and
that's enough. Perish the thought that they should exhibit one iota of
creativity. And if they did, management wouldn't know what to do.
Sure, the employees take pride in their work and they're "well-
treated." there are many statistics to prove it.
On the other hand, the organization underestimates the individual
employee's potential for creativity and imagination even though
consultants, human resource people, and specialized journals are
always talking about Cirque du Soleil's creativity. It seems to be the
hot topic, but no one in senior management is really interested.
Certainly, no one dares to take concrete action. The few attempts to
improve the situation have been short-lived.
The challenge for every organization is to insure that creativity is
at the heart of every activity. Creativity should not be the sole
property of a small group of individuals. The following are guidelines
for fostering creativity in the work place: establish a climate and
design concrete projects that encourage the creative contribution of
every employee; support these initiatives with training in creative
problem-solving; give employees the tools and the encouragement they
need to be creative; stop making pious promises; walk the talk; setup
an employee appreciation program; institute not only a new management
model, but a genuine communication model; revamp the hierarchical
structure and the bonus system to reflect the creative contribution of
the employees; dare to provide innovative management by putting the
company at the service of every employee. Try this approach and you'll
get results.
Employees are a company's greatest asset. For an organization to take
this into account in its daily life, it takes courage, determination,
and leadership. Maybe this is too much to expect of the heads of our
modern enterprises. Business leaders certainly haven't received the
training they would need. Companies, including Cirque du Soleil, will
find that their biggest challenges lie within their organizations. I'm
convinced that companies have a responsibility toward their employees
to constantly strive to help them realize their potential. For
companies ready to take up this challenge, the future is bright. There
can be no better business plan!
The End
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 19, Number 12 (Issue #191) - December 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.
{ Dec.10.2019 }
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