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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 18, NUMBER 10 October 2018 ISSUE #177
=======================================================================
Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter. And it's jam-packed with news and features, so
we better get started!
* * * GRACIAS TOTALES SEP7IMO DIA! * * *
Sep7imo Dia's final bow was on September 23rd. With a world premiere
in Buenos Aires in March 2017, the show's final performances ended
exactly where it all started. SEP7IMO DIA NO DESCANSARÉ blended the
wonder of Cirque du Soleil with the explosive pop-rock energy of Soda
Stereo Argentinas musical icons to immerse spectators in the
bands symbolism and poetry. In a breathtaking display of Cirque du
Soleils signature artistry and physicality, SEP7IMO DIA conjured a
world outside of time a place where emotions ebb and flow like the
tide, pulsing to the rhythm of the bands emblematic songs. "Thank
you to all the cities we visited - Buenos Aires, Cordoba, Lima,
Santiago de Chile, Bogota, Monterrey, Guadalajara, Panama, San Jose,
Guatemala, Miami, Los Angeles, Asuncion, Rosario, and Mar del Plata."
Check out these last four videos about the show and its artists...
o) Official 2018 Trailer for Sep7imo Dia
LINK /// < https://youtu.be/JFJWWWBMf7o >
o) Early Days of SODA STEREO Sep7imo Dia
LINK /// < https://youtu.be/tvR3R69LHK8 >
o) Emotional Final Days for Sep7imo Dia Artists
LINK /// < https://youtu.be/-WetuJtDMM4 >
o) Gracias Totales Soda Stereo!
LINK /// < https://youtu.be/VjBBGhKA-ns >
* * * KURIOS - AS A FATHOM EVENT! * * *
Every breathtaking moment. Every larger-than-life detail. This is a
whole new awe-inspiring way to experience Cirque du Soleil. For one
night, Cirque du Soleil in Cinema transports its internationally
acclaimed show KURIOS Cabinet of Curiosities to the big screen. Step
into the curio cabinet of an ambitious inventor who defies the laws of
time, space and dimension in order to reinvent everything around him.
Suddenly, the visible becomes invisible, perspectives are transformed,
and the world is literally turned upside down. Immerse yourself in a
spectacular cinematic experience through never-before-seen angles.
Movie-going just got jaw-dropping! Tickets on sale October 4, 2018; in
Theaters November 13th!
* * * THE CREATIVE TEAM BEHIND NEW ALEGRIA ANNOUNCED * * *
Cirque du Soleil is happy to introduce the creative team behind
Alegría The Return of an Icon, a revisit of one of its most iconic
productions, which won over more than 14 million spectators. Strongly
inspired by the original spirit of Alegría, the creative teams
mission will be to touch todays audience by bringing to the stage a
renewed vision of the show.
Guided by Director of Creation Daniel Ross, the team behind Alegría
The Return of an Icon includes creators who have worked on the
original show in 1994, along with new talent. Jean-Guy Legault,
renowned for his bold, innovative productions, will oversee the stage
direction. His work has been showcased at events and venues across
Quebec, including the Just For Laughs Festival, Théâtre Denise-
Pelletier, Théâtre dAujourdhui, Théâtre du Rideau Vert and Théâtre
du Nouveau Monde (TNM). His role will be to honour the memories of an
entire generation of fans and recreate the emotions they felt, while
making sure the show remains just as inspiring as it was 25 years ago.
Jean-Phi Goncalves, renowned for his work as musical director for
Série Hommage the Cirque du Soleil tribute series presented every
Summer in Trois-Rivières, will revisit the legendary soundtrack of
Alegría originally composed by René Dupéré. Dominique Lemieux, the
shows original Costume Designer, and Nathalie Gagné, original Make-up
Designer, will also join the team to dive back into the creation of
their iconic work using modern techniques and innovations.
Our biggest challenge lies in finding a balance between respecting
the essence of the original show, and reinterpreting it to meet the
expectations of todays audience, said Daniel Ross, Director of
Creation for Alegría The Return of an Icon. Together, we want to
touch the hearts of the spectators and make them relive, or discover
for the first time, the emotions that left their mark on millions of
people.
And here's the entire team...
o) Director of Creation Daniel Ross
o) Stage Director Jean-Guy Legault
o) Production Manager Lucie Janvier
o) Set & Props Designer Anne-Séguin Poirier
o) Composer René Dupéré
o) Musical Direction and Arrangements Jean-Phi Goncalves
o) Costume Designer Dominique Lemieux
o) Acrobatic Equipment Designer Pierre Masse
o) Associate Acrobatic Equipment Designer Kevin Fauquembergue
o) Acro Performance Richard LePage
o) Lighting Designer Mikki Kunttu
o) Sound Designers Jacques Boucher et Jean-Michel Caron
o) Make-Up Designer Nathalie Gagné
o) Technical Director Christian Laflamme
Alegría The Return of an Icon will be presented under the Big Top,
at the Quays of the Old Port of Montreal starting April 18, 2019, and
at ZIBIs site in Gatineau starting August 1, 2019.
* * * NFL EXPERIENCE IN TIMES SQUARE CLOSES * * *
After just 10 months and only two weeks into the new season, the Times
Square-based NFL Experience a 40,000-square-foot attraction
featuring a 4-D roller-coaster theater closed its doors on Sept.
30. More than 90 employees will lose their jobs, according to a state
filing. We unfortunately have to end our season early, says a post
on its social media accounts. The joint venture between the NFL and
Cirque du Soleil did not meet expectations, said an employee at the
location, which had a sandwich board outside the entrance on Wednesday
announcing the closure and a 50-percent-off promotion on merchandise.
Despite our teams dedicated efforts, we were simply unsuccessful at
meeting the financial goals, a Cirque du Soleil spokesperson said.
The hefty admission price $37 for adults and $29 for children
could have something to do with low attendance. Without providing a
reason for the closure, the NFL said in a statement, The innovative
partnership between the NFL and Cirque du Soleil allowed us to provide
a once-in-a-lifetime experience for football fans visiting New York
City. While this endeavor is coming to an end, the NFL will continue
to offer unique, interactive events for our fans in the US and around
the world. Industry experts were surprised by its swift demise,
speculating that the NFL never put its marketing muscle behind the
NFL Experience.
* * * CIRQUE COMING TO MSC BELLISSIMA * * *
MSC Cruises has partnered with Cirque du Soleil to offer a unique
onboard entertainment experience: Cirque du Soleil at Sea. This long-
term partnership, sees the world leader in artistic entertainment,
Cirque du Soleil, create a total of eight original shows that will
be exclusively available on MSC Cruises four Meraviglia generation
ships. The first two shows debuted on MSC Meraviglia. Now Cirque du
Soleil at Sea is coming to MSC Bellissima with 2 brand new shows
beginning March 2019! Six nights per week, this entertainment
experience takes place in a multi-million euro, custom-made
entertainment and dining venue where guests will be able to enjoy
dinner or cocktails and then watch the Cirque du Soleil at Sea
performances.
TEASER VIDEO: < https://vimeo.com/288159642 >
* * * INSIDE THE ISSUE * * *
There's a lot waiting for you in our FEATURES section this month.
First, Keith Johnson, who was in attendance at VOLTA the night of the
lift malfunction, brings us details of his "UH-MAZE-ING" experience he
had that night. Next, we hear from Kerry Hennigan, a fan who flew all
the way from Adelaide, Australia to partake in the celebrations
surrounding Michael Jackson's 60th Birthday in Las Vegas - she gives
us a fantastic review of the experience. Then, take a peek into Cirque
du Soleil's newest Television production - the just announced BIG TOP
ACADEMY - as we look at the show is about and its characters. And
last, but certainly not least, continue our look back at classic
critiques for Mystère.
Okay, so let's go!
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
| |
| At CirqueCast: |
| < http://www.cirquecast.com/ > |
| |
| Realy Simple Syndication (RSS) Feed (News Only): |
| < http://www.cirquefascination.com/?feed=rss2 > |
| |
\----------------------------------------------------/
- Ricky "Richasi" Russo
===========
CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
* Q&A -- Quick Chats & Press Interviews
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* "Vegetable VOLTA!"
By: Keith Johnson - Seattle, Washington (USA)
* "Celebrating Michael's 60th Birthday"
By: Kerry Hennigan - Adelaide, South Australia (AUS)
* "Big Top Academy - It's About to Start!"
Texts from the Press Release
* "We're Off and Running II, Part 2 of 4: Mystère"
By: Ricky Russo - Atlanta, Georgia (USA)
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
***************************************************************
LA PRESSE -- General News & Highlights
***************************************************************
-------------------------------------------------------
Customers Refunded After Oil Soaks Crowd
{Sep.09.2018}
-------------------------------------------------------
It was a much anticipated private preview show for Cirque Du Soleils
Volta Show, but only 30 minutes into it audience members were caught
off guard when oil started soaking them.
The mishap caused the show to get canceled mid-performance at Marymoor
Park in Redmond.
Sitting in the front row, Chase Costello and his wife expected to see
a spectacle at the Cirque Du Soleil show, not be a part of it.
It was a much anticipated private preview show for Cirque Du Soleils
Volta Show, but only 30 minutes into it audience members were caught
off guard when oil started soaking them.
Thirty minutes into the Volta private preview show, liquid was seen
spraying the crowd and soaking a lot of people.
Cirque Du Soleil said a problem with the hydraulic system caused a
hose to break loose and it sprayed a vegetable-based oil onto the
stage and the audience.
"It was everywhere, I mean it was all over us, in our hair on our
clothes, on our shoes, it was nasty, Costello said. We were watching
it and all-of-a-sudden, this big spray comes over us and the guy who
was sitting next to us, he was a mechanic or something and he said
this is oil."
Cirque du Soleil said in a statement, No one was injured by the
incident and the oil posed no risk for the health of the guests or the
employees. We apologize for this incident and will automatically
reimburse all guests who had purchased tickets for the cancelled
show.
All my clothes are ruined, Costello said. Stuff happens and you
know it is, what it is. I would like them to at least reimburse me for
the damages.
Still, Costello said judging from the first 30 minutes he only got to
watch, he'll give it another shot.
I would definitely go back and maybe not sit so close so it doesnt
happen again, said Costello.
Cirque Du Soleil said people who went to the 8 p.m. show on Friday
will be refunded automatically within 48 hours. They will also be
offered a 30 percent discount when rebooking their tickets to come see
the show again in Seattle before November 4.
The official opening premiere night of VOLTA will take place on
Tuesday night, September 11.
{ SOURCE: KOMO News }
-------------------------------------------------------
New Highlights of BAZZAR!
{Sep.10.2018}
-------------------------------------------------------
Welcome to Cirque du Soleil BAZZAR, an eclectic lab of infinite
creativity where a joyful troupe of acrobats, dancers and musicians
craft an awe-inspiring spectacle. Lead by their maestro, they band
together to invent a whimsical one-of-a-kind universe. In a place
where the unexpected is expected, the colourful group reimagines,
rebuilds and reinvents vibrant scenes in an artistic, acrobatic game
of order and disorder. Come and claim your place amidst this
marketplace of merriment and creative camaraderie. You just might find
that the end of the story is really only the beginning!
[SEE ACCOMPANYING IMAGES HERE:
http://www.cirquefascination.com/?p=11991]
Bike -- Click-click-click
One-two-three
Wheels turn again. Creative
gears get moving. Superhuman roller-skaters, and circular acro-bike
performer sparks a rhythmic feeling of rotation where everything
connects.
Fire -- A fire manipulator clears the stage in a brilliant display of
fun and teamwork.
Indian Pole -- For the first time in Cirque du Soleil history,
performers display strength and technical feats in an act of
mallakhamb.
Maestro -- Frantic energy fills the performance lab as fans first meet
the Maestro, and the wildly eclectic troupe theyll join on this
thrilling adventure.
Rope -- Ropes intertwine as the Floating Woman begins to weave her
world. Strikingly beautiful corde lisse performer attempts to free the
Maestro from a moment of humorous entrapment. Finally, the ropes
release! Joy overcomes!
Trapeze -- A duo-trapeze act symbolizes trust and synchronicity.
{ SOURCE: Cirque du Soleil }
-------------------------------------------------------
JOYÀ kicks off its Fifth Season with a Daring New Act
{Sep.12.2018}
-------------------------------------------------------
Cirque du Soleils first and only dinner show experience, created
exclusively for Vidanta Riviera Maya, is set to launch its 5th season
on September 18.
The first Cirque du Soleil resident show in Mexico and the only one in
the world to include a culinary experience, JOYÀ has achieved both
critical acclaim and commercial success, captivating more than 700,000
spectators since its premiere in 2014. Vidanta Riviera Maya will
celebrate the start of the fifth season of Cirque du Soleil JOYÀ on
September 18 in the award-winning Cirque du Soleil Theater. In honor
of the milestone, JOYÀ will introduce a one-of-a-kind flying trapeze
act.
This trapeze act will come to life this season as a new and exclusive
number to Vidanta Riviera Maya. It will be performed by artist Darya
Vintilova, a Cirque du Soleil veteran who holds notable awards around
the world. The act adds a thrilling, state-of-the-art element to the
show by incorporating versatile automated structures into the design
of the rigging, allowing the artist to swiftly move in multiple
directions.
[CHECK OUT THE ACCOMPANYING IMAGE HERE:
http://www.cirquefascination.com/?p=11982 ]
Always looking to offer new experiences for returning guests, Cirque
du Soleil JOYÀ regularly refreshes specific elements of the show
including costumes and music, in addition to other one-of-a-kind
surprises.
As JOYÀ evolves and grows, so do we. We continue to challenge
ourselves to create the best in live entertainment. For the fifth
season of JOYÀ, we are thrilled to offer a unique trapeze act that
once again pushes the creative and technological boundaries,
leveraging the purpose-built venue and our highly skilled technicians
to produce a trapeze act that will explore both the horizontal and
vertical spaces, said Joël Bergeron Director, Artistic Quality at
Cirque du Soleils Events and Special Projects Division.
Cirque du Soleil JOYÀ has positioned itself as one of the top must-see
attractions in Mexico, whose unique multisensory experience hosts up
to 650 spectators per show.
{ SOURCE: Cirque du Soleil }
-------------------------------------------------------
Laliberté to be taxed for $42M trip to space
{Sep.14.2018}
-------------------------------------------------------
The founder of Cirque du Soleil will be forced to pay hefty taxes for
a highly publicized trip to space he took nearly a decade ago after a
judge refuted his claim that it was for business purposes.
The Tax Court of Canada has ruled that the trip to outer space by
billionaire Quebec businessman Guy Laliberte in 2009 was a taxable
benefit. At issue was a $41.8-million price tag for a trip the Cirque
du Soleils founder had been reimbursed for as a business expense. The
Canada Revenue Agency challenged that and Tax Court Justice Patrick
Boyle wrote in a ruling Wednesday he believes a large portion of the
travel cost to the International Space Station was indeed a taxable
benefit.
I find that the motivating, essential and overwhelmingly primary
purpose of the travel was personal, Boyle wrote. I find that the
Appellant (Laliberte) is the person who made the decision to travel on
his space trip and that his overarching reasons for that decision were
personal.
The judge added 27 reasons to buttress his decision The judge
quoting Laliberte as calling himself a space tourist and saying that
the trip was the fulfillment of a personal dream in media interviews.
Boyle also wrote that Laliberte had publicly talked about his goal to
visit space after watching Neil Armstrong walk on the moon and
visiting Expo 67 as a child; there was no evidence Cirque du Soleil
ever considered sending anyone else on the trip and there were never
any plans for similar publicity stunts for brand awareness before or
after the 2009 expedition; that Lalibertes representative negotiated
the flight agreement on behalf of Laliberte; and there was no
suggestion that any benefit attributed to the Cirque du Soleil was
contemplated ahead of the trip.
A spokeswoman for Laliberte, the Cirques controlling shareholder in
2009 when he took a Soyuz capsule to the station, said Friday the
billionaire was aware of the court decision and was considering his
options.
Laliberte was Canadas first space tourist when he took the 12-day
space trip as part of a social and poetic mission to raise awareness
about water issues for his One Drop foundation. It included a two-hour
feature program involving various artists such as Bono and Shakira as
well as environmentalists David Suzuki and former U.S. vice-president
Al Gore.
The businessman first paid for the trip through a personal holding
firm. Two months after his return, he was reimbursed by Creations
Meandres, the company that controlled Cirque du Soleil, minus a self-
assessed $4-million shareholder benefit. His accountants claimed it
wasnt a personal trip, but rather a stunt marketing event to
promote the popularity of the circus as well as the foundation, and as
such should be deductible as a marketing or promotional expense that
far outweighed the trips cost.
In response to this weeks ruling, a spokeswoman for Lune Rouge, an
entrepreneurial firm Laliberte now heads, issued a statement: Guy
Laliberte already paid all the taxes associated with this project
several years ago, upon receipt of the notice of assessment, Anne
Dongois wrote in an email Friday. We have read the judgment, which
recognizes that part of the cost of the project is attributable to
business. A question remains with regards to the proportion that is
business and the proportion that is to be considered for, potentially,
personal benefit. Various options are currently evaluated.
In his decision, Boyle fixed the amount of the business-related
portion of the trip to be about 10 percent or $4.2 million, meaning
the remaining 90 percent of the trips cost $37.6 million was the
amount of the benefit.
Simply put, there is a difference between a business trip which
involves or includes personal enjoyment aspects, and a personal trip
with business aspects, even significant ones, tacked on, Boyle wrote.
I have found that this space trip falls into the latter category, and
the tax consequences to the business income are considered and
determined accordingly.
A Cirque du Soleil spokeswoman said the organization would have no
comment. As this is a personal matter for Guy, we will not be
commenting, Marie-Helene Lagace said in an email.
Nicolas Simard, a tax law expert and partner at Fasken law firm in
Montreal, said the law means the amount owed will have to be paid in
full regardless of whether Laliberte appeals.
The matter has been referred back to the minister of National Revenue
for reassessment. Its expected Laliberte will be required to pay
nearly $20 million in taxes; however, he will still have the
opportunity to appeal the decision.
Simard said the lesson here is that tax agencies are conducting more
and more audits, including those of family businesses. Taxpayers have
to be mindful of the expenses paid for or reimbursed by their
corporations, like vehicles, time-shares and condos, Simard said.
They have to be prepared to offer proper justification and offer
books and records to demonstrate (they) did not personally benefit
from an expense paid for by the corporation.
{ SOURCE: Bloomberg Canada }
-------------------------------------------------------
Cirque du Soleil to mark Saudi National Day
{Sep.20.2018}
-------------------------------------------------------
To mark Saudi National Day on the 23rd of September, the General
Entertainment Authority presents one of the largest custom-made events
by the world-renowned company Cirque du Soleil, organized by MBC
Group. The record-breaking performance which will feature Cirque du
Soleils largest number of circus artists ever assembled for a special
event will get underway in a visually stunning world to celebrate
the 88th Saudi National Day and a future Beyond the Horizon.
The production exclusively designed for this occasion, will take place
at the King Fahd International Stadium in Riyadh in front of 27,000
attendees making it one of the biggest Cirque du Soleil productions
ever created for a customized event. A tailor-made 85 x 40-metre stage
has been designed and constructed especially for the occasion.
The production will blend the latest technological innovations in
stagecraft, large-scale video projections, special effects, and
fireworks with Cirque du Soleils signature style acrobatics.
Intertwining storytelling with spectacular acrobatics, viewers can
look forward to aerial silk, suspended pole, rotating ladder, German
wheel, fire manipulation and trampowall specialists, a group of
unicyclists, a troupe of contemporary and hip-hop dancers, electric
motorcycles, and even a free-flying Hoverboard.
This upcoming Cirque du Soleil event will provide the Saudi audience
with an enthralling international entertainment experience, mixed with
locally-relevant content, said Abdulrahman bin Nasser Al Khalifa,
General Manager of Communications and official spokesperson of the
General Entertainment Authority.
Al Khalifa said the event is part of the Authoritys efforts to
attract the largest entertainment and leisure companies to the
Kingdom, adding that these efforts will support the local sector.
Omar Al Radi, Head of Events at MBC Group commented: Organizing such
a phenomenal event is thanks to the ambitious vision of our country,
which has instilled enthusiasm in the hearts of all of us, as we work
on this extraordinary international event that is set to break
records, and go beyond the international standards to celebrate the
Saudi National Day like never before. We are proud to be part of Saudi
National Day celebration and to be taking it to a global level as the
show will be televised live with around 200,000,000 expected viewers
from around the world
Show Synopsis: As the sun sets on the horizon, a tribe of nomads
gather on the dessert dunes in search of an oasis when a raging
sandstorm sweeps across their encampment. The desert dwellers are
whisked off to a surreal world and the wheels of the future begin to
revolve. The encampment turns into a magical oasis where waterfalls
flow upwards, and when the great falcon spreads its wings, a new sun
rises over the horizon.
Set Design: The visual theme of the King Fahd International Stadiums
exterior is reminiscent of Bedouin tents. This design will be explored
on stage as well, thus creating a theatre within a theatre
experience. The four elements will come into play with the tent
structures and four enchanting mashrabiya-inspired lanterns to immerse
the audience in a surreal realm where tradition inspires the future.
{ SOURCE: Digital Studio Me }
-------------------------------------------------------
Cirque prepares show in King Fahd Stadium
{Sep.22.2018}
-------------------------------------------------------
To mark Saudi National Day on the 23rd of September, the General
Entertainment Authority presents one of the largest custom-made events
by the world-renowned company Cirque du Soleil, organized by MBC
Group.
The record-breaking performance which will feature Cirque du
Soleils largest number of circus artists ever assembled for a special
event will get underway in a visually stunning world to celebrate
the 88th Saudi National Day and a future Beyond the Horizon.
A joint press conference between the MBC Group, the General
Entertainment Authority, and Cirque du Soleil was held at King Fahd
Stadium on Thursday afternoon to answer media questions and give some
details about Cirque du Soleils upcoming special performance, part of
Saudi Arabias 88th National Day celebrations. The show is slated to
be one of the biggest performed by the Cirque and their first in Saudi
Arabia. It is a one-night-only, exclusive event, designed especially
for this occasion.
Daniel Fortin, vice president of Creation at Cirque du Soleil, teased
the audience with a few details of the upcoming show. With a cast and
crew of over 300, this is one of the biggest shows weve ever done,
he said.
Without giving too much of the plot away, the story is centered
around the sun, and takes place from sunset to sunrise. Everything
from the costumes to the stage props was created as a homage to Saudi
culture. Youll see a lot of Bedouin influences in the staging and in
the music. We drew inspiration from a variety of sources, such as
traditional Bedouin tents, desert scenery, even the stadium itself.
The production exclusively designed for this occasion, will take place
at the King Fahd International Stadium in Riyadh in front of 27,000
attendees making it one of the biggest Cirque du Soleil productions
ever created for a customized event. A tailor-made 85 x 40-metre stage
has been designed and constructed especially for the occasion. The
show has been in development for six months, and the cast and crew
have been preparing for the show at the King Fahd International
Stadium since the beginning of August.
The show will contain new technology, and 16 unprecedented acrobatic
acts. However, Fortin refused to share too many details. Youll just
have to see what we have planned at the show. He said. But I think
you will be impressed. Were doing things weve never done before.
* * *
Show Synopsis: As the sun sets on the horizon, a tribe of nomads
gather on the dessert dunes in search of an oasis when a raging
sandstorm sweeps across their encampment. The desert dwellers are
whisked off to a surreal world and the wheels of the future begin to
revolve. The encampment turns into a magical oasis where waterfalls
flow upwards, and when the great falcon spreads its wings, a new sun
rises over the horizon.
Acts/Presentations: The production will blend the latest technological
innovations in stagecraft, large-scale video projections, special
effects, and fireworks with Cirque du Soleils signature style
acrobatics. Intertwining storytelling with spectacular acrobatics,
viewers can look forward to aerial silk, suspended pole, rotating
ladder, German wheel, fire manipulation and trampowall specialists, a
group of unicyclists, a troupe of contemporary and hip-hop dancers,
electric motorcycles, and even a free-flying Hoverboard.
Set Design: The visual theme of the King Fahd International Stadiums
exterior is reminiscent of Bedouin tents. This design will be explored
on stage as well, thus creating a theatre within a theatre
experience. The four elements will come into play with the tent
structures and four enchanting mashrabiya-inspired lanterns to immerse
the audience in a surreal realm where tradition inspires the future.
* * *
This upcoming Cirque du Soleil event will provide the Saudi audience
with an enthralling international entertainment experience, mixed with
locally-relevant content, said Abdulrahman bin Nasser Al Khalifa,
General Manager of Communications and official spokesperson of the
General Entertainment Authority.
Al Khalifa said the event is part of the Authoritys efforts to
attract the largest entertainment and leisure companies to the
Kingdom, adding that these efforts will support the local sector.
Omar Al Radi, Head of Events at MBC Group commented: Organizing such
a phenomenal event is thanks to the ambitious vision of our country,
which has instilled enthusiasm in the hearts of all of us, as we work
on this extraordinary international event that is set to break
records, and go beyond the international standards to celebrate the
Saudi National Day like never before. We are proud to be part of Saudi
National Day celebration and to be taking it to a global level as the
show will be televised live with around 200,000,000 expected viewers
from around the world
Tickets to the show sold out in less than 48 hours after their
release; an incredible feat as the show has allocated more than 27,000
seats for the performance. Abdulrahman Al Khalifa, spokesperson for
the General Entertainment Authority, was pleased but not entirely
surprised by the publics reaction to news of the show. We felt that
variety in the types of events we brought to Saudi Arabia was
important, he said, and we conducted a number of research workshops
to determine what sort of events would be well-received by the public.
Cirque du Soleil was mentioned frequently in our research, so were
very happy to have had the opportunity to bring them here.
MBC head of events Omar Al Radi also expects a big response to the
televising of the show, which he estimates will break records. Were
broadcasting the show live on both our local and international
channels, such as those in Europe and in America. he said.
Were expecting over 200 million views. Probably record-breaking
numbers. MBC is proud to have been part of bringing this historic
event to Saudi Arabia, and we cant wait for you to see it.
{ SOURCE: Arab News and Arab Industry.com }
-------------------------------------------------------
It Goes From Bad to Worse For Franco Dragone
{Sep.23.2018}
-------------------------------------------------------
Franco Dragone, who became famous the world over with his Cirque du
Soleil creations, is on the verge of bankruptcy. His real estate
portfolio in Belgium has also been confiscated.
The production company of the 65-year-old businessman from La
Louvière, Productions du Dragone, has been facing financial problems
for several years. In recent months, the situation has only become
more difficult. A large number of employees, including communication
staff and IT specialists, have been dismissed. Of the 31 employees at
the beginning of this year, 19 are still working, half of whom have
been given notice of dismissal.
Although the management told the staff that it wanted to keep activity
in La Louvière, the socialist trade union believes that a closure is
imminent. The SudPresse newspapers also take into account the
relocation of activities to the Canadian subsidiary in Montreal.
MONEY LAUNDERING
Fraud issues also play tricks on Dragone. At the end of 2015, Dragone
was suspected of tax fraud and money laundering. The confiscation by
the Belgian state of his real estate portfolio said to involve
several houses, apartments and land takes place in the context of
this fraud case. The court wants to prevent Dragone from taking the
neighbourhood abroad.
His name already appeared in the Panama Papers. Dragone, who is also
suspected of tax constructions on the British Virgin Islands, would
have had a law firm set up in that tax paradise to collect royalties
on his shows at a favourable tax rate.
If the businessman is convicted, it is a stain on a career that reads
like a fairy tale. The creative genius from La Louvière was born in
Cairano, Italy and emigrated with his parents to the industrial city
at the age of 7. His father worked in the mines there. After his
studies at the Royal Conservatory of Mons, Dragone went to Canada,
where he met Guy Laliberté, the founder of Cirque du Soleil. This
acquaintance resulted in a collaboration. Dragone directed ten major
shows for the renowned circus company.
SPECATCLE MAKER
In 2000 he returned to La Louvière to set up his own production
company. He wanted to give something back to the inhabitants of the
city who made him who he was: a socially engaged, successful
showmaker.
There was no lack of beautiful deals. Dragone decorated a mega deal in
China, shows in Paris Lido and the final show of the World Cup in
Brazil. But the brilliant he was as an artist, the more disastrous he
was as a businessman. The company had serious cash problems. In 2012,
Yves Delacollette, the ex-CEO of Deutsche Bank Belgium, as yet another
CEO, had to curb his costly artistry urge, but in 2015 it came to a
break between the two.
{ SOURCE: de Tijd }
-------------------------------------------------------
Cirques Director of Risk Mgmt Receives Top Honors
{Sep.25.2018}
-------------------------------------------------------
Michel Rodrigue, Cirque du Soleils director of risk management and
insurance, has received this years Donald M. Stuart award, Canadas
highest honour for risk management.
Based in Montreal, Cirque du Soleil is an entertainment company that
produces spectacular theatrical shows famous for their high-risk
daredevil and aerial acrobatics. The shows have been seen by more than
100 million spectators in over 300 cities around the world.
You can probably imagine that no two days at Cirque du Soleil are the
same, Rodrigue said after the award recipient was announced Monday at
the RIMS Canada Conference in St. Johns, N.L. Captivating audiences
around the world, employing hundreds and partnering with thousands of
vendors presents a wide-range of challenges, but there are also
countless opportunities to be creative, to contribute to the success
of new ventures and have a lot of fun. I am humbled to receive this
prestigious award and thank everyone who has supported me through my
risk management journey.
Rodrigues work encompasses identifying and assessing all of Cirque du
Soleils worldwide operational risks. His role includes engaging both
internal and external partners, supporting strategic planning and
delivering efficient contractual, claims and insurance processes that
align with the corporations business core and projects.
RIMS Ontario Chapter (ORIMS) presented the award to Rodrigue. Michel
has successfully created a corporate culture at Cirque du Soleil that
realizes risk managements true value and its ability to support
innovation, said ORIMS president Valerie Fox, corporate EHS manager
at NPL Canada, a division of Centuri Construction Group, Inc. His
career is marked with many outstanding achievements and includes his
commitment to giving back to Canadas risk management community. We
proudly present him with this honour and thank him for all that he has
done to support RIMS.
Rodrigue has been a member of RIMS and QRIMA (RIMS Quebec Chapter)
since 2000. He joined QRIMAs board of directors in 2000 and held
various board positions including serving as its president from 2002-
04. He also served on RIMS Canada Council (RCC) from 2005-08.
{ SOURCE: Canadian Underwriter }
-------------------------------------------------------
Tourism promotion will continue but Cirque du
Soleil show bad investment
{Sep.25.2018}
-------------------------------------------------------
Mexicos next tourism secretary has pledged that promotion of the
countrys tourist destinations will continue under the new
administration amid concerns in the private sector that money
currently allocated to marketing will be redirected to the Maya train
project.
I know that there is nervousness about [tourism] promotion, Miguel
Torruco Marqués told the newspaper Milenio.
Yes, there will be [promotion], dont worry. Im the first to insist
that promotion is essential to stay competitive in the international
arena, he added.
President-elect Andrés Manuel López Obrador has said that construction
of the Maya train project, which will link cities including Cancún,
Mérida, Campeche and Palenque, will be partially funded by the DNR
tourist tax that foreigners pay when entering Mexico.
Some of the money collected is currently used for tourism promotion.
According to the Mexico Tourism Board (CPTM), which receives the
funds, the DNR tax generates revenue of between 4.5 and 5 billion
pesos (US $236.9 million and $263.2 million) annually.
Torruco stressed, however, that the money for tourism promotion
would be freed up through cuts to bureaucracy that the incoming
government intends to make
Promotion will continue, were analyzing how were going to trim
down the apparatuses of government, which are very obese . . . he
said.
The future secretary said there will be no deputy directors of
government departments during the incoming administration because
of duplication of activities, and that staff cuts will extend to
the Secretariat of Tourism (Sectur), the CPTM and the National
Tourism Promotion Fund (Fonatur).
But he also said that to ensure that Mexicos tourism industry
remains strong it is essential to launch large-scale tourism
campaigns and attend tourism fairs around the world.
While recognizing the need to spend money to attract foreign
tourists, Torruco said that Secturs expenditure of US $45 million
on the Cirque du Soleil production Luzia, A Waking Dream of Mexico
was a bad investment because it hasnt led to an increase in
visitor numbers.
The show, which opened in Canada in May 2016, is a homage to Mexicos
history, culture and traditions and one of its objectives was to
inspire people to visit.
Mexico is the sixth most visited country in the world, Tourism
Secretary Enrique de la Madrid said in June, explaining that the
upsurge in violent crime had not had an impact on visitor numbers.
Almost 40 million foreign tourists came to Mexico last year, spending
just over US $21.3 billion while they were in the country.
{ SOURCE: Mexico News Daily }
***************************************************************
Q&A -- Quick Chats & Press Interviews
***************************************************************
-------------------------------------------------------
Meet CRYSTALs Madeline Stammen
{Sep.18.2018}
-------------------------------------------------------
Illinois native Madeline Stammen, 24, began her competitive career at
the age of 8. She excelled at ice dancing and freestyle skating at a
highly competitive level until she was 18 years old.
After competition, Stammen was hired for her first professional show
on the Royal Caribbean Cruise Lines performing in shows on the ships
ice rinks.
In 2016, while taking a six-month sabbatical from skating, Stammen
auditioned for Cirque du Soleil: Crystal and landed the role of The
Reflection, the alter ego of the titular character Crystal. She has
since been alternating roles of The Reflection as well as main
character Crystal. You can see her perform on Sept. 20-23 when the
show comes to the Denny Sanford Premier Center.
She answered several questions about the show recently.
On what makes Cirque du Soleils Crystal so unique
Its new, its Cirques first ice show. Theyve never tackled ice or
had to deal with figure skaters. I think its new especially because
of the cultural theme between sports as far as figure skaters and
acrobats. Its a big playground, and they put us in together. Last
summer, we spent a lot of time exploring and seeing what we could come
up with together fusing our sports. So, it was a really cool, creative
time.
On her competitive skating career and her transformation to Crystal
I had been participating professionally before this show, so I had
already transitioned from competitor to performer. I did cruise ships
for four years and a couple of stationary shows. That sort of primed
me for this. I think the most different thing about this show was
having an acrobatic element. All the other shows I did was just fully
figure skating, so now all of a sudden you have chair balancers and
acrobats, people who fly, people who race, and skaters and musicians
as well. Just the combination of all these different types of talent
is what makes this show really special.
On working with former professional skaters and Crystals skating
performance directors Kurt Browning and Benjamin Agosto
We worked with them last summer. To be honest, I watched Ben Agosto on
TV as a little girl and idolized him. When I found out I was going to
be working with him, I was a little starstruck. I made him dance with
me around the rink a couple of times and asked him to make a little
girls dream come true. Working with Kurt was cool; hes just an
amazing storyteller. He has a really wildly creative brain that really
helped bring this show to life, I think, especially the characters.
The character I play and the other characters on the show, he really
helped us developed those characters as well.
On playing the roles of Crystal and Crystals reflection
Whats nice is, I get to play both characters. Sometimes Im the evil
twin, and sometimes Im the good guy. Im switching back and forth,
which is fun. Both characters are very complex. One is a leader in a
way. Crystals reflection takes Crystal through this journey of self-
discovery, so shes more like the guide, or the white rabbit. And when
Im Crystal, its a much different experience. Shes more vulnerable
and unknowing. Being able to experience both characters I think really
helped me perform the other.
On skating techniques and acrobatics
Im a figure skater, and I did ice dancing by trade as well; thats
the niche of my role. But I also perform in the straps act; I do a
little bit of flying and aerial as well. I had never had to do
anything super upper body before this contract. They wanted me to put
on muscle on my shoulders and do pull-ups, which is something I never
had to do. That was something new I had to learn because I was going
to be flying in the air and using my arms in ways that I havent
before. My favorite part to perform myself is the traps act because I
get to fly, leave the ice, and I get to go high up in the air, which
is really fun and liberating.
On what the audience takes away from the show
The thing that really speaks to me about Crystal is that shes going
on a journey of self-discovery. She doesnt quite fit into society.
Theres a little bit of everybody who feels that. Theres a message
that its OK to be unique and to be yourself.
On her continued employment with Cirque du Soleil
I can see myself skating with Cirque for a while. Im fulfilled on
both ends of the spectrum as an athlete and an artist. Thats the
magic of being in show business theater. Thats why Im so happy here.
It opens you up as an athlete to become an artist to innovate and do
things that youve never seen. Thats what Cirque is.
{ SOURCE: Argus Leader }
-------------------------------------------------------
LDI 2018 Speaker Spotlight: Jonathan Deans
{Sep.19.2018}
-------------------------------------------------------
As we gear up for the LDI Show, Live Design is profiling speakers in
their Sound Tracks series of panels aimed at live sound engineers.
This week theyre pleased to introduce you to keynote speaker Jonathan
Deans, who will be discussing the state of sound design.
Award-winning sound designer Jonathan Deans began his career in his
native England and has been living and working in the U.S. for several
decades. In addition to myriad productions on Broadway, Jonathan has
designed 14 shows for Cirque du Soleil, including Michael Jacksons
ONE, LOVE, Ovo, Elvis, Believe, Corteo, Kooza, Wintuk, KA, Zumanity,
La Nouba, O, Mystère, and Saltimbanco.
His sound design work also includes: Jagged Little Pill, Red Velvet,
Waitress, A Second Chance, Finding Neverland, Kiss me Kate (revival),
Pippin (revival), Carrie (revival), La Cage Aux Folles (revival),
Fosse, Parade, Ragtime, and others.
Q. What was your first theatre sound gig?
As a sound operator, it was the play Absurd Person Singular at
Criterion Theater, West End. As a designer, it was Marilyn at the
Adelphi Theater, West End. Before that, I was a child actor from the
age of twelve.
Q. What has most influenced the way you think about sound?
It was working at the Royal Opera House in Covent Garden when I heard
and felt the music envelop me when sitting in the Gallery and upper
sides of the Opera House.
Q. What kind of technology is having the biggest impact on the way
engineers in your field work right now?
I dont find that technology creates the impact; its the individuals
who put the performances together that make the unique experience.
Q. What can attendees expect to learn about in your keynote?
To be individual and to wake up in the mornings feeling happy to go to
work.
Q. Whats the best piece of advice youve been given?
To follow your own instinct and listen with your heart. Also, be
reliable, punctual, respectful, and honest.
Q. How about the worst?
Do not become blindsided by individuals of fame and fortune, but
instead listen to yourself. Also, be respectful and honest.
Q. What are you most excited to check out at LDI?
The students and attendees who are or will be driving the industry.
* * *
The 30th annual LDI Show takes place October 15-21 in Las Vegas.
{ SOURCE: Live Design }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia, Totem & Volta}
o) ARENA - In Stadium-like venues
{TORUK, OVO, Séptimo Día, Crystal & Corteo}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE & JOYA}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Alegria-25th Anniversary:
Montreal, QC -- Apr 18, 2019 to Jul 21, 2019
Gatineau, QC -- Jul 31, 2019 to Sep 1, 2019
Toronto, ON -- Sep 12, 2019 to Dec 1, 2019
Amaluna:
Bogota, CO -- Oct 26, 2018 to Dec 16, 2018
Dallas, TX -- Jan 23, 2019 to Feb 17, 2019
Phoenix, AZ -- Mar 20, 2019 to Apr 19, 2019
Bazzar:
Mumbai, IN -- Nov 15, 2018 to Dec 9, 2018
New Dehli, IN -- Dec 25, 2018 to Jan 6, 2019
Koozå:
Seoul, SK -- Nov 3, 2018 to Dec 30, 2018
Auckland, NZ -- Feb 8, 2019 to Feb 24, 2019
Kurios:
Osaka, JP -- Jul 28, 2018 to Nov 4, 2019
Nagoya, JP -- Nov 22, 2018 to Jan 27, 2019
Fukuoka, JP -- Feb 15, 2019 to Mar 31, 2019
Sendai, JP -- Apr 19, 2019 to May 29, 2019
Luzia:
Monterrey, MX -- Oct 4, 2018 to Oct 27, 2018
Mexico City, MX -- Nov 8, 2018 to Dec 23, 2018
Houston, TX -- Jan 10, 2019 to Feb 3, 2019
Orlando, FL -- Mar 7, 2019 to Apr 21, 2019
Totem:
Zurich, CH -- Sep 5, 2018 to Oct 14, 2018
Paris, FR -- Oct 25, 2018 to Dec 2, 2018
London, UK -- Jan 12, 2019 to Feb 9, 2019
Vienna, AT -- Mar 9, 2019 to Apr 7, 2019
VOLTA:
Seattle, WA -- Sep 7, 2018 to Nov 4, 2018
San Francisco, CA -- Nov 15, 2018 to Feb 3, 2019
San Jose, CA -- Feb 13, 2019 to Mar 24, 2019
San Diego, CA -- Apr 3, 2019 to May 5, 2019
Chicago, IL -- May 18, 2019 to Jul 6, 2019
Denver, CO -- Jul 19, 2019 to Aug 25, 2019
Atlanta, GA -- Sep 13, 2019 to Nov 30, 2019
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
TORUK - The First Flight:
Rotterdam, NL -- Oct 11, 2018 to Oct 14, 2018
Oberhausen, DE -- Oct 17, 2018 to Oct 21, 2018
Cologne, DE -- Oct 25, 2018 to Oct 28, 2018
Hamburg, DE -- Oct 31, 2018 to Nov 4, 2018
Berlin, DE -- Nov 7, 2018 to Nov 11, 2018
Turin, IT -- Nov 15, 2018 to Nov 18, 2018
Bologna, IT -- Nov 22, 2018 to Nov 25, 2018
Frankfurt, DE -- Nov 28, 2018 to Dec 3, 2018
Zagreb, HR -- Dec 7, 2018 to Dec 9, 2018
Barcelona, ES -- Jan 18, 2018 to Jan 27, 2018
Madrid, ES -- Jan 30, 2018 to Feb 3, 2018
Pamplona, ES -- Feb 6, 2019 to Feb 10, 2019
Milan, IT -- Feb 14, 2019 to Feb 19, 2019
Bratislava, SK -- Feb 28, 2019 to Mar 3, 2019
Moscow, RU -- Apr 19, 2019 to May 5, 2019
St. Petersburg, RU -- May 8, 2019 to May 12, 2019
Antwerp, BE -- Mar 14, 2019 to Mar 17, 2019
Helsinki, FI -- May 15, 2019 to May 19, 2019
Vilnius, LT -- May 22, 2019 to May 26, 2019
Prague, CZ -- May 31, 2018 to Jun 2, 2019
Munich, DE -- Jun 5, 2019 to Jun 9, 2019
OVO:
Birmingham, UK -- Oct 3, 2018 to Oct 7, 2018
Dublin, IE -- Oct 10, 2018 to Oct 14, 2018
Belfast, IE -- Oct 17, 2018 to Oct 21, 2018
Lille, FR -- Nov 8, 2018 to Nov 11, 2018
Bordeaux, FR -- Nov 14, 2018 to Nov 18, 2018
Toulouse, FR -- Nov 21, 2018 to Nov 25, 2018
Montpellier, FR -- Nov 28, 2018 to Dec 2, 2018
Strasbourg, FR -- Dec 5, 2018 to Dec 9, 2018
Nantes, FR -- Dec 12, 2018 to Dec 16, 2018
A Coruna, ES -- Dec 21, 2018 to Dec 30, 2018
Lisbon, PT -- Jan 3, 2019 to Jan 13, 2019
Murica, ES -- Jan 16, 2019 to Jan 20, 2019
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Winnipeg, MB -- Oct 3, 2018 to Oct 7, 2018
Green Bay, WI -- Oct 11, 2018 to Oct 14, 2018
Des Moines, IA -- Oct 17, 2018 to Oct 21, 2018
Wichita, KS -- Oct 24, 2018 to Oct 28, 2018
Oklahoma City, OK -- Oct 31, 2018 to Nov 4, 2018
Tulsa, OK -- Nov 7, 2018 to Nov 11, 2018
Norfolk, VA -- Nov 29, 2018 to Dec 2, 2018
Washington, DC -- Dec 5, 2018 to Dec 9, 2018
Miami, FL -- Dec 13, 2018 to Dec 16, 2018
Tampa, FL -- Dec 19, 2018 to Dec 23, 2018
Baton Rouge, LA -- Jan 3, 2019 to Jan 6, 2019
Kansas City, MO -- Jan 16, 2019 to Jan 19, 2019
Columbus, OH -- Jan 23, 2019 to Jan 27, 2019
Milwaukee, WI -- Jan 30, 2019 to Feb 3, 2019
Regina, SK -- Feb 7, 2019 to Feb 10, 2019
Edmonton, AB -- Feb 13, 2019 to Feb 17, 2019
West Valley City, UT -- Mar 7, 2019 to Mar 10, 2019
Ontario, CA -- Mar 13, 2019 to Mar 17, 2019
Bakersfield, CA -- Mar 20, 2019 to Mar 24, 2019
Sacramento, CA -- Mar 27, 2019 to Mar 31, 2019
CORTEO:
Victoria, BC -- Oct 4, 2018 to Oct 7, 2018
Vancouver, BC -- Oct 10, 2018 to Oct 14, 2018
Kelowna, BC -- Oct 17, 2018 to Oct 21, 2018
Kamloops, BC -- Oct 24, 2018 to Oct 28, 2018
Lethbridge, AB -- Oct 31, 2018 to Nov 4, 2018
Minneapolis, MN -- Nov 8, 2018 to Nov 11, 2018
Cleveland, OH -- Nov 15, 2018 to Nov 18, 2018
Quebec City, QC -- Dec 6, 2018 to Dec 9, 2018
Toronto, ON -- Dec 12, 2018 to Dec 16, 2018
Montreal, QC -- Dec 19, 2018 to Dec 30, 2018
Worchester, MA -- Jan 3, 2019 to Jan 6, 2019
Detroit, MI -- Jan 10, 2019 to Jan 13, 2019
Pittsburgh, PA -- Jan 16, 2019 to Jan 19, 2019
Evansville, IN -- Jan 23, 2019 to Jan 27, 2019
Memphis, TN -- Jan 31, 2019 to Feb 3, 2019
Raleigh, NC -- Feb 7, 2019 to Feb 10, 2019
Bossier City, LA -- Feb 14, 2019 to Feb 17, 2019
Cedar Park, TX -- Feb 20, 2019 to Feb 24, 2019
Portland, OR -- Mar 14, 2019 to Mar 17, 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
Extra Performance Dates:
o Mon, Dec 31, 2018 | 4:30 p.m. & 7:00 p.m.
Single Show Dates (7:00pm Only):
o Monday, Nov. 26, 2018
o Thursday, Nov. 29, 2018
2018 Dark Dates:
o October 27 - 31, 2018
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 9:30pm
Special Performance Dates:
o Tue, Oct 09 - 7:00pm & 9:30pm
o Tue, Dec 11 - 9:30pm only
o Mon, Dec 31 - 4:00pm & 6:30pm
2018 Dark Dates:
o November 26 - December 11
o December 27
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
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
2018 Dark Dates:
o October 20
o December 4 8, 11 15
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Thursday through Monday - Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
2018 Dark Dates:
o October 22 -25
o November 5 - 7
o December 11 - 13
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: Hamburg, Germany
Begins April 9, 2019!
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) WEBSERIES -- Official Online Featurettes
o) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
WEBSERIES: Official Online Featurettes
---------------------------------------------------
*) IMMERCIQUE, VR180 SERIES
Welcome to IMMERCIRQUE, our NEW VR180 YouTube series where we take
you on an immersive journey with our Cirque du Soleil artists as
they prepare to perform for their act.
o) EPISODE 1 - BAZZAR Aerial Rope Artist {Sep.26}
In this first ever Cirque du Soleil VR 180 video, follow BAZZAR
Aerial Rope Performer Lauren Joy Herley backstage in training,
makeup, costume to get a glimpse of her everyday reality.
LINK /// < https://youtu.be/tGzF9yawei4 >
*) BAZZAR: BEHIND THE SCENES
In this NEW YouTube series, 'BAZZAR: Behind The Scenes', discover
the journey of how BAZZAR came to life. Tune in bi-weekly to follow
us around from training at the Cirque du Soleil Headquarters to
planning for our debut in India!
o) EPISODE 3 - HIGH LEVEL PERFORMANCES {Sep.12}
In episode 3, we explore the importance of attention to
detail in Cirque du Soleil shows.
LINK /// < https://youtu.be/lOjzhzUukkk >
o) EPISODE 4 - COSTUMES, MAKEUP,MUSIC
In episode 4, we explore all the work and details required
behind in the teams in costume, makeup, and music.
LINK /// < https://youtu.be/HluoqVmkvKI >
*) ALEGRIA REUNION SERIES
Alegría has brought laughter and wonder to over 14 million spectators
in more than 255 cities across the globe from 1994 to 2013. Beloved
by fans around the world, the iconic Alegría is coming back on tour
in the Big Top. Meet some of the show's previous artists to share
their timeless stories. TUNE IN WEEKLY to learn more about each of
their experiences touring with Alegría.
o) EPISODE 6 - Uliibayar Chimed {Sep.07}
Meet Ulziibayar Chimed, a Contortionist on the show from
1996 - 2005.
LINK /// < https://youtu.be/1hqPfRT8fIM >
o) EPISODE 7 - Nikita Moiseev {Sep.14}
Meet Nikita Moiseev as he talks about growing up with his
family on the Alegria tour to then becoming a Cirque artist.
He was an artist on the show from 2003 to 2009 as first the
Little Tamir character and then a Russian Bar Flyer.
LINK /// < https://youtu.be/40ZFYNrMH54 >
*) MUSIC VIDEO w/LYRICS
o) KA - "Battlefield" {Sep.25}
Chourka
Tur shalle teinen
Tur shalle teinen
Chourka-ya
Chourka
Kourente seiden
Kourente seiden
Chourka-ya
Chourka! (3x)
Chourka
Tur shalle teinen
Tur shalle teinen
Chourka-ya
Chourka!
Chourka
Kourente seiden
Kourente leiden dimich
Unti heden toulich
Unti ruden shallen tar
Mi, koudeman vurtei
To, meilinen turei
To, teileman kurdal
Dar, kouvarein dourich
Dar, mi runden talich
Keil feiner tanz
Keil mourti lanz
Teil, raduvizein
Teil, gurten tsulein
Oun pfelle koudall
Irkantu firezall
Teil, raduvizein
Teil, gurten tsulein
Ah...
Sholte vultan kourei
Firten altevai
Urschall stilen koudai
Mourden simarai
Scholte
Sholte ultan kourei
Firten altevei
Urschall stilen koudai
Mourden
Simarai scholte
Simarai scholte
Scholte!
Scholte!
Scholte!
LINK /// < https://youtu.be/xtft1BluUPw >
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
o) Alegria's Aerial Cube Act from 1994
LINK /// < https://youtu.be/IHq4UfUqpSA >
o) Alegria's Shoulder-Pole Act from 1994
LINK /// < https://youtu.be/dy6Evo7mlkk >
o) A History of MAC Cosmetics x Cirque du Soleil
LINK /// < https://youtu.be/6uIKSMjVybI >
o) "O" MUSIC VIDEO | "Terre Aride" (No Lyrics)
LINK /// < https://youtu.be/1SdJn3JigIY >
o) OVO: Official 2018 Trailer
LINK /// < https://youtu.be/TD_R8NSQBgs >
o) ALEGRIA Karaoke Video
LINK /// < https://youtu.be/Vxx2euoc5zQ >
o) Mouvement Alegria Karaoke au Québec
LINK /// < https://youtu.be/ekmUhyghtPE >
o) National Gymnastics Day 2018
LINK /// < https://youtu.be/T-lotqKBIzM >
o) CirqueWay LIVE! Join us as our hosts; Jaclyn Forbes and Kyle
Cragle, turn the ordinary into extraordinary with the help
of our colleagues in Montreal and Las Vegas.
LINK /// < https://youtu.be/rFHVnVZ5eM8 >
o) CirqueWay - Turn the Ordinary Into Something Extraordinary
LINK /// < https://youtu.be/3RJL_CzhjEU >
o) LUZIA Music Video - "Tlaloc" (No Lyrics)
LINK /// < https://youtu.be/TWmb_d7-eGg >
o) What is 'A Choreographers' Showcase'?!
LINK /// < https://youtu.be/Dshn1h4DpSU >
o) BAZZAR Artists Get Ready for India Premiere!
LINK /// < https://youtu.be/yRnzHfQMOIQ >
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "Vegetable VOLTA!"
By: Keith Johnson - Seattle, Washington (USA)
o) "Celebrating Michael's 60th Birthday"
By: Kerry Hennigan - Adelaide, South Australia (AUS)
o) "Big Top Academy - It's About to Start!"
Texts from the Press Release
o) "We're Off and Running II, Part 2 of 4: Mystère"
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
"Vegetable VOLTA!"
By: Keith Johnson - Seattle, Washington (USA)
------------------------------------------------------------
This review was originally supposed to be about the entirety of The
Volta Experience. The site, layout, merchandise, show, the whole
enchilada. And if it wasnt for our viewing being cancelled halfway
through the first act, thats what it would have been.
My wife and I were reflecting recently about how many Cirque du Soleil
shows weve seen since we became fans. We estimated more than 60
less than some fans, more than others. While weve experienced delays
during shows (once at KA during its early days because of the big
stage), weve NEVER been at a show that had to cancel, which speaks to
Cirques consistency. Until now.
Cirque has maintained a fluid definition as to just what exactly
constitutes a performance of a show. Since there are no stars an
absence of an artist just means a substitution and the show goes on.
Even whole scenes or acts (or pieces of technical wizardry)
missing is no cause for refund; as far as Cirque is concerned you
still got what they promised when you bought your ticket.
Part of this is the show must go on theatrical tradition - every
effort must be made to make or continue the performance for the paying
patrons. But this also means when you go to a Cirque show (or,
really, any circus-arts show), what you might think youre getting
(based on, say, publicity, online reviews or summaries) may not be
what you actually get. (So, dont get your heart set on seeing X
performer, or Y act.)
But a technical difficulty can throw a curve ball.
We chose to see VOLTA at MaryMoor Park in Redmond, WA (outside
Seattle) on Friday, September 7, 2018 at 8pm. We also got seats for my
wifes boss and their mutual friend, both new to Cirque. The evening
was passable, cool but not yet rainy (though it would rain later that
night). It had been two years since we had last visited a Cirque tent
show Luzia - and we were interested in any changes to the touring
site, as well as the show itself. (Some of what we note below as
changes might have happened some time ago, but we are just noticing
them.)
The first change came at the entrance to the site - a body wanding
scan to start, then a bag check. This was new but handled
professionally. There is the now-standard selfie spot in the center
of the tent courtyard. And a new contraption, a set of percussion
pads (with a pre-recorded backing track) that play sounds when struck
as well as cue various colored lights that play on the front of the
tent surface.
There were also new portable bathrooms. The prior style was double
sided, with two steps up to the four stalls on each side, with more
traditional toilets and full-length doors. This newer style was a
hybrid of a porta-potty design with a smaller interior footprint, more
plastic throughout, and one flush button instead of two that started a
water-vacuum disposal system like an airplane toilet. I cant say
this was a step up from the prior system, but it did increase the
number of stalls on each side of the tent to 21 from 16. The hand
washing stations were an improvement though, with more conventional
sinks using non-drinkable water. (Spoiler alert: This will become
important later.)
The tent (white with silver stripes, the newer type with all
merchandise and concessions under one canvas roof, with a carpeted
raised floor that was very nice to talk on) had some nice
enhancements. Merchandise displays on the sides, food concessions
(including a wine booth) in the center. But it is the merch we are
always drawn to. A nice gold Cirque sun bracelet for $15.00. A
striking blackshirt urging the wearer to do wildly artistic /
unordinary / audacious / outrageous things and go forth and Cirque
for $25.00. More emphasis on toys than weve seen previously a Volta
ramp playset, a featured section for the juggling balls, jump rope,
and diabolos.
We also saw for the first time (though it came out in December 2014) a
picture book by Veronique Vial, Backstage Cirque du Soleil
(Assouline, 978-16142829676, 2014, $75.00). This is an updating and
expansion (232 pages here, 151 pages previously) of her first book of
Cirque backstage photographs, Wings Backstage With Cirque du
Soleil (Tondo, 978-1892041104, 1999). It will be fun to look
through.
There was also a push for seat upgrades that begins immediately after
you enter the tent. Right in front of each entrance were examples of
two chairs a blue plastic lightly padded standard seat next to a
red thickly padded premium section 101-102 seat. There was a
Concierge desk specifically dedicated to selling upgrade
opportunities. You could upgrade your seat for as little as $10.00,
depending on where your original seat was and where you wanted to sit.
From what I could tell the upgrade price was cheaper in total than
buying the seats new, but of course you are getting the seat selection
available at the last minute. Another upgrade possibility was access
to the VIP suite for $45.00 which might be a value if you upgrade
the minute the tent opens, not so much if its 20 minutes until the
show starts.
(And this show needs the extra push for more revenue; we have been
inundated with discount offers (usually of 35%) from Groupon,
Goldstar, and even Cirque itself, most recently offering 40% off!)
Our seats (section 200, row M, the plastic variety) seemed a bit
narrower than last time, as if they had shaved half an inch off the
width of each seat to add more seats per row. (Or else, or more
likely, we are getting bigger.) The sound booth, which has previously
been a fixture in the middle of the 200 section, has been moved to the
back of the tent next to lighting and automation, allowing for more
seating. Not that they needed them there were many empty seats on
the sides, unusual for a Friday evening performance.
The first real indication that this show was going to be different was
something that didnt happen - no pre-show animation. We were
expecting (as has been the case at all the other Cirque shows weve
seen) some characters to come out and interact with the audience, but
there was nothing. There was the usual pre-show safety announcement
bienvenue to Cirque du Soleil! Then the lights went down, and the
show started. Ive always looked forward to animation and was sad to
see it missing. Another decline by degrees I suppose.
Now here is where I was going to go into our thoughts on the show.
Volta has been going through a revamping of late, of which I wasnt
totally aware. The original concept of the blue-haired Waz being the
MC of the show-within-a-show Mr. Wow Show has been abandoned. Now
Waz is a contestant on that show, when his blue hair is discovered,
and he is ostracized. I tend to think the idea of someone who had
scaled the heights of stardom having insecurities and doubts (as
represented by his blue feathered hair) had more gravitas as a
dramatic device than some average Joe contestant that is discovered to
be a freak. With this and some other rumored changed, we were looking
forward to seeing how the show now stood as an artistic statement.
The first half of the first act proceeded without incident. The Jump
rope act was cool. The Unicycle Duo that came afterwards, and an act
with Waz hanging from an aerial strap lamp was OK as well.
It was at this point that one of the shows unique set pieces - three
rectangular platforms - emerged from the floor. They each had a
character on them; some unnamed gray characters on the (lowest
height) stage right and (medium height) downstage platforms, and the
female singer on the highest platform on stage left. Together the
platforms created kind of a U shape. The dramatic lighting, eerie
music and vocals, and most especially the fog blanketing the stage
gave the moment impact.
When the stage left platform (the lowest in height of the three) came
to a stop, a surge of something blasted from underneath the stage
close to the arm that was supporting the platform. In addition, small
fountains of fluid erupted to the left and right of the arm. But
shooting powerfully out of the center toward the audience was a stream
of some fluid. It arced over the people in Section 102, reaching about
half as high as the bottom of the manually operated spotlights
attached to the downstage masts. The tail didnt become visible until
the head of this liquid snake (which looked to be about two inches in
diameter) was about three-quarters of the way over Section 102. It
then started to arc down and began to disperse, reminding me of that
moment in Star Wars: The Force Awakens where the blast from StarKiller
Base separates to decimate its victim planets.
Slowly, gracefully, noiselessly, it descended onto the patrons sitting
on the stage right side of the first half of Section 102.
At first, I thought it was the liquid form of the stage smoke that had
escaped. There was no warning on the ticket of a splash zone so it
couldnt be that. Ive seen technical errors before, but this was
nothing like that; Cirque du Soleil doesnt make those kind of
mistakes, does it?
The reaction from the people who got doused was delayed but not happy.
They looked at their clothes, each other. Some rubbed their eyes,
lifted and shook their arms, stood up. Some headed for the exit. They
looked wet! A few moments later, ushers came to the area to help
people exit. Anywhere the fluid landed chairs, aisles, the stage
glistened.
It wasnt water. Or stage smoke fluid. It was vegetable-based
hydraulic fluid!
(A bit of tech: Vegetable seed oil fluids can withstand higher
temperatures, are bio-degradable and are non-toxic to fish, but it is
more expensive than mineral-based fluid, though this was no
consolation to the patrons who were doused.)
The music continued to play, the platforms (and the characters stuck
on them) stayed in place. After about 90 seconds, a pre-recorded
female voice announced that the show would be temporarily delayed
and to stay in our seats. Then the house lights came up though the
music continued. The thick industrial smell of the hydraulic fluid
final made its way to our nostrils.
I was loving this. Even though I suspected it would be awhile, if
ever, that the show would resume, it was thrilling to be there for an
actual malfunction. This was REALLY COOL! The audience rustling and
murmuring conversations raised the noise level. Members of the tech
crew started coming to the stage with small flashlights. They were
finding it hard to not slip; one tech moved to the front of the
platform and had trouble keeping his foothold on the shiny fluid-
covered surface.
A few minutes later the same pre-recorded female voice announced the
show would be delayed for an indeterminate length of time and to
move out of the tent into the concessions area. The music stopped, and
they brought a tall orange ladder onto the stage. The characters, who
up to this point had remained motionless, started to gingerly make
their way off the platforms. People started moving out of the tent
slowly, the same way they would at the end of the show. We lingered,
wanting to stay in the environment as long as we could.
We finally joined the shuffling throng and began to leave the tent.
The mash of the entirety of the Grand Chapiteau attendance milling
about in the concession tent was tight; it was very hard to move
around or see over anyone. I had a hard time finding the rest of my
party, an experience Im sure many others in the crowd had. People
were noisy, restless, wondering.
The female voice floated over our heads again. It now announced the
show had been - cancelled. The sound of 1,800 people jammed into the
concessions tent being disappointed was memorable; a descending sigh
accepting the expected. But Cirque was ready. All the concessions
tent people started handing out flyers (in English and French, of
course) apologizing for the cancellation and saying tickets would be
refunded. While that would be the least Cirque could do, it didnt sit
well with me that I would have to start the ticket buying process over
from scratch, after several months of sales had snapped up many of the
best tickets, and at regular price to boot. Disappointed and wanting
to make the evening last a little bit longer, we shopped a bit more
and finally left.
As we were leaving, an ambulance and a fire truck arrived on the
scene, no siren but with lights flashing; this was a chemical spill
after all. They were let in through the service entrance. I did not
hear if anyone was treated.
Outside the tent we talked to a couple who had been on the receiving
end of the fluid. The man was still wearing his oil-stained shirt, the
womans blouse had been soaked so badly it couldnt be worn. She had
to purchase a Cirque hoodie (costing $55 she paid herself, there was
no offer of replacement clothing from Cirque a promotional
opportunity missed? To my understanding there has been no offer of
reimbursement since.). After they realized it was oil they left the
tent of their own accord, rushing to the hand washing area to try to
clear the oil off their hair/face/hands. The woman (like several
others) had gotten it in her eyes, so eye flushing was important.
There not being a safety eye wash in the patron area, they had to use
the hand washing station water, which it should be noted is marked as
NOT drinkable.
It was lightly misty as we made our way to our car. People with pre-
scheduled ride sharing reservations were stuck, they had to suddenly
rebook or wait until their reserved car showed up some 90 minutes
later. Several folks were nervously poking their phones hoping for a
reservation until one could arrive they were stuck outside the tent
in the middle of a large suburban park in the rain. A few were asking
about public bus transportation, available if you braved the quarter-
mile either way walk out of the park, in the dark and the rain.
Later the next day we got a special advisory email from Cirque:
Dear Cirque du Soleil Guest,
Following the incident that caused the cancellation of the 8:00pm
performance of VOLTA in Redmond, Washington on Friday September
7th, Cirque du Soleil apologizes for the inconvenience and will
automatically reimburse all guests who had purchased tickets for
the cancelled show. Please allow up to 48 hours for the
reimbursement.
Tickets purchased through the Cirque du Soleil website or call
center will be automatically refunded on the credit card used for
the original purchase. For tickets purchased through one of our
partners, please contact the original point of sale for refund.
Guests who paid for on-site parking will be reimbursed upon proof
of receipt and can be arranged by calling customer service at 1-
877-924-7783.**
Those wishing to re-book tickets for all other Seattle performances
of VOLTA through November 4 will be offered a 30% discount on their
new purchase. They are invited to process a new booking on the
Cirque du Soleil website using this link: Click here or by calling
customer service at 1-877-924-7783.
Cirque du Soleil apologizes for this incident and any inconvenience
this cancellation may have caused.
For all inquiries, the Cirque du Soleil customer service team is
available to take your call at 1-877-924-7783.
Best,
Cirque du Soleil
Your VOLTA customer experience team
[**Marymoor Park charged $20.00 per vehicle, but fortunately provided
a Volta-logo-d receipt. That and supplying your Volta ticket order
(to reduce fraud) got patrons a refund.]
The website mentioned in the email goes to the Cirque ticketing
interface, but the prices are lower).Our schedule filled up in the
meantime, but we finally decided to try again on another Friday
evening, September 28. (Im working on a more complete review, look
for it next issue.)
The incident later got coverage in the Seattle Times local newspaper
and a couple of mentions (with post-incident cell phone video) on
KOMO-4 ABC local news the next night.
Another tik off the Cirque Bucket List!
------------------------------------------------------------
"Celebrating Michael's 60th Birthday"
By: Kerry Hennigan - Adelaide, South Australia (AUS)
------------------------------------------------------------
On Wednesday 29 August 2018 the Estate of Michael Jackson and the
Michael Jackson ONE by Cirque du Soleil resident show held its annual
celebration of the pop icons birthday in Las Vegas. This year would
have been Michaels 60th birthday, and the event was duly billed as
the Michael Jackson Diamond Celebration.
MJ fans from all over the world (including myself from Australia, my
friends from Toronto, Canada, and others from Hong Kong) gathered on
the afternoon of the 29th in the vicinity of the MJ ONE Theatre at
Mandalay Bay Resort and Casino for a meet and greet opportunity with
Estate personnel and special guests, which included Michaels costume
designer Michael Bush (author of The King of Style: Dressing Michael
Jackson) and musician Greg Phillinganes who worked with MJ over three
decades and was the musical director for Cirques Michael Jackson: The
Immortal World Tour (which I saw 14 times in 4 different countries
I
think!)
There were 3 birthday cakes, two of which were divided up for all the
fans in the MJ One theatre lobby (I missed out on this, but being
gluten intolerant, wouldnt have been able to eat it anyway; but Im
told they were delicious). Most of the fans in attendance had tickets
to attend the 7 pm or 9.30 pm MJ One shows. On presentation of our
tickets at the theatre door we were issued with invitations to the
after party which was being held outdoors at the Daylight Beach Club
commencing after the 7 pm show.
Before all of that though was the intimate Q&A with the Michael
Jackson Estate personnel, for which special invitations had been
issued to fans who had responded to the call for questions posted by
the Estates on-line team earlier in the month. This was held in the
bar area of RX Boiler Room restaurant in the Shoppes at Mandalay Place
arcade. The submitted questions (or, a compilation thereof) were read
out by an MC for Estate co-executor John Branca to answer. There were
the inevitable calls for clarification or further information on some
matters from those of us sitting in the books or standing at the bar
tables around the bar, but Mr. Branca accommodated those as best he
could in addition to the questions that had been prepared. The
questions all pertained to further plans by the Estate for releasing
new music, remastering videos, or opening a museum, and many other
matters of interest or concern to fans.
There were no questions relevant to either of the MJ Cirque shows that
I recall, and really, their track-record reflects the success of that
creative collaboration. (I did overhear some fans - both from within
the US and from overseas - comment how excited they were because it
was to be their first time attending the MJ One show.)
After the meet and greet the action shifted back to the theatre lobby
and boutique area at Mandalay Bay, which was where the pre-show red
carpet parade of celebrities took place in front of a mass of media
cameras. It was as crazy as the red carpet event Id experienced at
the official opening of MJ One back in 2013.
First into view were representative members of the shows cast, who
were eventually followed by three of Michaels siblings who took their
time talking to the media down the opposite end of the red carpet from
my vantage point. The priority for my friends and I was to see
Michaels eldest two children, Prince and Paris, who were announced as
attending the event.
Unfortunately the crush of the crowd was so intense, and show time
drawing near, that we retreated to the MJ One theatre lobby and
eventually to our seats inside the theatre. Somewhere in the middle
of all that we did manage to grab something to eat at the nearby House
of Blues restaurant across the casino floor. (High quality finger
food had been offered around to the fans attending the Q&A in The
Boiler Room, where there was also an open bar, but those of us with
food allergies needed some digestible sustenance - and a chance to
draw a breath in relative peace and quiet).
Every year that I attend MJ One shows I noticed differences - although
last year I missed out because the show was closed in the wake of the
tragic mass shooting in the vicinity of the hotel. In December 2016,
however, I thought the slightly shortened version of the show I saw
had ramped up the beat - and the excitement - considerably from what I
previously experienced, and it was superb. This year I was a little
less ecstatic because the early numbers seem to be too much of a mash-
up for any particular song/performance to create much of an impact
(apart from leaving one breathless!). Once thing settled down into
the longer performances - like Dirty Diana and Earth Song, it was just
like old times watching the show. Earth Song is my favourite
segment, given that I spend most of the time watching the footage of
Michael on the big screen - my favourite MJ song from what is probably
my favourite MJ era. The mature man and his message bring me to
tears.
The finale, as always, was a blast, with us clapping and stamping
along with the cast as they came through the aisles. Finally, when
the lights came up and people began to disperse, I spotted MJ One (and
Immortal) director Jamie King walking out past our seats, and was able
to speak to him and take photos. In addition to his work on the
Estate/Cirque projects, Jamie is well-known to MJ fans for having
toured as a dancer with Michael on the Dangerous World Tour after
making his debut at MJs landmark Super Bowl half time performance in
1993. He has, of course, accrued a long and impressive list of
credentials as a choreographer and director.
Now it was time to head off to the after-party which was in its very
early stages when we reached the Daylight Club. The music was already
pumping, and the VIPs were already arriving. There were curtained
cabanas cordoned off on one side of the poolside Club for their use,
but not all the special guests confined themselves to the area. I
encountered This Is It director and Michael Jacksons long-time friend
and tour director Kenny Ortega standing at one of the poolside bars
and chatted with him. Later I brushed right past Greg Phillinganes as
he was making his way through the crowd - but didnt notice until one
of my friends pointed him out to me.
Sadly I we missed seeing the arrival of Prince and Paris Jackson. But
really, after the hectic afternoon and evening wed had, we mature-
age fans were ready to head back to our respective hotel rooms. The
Hong Kong gang stayed on and captured footage of Quinn Tivey,
Elizabeth Taylors grandson, presenting Prince and Paris with a
posthumous award for their father from the Elizabeth Taylor AIDS
Foundation. The award was in recognition of Michael Jacksons many
charitable contributions in both time and money, as well as the way he
set up his Estate (which stipulates a percentage go to charities).
In promoting the event the Estate had highlighted the collaboration
with the ETAF as a way of honoring Michaels humanitarian legacy. It
was an announcement that was greeted with unanimous approval by MJ
fans everywhere. The greater recognition of this part of the pop
icons life, and the importance he placed on it, is of high priority
to many of us.
While I normally avoid visiting the American southwest during summer
because of the usually high temperatures, this was one of the few
occasions when Ive suffered the heat for the sake of attending an
extra special event. Im pleased to say that the stars (in the
firmament and on the planet) aligned to make it a night Ill happily
remember.
------------------------------------------------------------
"Big Top Academy - It's About to Start!"
Texts from the Press Release
------------------------------------------------------------
GETTING INTO THE BEST CIRCUS SCHOOL IS ONLY THE BEGINNING
BIG TOP ACADEMY, THE SHOW IS ABOUT TO START!
PREMIERE OCTOBER 15TH
Discovery Kids, the leading pay TV network for preschoolers in Latin
America, and Cirque du Soleil Images, the multimedia production
division of Cirque du Soleil Entertainment Group, announced the
October 15th premiere of BIG TOP ACADEMY, an original live-action
kids series by Apartment 11 Productions in association with TVOkids.
Set in a fictitious circus arts boarding school, BIG TOP ACADEMY
tells the story of an extraordinary group of young acrobats who dream
of becoming professional circus artists. The series, the first ever
live-action kids series for Cirque du Soleil, transports young viewers
to the exciting and colourful circus universe.
ABOUT BIG TOP ACADEMY
---------------------
As the young group of students at BIG TOP ACADEMY strive towards
personal excellence, they learn to work as a team and transcend their
own limits. Fast-paced and high-energy, the series tells the story of
eight students Nicholas, Maxwell, April, Phoenix, Chase, Ella,
Celeste and Axel who hail from different walks of life and have a
variety of skills: some are already circus artists, others come from
ballet and gymnastics, while a few have no formal training at all.
Heading up the school is the firm but friendly headmistress, Miss G.,
along with stern athletics director Sir Rayne and wacky teacher Ms.
Martel. Miss G will mold the young students into the best circus
artists they can be. At this prestigious school, the value of
friendship is enhanced, the stakes are high, the risks are real, the
rivalries are intense and the obstacles formidable.
In the premiere episode, viewers are introduced to Nicholas Zolta, a
student at BIG TOP ACADEMY whose father was a legendary circus artist
who attended the school in his youth but disappeared a decade ago
while attempting a daredevil circus stunt. As the school year unfolds,
Nicholas will discover a web of mysteries that all seem to lead back
to his father
and Sir Rayne, who seems to know more about Nicholass
father than Nicholas himself! Helped by his new friends, Nicholas will
have to solve this enigma if he hopes to make the school not only a
place for people to become great circus artists, but also a home where
everyone is accepted for who they are.
MEET THE CHARACTERS
-------------------
NICHOLAS -- As the son of famous daredevil Nicky Zolta, circus is in
Nicholas blood. He eats, sleeps, and breathes circus, and wants
nothing more than to follow in his fathers footsteps and attend the
worlds best circus school, Big Top Academy. Yet, Nicholas has to keep
his BTA audition a secret from his mother. Many years ago, Nicky Zolta
disappeared while performing a daredevil circus stunt, and Lucy Zolta
swore shed never let her son follow in his fathers footsteps. But
Lucy soon realizes that she cant stop Nicholas from doing what he
believes he was meant to do and allows him to attend Big Top Academy.
Nicholas is thrilled to walk the same halls his father did before him
and share his knowledge with his BFF, circus newbie Phoenix. A natural
leader, Nicholas makes friends easily but makes a dangerous enemy
almost immediately in the form of Maxwell Rayne, son of sinister Sir
Rayne, the schools new Acrobatic Director. Sir Rayne has a keen
interest in Nicholas and his family history
but why? What does Sir
Rayne know that Nicholas doesnt? Nicholas quickly learns his fathers
legacy is both a blessing and a curse. Nicholas will discover his
father had some big secrets, and the answers all seem to lead right
back to Big Top Academy. Perhaps Nicholas gut feeling was right: his
father might still be out there somewhere, and his disappearance may
turn out to be the biggest stunt of them all!
MAXWELL -- The son of decorated athlete Sir Rayne, Max is a
competitive gymnast whos been training for the Olympics his whole
life. So hes surprised when his father announces that hes taken a
job at a circus school and that Max is to attend the school no ifs,
ands, or buts. Sir Rayne has shown nothing but disdain for circus in
the past, and Max has adopted his fathers strong opinions. Maxwell
has no choice but to quickly shift gears and focus on being the best
at circus school but hes not happy about it. And the first person
whom he takes his frustrations out on is golden boy Nicholas Zolta.
APRIL -- A goal-oriented perfectionist, April left her ballet dreams
behind when she wasnt accepted into the BOPS, an elite prima
ballerina squad. Since then, she harbours the feeling that she might
not be good enough to shine centre stage
Of course, she lets none of
this show when she arrives at Big Top Academy. For April, this is the
opportunity to start with a clean slate and prove to everyone that
shes a star. Yet, as she transforms from ballerina to circus artist,
she will still have to deal with her toughest critic: herself.
PHOENIX -- A skateboard girl whos not afraid to speak her mind,
Phoenix never thought shed be auditioning for circus school. Shes a
regular kid who goes to a regular school, hangs out with her best
friend Nicholas at the skate park and helps out her parents at the
diner they own. Shes never taken a circus class, let alone a
gymnastic lesson! Besides, her working-class parents never had much
money for those type of extracurricular activities. Everything Phoenix
knows, shes picked up on her own basketball, skateboarding,
parkour. So when she gets in to circus school, she has a lot of
catching up to do, and shell do her best to fit in while remaining
true to herself. Shell learn that the circus embraces people from all
walks of life and the things that make her unique her street smarts,
her bluntness, her aversion to everything fancy will only help to
make her a well-rounded circus artist.
CHASE -- Son of a a busy mom with a mysterious career and an
overbooked agenda, Chase is a rebel with a real knack for getting in
trouble. Hes been to many schools around the world
and has been
expelled from all of them. For Chase, circus school is just another
stop
until he realizes its lot more fun than he thought. For once in
his life, he doesnt want to get kicked out of school. This place
feels like home. But staying on the straight and narrow isnt easy for
Chase and hes having a hard time resisting his inner rebel,
especially when he finds out his roommate Nicholas is knee-deep in
awesome BTA mysteries! As he gets wrapped up in helping Nicholas
figure out the secrets of the school, Chase must try his best to avoid
getting into trouble. But unbeknownst to Chase, someones keeping a
close eye on him and reporting his every move back to his mom. No
wonder the schools Chef knew exactly what his favourite cereal was
from the very first day!
ELLA -- The youngest member of the travelling Piccolo Family Circus,
Ella has been performing on stage with her family for as long as she
can remember. They are constantly on the road and never spend more
than a few nights in the same city, but Ella could not imagine her
life any other way. Lately, ticket sales havent been going so great
and, although her parents try to shield Ella from such concerns, she
can sense that their family business is in serious trouble. Which is
why she thinks this might be the perfect time to join her older
sister, Celeste, at circus school. Her plan is to vlog all the cool,
new things shell learn at circus school, popularizing the Piccolo
name and hopefully boosting ticket sales. But first, she must get in
and she wont let anything get in her way: not even the glucose
monitor that keeps her type 1 diabetes in check.
CELESTE -- A returning student, Celeste is also a member of the
Piccolo Family Circus. Having been homeschooled most of her life,
Celeste was anxious about going to a real school far away from her
family and everything she knows, but now that shes been there for a
year, she absolutely loves it! Shes learning lots of new circus moves
and techniques, but she also has more time to devote to her other
interests, like science! Shes happy her little sister Ella is coming
to join her, but at the same time, Ella is a reminder of home and the
circus life shes expected to get back to one day. Celeste is fiercely
protective of her little sister, but the two will clash when they have
different ideas of what the Piccolo familys future is supposed to
look like. Celeste enjoys performing, but that doesnt engage her
imaginative scientific brain. If only there was a way to combine the
two
AXEL -- Axel comes from a long lineage of lawyers, and both his
parents are judges. Indeed, Axels life has already been planned out
for him: he will attend the prestigious private school that his
mother, grandfather and great grandfather attended before him, after
which hell study law where he will graduate with honours, and then
become a judge, just like the rest of his family. Circus is, according
to his parents, simply a hobby. But what was meant to be just a
passing phase has turned into a passion. Axel excels in every
discipline at BTA. His skills are impressive and if he keeps training,
hell have a promising career ahead of him. But in order to do that,
Axel will have to face his parents and prove to them circus isnt just
fun and games for him. Its what he wants to do for the rest of his
life.
ROSA -- Rosa is the newest arrival to Big Top Academy. Shes an
exchange student from a circus school in Mexico called Circo Gran
Malabar. Rosa, is extremely talented in the circus arts, and shes
eager to fit in with the kids at BTA. In an effort to make friends,
Rosa hides just how skilled she is, and pretends to need a little more
help than she actually does. But in time, she learns that she
shouldnt hide her greatness, and at Big Top Academy, theres room for
everyone to shine.
MISS G -- A retired circus artist, Miss G is a fair, but firm
Headmaster. She believes the circus is a place of inclusion and that
everyone should feel welcomed. Shes the adult students turn to when
they need to talk or when they have a problem they cant solve on
their own. She is authoritative but recognizes talent and knows when
to bend the rules. Miss G has the responsibility to help kids strike
the balance between sense of play and discipline. To be great circus
artists, theyll need a mixture of both. With kooky Ms. Martel on one
end, Miss G felt the school was in need of a strict rule enforcer on
the other, which is why she hired Sir Rayne. Yet, through the first
season, shell start to question her decision. Sir Rayne is a skilled
instructor, but he is starting to foster a spirit of competition
amongst the students that Miss G does not appreciate. Sir Rayne will
also begin to undermine Miss G and scrutinize her every move, hoping
to catch her in the wrong.
SIR RAYNE -- An athlete with an illustrious career, Sir Raynes
reputation precedes him when he arrives at Big Top Academy. To the
kids, hes an imposing figure, hired by Miss G to whip them into
shape. He wont shy away from delivering harsh criticism and is stingy
with praise. With his very high standards, Sir Rayne seems impossible
to satisfy and if the students think its hard to have him as an
athletic coach now, theyll soon see that having him as a principal
will be a total nightmare!
MADDIE MARTEL (AKA MS. MARTEL) -- Trained as a professional clown, Ms.
Martel is the eccentric artistic teacher with her head in the clouds.
Friendly and lenient, Ms. Martel encourages students to think outside
the box and embrace their crazy side. Her wacky aunt persona makes
her a friend to all of the students.
GRAN MALABAR -- Gran Malabar is the founder of the Circo Gran Malabar,
a circus school in Mexico. His past is a little
mysterious, mostly
because he claims to not remember much of it. He traveled from town to
town teaching the circus arts. He met young Rosa, who became his
protegé, and she ultimately convinced him to put down roots and start
his very own circus school. He encourages Rosa when she is invited to
be an exchange student at Big Top Academy but is anxious for her to
return to Circo Gran Malabar, and is not shy in making his opinion
known.
* * *
BIG TOP ACADEMY will premiere on Discovery Kids Latin America and
TVOkids Canada on October 15th.
CHECK OUT THE TRAILER HERE:
https://youtu.be/KNJyURluCyY
Jonathan Finkelstein, the founder of Apartment 11, is executive
producer for the series with Leila Basen and Carina Schulze as
showrunners. For Discovery Kids, Michela Giorelli and Adriano Schmid
are the executive producers and Javier Chuecos is the supervising
producer. For TVOkids, Marney Malabar is the executive producer.
Sébastien Ouimet from Cirque du Soleil Images is also an executive
producer for the series. The popular Argentinian producer, director
and composer, Cris Morena, also serves as executive producer and
songwriter.
It is produced with the financial participation of the Shaw Rocket
Fund, the Canadian Film or Video Production Tax Credit and the Quebec
Film and Television Tax Credit.
------------------------------------------------------------
"We're Off and Running II, Part 2 of 4: Mystère"
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
In "We're Off and Running", the 16-part series that we concluded last
month, Fascination! explored some of the first reviews, peeks, and
evaluations of Cirque du Soleil's touring shows (from Le Cirque
Réinventé through to Varekai) as they took their first steps across
North America. Sometimes the coverage was just a brief blurb about the
show and its theme, occasionally there was a short interview with a
performer, a stage hand, or creation director, and other times the
article was an assessment of the show itself, evaluating its technical
and acrobatic merits with what had come through before. Although we
narrowed our series to focus on touring shows that had hit the road
before Fascination began publication (with the exception of Varekai),
what of Cirque's signature resident shows? What interesting blurbs did
we uncover about Mystère, "O", La Nouba or even the company itself in
the course of our investigation? Enough, as it turns out, for "We're
Off and Running II", a four-part sequel series to continue... right
now with early articles about Mystère.
# # #
REVIEW: CIRQUE DU SOLEIL MYSTERE
By: Tim Grey | Variety
February 27, 1994
Acts: Manipulation by Michael Moschen, Chinese poles, aerial bungee,
Main a Main hand-balancing, Korean poles & fast-track trampoline,
Taiko drums, trapeze.
Aaaoooowww! The new offering from Cirque du Soleil is terrific,
spectacular and all the synonyms for peachy.
For its 10th anni, the Montreal troupe got its first permanent U.S.
location, in a comfy, attractive theater specially built at Vegas
Treasure Island hotel.
Siegfried & Roy, next door at the Mirage, are understandably the
reigning kings of Vegas spectaculars; with Mystere, Steve Wynn,
chairman of both hotels , scores a double whammy.
Unlike previous Cirque productions, Mystere wont tour perhaps
because it has 70 performers (nearly twice the previous amount) and
features bigger-than-usual flourishes, like a giant snail that comes
onstage for no apparent purpose except to wink at the audience.
These touches are fine, but Soleil really is not about the spectacle
of stagecraft, but about the spectacle of physical skill and
imagination. And this show, which ranks with the best of Soleils
offerings, really delivers on both counts.
The evening kicks off with Taiko drummers being lowered onto the
stage, and never lets up from there. One acrobat weirdly zooms 80 feet
above the stage by climbing poles on his hands and feet, followed by
acrobats similarly scrambling up 20 poles simultaneously. Six people
perform an aerial ballet on bungee cords.
Its hard to picture these things, and hard to describe them. These
are amazing, dreamlike feats, performed wordlessly and in surreal
costumes, accompanied by Rene Duperes effective, live music (which
sounds like New Age on steroids).
Cirque du Soleil is a circus for those who dont like bigtops. Its
costumes, lighting and music are all non-traditional, and familiar
routines are given strange, amazing variations.
Artistic director Gilles Ste-Croix and director Franco Dragone fill
every inch of the big (120-by-70-feet) stage: If people are not doing
acts, theyre cartwheeling, running or dancing; even the stage area
under the trapeze net is filled with performers.
There are a few quibbles. There seems to be an attempt at a plot that
is more murky than fascinating, and frankly you want to smack the
three adult clowns dressed as infants. So its not a perfect show. But
its close.
* * * * * *
CANADA TO VEGAS: CIRQUE MOVES INTO A NEW HOME
By: Gary Dretzka | Chicago Tribune
March 5, 1995
For a troupe of one-time street performers that has spent much of its
10 years of existence on the road in tents, the hard walls and
permanent stage of Cirque du Soleil's new Treasure Island residence
must seem more than a bit unfamiliar.
This city's Strip, with its megawatt marquees and constant whirr of
activity, also must appear a long way from home for the collection of
international entertainers whose organizational roots stretch back to
Quebec, Canada.
But a lot has happened to Cirque du Soleil since 1984.
The little circus that could, did. In a big way.
Cirque has grown from a motley collection of mimes, stilt-walkers and
acrobats-who scratched for places to perform-to an internationally
honored company that, in the past 12 months, has juggled three major
productions on three continents. Its grand tours now involve-as did
"Saltimbanco," which visited Chicago in 1993-a 50-truck caravan, 650
tons of housing and office equipment, a 2,500-seat tent and a fully
staffed kitchen that serves about 300 meals a day to its 40 performers
and support staff of 70.
Its new production, "Alegria," has embarked on a national tour (with a
stop in Chicago planned for July). Next month, "Saltimbanco" moves
from Japan to Europe.
But it's here, in the neon desert, that Cirque du Soleil has staked a
permanent claim, laying an unlikely foundation for its new-wave
theatrics and athletic contortions.
The circus' astonishing success story began 2,800 miles from here, in
Montreal, in the early '80s, when a group of young street artists
gathered together and founded Le Club des Talons Hauts (High Heels
Club). This loose collection of stilt-walkers and fire-eaters would
tour the back roads of Quebec and eventually evolve into Cirque du
Soleil, which, thanks to a government grant, first performed at a
festival marking the 450th anniversary of the arrival of Jacques
Cartier in Quebec.
The grant afforded the company the opportunity to purchase its first
tent-a colorful 800-seat number-and begin touring the provinces. It
became a popular attraction at Expo '86 in Vancouver and, in 1987,
opened the Los Angeles Festival, where it attracted the attention of
people such as Johnny Carson, who showcased the troupe on his TV
program.
The popularity of the group in L.A. encouraged them to launch several
North American tours and, eventually, visits to Japan and Europe. It
wasn't long before Las Vegas beckoned.
"We wanted to grow a flower in the desert," says Daniel Gauthier,
president of Cirque du Soleil, explaining the troupe's desire to come
to Nevada.
In 1992, Cirque opened "Nouvelle Experience" in its trademark blue-
and-yellow-striped tent behind the Mirage hotel-casino on the Strip.
Two years later, it moved to a new $20 million theater next door in
another Steve Wynn property, the Treasure Island resort. It is the
same hotel where, every 90 minutes, a pyrotechnic sea battle is staged
between an 80-foot pirate ship and a British frigate.
The troupe's founder, Guy Laliberte, always harbored a desire to come
to Las Vegas but, before the '90s, the entertainment environment
wasn't perceived as being conducive to Cirque's surrealistic
pleasures.
"This is the biggest entertainment city in North America, that's why
we wanted to be here," Gauthier said, adding that it wasn't until
Mirage chairman Wynn evolved a climate for such acts that Cirque
decided to make the leap. "We created the show and designed the space.
He gave us lots of leeway and comments."
A spacious 1,500-seat venue was built to the troupe's specifications,
designed by Michel Crete and the Montreal architects of Sceno Plus.
"Cirque cuts through all demographics, all social strata," says Alan
Feldman, vice president of public relations for Mirage Resorts. "You
can be wealthy beyond your wildest dreams, from Japan, a solid
working-class person from Tennessee, and you can be sitting next to
each other in the showroom, having a blast.
"That's something that's almost unheard of in the entertainment
world."
Las Vegas now is the only place where Cirque cultists will find
"Mystere," another in a series of hauntingly ethereal and hugely
entertaining productions.
This may, at first, seem to be an unlikely marriage-Cirque du Soleil
and Las Vegas-but this city traditionally has provided homes for one-
of-a-kind attractions, be they of the endangered feathered-showgirl
variety or such hot-ticket entertainments as Siegfried & Roy,
"Starlight Express" or the upcoming "EFX" special-effects/music
extravaganza, starring "Phantom" Michael Crawford.
Las Vegas needs such dramatic attractions to confirm the city's new
image as an international, family destination. It is hoped that these
types of shows will help lower the age of the average tourist-and
gambler-from 46 to something closer to puberty.
"Ours is a new kind of show for a new generation," said Gauthier,
sounding like the French-Canadian wing of the Las Vegas Chamber of
Commerce.
He said Cirque also is planning to participate in the creation of a
show for Wynn's new resort, Beau Rivage, which will emphasize aquatic
activities and be situated on a man-made island. The non-traveling
"Mystere" has an open-ended run, but portions of it will be updated
later this year to keep it fresh. (Most other Cirque productions have
a two-year life cycle.)
It is a bit disconcerting, at first, to watch Cirque's whimsically
costumed men and women-sorry, no animal acts-go through their paces
outside a tent environment, although the magic of "Mystere" is
inescapable and makes for an awe-inspiring evening away from the
tables and slot machines. Seventy-two performers, including 10
musicians, ranging in age from 17 to 45, have been gathered from North
and South America, Europe and Asia to showcase their many skills on
the trapeze, trampoline, Korean planks, Chinese poles, bungee cords
and in elaborately choreographed dance and acrobatic routines.
The theater itself provides part of the magic.
"The biggest difference is the enormity of the stage," says Cirque
spokeswoman Sally Dewhurst, who performed with the troupe as a
tightrope walker in its tent tours and will occasionally fill in for
sick artists in Las Vegas. "On tour, the tent is so much more intimate
and you have more direct contact with the audience. Here, the
movements have to be a lot bigger and everything has to be much more
elaborate to be read."
The troupe has free rein of a 120-by-70-foot performance area, which
includes a 36-foot rotating platform. The stage is made up of four
elevating platforms that can be lowered 20 feet into a pit or 3 feet
above the floor. Some 1,200 lighting instruments are hung from the top
of the performance area, 80 feet above the stage (the tent was 56 feet
high).
A 60-channel, 40,000-watt sound system engulfs the theater in the
otherworldly sounds of the Cirque singers and band, which performs on
two separate platforms at the top of the theater. The speakers nearly
deafen the audience as a bombardment of giant Japanese taiko drums
descends from the rafters, ultimately taking over the stage.
This cavernous theatrical space and electronic network is used to full
advantage by the energetic troupe.
While the audience is entranced by the great array of visual choices,
Goodman points out that the large stage area has resulted in some
unforeseen complications.
"There's the fatigue level," she said, "just having to run that far
for every entrance-they sprint 75 feet before doing the tricks that
they do. The backstage is vast."
While not of the three-ring variety, this circus presents a daunting
challenge for the eye. It is a vertical adventure, with activity often
occurring simultaneously in the sunken pit, the main stage and the
upper reaches of the auditorium.
"The performers even have an elevator to take them up and down,"
Goodman said. "The dressing rooms are two floors up and the wardrobes
are another floor up.
"Heaven help us if they get stuck in it."
This also means that reserving a seat in the middle or upper reaches
of the curved gallery might be a better bet for guests than getting
one up close. What's lost in intimacy will be gained in visual comfort.
It's also easier to follow from above the hilarious clowning around
that takes place in the aisles before the show. It's especially
amusing to watch late-arriving visitors become targets for "Mr.
LeGrand," an Einstein-ian character who poses as an usher and directs
folks to unlikely seating locations.
Set under a large trapezoid ciel, or sky-which tilts, bends and serves
as screen for projected video images-"Mystere," on the surface, is a
relatively plotless concoction. Its most constant thematic thread
involves the occasional appearances of large-and, to some,
increasingly annoying-babies who constantly toy with the audience and
create diversions.
These enormous infants, are on a "quest for nourishment, and embark on
an odyssey of discovery," which takes them into various exotic locales
and bizarre adventures. Their language is childish, but universal, and
their sense of wonder is tripped by large balls, magical birdlike
creatures and even a magnificent escargot, "born from a spring rain,
carrier of the souls of the ancestors and herald of the future."
It's all very mystical and explained best in the back of the colorful
program, where the gallery of characters is introduced. But the
athleticism of the performers is what ultimately holds the attention
of the audience and drives the minimalist narrative.
The acrobats, more like dancers and gymnasts than traditional circus
artists, work very much in the Cirque tradition of elegant movement.
There are the familiar pole climbers, teeter board artists and silky
jugglers, and the mammoth stage also allows for dramatically
choreographed drops by the bungee jumpers and for a brilliant six-
person trapeze act.
Constant also are Cirque's amazing costumes, which are vibrantly
colorful and strikingly imaginative-and possibly not that far removed
from the feathery souffles worn for generations by statuesque dancers
in showrooms along the Strip.
It was the enormous success of Siegfried & Roy, whose act at the
Mirage largely relies on magic and non-verbal appeal, that encouraged
Wynn to take another expensive chance on a non-traditional act like
Cirque.
"It tipped us off to the fact that we were being too reliant on
language (in our entertainment choices)," the Mirage's Feldman said.
"In Las Vegas, where the customer mix has become so dramatically
international in the last five years, we came to realize that some of
the great singing and comedy acts don't play to a foreign audience for
52 weeks a year.
"The allusions had no language. In Cirque, their language is uniquely
their own."
Audiences have been enthusiastic in their response to "Mystere"-
filling the theater to an average 98 percent of capacity-as have
critics. Time magazine called it one of the best theatrical shows in
the U.S. in its 1994 year-end review.
Unlike other Las Vegas showrooms, the "Mystere" theater features
comfortably spaced seats, there's no two-drink minimum and guests
don't have to wait in a line flanked by tempting slot machines.
Mirage visitors can save themselves a short walk by grabbing the tram
that links that resort to the Treasure Island. It drops guests off
just a few yards from the theater, where the trim and bouncy
performers soon will make the riders feel guilty for taking a
shortcut.
* * * * * *
MYSTERE A HIT AT LAS VEGAS' TREASURE ISLAND
By: Larry Oppen | Amusement Business
June 5, 1995
Montreal-based Cirque du Soleil celebrated its first year at Steve
Wynn's Treasure island here in January with a yearend total attendance
of 661,000.
The show, called Mystere, is playing indefinitely at the casino twice
a night, five nights a week, and has a sellout ratio of 98 percent.
Tickets are priced at $57.20 for adults and $28.60 for children under
12. Although "Mystere" is primarily produced as an adult show, many of
the acts are of interest to the whole family.
Cirque du Soleil is a cross between a Broadway show, opera and circus.
The 90-minute award-winning production uses a hard ring rather than
sawdust and excludes animal acts.
Featured is a cast of 72 artists--acrobats, clowns, actors, comedians,
stilt walkers, singers, dancers and a 10-piece band of musicians
performing an original score by composer Rene Dupere.
The international troupe's members are from Canada, Austria, Belgium,
Brazil, China, Denmark, France, Great Britain, Russia, Portugal and
the U.S.
Acts include an aerial ballet with synchronized bungee jumpers, North
America's largest trapeze act, an acrobatic precision line performance
with 22 Chinese poles, a hand-balancing act with hand-to-hand
equilibrists, trampoline acts, Korean plank aerialists and a display
of Taiko drum-playing. The set was designed by Michael Crete.
The 1,541-seat indoor theater-in-the-round was specifically designed
and installed for Mystere. It features state-of-the-art lighting,
sound, backstage equipment and stage equipment.
Steve Wynn, chairman of the board of Mirage Resorts Inc., which owns
Treasure Island, said Cirque du Soleil is the ideal complement to
Treasure Island.
"Our international guests will find Cirque to be of a special delight
with no language or cultural barriers," he said. "People from all over
the world enjoy the wonder and pleasure to be found at a Cirque
performance," said Wynn.
"Cirque has no stars," added Sally Dewhurst, publicist for Mystere,
one of three companies performing worldwide. "It's an ensemble. We do
have a few main characters, but they also put up the nets and clear
off the trampoline if they have to.
"The show constantly changes through the year, and at the end of this
year we're planning to do a revamp. The intensity of the show
sometimes causes injuries to the performers, so the evolution
throughout the year is consistent. This is why we have a permanent
artistic director who can change the acts as necessary."
The three shows are Mystere, which is permanently playing in Las
Vegas; Alegria, which completed a run in Costa Mesa, Calif., and
opened in New York City in March; and Santimbanco, which will do a
two-year tour of Europe. Alegria and Santimbanco touring companies
move every four to six weeks.
Cirque du Soleil started as a nonprofit organization in 1984, funded
with a Canadian government grant and under the guidance of the
founding president, Guy Lalierte. The current president is Daniel
Gauthier.
On Nov. 10, 1992, before Mystere opened at Treasure Island, Cirque du
Soleil played its first permanent non-touring company in Las Vegas,
the Nouvella Experience, in a tent located behind the Mirage.
"We really took a gamble when we tried to play Cirque in Las Vegas,"
Dewhurst said. "Our situation was that we were behind the Mirage and
people had to go through the casino to the tent, which wasn't
conducive to convenience. Visitors didn't see its location or know the
name, although the locals who did know about it loved it.
"One of the incentives to having the show in a tent prior to Mystere
coming was that people became aware of the name Cirque du Soleil. But
the Novella Experience didn't have the attendance figures that we had
hoped for."
Mystere started slowly in January 1994, with attendance at only about
60 percent, while the touring show (which was then Santimbanco) was
extremely successful, consistently selling out at 100 percent. It
required a lot of media coverage to bring Mystere to public attention.
Although it was originally slow because Cirque du Soleil is not
traditional Las Vegas, it is now at the forefront of changing the face
of Las Vegas entertainment. Many reservations for Mystere are made up
to 90 days in advance via the 800 number.
* * * * * *
CIRQUE ADS FRESH SPICE TO MYSTERE
By: Gary Dretzka | Chicago Tribune
March 5, 1996
With "Alegria" away in Japan, "Saltimbanco" encamped in Europe and a
new North American show still months away, fans of Cirque du Soleil
must trek to the desert to witness the mesmerizing theatrics and
sensuous athleticism of their cherished troupe. It's a journey worth
making.
After two years of performances, the lure of "Mystere" continues to
attract capacity crowds (more than a million paying customers) to
Cirque's signature theater at the Treasure Island resort. Several acts
have been added to the experience, freshening it up and providing some
exhausted entertainers a chance to recharge their batteries.
The other-world environment of "Mystere"--a brilliantly colorful
celebration of birth, flight and sensory evolution--remains
essentially the same. But the addition of new material makes this
edition brighter.
Moving over from "Alegria" is Mischa Matorin, master of the flying
cube. The wild-maned Matorin, who would be a perfect model for the
cover of a romance novel, manipulates the aluminum-frame cube with his
feet in an aerial ballet staged high above the theater's floor.
Enhancing what appears to be Matorin's effortlessly precise dance with
a seemingly weightless object are pinpoints of light that reflect off
the surfaces of the cube to create a rainbow of colors. I'm told that
Matorin--son of the artistic director of the Moscow Circus and a
gymnast--gets to perform with fewer clothes than he did with
"Alegria," adding spice to a pretty sexy show.
Two new clowns have been added to "Mystere," replacing fuzzy-haired
Benny LeGrand, who "went home to carve ducks and grow plants in
Vancouver." James Keylon, a registered pharmacist who gave it all up
to join the circus, plays a traditional mime character continually
badgered into submission by bosomy and belligerant Francine Cote.
Their occasional appearances, along with those of the show's famous
fat baby, serve several purposes: lightening the occasionally heavy
tone of the show, reducing the distance between the performers and the
audience in the cavernous theater and providing a comic point of entry
for younger viewers. Few people go to this circus to see the clowns,
but Keylon and Cote manage to enchant the crowd.
A unique and dangerous high-bar act has been added at the end of the
show, employing a fixed metal frame as a launching pad for a dizzying
display of spins and catches. Fourteen gymnasts had trained for nine
months on this routine, which incorporates a great deal of delicate
choreography and trapeze artistry.
[To Be Continued...]
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COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 18, Number 10 (Issue #177) - October 2018
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2018 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination! Newsletter." By
sending us correspondence, you give us permission (unless otherwise
noted) to use the submission as we see fit, without remuneration. All
submissions become the property of the "Fascination! Newsletter."
"Fascination! Newsletter" is not affiliated in any way with Cirque du
Soleil. Cirque du Soleil and all its creations are Copyright (C) and
are registered trademarks (TM) of Cirque du Soleil, Inc., All Rights
Reserved. No copyright infringement intended.
{ Oct.06.2018 }
=======================================================================
