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Fascination Issue 197
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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 20, NUMBER 6 June 2020 ISSUE #197
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
* * * IT'S OFFICIAL: GUY WANTS TO BUY BACK CIRQUE * * *
The battle for Cirque du Soleil certainly gets more interesting this
month. According to the Financial Post, Cirque du Soleil founder Guy
Laliberté says he wants to buy back the company he created more than
35 years ago. "Today, I took the decision to embark on the purchasing
process," he said on Radio-Canada's Tout le monde en parle. Theatre
directors Franco Dragone of Italy, and Robert Lepage of Quebec have
both shown interest, Laliberté said, in re-launching the Cirque du
Soleil. The Quebec government has signaled it was ready to help the
circus financially. Economy Minister Pierre Fitzgibbon confirmed last
week the provincial government was in talks with potential investors.
Montreal-based media giant Quebecor has also voiced a desire to buy a
stake in the company. Laliberté said his intention was to keep the
headquarters of the celebrated circus in Montreal and to hire mainly
Quebecers to run the company. The story unfolds in our news section
this month...
* * * CIRQUE SUPPORTS BLACK LIVES MATTER * * *
On June 1st, Cirque du Soleil released the following statement on
their Facebook page - "We are committed to finding the correct ways
to meaningfully fulfill the promise inherent in these words. As we
work toward progress together, we start by using a tool we're
privileged to have - our voice."
We at Cirque du Soleil Entertainment Group know that art comes from
going beyond that which divides us. It comes from transcending borders
to embrace our common humanity. As artists, creators and members of
the global community, we stand against hate and discrimination. We are
proud to stand with, and in support of, the Black community against
racism. You matter, your lives matter. We must stand together to use
our voices to speak out and stop the injustice. Our duty as artists is
to fight against forces of oppression and create spaces that bring us
together. For when we go beyond our divisions, we can create a better,
more just world.
* * * X: THE LAND OF FANTASY RESTARTS SHOWS * * *
X: The Land of Fantasy, the resident show in Hangzhou, became the
first production by Cirque du Soleil to resume performances on June 3.
The June 3 performance was attended by medical workers and those who
have worked on the frontlines of the fight against the novel
coronavirus, according to Xia Xiaoyu, deputy general manager in charge
of the culture and tourism department at Hangzhou Xintiandi group.
According to local regulations, the theater will be able to open 50
percent of its more than 1,400 seats for upcoming performances.
Although hosting below full capacity means not being able to cover
operational costs, Xia said: "The show must go on. We cannot let the
fire die out... for months we were training and waiting, believing
this will pass and life will come back to normal." The production
team has been largely unaffected, except for the absence of 20 expat
staff workers who are unable to return to Hangzhou because of travel
bans. "We have managed to hire a few Chinese artists, whose
international contracts were canceled because of the pandemic," Xia
said. "We are also in close contact with our overseas colleagues and
are looking forward to their return."
* * * LAST, BUT NOT LEAST * * *
While the future of Cirque du Soleil is still up in the air, we've
not stopped exploring all aspects and facets of its past. In this
month's issue, we're proud to present a fantastic look into Cirque
du Soleil's first foray into the dining show concept with it's turn
with Pomp Duck and Circumstance. Pomp Duck and What? Yep, most fans
don't know that in 1997, Cirque du Soleil joined with Pomp Duck &
Circumstance to revitalize their upscale dinner theater concept and
formula, and staged a brand new cabaret-style show in Hamburg, Germany.
(Cirque du Soleil doesn't talk much about it, so if you've not heard
about this show before don't sweat it... but it is listed as show #11
on Cirque du Soleil's most recent master list of shows.) Gilles Ste-
Croix was chosen as director for the production, and under a beautiful
spiegelzelt, guests watched an unforgettable performance while dining
on an epicurean feast fit for a king. If you want to learn more, and
I implore you to do so, check out "Pomp Duck and Circumstance: A
Restaurant Out of Control" by Henry Peirson in our FEATURES section
this month. You won't regret it!
More? Keep reading!
/----------------------------------------------------\
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- Ricky "Richasi" Russo
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CONTENTS
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o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
* Q&A -- Quick Chats & Press Interviews
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* "Pomp Duck and Circumstance: A Restaurant Out of Control"
By: Henry Peirson - Toronto, Ontario (CAN)
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
***************************************************************
LA PRESSE -- General News & Highlights
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Opinion: Ensuring a bright future for Cirque du Soleil
{May.12.2020}
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(By Guy Laliberte)
The paralysis of Cirque du Soleil's activities due to the pandemic has
been making waves, and for me, has triggered a flood of emotions. Even
though I'm no longer the company's owner, I will always be its
founder; I have devoted half of my life to Cirque, and its success
will always be close to my heart. As we head into a period that could
be crucial for Cirque's future, I have decided to share my thoughts,
driven by the desire to protect the Cirque family and to give back
after having received so much, in the hope that these reflections will
help ensure the best possible future for the company and its
stakeholders ...
The audience's love for Cirque is the company's raison-d'être, and few
true ambassadors of Quebec culture can pride themselves on shining as
Cirque has done throughout the world. Two months after operations
ground to a halt, as Cirque faces the biggest challenge of its
existence, we're about to see a wrestling match involving a number of
players. From my point of view, we're in for a battle royal:
o) At the front of the ring are the current shareholders (TPG, Fosun
and the Caisse de dépôt), led by my friend Mitch Garber, for whom I
have tremendous respect. My heart goes out to them.
o) In the left corner, the debt holders, who took the risk of
financing Cirque.
o) In the right corner, the different levels of government, sitting in
an interesting strategic position, watching the events unfold,
analyzing the situation, and wishing to keep the headquarters and
jobs in Quebec. They want what is best for Cirque ... and rightly so!
o) A little further away, some of the major players in the
entertainment industry, both from here and abroad, are weighing the
opportunities. In Cirque, they see the possibility of expanding
their content portfolio and/or securing priority access to Cirque
performances once they can reopen their halls and theatres. But for
the most part, they're more or less in the same predicament as
Cirque. Will they make our Quebec icon their priority and give all
the love and energy needed to bring it back to life?
o) Standing right beside them are the sharks, who have no knowledge of
the entertainment industry and dream of buying Cirque for a song.
o) And at the very back of the ring are the others ... Those who have no
skills or experience in managing cultural organizations of this
scale. Those are the ones who pose the greatest threat to Cirque's
future.
What is at stake in this fight? What do we want for Cirque? What does
the company's future look like? Does the pandemic provide an
opportunity for Cirque to rise from its ashes, like the phoenix?
Cirque is a living organism - with a heart, a soul and a spirit - that
lives, grows and recharges through its artists, its audience and its
employees. It's a tightly woven community built little by little,
through hard work, commitment and honest relationships. Cirque's
social involvement is an integral part of the pride that artists and
employees take in their work, and it's reflected in the way the public
rallies behind its creations. That's why the discussion should not
only take place on the financial level, but on the human level as
well. And the nature of the beast should not be underestimated. Cirque
has its own personality and ways of reacting. It feeds off the love
and support of the audience as well as the creative strength and pride
of its artists and employees. Of course, long-term financial viability
is necessary for its survival, as well as a good mix of experience and
know-how from the veterans, combined with the creative and managerial
forces of the future.
It's clear to me that Cirque's future will depend on patient investors
who will step into the ring and be in for the long haul. Creators will
have to be given leeway to reinvent themselves so they can put out
shows that touch people and capture the imagination. Investors who
want to jump into the ring driven only by the urge to set the wheels
in motion again too quickly will have to be avoided at all costs.
Patience will lead to victory - that's my prediction. You can't win
the Stanley Cup 36 years in a row, but with patience, heart and hard
work, you can dream of holding it in your hands once again.
A few days before the registration deadline for the battle royal, I am
deciding whether or not I'm going to jump into that wrestling ring.
{ SOURCE: Montreal Gazette }
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Cirque in Talks on Quebec Loan of Up To $355 Million
{May.13.2020}
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Cirque du Soleil Entertainment Group, which shut down all of its shows
because of the coronavirus pandemic, is in talks to borrow as much as
C$500 million ($355 million) from the government of Quebec, according
to people with knowledge of the matter.
The loan from the provincial government's investment arm,
Investissement Quebec, would come after Cirque received $50 million
from its top shareholders to stay afloat, according to the people, who
asked not to be identified because the talks are private.
National Bank of Canada has been conducting talks with potential
investors in the company.
Cirque, which has shows in Las Vegas including "Mystere" and "Michael
Jackson ONE," needs to address about $900 million of senior loans.
S&P Global Ratings cut Cirque's rating to D on April 3. The company
failed to make principal and interest payments due March 31 on its
first-lien credit facility and an interest payment on its second-lien
facility.
Montreal-based Cirque and Investissement Quebec declined to comment.
National Bank confirmed its mandate, but declined to comment further.
On Wednesday, Cirque du Soleil founder Guy Laliberte indicated in an
open letter that he might want back into the company.
Media company Quebecor Inc. said May 4 it made a proposal to Cirque to
extend emergency financing to pay staff and suppliers, with the
possibility of a longer-term investment. Quebecor said it "wanted to
help save the Cirque" and would be prepared to "inject several hundred
million dollars" to help the company, which grew from a troupe of
Quebec street performers into a global live entertainment giant.
Laliberte said Quebecor would not be alone in its efforts and that
"we're about to see a wrestling match involving a number of players."
"I am deciding whether or not I'm going to jump into that wrestling
ring," Laliberte wrote in the letter. He declined to comment when
contacted by Bloomberg.
{ SOURCE: Bloomberg }
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New York Times: Will Cirque du Soleil Rise Again?
{May.17.2020}
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Until the coronavirus pandemic hit, the Mongolian contortionist
Uranbileg Angarag wowed spectators nightly at Cirque du Soleil shows
on a cruise ship, contorting her body into a ball and balancing on a
vertical stick held in her mouth.
For the past 50 days, however, the 26-year-old has been stuck in a
cramped cabin off the Italian coast, doing a handstand and splits
while conducting WhatsApp video calls and wondering when the storied
circus will perform again.
"Luckily, I'm used to contorting my body into small spaces," she said
from the ship where she has been grounded since her show shut down in
March. "I can't wait to get back to Cirque but we have no idea when
the world will be ready to go see live shows again."
From Broadway to sporting arenas, the pandemic has paralyzed the world
of live entertainment, including Cirque du Soleil, the famed Quebec
circus behemoth.
In the space of weeks, it was forced to shutter 44 shows in dozens of
cities, from Las Vegas to Hangzhou, and has temporarily laid off
nearly 5,000 employees - 95 percent of its work force - and stopped
payments to dozens of show creators.
Even before the pandemic, the sprawling company was struggling with
bloat and creative fatigue after a consortium led by an American
private equity firm acquired it in 2015, and accelerated a debt-fueled
global expansion spree.
Now, with no certainty on the timing of a coronavirus vaccine or when
cities will allow large public gatherings again, some are asking
whether Cirque can survive.
"No one had ever modeled what we would do if we lost 100 percent of
our revenue," said Mitch Garber, Cirque's chairman, comparing the
pandemic to the Great Depression for the live entertainment industry.
"We can't function without fans."
It is hard to overstate the hold that Cirque du Soleil has on the
Canadian and global imagination.
The Montreal-based circus originated in the 1980s when a group of
Quebec performers, stilt-walkers and fire-breathers, including the
Cirque's accordion-playing co-founder Guy Laliberté, delighted local
residents on the shores of the St. Lawrence River.
Born in 1984, its animal-free mix of awe-inspiring acrobatics, dance,
lavish costumes, live music, high-technology stagecraft and narrative
whimsy created a new vision of what a circus could be.
Before the coronavirus outbreak, its seven shows in Las Vegas alone -
including the critically-acclaimed "Ka," featuring battle scenes 70
feet in the air, and the water-themed extravaganza, "O" - drew some
10,000 people nightly. The Cirque had more than $1 billion in revenues
last year - although now it also has nearly $1 billion in debt.
Today, the circus's normally frenetic costume-making atelier in
Montreal, which occupies the length of a city block and produces
18,000 painstakingly tailored costume parts each year, sits eerily
empty. Half-sewn wigs and unfinished masks are scattered on work
stations, along with half-drunk cups of tea.
Gabriel Dubé-Dupuis, the creative director of two recent Cirque shows,
"Cosmos" and "Exentricks," has worked 23 years for the circus, where
his father was a famous clown. He said he was owed tens of thousands
of dollars.
"This is a business where circus artists risk their necks each night
and if people aren't paid, it creates a crisis of confidence," he
said.
On March 18, Moody's Investor Service downgraded Cirque's credit
rating to near junk status, citing a "high risk" that it would default
on its debt. Québecor, a Quebec telecommunications giant, recently
expressed interest in buying Cirque but was coolly received.
Mr. Laliberté, Cirque's poker-loving billionaire co-founder, also
floated the possibility that he would get into a "wrestling match" to
rescue Cirque. But people familiar with talks over Cirque's future
said he had sold his shares in the company and was unlikely to buy it
back.
Daniel Lamarre, Cirque's chief executive, said he initially thought
the health crisis would be contained to China, where Cirque was forced
in late January to close its recently opened show "The Land of
Fantasy" in Hangzhou, a keystone of its vaunted China expansion.
But he recalled that, at the beginning of March, just minutes after a
crisis meeting in Montreal, one city after another across the world
began to shut down. As borders closed, Cirque had to race to load big-
top equipment onto giant cargo planes and repatriate 2,000 employees.
"Our world changed overnight," he said. "When I got the call on March
14 that we would have to close all seven shows in Las Vegas, the
reality sunk in."
Mr. Lamarre said Cirque was considering all options including seeking
bankruptcy protection. A recent injection of $50 million from its
shareholders had bought some time.
He said he was optimistic the company would bounce back, buoyed by its
glittering brand and a public zeal for live entertainment after months
of confinement. Cirque was already in talks with its Korean and
Chinese partners about reopening shows.
Meanwhile, he has new reading matter: studies about coronavirus
vaccines.
"We're probably talking about a year from now before going back to
normal," he said.
But for all his bullishness, some critics say that Cirque's problems
predate the pandemic and that its groundbreaking artistry has given
way to facile story lines and kitsch spectacle, like acrobats in frog
costumes.
In 2015, Mr. Laliberté, who became Canada's first tourist to space in
2009, sold his majority stake to investors led by TPG Capital, the
American private equity firm, for $1.5 billion. Cirque's other
shareholders are the Chinese investment company Fosun and a Quebec
pension fund.
The company has since spent $550 million on acquisitions, creating new
shows and refreshing existing productions.
But while triumphs like the revival of the Cirque classic "Alegria"
have enchanted, there have also been big stumbles, including an ill-
fated foray into New York.
Its live-action Las Vegas show "R.U.N," which cost $60 million to
develop, closed in March after just five months, weighed down by banal
stunts and fight scenes.
"Over the last few years, there has been a shift toward profits at the
expense of creativity," Mr. Dubé-Dupuis, the Cirque veteran, said.
Now, retrenchment seems inevitable.
"We don't know how Cirque can make money or not lose too much money if
one of every four seats in a theater is empty," Mr. Garber said.
The pandemic has also challenged Cirque's small army of superhuman
circus artists.
"There aren't a lot of LinkedIn listings for unemployed
contortionists," Mr. Garber observed.
A group of Cirque artists recently produced a poignant video about
life under confinement, showing a dancer screaming at bad news
blasting from his television and a mime desperately trying to escape
from home.
Ms. Angarag, 26, the contortionist, had been performing in two Cirque
du Soleil shows on the MSC Grandiosa cruise ship for four months
before the shutting of borders confined her to a cabin. She passes the
time reading self-help books, doing yoga and training up to three
hours a day.
Confinement presents other hurdles.
Olivier Sylvestre, 29, spent a decade mastering the "German wheel,"
two conjoined giant hoops in which he rolls with balletic athleticism.
But his wheel, too cumbersome to use in his apartment, has been in his
closet for months.
"We're desperate to perform again," he said. "Cirque makes people
dream, and people need that more than ever."
{ SOURCE: New York Times }
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Buyout giant hoping to profit off Cirque Bankruptcy
{May.18.2020}
----------------------------------------------------------
The private equity giant that rode Cirque du Soleil to the brink of
bankruptcy now wants to share in the spoils, The Post has learned.
Texas-based TPG Capital has positioned itself to make money from a
highly anticipated Cirque du Soleil bankruptcy by turning itself into
a lender in a last-minute maneuvering that has the company's existing
lenders crying foul, sources said.
On March 30, the entertainment company, which boasts TPG as its
controlling shareholder, moved the majority of its worldwide
trademarks to a brand-new entity, a senior lender told The Post. The
next day, the Montreal-based company - known globally for its flashy
acrobatic and aerial acts - missed an interest payment on its $900
million senior debt, setting the stage for its bankruptcy, according
to reports and sources.
What happened next is key: TPG and other Cirque shareholders -
including Caisse de Depot et Placement du Quebec, Canada's second-
largest pension fund, and Shanghai-based Fosun International Ltd. -
provided Cirque with $50 million in emergency financing.
Instead of issuing the loan to the company at large, they directed it
to the new trademark unit, a move that instantly bolstered their
status in bankruptcy, sources said.
As mere shareholders, TPG would have been forced to stand behind
existing lenders in a bankruptcy. Likewise, if it had loaned the
larger company millions, it would have been forced to take a backseat
in a bankruptcy, experts said.
While there's no indication that TPG's aggressive maneuvering is
illegal, lenders say they could contest the transaction in court
because it was done at a time when the company knew it was going to
default on its existing debt.
"TPG will use the interim financing to advantage themselves" in
bankruptcy, the peeved senior lender told The Post. "It's very
aggressive."
"Greed is what it is," said a restructuring lawyer familiar with the
issues but not working on the case, who questioned the shareholders'
"right to transfer an asset away from lenders right on the verge of
bankruptcy."
TPG, run by billionaires David Bonderman and James Coulter, bought
Cirque in a 2015 deal that valued the entertainment giant at $1.5
billion. TPG walked away with a 60-percent stake, Caisse and Fosun
took smaller stakes, while Cirque's accordion-playing, fire-eating co-
founder, Guy La Laliberte, grabbed 10 percent, which he later sold to
Caisse.
The entertainment company, which got its start with a ragtag team of
street performers, was loaded down with a towering $1.2 billion in
debt in the deal. And while it was profitable before coronavirus
lockdowns crushed ticket sales, it only had $20 million of cash on its
balance sheet and access to an $85 million credit line, according to
Moody's Investors Service.
By early March, after closing its show at the MGM Grand in Las Vegas
among others, Cirque announced temporary layoffs for 95 percent of its
4,679 workforce - and that was before the pandemic drained the money
it needed to keep the lights on and pay off its debt.
After failing to make its interest payment at the end of March, the
company officially defaulted on its debts, the company told The Post.
In a statement, TPG defended its actions by saying the creation of the
subsidiary was "recommended by the independent transaction committee"
of the company's board "to establish a structure that would ensure
Cirque could seek and receive emergency financing, which would
otherwise be unavailable given the continued disruption brought on by
the COVID-19 pandemic."
Indeed, the subsidiary undoubtedly increased the chance of favorable
loan terms by putting the new lenders on par with everyone else. But
TPG's existing lenders also claim they have offered $100 million in
emergency funding that was denied, the lender source said.
Although TPG offered its loan at a slightly lower interest rate of
roughly 5 percent, existing lenders were not given the opportunity to
make a counter offer, this person added.
Cirque du Soleil declined to comment on the claim, saying only that an
independent committee "concluded that the financing proposal of
Cirque's existing shareholders was the most favorable."
Peeved lenders plan to present the board with a new $50 million loan
at an even lower interest rate, they said. If the company accepts it,
they will regain control of the bankruptcy and TPG and its co-
investors once again stand to lose the $630 million they coughed up to
buy the company.
If the board rejects the proposal, the lenders "will use the response
to try to prove that the board should not be trusted," explained Jones
Day's chief bankruptcy lawyer Bruce Bennett, who is not involved in
the process.
{ SOURCE: New York Post }
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CirqueTech: Paramour & Clear-Coms HelixNet & FreeSpeak II
{May.19.2020}
----------------------------------------------------------
Hamburg's Stage Theater, Neue Flora, relied on Clear-Com's digital
wireless solutions for the production of Cirque Du Soleil's new
musical, Paramour. The production is an energetic combination of
traditional musical elements, circus-like splendor, and impressive
acrobatics, forged from the partnership between Cirque Du Soleil and
live production company, Stage Entertainment. The musical had already
experienced great success on Broadway and had geared up for its
European premiere at one of Germany's largest stage theatres.
The Neue Flora was already equipped with Clear-Com's FreeSpeak II
digital wireless intercom, however, it needed to be expanded to
accommodate the requirements of performances like Paramour, that have
increasingly complex communications needs.
Head of stage management, Achim Beyer, was responsible for
coordinating the entire technical process throughout rehearsals and
during the show. "The role of a stage manager is to ensure that
nothing happens by accident," explains Beyer. "We have about 800 cues
for each performance, so we need an absolutely reliable intercom
system. Without it, we wouldn't have a show."
The existing system was expanded to include a comprehensive HelixNet
partyline intercom system with an HKB-2X speaker station in an S-
Mount, an HRM-4X remote station and several intercom user stations.
HelixNet allowed the theatre to connect their user stations via the
XLR cable infrastructure that was already in place throughout the
space.
"We have many productions that cycle in and out of the theatre," Beyer
continues. "Thanks to the flexibility and modular design of the Clear-
Com system, we always have the ability to adapt our intercom to the
requirements of each respective production."
Beyer is immensely satisfied with the solution used for Cirque du
Soleil's Paramour. "Communication is everything, especially in such a
complex show with so many actors and acrobatics. We are in countless
different locations during the production, and we need to talk to each
other as clearly and quickly as we can. Clear-Com makes this possible
and is our primary tool throughout the show."
Due to the restrictions imposed in Germany in response to COVID-19,
Stage Theatre Neue Flora has been temporarily closed and the
production of Paramour has been suspended. Performances will resume
once the restrictions are lifted.
{ SOURCE: Lighting & Sound America }
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Artists Claim Cirque Owes Nearly $1M in Unpaid Work
{May.20.2020}
----------------------------------------------------------
Around 60 contract workers at Cirque du Soleil claim they haven't been
paid for services provided before the COVID-19 pandemic hit, totaling
nearly $1 million in unpaid bills.
In an open letter to the media on Wednesday (the letter appears below,
translated from the original French via Google Translate), the
Regroupement des Artisans des Arts du Cirque (RAAC) estimates that the
average unpaid bill stands at around $16,000. For several of the
artists, that number represents a significant portion of their yearly
income.
According to the RAAC's letter, the self-employed workers are
acrobats, directors, scenographers, choreographers, technical or
artistic directors as well as numerous technicians. "More than 50 per
cent of the artists we represent have worked at Cirque du Soleil for
more than 10 years, and for nearly 75 per cent of them, Cirque du
Soleil is their main client," RAAC says.
Letters have also been sent to elected officials, including the
Minister of Economic Development, Pierre Fitzgibbon, since the Caisse
de dépôt et placement du Québec has shares in the business. The
artists want their request to be heard "and to obtain a commitment
from (Cirque du Soleil) regarding the payment of these claims," the
letter reads.
The letter appears below...
# # #
At Cirque du Soleil, the contribution of contract artisans is
essential - The RAAC team at Cirque du Soleil*
Cirque du Soleil (CDS) owes nearly a million dollars to certain
contract artisans. Sixty of them have a claim for work done before the
COVID-19 crisis. The Regroupement des Artisans des Arts du Cirque du
CDS (RAAC) represents this group and wishes to be heard and obtain a
commitment from CDS regarding the payment of these claims.
Since the beginning of the crisis that is currently shaking Cirque du
Soleil, a large group of individuals has seen their personal finances
dramatically affected by it: contractual artisans.
We are talking here about artists, acrobats, directors, scenographers,
choreographers, composers, lighting designers, production directors,
creative directors, technical directors, executive producers,
technicians, coordinators, etc. who have either self-employed or self-
employed status. small business.
It is important to emphasize that without the contribution of these
craftsmen to the process of creation and production of Cirque du
Soleil shows and events, it would never have reached the artistic
heights and the international reputation that we know and recognizes
him today.
In concert with the 4,700 regular employees who were laid off in the
wake of the pandemic that forced the CDS to cease all activities,
contract artisans represent the lifeblood of this flagship of the
Quebec and Canadian cultural industry.
That said, and fortunately for them, permanent employees can benefit
from employment insurance.
It is different for contract artisans.
In addition to the loss of contract, which is an immediate consequence
of the cessation of CDS activities, you should know that almost sixty
of these craftsmen have a claim with CDS for work carried out before
the COVID crisis- 19. The total sum of these receivables totals almost
a million dollars.
More than 50% of the artisans we represent have worked at Cirque du
Soleil for more than 10 years, and for almost 75% of them it is their
main client. The average of their individual debt is around $ 16,000.
In the current context where the CDS is studying several scenarios to
get out of this crisis which we now understand had started well
before the outbreak of the COVID-19 pandemic we believe that this
grouping makes sense.
Our first action consisted in claiming from CDS management the
reimbursement of the sums due to us. If not at the very least, get a
commitment from them to honor this debt once the current crisis has
subsided. We also pointed out the importance of the work of the
contract artisans and insisted that their contribution is essential,
even vital, to ensure the sustainability of Cirque du Soleil.
Our request unfortunately remained a dead letter.
RAAC firmly believes in the revival of Cirque du Soleil. Our members
are ready to contribute. But our motivation will be all the greater if
the current or future managers of Cirque du Soleil recognize our
existence and the relevance of our complaints.
In addition, when new investors are sought to ensure the resumption of
this great company, we would like to remind them that the agility and
sustainability of it rest largely on the shoulders of its contractual
craftsmen.
* We emphasize that this grouping concerns only the craftsmen of
Cirque du Soleil.
{ SOURCE: Montreal CTV News and LeDevoir }
----------------------------------------------------------
Founder Guy Laliberté will bid to buy back Cirque
{May.25.2020}
----------------------------------------------------------
Cirque du Soleil founder and former CEO Guy Laliberté wants to get
back into the circus biz.
On Sunday on the popular Radio-Canada talk show Tout le monde en
parle, Laliberté announced he is going to launch a bid to try to buy
back the Cirque du Soleil. In an opinion piece in the Gazette earlier
this month, Laliberté wrote: "A few days before the registration
deadline for the battle royal, I am deciding whether or not I'm going
to jump into that wrestling ring. ..."
On Sunday he jumped into the ring.
In 2015, Laliberté sold the Cirque du Soleil to American private
equity investment firm TPG Capital, Chinese investment company Fosun
and the Caisse de dépôt et placement du Québec for a reported US$1.5
billion. In late March, the Montreal-based circus laid off 95 per cent
of its staff, close to 4,700 employees, after all of its shows around
the world were shuttered as a result of the COVID-19 pandemic.
Senior management then said they were evaluating all options,
including seeking bankruptcy protection. Three weeks ago, TPG, Fosun
and the Caisse injected an additional US$50 million to try to keep the
company alive.
In a phone interview while driving to Tout le monde en parle,
Laliberté stressed he was mounting a bid for Cirque because of his
love of what the Cirque does and that money was not the main driving
force behind his decision.
"It's finding a perfect balance with a good healthy Cirque financially
but also where the love of the public is coming back and mostly where
the fire is within the workforce," Laliberté said. "It doesn't have to
be US$1.5 billion of value to be viable. There will be a very
difficult short term and focus on quality is what my focus is versus
money. I will jump in if the price is right, but I don't want to be in
an organization where money drives the future of Cirque. That would be
very dangerous for the future of Cirque. ... I think there's a bright
future for Cirque."
He said he already has several major financial partners lined up to
work with him on the bid and he said he is not mounting the bid with
TPG Capital, which is the company's single largest shareholder. He
said it is too soon to say whether he will step back in as CEO of the
company, nor whether he would retain current management, including
current CEO Daniel Lamarre.
"I won't tell you my recipe because everyone is keeping their plans to
themselves," Laliberté said. "So I won't disclose my secret sauce. But
I can tell you the love factor, the passion factor, the fire factor is
what's always driven Cirque and I wanted to bring it back to where it
once was. There's no right or wrong with what's been done with Cirque.
Under my management we had highs and lows, but the Cirque is a living
organism. It's very emotional and you need to understand it. Cirque
feeds from its inner fire and you cannot buy that. Money can't buy the
fire."
But he admits it's going to be tough to relaunch the Cirque.
"Don't get me wrong, it'll be hell for the first two years and that's
why I took time to reflect on this," Laliberté said. "Nothing is
guaranteed, but I think we're the best team to make it happen. For
sure it's a jungle out there. It's complex. But if I'm jumping in,
it's a commitment of 10 to 15 years."
{ SOURCE: The Montreal Gazette }
----------------------------------------------------------
Cirque and Xintiandi Group Announce Reopening Dates for
X: The Land of Fantasy for June 3rd
{May.26.2020}
----------------------------------------------------------
Cirque du Soleil Entertainment Group (Cirque du Soleil) and Hangzhou
Xintiandi Group (XTD) announce the reopening of X: THE LAND OF FANTASY
in Hangzhou, China, on June 3, 2020. This will be the first Cirque du
Soleil production to reopen since the company ceased operations due to
the Coronavirus pandemic.
Inspired by a rich storyline, multi-dimensional characters, and
surreal universes, X: THE LAND OF FANTASY is an incredible immersive
experience. Driven by high-energy action and acrobatics, rich
symbolism, beautiful poetry and artistry, history is told through two
perspectives: Petra and Aria, through the Hero and Heroine. Two sides
of one story, two cultures discovering each other. No detail is spared
to immerse deeper inside the story and create a surge of adventure for
the whole family, each scene more powerful than the next.
"Cirque du Soleil is thrilled to restart performances of X: THE LAND
OF FANTASY and we are taking extra precautions to keep the audience
safe while they experience the joy and excitement of this unique only
in Hangzhou show," says Chief Creative Officer Diane Quinn.
Never one to rest on its laurels, Cirque du Soleil has refreshed the
show in preparation for the June 3rd reopening. Now running for a
thrilling 80 minutes, fans will be transported into a creative and
imaginary world filled with wonder and amazing feats. Artists returned
to the Theater in early April for daily training to safely bring to
life this extraordinary entertainment experience for the whole family.
"We are confident that with the new lineup and creative adjustments,
it will be an even more memorable experience for our visitors and
fans," added Diane Quinn.
Performances Resuming in Accordance with Government Health and Safety
Guidelines
The safety of the artists, technical crew and audiences is the top
priority. Based on applicable government requirements, as well as
continued guidance from health authorities and appropriate government
agencies, new health and safety measures and operational changes have
been implemented. Audiences are now required to book their tickets
using their full personal information, seats will be spaced apart with
appropriate social distancing guidelines, and occupancy will be
reduced and controlled. The Xintiandy Theatre staff will continue to
ensure that preventative measures, including disinfection of the
entire theatre twice daily, are strictly implemented to provide the
safest environment for everyone. While preparing for its return, the
show X: The land of Fantasy joined in early March the "Warm Spring"
project of Hangzhou City, contributing to charity shows along with
major companies and organizations in Hangzhou. To further do its part,
Cirque du Soleil will dedicate 1 show to pay tribute to front-line
workers on June 3rd.
{ SOURCE: Cirque du Soleil }
----------------------------------------------------------
Kelly: Why is Quebec bailing out the majority
American-owned Cirque du Soleil?
{May.29.2020}
----------------------------------------------------------
There is an Alice in Wonderland quality to the Quebec government's
plan to bail out the Cirque du Soleil.
When Quebec Economy Minister Pierre Fitzgibbon announced earlier this
week that his government was giving a US$200 million loan to the
world-famous Montreal-based circus, he said they were doing this first
and foremost because they wanted the troubled Cirque to remain under
Quebec control.
"The Cirque is too important for Quebec to let it be bought by a
foreign company that will then move the head office out of Quebec,"
said Fitzgibbon.
He was banging a nationalist drum that has worked a charm for
successive Quebec governments whether they're Liberal, Parti Québecois
or Coalition Avenir Québec (CAQ). It's the same old song and dance -
we have to throw hundreds of millions of dollars at a company to
convince them to stay chez nous.
There's only one problem with this argument when it comes to the
Cirque du Soleil. The Cirque is already owned by a foreign company.
The main shareholder of the Cirque du Soleil is TPG Capital,
previously known as Texas Pacific Group, a San Francisco-based private
equity firm controlled by two American billionaires, David Bonderman
and James Coulter. TPG owns a 55-per-cent stake in the Cirque. The
second-largest shareholder is China's Fosun Capital Group, which
controls 25 per cent of the shares.
The Quebec portion of the ownership comes via the Caisse de dépôt et
placement du Québec, the Quebec pension fund, which holds just 20 per
cent of the equity.
In other words, the power broker here is TPG, a company that
specializes in buyouts of companies around the globe.
So why is our taxpayer's money going to help out American
billionaires? Fitzgibbons and his boss, Premier François Legault, say
they're doing this to keep the Cirque alive and of course most of us
would agree that it would be a terrible loss for Quebec - and Canada!
- to lose this innovative outfit that re-invented the traditional
circus by adding Québécois theatricality, daring high-wire acts and
sexy style.
These politicians say the control is here in Quebec because CEO Daniel
Lamarre and his creative team are ici. But we all know how business
works. If the owner says the clown is going to wear purple shoes, then
the clown is going to wear purple shoes.
The bottom line is that ever since the TPG-led consortium bought the
Cirque from founder Guy Laliberté in 2015 for a cool US$1 billion, the
magic has been lost. The Cirque has spent US$550 million since 2015,
buying the Blue Man Group and refreshing its Las Vegas shows, and
that's one of the main reasons it's currently crippled with around
US$1 billion in debt.
At the same time, it's mostly lost that spark that made it so great in
the first place. When the COVID-19 pandemic hit, the company had 44
shows around the world that it had to shutter and that number is a
sign it was doing too much. Its most recent Vegas show, R.U.N., was a
major flop, with the US$60-million production closing in early March,
just months after its première.
Meanwhile at least two Quebec entrepreneurs, Laliberté and Quebecor
CEO Pierre Karl Péladeau, have expressed interest in acquiring the
Cirque. Now the Quebec government has put a roadblock in the way of
Laliberté, Péladeau and any other Quebec business person who wants to
acquire the circus by giving the government bucks to the Americans.
How does that make sense?
When Laliberté pulled his coup de théâtre Sunday night on Radio-Canada
chat show Tout le monde en parle, he said he didn't want to be part of
an organization that was just about money. It was a thinly veiled shot
at the American billionaires. Two days later, the Quebec government
backed the U.S. money men.
And the timing couldn't be worse, with so many people wondering why
this government isn't focusing more on funding understaffed seniors'
homes where the COVID-19 pandemic took a terrible toll rather than
giving money to foreign companies with deep pockets.
{ SOURCE: The Montreal Gazette }
----------------------------------------------------------
Franco Dragone Steps Down as CEO of Dragone Productions
{May.29.2020}
----------------------------------------------------------
Dragone, like myriad businesses around the world, has adapted during
the global pandemic. Some of those changes have arisen as part of the
organic process of growth, others have been inevitable given the
universal turbulence unleashed by the destructive virus. All of them
have been fiercely embraced and will form the backbone of our creation
into the future.
Franco Dragone broke the molds of circus and traditional theatre and
the merger of the two genres brought something new and wonderful. For
the first time, the circus acts were stitched together with beautiful
visual poetry. Since then, the approach was often copied, but seldom
successfully. Good ideas and a process alone are not sufficient; you
need a Vision. This is where Dragone's unique ability to see what is
invisible to others comes at play. This ability to generate a
compelling vision for a site or a show will remain central to our
value proposition.
Our unique creative process will lead to many more new discoveries. We
have the firm intention to preserve "the Dragone Way" and to make it
available to as many creators and designers as possible.
In this regard, we are excited to announce that Francois Girard has
been elevated to the position of CEO for Dragone.
Francois has lovingly noted, in announcing his vision for Dragone,
that:
Dragone thrives when it can meaningfully contribute, as a creative
partner, to the realization of an exciting vision. Our clients are
visionary leaders and they understand the importance of being
surrounded by the best minds. We are often involved at the very
beginning of the development lifecycle of a new destination. We
provide the vision for the overall experience and accompany them along
the way as the ultimate guardians of this vision. We want to have an
impact; we want to create timeless experiences that will forever live
on.
To this end, we plan to have Franco Dragone gradually move towards a
guiding and mentorship role in addition to providing overall artistic
directions on our various active projects.
FROM THE ASHES OF THE PANDEMIC
The pandemic is nothing less than a cataclysmic disaster for our
industry. We were the first affected and will be the last to recover.
Our clients are active in the travel and leisure business. Their
capacity to invest in new innovative ideas, new attractions and shows
will be greatly affected by the current crisis.
Additionally, social distancing is inherently against the fundamental
principles of sharing a live experience with other like-minded
individuals. The intimacy required for a show to generate the right
emotional journey implies some physical proximity. This crisis
resulted in the eradication of all short-cycle productions, one-off
shows, and events. There will be more competition for fewer projects
which will create downward pressures on fees and profitability. While
some of this pressure will be absorbed by a softer employment market,
only the better adapted firms will survive without a drastic change in
their business model. Entrepreneurship will gain a deeper meaning and
the industry's future depends on it.
Thankfully, Dragone initiated the right changes over the last few
years. We worked hard to minimize operational risks and we have
rightsized the group to allow us to be more selective in our projects
going forward. Our founder is more determined than ever to forge
ahead. This unfortunate event is the source of a renewed motivation, a
renewed focus in making sure we don't collectively lose an entire
generation of cultural agents.
{ SOURCE: Dragone }
----------------------------------------------------------
Laliberté can't recover $41M Flight as a Business Expense
{Jun.01.2020}
----------------------------------------------------------
In an "unusual and exotic" court case, Canada's Federal Court ruled
that Cirque de Soleil founder Guy Laliberté - Canada's first space
tourist - won't be able to recover the tens of millions of dollars he
spent on his 12-day trip to the International Space Station.
Laliberté, the Quebec billionaire who co-founded the Quebec circus in
1984, had been trying to recover tax on the $41.8 million bill for his
2009 space odyssey, contending the expenditures for the trip were
business expenses and not a personal luxury trip to outer space.
"The circumstances giving rise to this appeal are unusual and exotic,
but the issues that arise in the appeal are not," wrote Federal Court
Justice Mary Gleason.
On Friday, the three-person court rejected Laliberté's appeal. Jamie
Golombek, managing director of tax and estate planning with CIBC in
Toronto, and the Financial Post's tax columnist, said while the
details may be other-wordly, the underlying issues are rather common.
"It's not common that people are flying into space every day, but it's
common that people are assessed with shareholder benefits," Golombek
said. "You and me are not flying into space every day, but the issue
is really relevant in terms of the principle."
Canada Revenue Agency disagreed with the assertion that the expedition
to the International Space Station was a business trip. Laliberté had
paid for the trip through his holding company, and then had been
reimbursed by Cirque du Soleil's controlling company, except for a
self-assessed $4 million shareholder benefit.
When the issue ended up in tax court, the court ruled against
Laliberté, first in 2018, finding "the appellant had directly or
indirectly received a shareholder benefit from the space trip" and
that it was a personal journey.
"I find that the motivating, essential and overwhelmingly primary
purpose of the travel was personal," wrote Tax Court Justice Patrick
Boyle at the time.
Laliberté - who began his career as a busker, and was a candidate in
the 1980 election for the Rhinoceros Party - had made various
arguments that it was a promotional trip, including to boost the
Cirque du Soleil launch in Russia, to celebrate the circus's 25th
anniversary, and to promote his clean water charity, One Drop.
He had described his trip as a "social and poetic mission," for the
charity. The trip included a program featuring Bono, Shakira, David
Suzuki and Al Gore.
The Tax Court had set the business portion of the trip at 10 per cent,
or $4.2 million, which means that the remaining 90 per cent of the
trip ($37.6 million) represented the amount that is a taxable benefit.
In his appeal, said a statement from his spokeswoman, Laliberté argued
that "despite the personal satisfaction he derived from the space
trip, such intention to enhance the value of Cirque du Soleil while
promoting the objectives of the One Drop Foundation was determinative
in applying the legal test for shareholder benefits."
The actual ruling details a complex and jargon-heavy case that, in
plain terms, was about whether or not the Tax Court "misconstru(ed)"
its benefits test and wrongly applied the burden of proof upon
Laliberté in the lower court decision. The Federal Court disagreed
with Laliberté's arguments.
"We are disappointed with the outcome of the appeal, though this
decision will not give rise to any additional tax liability, as the
related tax had been paid several years ago," said Laliberté's
statement.
{ SOURCE: The National Post }
----------------------------------------------------------
Cirque gets $1.2 billion buyout offer from creditors
{Jun.08.2020}
----------------------------------------------------------
A group of financial lenders is angling to acquire Cirque du Soleil in
a possible bankruptcy reorganization - and they may partner with its
charismatic co-founder, The Post has learned.
The cash-strapped circus - which was forced in March by the
coronavirus pandemic to shutter dozens of shows in cities worldwide -
on Monday got a proposal from creditors to inject $300 million into
Cirque du Soleil under a bankruptcy restructuring that also would
convert the company's $900 million in debt into a 100-percent
ownership stake, according to sources close to the situation.
Under the terms of the proposal, the lenders will rehire nearly 4,700
circus workers - or 95 percent of the company's payroll - who were
summarily fired in March, and will maintain the company's headquarters
in Montreal, sources said.
Angling to restart productions in the coming months, the creditors
believe they can restore operations to breakeven profitability by the
end of next year, partly by broadcasting its spectacular acts on TV
and online, sources said.
The creditor group has meanwhile been in talks with Guy Laliberte, the
former fire eater who, with a ragtag group of street performers, co-
founded Cirque du Soleil in the early 1980s. Laliberte became a
billionaire when he sold the company to a group led by private-equity
firm TPG in 2015 - a debt-fueled deal that left Cirque du Soleil
vulnerable to the coronavirus crisis, according to critics.
Now, one source close to the talks said Laliberte remains a "free
agent" and hasn't yet committed to a partnership with the creditor
group. Nevertheless, late last month the 60-year-old clown said in an
interview that after "careful consideration" he was looking to revive
the circus "with a great team."
"Its revival will have to be done at the right price. And not at all
costs," Laliberte said.
The bidding group, which is being advised by Houlihan Lokey, hopes to
get court approval to buy Cirque du Soleil out of bankruptcy by the
end of August.
The creditors include Canada-based Catalyst Capital, as well as US
investment firms Shenkman Capital, Providence Equity's Benefit Street
Partners and CBAM. The latter is controlled by former Guggenheim
Partners President Todd Boehly's Eldridge Industries, which owns more
than 20 percent of the Los Angeles Dodgers, as well as Dick Clark
Productions, The Hollywood Reporter, and film distributor A24.
The offer came in response to a Monday deadline for bids set by the
Montreal-based circus, whose animal-free productions ditch lions,
tigers and bears in favor of cutting-edge acrobatics, lively musical
soundtracks and a storytelling approach.
Other possible bidders include buyout firm TPG. Quebec's government,
loosely partnered with the Texas-based buyout firm, said last week it
would invest $200 million to keep Cirque operating and in the city
under certain conditions.
Nevertheless, insiders note the creditors have an advantage in the
process, as Cirque du Soleil defaulted on a March 31 interest payment
and is now in a forbearance period. Accordingly, any deal must be
approved by creditors, who have the power to put the company into
bankruptcy.
"They can't get rid of us without paying us," a source in the lending
group said.
The creditors are making their move in part to stop TPG - which last
month threw J. Crew into Chapter 11 after saddling it with debt - from
reasserting itself and profiting from the bankruptcy, sources said. In
March, Cirque du Soleil placed several of its worldwide trademarks
into a different subsidiary. Last month, TPG lent $50 million against
those trademarks to give it a bigger say in a restructuring process.
The creditor group on Friday issued an emergency loan to Cirque du
Soleil replacing the $50 million in TPG funding, sources said.
Cirque du Soleil didn't immediately respond to requests for comment.
{ SOURCE: New York Post }
----------------------------------------------------------
Dragone joins Laliberté in Cirque buyback effort
{Jun.08.2020}
----------------------------------------------------------
The man who has heightened the art of aquatic productions is making
waves again in Las Vegas.
We speak of the esteemed entertainment trailblazer Franco Dragone,
creator of "O" at Bellagio and "Le Reve" at Wynn Las Vegas. The
veteran producer and director confirmed Monday he has joined Guy
Laliberté's effort to buy back Cirque du Soleil, which would mean a
reunion between artistic visionaries who worked together for 13 years
ending with "O's" debut in 1998.
Dragone also directed Cirque's original Strip production "Mystere" at
Treasure Island, and Celine Dion's "A New Day ..." at Caesars Palace
after he left the company.
Even as he's pursued such international projects as "The House of
Dancing Water" in Macao, Dragone's relationships in the city have
remained strong. He is further rekindling his affiliation with Las
Vegas with the launch of the weekly web series "Las Vegas Creators
United."
The new project features in-depth conversations between prominent
Vegas entertainment figures, raising funds for The Composers Showcase
of Las Vegas' Entertainment Community Relief Fund.
Dragone and Planet Hollywood headliner Criss Angel premiere the series
at noon Friday; find that conversation at Dragone.com and also the
"Las Vegas Creators United" YouTube page. The series blends elements
of "Inside The Actors Studio" and the "TED" talk formats.
In a segment recorded Monday on Zoom,Angel actually interviews
Dragone, and the two recount the days when they pitched a show concept
to Steve Wynn.
Upcoming segments feature expert artistic directors Kenny Ortega and
Louanne Madorma (June 19), stage architects Ray Winkler and Ric Lipson
of Stufish (June 26), and Nappytabs choreography tandem Tabitha and
Napoleon D'Umo. Those listed as partners and on the extended list of
participants include Elaine Wynn, Bernie Yuman and Wynn entertainment
director Rick Gray.
Despite his international interests, Dragone yearned to throw a life
raft to Las Vegas entertainment pros rocked by the COVID-19 shutdown.
"I had been deeply considering, 'What can we do to help our fellow
artists and performers in Las Vegas who are suffering?' " Dragone said
during a phone conversation from his native Belgium on Monday. "We
have so many people in this bad situation, I couldn't imagine doing
nothing. I have been many places, but Las Vegas has my heart."
Dragone connected to The Composers Showcase fund, a registered
501(c)(3) nonprofit, through TCS' co-founders. He had worked with
music director Michael Brennan at "Le Reve" and the two discussed
Dragone's options. Brennan then paired Dragone with Keith Thompson,
who has produced and emceed TCS' monthly shows since the series'
inception in May 2006.
Metaphorically, Dragone performed a swan dive into the nonprofit's
mission to provide support for sidelined entertainment professionals
in Las Vegas.
"We all share this experience of making a show and making a life in
Las Vegas," Dragone said. "We will converse about what we know, what
we can learn from each other, the ups and downs of being onstage and
even many backstage stories."
If Dragone's creative template holds together, the series would lead
into his return to the Strip as a Cirque partner. Laliberté is among
several interested investors in the company he effectively sold to a
corporate consortium led by TPG Capital in 2015. He sought Dragone
just as he announced he was re-entering the circus of potential
buyers.
The investors were to make bids on the company Monday. Reports out of
Canadian media outlets indicate telecommunication giant Quebecor,
private equity fund Providence Equity Partners and even concert
operator Live Nation Entertainment are among those planning to submit
offers.
Cirque sentimentalists would delight in Laliberté's return to the
company.
"Guy called me two weeks ago, when he decided to jump into the field,
to bring Cirque back to what it really is, to see if I was willing to
jump with him," Dragone said. "I said yes. I have been approached by
other people over the past month about Cirque, but I think Guy is the
one I trust who will bring Cirque back ... I could never say no to
Guy, because there is such a beautiful history between us."
{ SOURCE: Las Vegas Review Journal }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Alegria, Bazzar, Koozå, Kurios, Luzia, Totem, Under the
Same Sky, and Volta}
o) ARENA - In Stadium-like venues
{OVO, Crystal, Corteo, AXEL, Messi10}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE, JOYA, Paramour
X: The Land of Fantasy, Drawn to Life, and NYSA }
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Alegría-In a New Light:
Portland, OR -- Jun 4, 2021 to Jul 18, 2021
Denver, CO -- Aug 6, 2021 to Sep 12, 2021
Bazzar:
Not Currently Scheduled
Koozå:
Zurich, CH -- TBA
Brussels, BE -- TBA
Washington, DC -- Jul 21, 2021 to Sep 19, 2021
Kurios:
Not Currently Scheduled
Luzia:
Madrid, ES -- TBA
Barcelona, ES -- Jan 21, 2021 to Feb 21, 2021
Totem:
Rome, IT -- Mar 17 2021 to Apr 25, 2021
Milan, IT -- May 5, 2021 to Jun 20, 2021
Prague, CZ -- TBA
Under the Same Sky:
Montreal, QC -- Apr 22, 2021 to Aug 15, 2021
VOLTA:
Not Currently Scheduled
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
OVO:
Beijing, CN -- TBA
Shanghai, CN -- TBA
Shenzhen, CN -- TBA
Guangzhou, CN -- TBA
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Paris, FR -- Sep 1, 2020 to Sep 6, 2020
Lausanne, CH -- Sep 9, 2020 to Sep 13, 2020
Seville, ES -- Dec 25, 2020 to Jan 3, 2021
CORTEO:
Pamplona, ES -- Dec 25, 2020 to Dec 30, 2020
Vienna, AS -- Jan 2, 2021 to Jan 9, 2021
Antwerp, BE -- Jun 17, 2021 to Jun 27, 2021
London, UK -- Jun 30, 2021 to Jul 11, 2021
Dublin, IE -- Jul 14, 2021 to Jul 25, 2021
AXEL:
Not Currently Scheduled
Messi10:
Buenos Aires -- Being Rescheduled
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
All Resident Shows Currently Closed
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) CIRQUECONNECT SPECIALS
Enjoy a front-row seat to awe-inspiring moments of the larger-
than-life shows, with never-before seen angles that can only be
experienced on your screen.
- SPECIAL #6: ONE NIGHT FOR ONE DROP (2015/2017) {May.01}
https://youtu.be/BlTCkMMJM6o
- SPECIAL #7: CRYSTAL/AXEL {May.15}
https://www.youtube.com/watch?v=Sf-N_OroVbs
- SPECIAL #8: BEHIND THE CURTAIN OF LUZIA {May.08}
https://youtu.be/NWjVaAvXWEo
- SPECIAL #9: BEHIND THE CURTAIN OF KURIOS {May.22}
https://www.youtube.com/watch?v=52J7NiR79mk&t=167s
- SPECIAL #10: CORTEO, VOLTA and TOTEM {May.29}
https://www.youtube.com/watch?v=jVUZzaMN_BE
- SPECIAL #11: BEST OF CONTORTION {Jun.05}
https://www.youtube.com/watch?v=m7mz6VHLJSc
- SPECIAL #12: CLASSICS: REINVENTE, NOUVELLE, and SALTIMBANCO {Jun.12}
https://www.youtube.com/watch?v=gksSaezV8xY
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "Pomp Duck and Circumstance: A Restaurant Out of Control"
By: Henry Peirson - Toronto, Ontario (CAN)
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"Pomp Duck and Circumstance: A Restaurant Out of Control"
By: Henry Peirson - Toronto, Ontario (CAN)
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"In 1999, Cirque du Soleil is staging seven shows on four
continents: Alegría, Quidam, Mystère, "O" , La Nouba,
Saltimbanco, and Dralion. Last but not least is the dinner
show Pomp Duck and Circumstance."
Once again, I found myself scrolling through the Wayback Machine's
glorious archived version of Cirque du Soleil's old '90s website-a
wonderful snapshot of a time when Cirque was younger, smarter, and
much, much smaller. Between the dated GIFs and bright blue-and-yellow
backdrops, I came across a sentence that gave me pause: "Last but not
least is the dinner show Pomp Duck and Circumstance."
For the millionth time, I found myself wondering, like so many Cirque
fans before me, "What on earth is Pomp Duck and Circumstance?". So
many of us have come across the little clues that Cirque has left over
time-a photo in a 2004 Alegría programme book, a mention in a creative
team member's biography, a "list of shows"-of this mysterious show
that Cirque seemingly wants to bury.
"Last, but not least." Never before in my life had I seen a Cirque
show mentioned as such an... afterthought. My curiosity finally got
the best of me. For myself, and all the curious Cirque fans out there,
I needed to know. What is this show? Why is it always left out? Where
did it come from... and what happened to it?
BACKGROUND
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It started with one man. Hans-Peter Wodarz, a mini-celebrity in
Germany, was born into a refugee family in the German town of
Wiesbaden in 1948. Growing up wanting to be a waiter, he was
encouraged by his family to become a chef, later training at the
historic Hotel Rose in the 1960s. He worked through the ranks in the
early 1970s, working in both Berlin and Munich before opening his
restaurant Die Ente im Lehel ("The Duck in the Lehel") in 1975. An
overnight success, Wodarz then moved the restaurant to Wiesbaden in
1978 and renamed it Die Ente vom Lehel ("The Duck from Lehel"),
gaining a Michelin star rating in the process.
Why mention all of this? Well, the performance origins of Pomp Duck
and Circumstance have to start somewhere. It was at Die Ente vom Lehel
that Wodarz started bringing performance elements into his
restaurants, hiring opera singers from the German State Theater to
sing arias while guests dined. From there, he introduced clowns and
characters to perform sketches and interact with the diners. Wodarz
was beginning to blur the lines between gastronomy and entertainment
as his concept of interactive dinner-theatre came to life.
With Die Ente vom Lehel's success throughout the 1980s, Wodarz finally
decided to take a leap and take his concept on tour. In 1990, he
founded the gastronomic entertainment show Panem et Circenses ("Bread
and Circuses") with the help of famed chef Alfons Schubeck and
Bernhard Paul, founder of the Roncalli Circus. Wodarz's concept was
now beyond dinner-theatre; it was dinner-theatre-circus. The show was
an immediate smash hit, touring Munich, Cologne, Hanover, Wiesbaden,
Frankfurt, Barcelona, Hamburg, Venice, and Milan.
Heartened by the runaway success of Panem et Circenses, Wodarz decided
to develop it into an even larger production. Taking inspiration from
Edward Elgar's famous composition, Wodarz renamed the show Pomp Duck
and Circumstance and, in March 1993, revealed the rebranded production
in Düsseldorf under the direction of none other than Franco Dragone,
Cirque du Soleil's most iconic director.
At this point, everything was going right for Pomp Duck and
Circumstance. With sold-out shows, a unique concept, and upwards of
300,000 European patrons applauding the show, Hans-Peter Wodarz saw
that he had a triumph on his hands-as well as a golden opportunity.
Like Guy Laliberté before him, he knew that the next step for him was
to take his concept to a brand new, uncharted market: the United
States. However, for all of Pomp Duck's wild successes in Europe in
the early 1990s, it would soon falter in the very same market that
Cirque du Soleil was conquering at that time.
The show's 1995 tryout in New York City was, in a word, disastrous.
Critics ripped every single aspect of the show apart, leading to a
poor audience turnout. But with new investors and a concrete plan to
take up residency at MGM Grand in Las Vegas for a decade, Wodarz kept
pushing for Pomp Duck's American takeover, hoping that its next stop
in Atlanta for the 1996 Olympics would fare better than the Big Apple.
It didn't. While critics were far kinder to the show in Atlanta,
audiences simply weren't interested. Audience attendance went instead
to the Olympics' much cheaper sports offerings, causing Pomp Duck to
massively underperform and create a mountain of debt for its owners.
To make matters worse for Wodarz, his new partner, entrepreneur Dieter
Esch, violated the terms of their contract by hastily leaving their
partnership, and MGM soon after withdrew their $20 million investment
in the show, dashing any hopes for a Las Vegas residency. Artists went
without pay, electricity was cut, and Wodarz was left practically
penniless. Pomp Duck and Circumstance's break into the American market
was, by all accounts, a colossal failure.
So then what changed? What allowed the show to get back up on its
feet, become a bigger success than ever, and continue to run for
another 15 years? Enter the chic, new Canadian circus company, Cirque
du Soleil.
Wodarz returned to Europe the summer of that year, hoping to resurrect
his gastronomic entertainment concept from the dead. It was obvious
from his earlier successes that the niche humour of Pomp Duck appealed
to German audiences far more than American crowds. Clearly, Wodarz
needed to return to his roots and reignite Germany's interest in his
show. Consequently, he went searching for partners to breathe new life
into the production. Recalling Cirque du Soleil from his previous
collaboration with Franco Dragone, Wodarz reached out to the company
about forming a professional relationship. Cirque agreed to a
partnership, and in December 1996, Pomp Duck and Circumstance
officially joined forces with the Canadian circus giant.
Given Wodarz's precarious financial position, Cirque took on most of
the financial burden of creating the new production with a mutual
understanding that their team would have creative control of the show.
Wodarz and Cirque set up a joint GmbH ("Gesellschaft mit beschränkter
Haftung", a common type of limited liability company in Germany) with
equal shares in Pomp Duck. Cirque, however, took over the investment
costs in the millions, almost solely funding the 5-million German mark
production (about $13 million USD in 2020).
Once the paperwork was done, Cirque had no time to lose to prepare the
show. With Wodarz eager to return to the German market as soon as
possible, Cirque now had an extremely short 6 months to create, stage,
and mount a brand-new version of Pomp Duck and Circumstance out of
their European headquarters in Amsterdam. A ragtag group of some of
Cirque's best creatives were put together, with Gilles Ste-Croix at
the helm as writer and director, René Bazinet as assistant director,
Luc Lafortune as lighting designer, and Guy Caron-back for the first
time since his controversial exit from the company in 1988-as an
artistic consultant. Some newer faces rounded out the rest of the
creative team, with Eleni Uranis-later makeup designer of ZED, KURIOS,
Amaluna, etc-as costume designer, Raffaele De Ritis as dramaturge, and
Rudi Mauser-one of the few creators from the original Pomp Duck-
composing the show's live musical score.
It was an exciting time at Cirque du Soleil. Pomp Duck and
Circumstance was shaping up to be many "firsts" for Cirque: the
company's first scripted show; the company's first dinner-theatre
production; the company's first non-original show. Cirque was running
head-first into completely uncharted territory. The time and date were
set: Pomp Duck would open on June 12, 1997, in Hamburg and perform for
an ambitious 10-month run. Cirque was ready to add another jewel to
their sparkling crown of shows. But the question still remained...
would this gamble pay off? And, above all, what would this strange new
show look like?
THE CONCEPT
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POMP DUCK AND CIRCUMSTANCE-displayed in a bright blue neon archway was
the show's namesake, greeting guests as they made their way to the
tent's lavish grand entrance. But this was no ordinary blue-and-yellow
grand chapiteau; this was the "Salon Zazou", a beautiful antique 1930s
spiegelzelt (mirror tent) refurbished and repurposed with grand aplomb
by Hans-Peter Wodarz for Pomp Duck. As guests approached the
entranceway, more details would come into the picture: the façade's
beautiful stained glass; the elegant waiters standing ready to welcome
them into the tent; and, perhaps most importantly, the show's motto-"A
Restaurant Out of Control!"-displayed above the doors, foreshadowing
the zaniness of the next 4 hours.
That's right-four hours. Pomp Duck and Circumstance wasn't just a
short, simple sit-down-and-watch performance; it was an all-
encompassing experience for the senses meant to be enjoyed as a full-
evening adventure. Once inside, guests would be amazed by Salon
Zazou's stunning interior design. At one time an ornate circular dance
hall, the space now hosted 40 tables with seats for 400 guests. The
walls were covered on all sides with 450 mirrors, giving the
impression that the space was infinite in its scope. Rather than metal
poles and scaffolding, the hall stuck to the customs of the Belgian
spiegelzelt tradition by having wooden beams and canvas hold up the
structure of the tent. Finally at the top of the tent was an eloquent
red and gold ruffled canvas design surrounded by a ring of genuine
stained glass.
Having feasted their eyes on Salon Zazou's grand hall, guests would
then notice the apparent lack of a stage, with tables and chairs
seemingly taking up the entire space. With the exception of a small
circular stage in the centre, guests would soon discover that the
events of the show would actually occur in the aisles... and at their
tables. It was time for the eccentric characters of Pomp Duck and
Circumstance to be introduced.
The night would start off normal enough. Guests would find their seats
at their tables and engage in small talk. The Pomp Duck Orchester
would serenade the crowd, with Scott White (electric and double-bass)
leading the band alongside Achim Rothe (trumpet), Ulrich Bartel
(violin/guitar), Pavel Rendzov (drums), Carsten Netz (saxophone), and
Johannes Bahlmann (piano). 45 first-class waiters would stream in and
out of the hall, serving up dishes with meticulously choreographed
precision. The guests were experiencing fine dining at the highest
level-and with tickets to the tune of 185 marks per person ($500 USD
in 2020!), one wouldn't expect anything less. But the peace and calm
of the "restaurant" would soon give way to ridiculous theatrics...
One by one, various characters would start entering the hall, causing
trouble for the Pomp Duck management. Some characters would complain
loudly about their problems, others would flirt with the guests (one
could even say that Pomp Duck was Cirque's first "adult show", before
Zumanity). Some of the more opportunistic characters would even go so
far as to sit at guests' tables and try to order food! The formal
waiters and management would, of course, try to keep things under
control by kicking out the characters and keeping them away from their
valued customers. Although this would work temporarily, the restaurant
would inevitably, as per their motto, run "out of control". The energy
of the Salon Zazou took on a soul of its own, infecting everyone in it
with the same lunacy as its zany characters. Before long, the
restaurant's dignified waiters would lose their solemnity, shedding
their prim and proper façades and transforming into snooty, defiant,
and playful characters.
The lines between the characters and the restaurant staff would become
blurred-who are the clowns and who are the servers? They all became
the same in the Salon Zazou. If guests were lucky, they would get
duct-taped to their chairs or be forced to dance for their food; if
they were unlucky, they would get wine spilled in their lap by a
disobedient sommelier or be placed in a boxing ring against a
dishevelled-looking character. While this may sound awful, the bizarre
personages of Pomp Duck and Circumstance were contrasted with some
outstanding world-class entertainment in the form of operatic arias,
hilarious sketches, and circus disciplines that would certainly make
the whole experience worthwhile. No matter what, if you booked a visit
to the Salon Zazou, you were in for a night that you would not soon
forget.
Now the question begs to be asked: who were these characters and what
amazing feats did they perform?
THE EXPERIENCE
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Cirque du Soleil's version of Pomp Duck and Circumstance revolved
around a relatively loose plot, where the audience was part of a 4th
wall-breaking, interactive show about a restaurant-the "Salon Zazou"-
taking on a life of its own and running out of control, turning from a
high-class eatery into a wild cabaret. An over-the-top, madcap blend
of culinary delights, comedy, and acrobatics, the show blurred the
lines between the tables and the stage, and therefore the performers
and the audience. Everything in the Salon Zazou seemed to happen by
coincidence... but nothing was left to chance.
Unlike most Cirque shows, the majority of the performance came in the
characters' interactions between both themselves and the audience.
Each and every single artist in the show played a virtuous person who
toppled over the edge into excess and vice-and with over 90 artists in
the show, there are far too many characters to go into detail about.
That being said, some notable personages added a bit more spice to the
Pomp Duck pot than others:
o) Madame Zazou: "Madame Zazou-the Mistress of Ceremonies-is the good
soul at Pomp. The hostess is beautiful, powerful, crazy and rich.
She is allowed to do as she pleases; and with her playfully erotic
nature, she constantly conveys to guests the feeling that they are
welcome. She gives the Spiegelpalast (Palace of Mirrors) an
atmosphere that is dense, lascivious, crazy and unique, just like
Zazou herself. "You're welcome" is the message that Madame Zazou
radiates with every word, every smile and every apparently fleeting
gesture."
o) Maitre 'D: "At Madame Zazou's side we find Maitre 'D, her stern
left hand from Great Britain who constantly disrupts the program.
However, he becomes younger and crazier by the hour as the
restaurant runs out of control."
o) Madame Pierrette: "Madame Pierrette demonstrates the charm of old
age. When she serves, she forgets her age and always tries to carry
too many plates. At the same time, she has to keep an eye on her
"well-bred" son Maitre 'D."
o) Erich A.D. Schmeisser: "Erich A.D. Schmeisser, the fanatic taxman,
is the 'enfant terrible' of the show. This financial offender, who
only thinks of money, is seeking a confession from Hans-Peter
Wodarz, the restaurant owner. He wants to collect taxes from Wodarz
using all of the tricks and with the cold-hearted dedication of a
German tax investigator. But in this battle for taxes, he
repeatedly runs into the fierce resistance of the Pomp crew. They
make life difficult for this civil servant with a one-track mind.
(One could surmise that Schmeisser was a not-so-subtle reference to
Wodarz's former financial partner Dieter Esch, who left him out to
dry when Pomp failed in the U.S.)
o) Mimosa/The Singer: "Mimosa, the flower seller, stands for a
principle of the Pomp, namely that only those who change remain
true to themselves. At the beginning of the show, Nadya Blanchette
plays the well-behaved, shy flower girl who slowly transforms-
princess-like-into a beautiful Bel Canto singer. With her crystal-
clear soprano voice, she provides magical moments of music from "O
mio babino caro" (Puccini's Gianni Schicci) to "Ach ich fühl's es
ist entschwinden" (Mozart's Magic Flute)."
o) Shaman Kuaki and Sous-Chef Marcel: "The cooks are the heart and
soul of every restaurant. Chef Shaman Kuaki (a rather racially
insensitive stereotype of a Native American) and Sous-Chef Marcel
(a classic French chef) work hand in hand when it comes to adding
the right spices to the show interludes. They intensify the chaos
when the show threatens to erupt and extend the menu when the pace
needs to be relaxed."
o) Mrs. McNiklison: "Created by Kris Niklison, Mrs. McNiklison
presented a surprisingly funny mime sketch wherein she used the
subject of her husband's death as a means to draw attention to
herself. In addition to Mrs. McNiklison, Kris Niklison also played
the blonde bombshell Ginger Kennedy, who would flirt with guests
while she delivered food to tables. (These characters were only
featured in the Hamburg run in 1997 and 1998.)"
o) Walter: "Walter, the caretaker, is always there where he is not
needed, but invisible when you're looking for him. Walter is just
like a real caretaker, always helping the kitchen staff and is not
even afraid of a boxing match with the "taxman", Mr. Schmeisser.
(Played by Cirque veteran Gerry Regitschnig, the character of
Walter was featured starting in Düsseldorf in 1998.)"
o) Daniello: "Daniello, the unskilled waiter, has all the charm of an
amateur who can't do anything right, but wants to do his best-just
like real life. Eventually, he transforms himself into an
unbeatable superman. We can see a fast career from dishwasher to
superman-just like in everyday life. (Daniello was featured
starting in Düsseldorf in 1998)."
o) Ruccola: "Ruccola knows how to make the blood surge in the veins of
the males in the audience. She is still waitressing when the others
are already rolling on the floor. Foreplay and afterplay are
provided simultaneously with the appetizer and the dessert.
However, these cases of adultery only last a few minutes, because
nothing is so boring as the moment after it is over."
o) Regine Kratzert: "Regine Kratzert not only scrapes away the dirt in
this noble restaurant but also at the ego of a macho society. This
cleaning lady wants to have things clean and warns wives against
dirt, dust and grime. This low-income woman does her profession
proud by sweeping the rude Mr. Schmeisser out of the room."
o) Frédérique: "Personally testing just how far he can go is Freddy
the diva's specialty. This ballet waiter was once a great dancer
and would love to return to a large stage. Frédérique, who always
has an eye on the masculine in a man, is different from the others-
a clown who playfully bills and coos during the show."
o) Anna: "A German stereotype, Anna personifies Bavarian cheerfulness
in any situation, coupled with the profundity of an experienced
waitress."
Now that we know who our featured players are, what does the lineup
for the evening look like?
DISH: APPETIZER -- After a number of characters have introduced
themselves and are milling about the hall, the first dish is served:
Pomp Duck's famous Tomaten-Karotten-Suppe (carrot-tomato bisque). For
400 patrons, the kitchen uses over 35 kg (77 lbs) of carrots and 50 kg
(110 lbs) of tomatoes every night!
FLASCHENXYLOPHON (BOTTLE XYLOPHONE) -- You will see Pavel Rendzov in
your dreams, which will be tuneful and harmonious because the man
generates the richest sounds with the world's most economical
instrument. In his Flaschenkonzert (bottleconcert), Pavel undertakes a
sensitive survey of European musical history by playing dozens of
famous melodies on hundreds of bottles tuned to different musical
notes. It is an honour for the masters of the "classics" to be
interpreted by him.
MUSICAL CONTORTION -- Mercedes Chénard fully lives up to her profile-
she is purely erotic in all of her roles, be it as a cigarette girl,
artist, singer, interpreter or entertainer; her natural charm and her
unrivalled professionalism make her a unique artist. When she sings
"Makin' Whoopee" into the microphone between the daring hair-raising
contortions and orthopedically impossible twists, you could hear a pin
drop in the tent. These rare sights must be seen to be believed.
Mercedes later comes out to perform an energetic rendition of Elvis
Prestley's "Jailhouse Rock" in a full Elvis get-up that would make
even the best of impressionists jealous.
DISH: MAIN COURSE -- The next meal is brought out by Pomp's waiters: a
delicious salmon and halibut lasagne.
DIABOLO -- Whoever dances with the devil needs strong nerves and a
firm rope. Donald Grant maltreats the oldest juggling equipment with
devilish perfection. When he allows his wheel to glide across the
rope, there is a pandemonium; tension and relaxation alternate more
quickly than the rope does.
MAGIC -- If you haven't seen Nathan the Wise, then you haven't seen
real magic yet. This Russian magician has already enchanted audiences
in 40 countries and has remained true to his philosophy of life. He
wants to show people what they have never seen before and he wants to
inspire the audience to view the world in a different way.
DUCK HUNT -- Sous-Chef Marcel-appearing in safari gear and holding
what can only be described as a rifle made out of kitchen supplies-
prompts all the characters to participate in the "Duck Hunt" by
chasing an anthropomorphic duck around the tent. The hunt ends when
the prey "ducks" into the kitchen, triggering the arrival of the main
course, which is none other than the famous Pomp Duck.
DISH: MAIN COURSE -- Lead in marching order by Maitre 'D are Pomp's
waiters, bringing out 400 perfectly-prepared duck breasts. The duck is
served to the tune of none other than "Pomp and Circumstance", a march
by Edward Elgar. Every night is the "Last night of the Proms" in the
Spiegelpalast.
TRAPEZE DUO -- Duo Balancia rewrites acrobatic stunts under an open
tent. The two cigarette girls are not afraid to tread where angels
dare not go. With their works of art between heaven and earth, they
deliberately avoid routine perfectionism. They play with the
amateurism of beginners, risk mistakes and provoke accidents-but with
constant, mature professionalism, which repeatedly shows the audience
how many risks there are when you're working without a net.
SILKS -- Isabel "Beo" Da Silva brings old memories to life when she
turns into a purring cat playing with bands of silk, like Eartha Kitt,
and skillfully plays on the emotions of the audience. (Some Cirque
fans may recall her memorable performance on the Solstrom episode
"Rockin' Wind" back in 2004 when she presented her impressive silks
act while singing!)
DISH: DESSERT -- Dessert is always extremely important to the
architects of taste. Their sweet inspirations change with the season:
ice cream, a variety of cakes and selections of fruit. Dessert is
always the mirror image of the show and continues to seduce even the
"regular guests".
AERIAL HOOP DUO -- Brazilian artists Marta Chaves and Rosiris Garrido
(known as "Ouro") present an amazing act on a single aerial hoop,
choreographed by Cirque's André Simard. The duo use aesthetics and
images which are often unfamiliar, working with their own movements,
transmitting sensations, emotions... A work of art, either sweet or
aggressive, sometimes spontaneous and delicate, sometimes tense and
hard.
Aerial hoop was performed intermittently during Pomp Duck and
Circumstance's lifetime and would sometimes alternate with...
HAND BALANCING -- Dimitri (Dmitry) Azarov shows the audience that he
wants to get to the top at all costs! He presents a world-class hand-
balancing act. Technical perfection, immense power, aesthetic
fascination and the grace of a dancer coalesce here. He reduces his
individual appearances to "simple pictures" and this is the secret of
his artistry.
FINALE -- The kitchen explodes. Chaos erupts... excitement, tumult and
role changes are the order of the day. The restaurant theatre is "out
of control". During the finale just before midnight, a firework of
ideas and actions is kindled by all of the participants. Artists,
chefs, waiters and musicians gather in the arena to show what Pomp
really means and is. The circle closes; the show ends with an Irish
folk song-grandiose and full of energy down to the last tone.
Sometimes, a rola bola act would be performed-this rarely-seen act was
performed on occasion as a replacement for any of the main acts in the
show. And of course, throughout the show, there were many, many clown
and character bits. Mrs. McNiklison would present her mime act or
Walter would pretend to box with Erich A.D. Schmeisser. Nadya
Blanchette would have several moments in the spotlight throughout the
show, singing dance numbers or operatic arias. Food would be served,
guests would be tied to their seats, wine would be spilled. By the end
of every night Pomp Duck and Circumstance was truly "out of control".
THE END OF AN ERA
-----------------
So how successful was Cirque du Soleil's refreshed staging of Hans-
Peter Wodarz's brainchild of a show? Why not ask Wodarz himself...
In an interview with German newspaper Die Welt in March 2000, Wodarz
touted Pomp Duck's many triumphs. He reported that over the three
previous years, the show had seen an average audience occupancy rate
of 86% (i.e. 344 of 400 seats sold each night on average) and an
annual profit of over 20 million German marks (equal to about $60
million USD in 2020). Reviews in the press were stellar, and, just as
Wodarz had hoped, audiences from his home country flocked to see the
show. Pomp Duck ran for a whopping 10 months in Hamburg after opening
in June 1997 and then went on to play for 8-month-long runs in
Düsseldorf (1998/1999) and Munich (1999/2000). It could easily be
concluded that thanks to Cirque du Soleil, Pomp Duck and Circumstance
was now more successful than it ever had been.
Thus it can only be left to speculation as to why Cirque's official
involvement with the show ended abruptly after the show's Munich run
in May of 2000. Maybe Cirque's contract with Wodarz was simply ending
and they didn't renew it. Maybe Wodarz wanted to "reclaim" his show,
with Cirque having served its purpose by revitalizing Pomp.
Contrarily, maybe Cirque wanted out, for one reason or another.
There's not much information that indicates why Cirque was finished
with Pomp in 2000. However, perhaps the events after the Cirque era
can hint at what happened.
Although Cirque's "official" involvement with the show was from
December 1996 until the end of the Munich run in May 2000, the show
stayed largely the same when it opened at its next stop in Frankfurt
in August 2000. Certain elements-such as Nadya Blanchette's singer
role and the aerial hoop duo-were immediately tossed out while others
were kept. For a while. As the Frankfurt run progressed, Wodarz slowly
started bringing in new elements to the show, replacing Cirque's
version piece-by-piece. It's evident that Wodarz simply grew tired of
the same old show and wanted to refresh it (again). Then, in August
2001, an entirely re-written version of Pomp Duck, directed by David
Shiner, premiered in Berlin. The Cirque du Soleil era of Pomp Duck and
Circumstance was finally over.
CONCLUSION
----------
So what became of Pomp Duck and Circumstance after that? Well, for the
most part, the machine kept running. The show continued to be a
success, touring throughout Germany and delighting thousands of
patrons. Then, in early 2006, Hans-Peter Wodarz made the decision to
part from the show. While this came as a surprise to some, the most
shocking event came in the autumn of 2007 when he partnered with the
dinner-theatre company PALAZZO, a knockoff version of Pomp Duck that
began directly competing with the show in 1998. This decision was a
slap in the face to the Pomp Duck team; a betrayal by the very creator
of their show.
It was an interesting choice by Wodarz. Despite him being Pomp Duck's
only advocate when all other producers bailed on the show in the
United States, it seemed that Wodarz, too, bailed on the show just 10
years later, leaving Pomp in the dust. Ultimately, Wodarz seemed to
love the concept of Pomp Duck and Circumstance, but not necessarily
the show itself. As of May 2020, Wodarz is still a proud producer of
PALAZZO.
As for Pomp Duck, everything went downhill after Wodarz left. In 2007,
its producers made the fatal decision to move the show from its Berlin
home to the much smaller city of Stuttgart. By March 2009, the
Stuttgarter Nachrichen reported that the show would close 4 months
earlier than expected, with rumours flying for months earlier that the
show was faltering and audiences not even supporting a 3-shows-per-
week schedule. In November of that year, a final attempt was made to
revitalize the ailing company. A new 2-hour version directed by Arthur
Castro (with much cheaper tickets) opened on November 12 for a limited
run until January 31, 2010, with hopes that audiences would prove that
there was still some love left for Pomp Duck and Circumstance.
It can only be surmised from there that the show's final attempt
didn't land. The show's website, still available today at
<pompduck.de>, remains un-updated since October 2010 with optimistic
press releases of what's to come-an ironic relic of the show's final
resting place.
Wodarz, then and now, rarely mentions Cirque in his interviews.
Occasionally he'll mention in passing that "at one time" Cirque was a
part owner in the company. Similarly, the Pomp Duck website rarely
mentioned Cirque throughout the years (the website as it is today only
mentions the "help of friends from the Canadian Cirque du Soleil"
once). It's as if they consider Cirque to be just a small blip in
their history; that they were just investors that helped out the
company rather a group of creatives who practically rebuilt the show
from the ground up.
Cirque likewise rarely comments on Pomp. The show is sometimes placed
amongst their historical list of shows, mentioned in passing in a
creative team member's biography, or, in the best-case scenario, given
a sentence of description in an old programme book. Pomp Duck and
Circumstance simply seems to be a statistic for Cirque-just another
card in their collection of shows, rarely mentioned alongside the
company's failures like Banana Shpeel, Viva Elvis, and Criss Angel
Believe.
But does Pomp Duck and Circumstance truly deserve to be sidelined with
Cirque's forgotten blunders? Can the show truly be summed up as a
"success" or "failure"? It depends on how you look at it.
Yes, more than 1.5 million people saw Pomp Duck from its 1990
inception up to its final legs in 2010. However, most of that
attendance was only in the few years when it was truly successful.
Yes, the show was a brand-new concept that revolutionized dinner-
theatre entertainment. However, its demise was hastened by a
competitor that took advantage of that very concept.
Yes, many audiences and critics adored the show. However, just as many
people despised the show with a burning passion.
It seems that Pomp Duck and Circumstance's entire existence was one
big contradiction. However, I personally think that the one era in
Pomp's lifetime that was truly successful on all accounts was the
Cirque du Soleil era. A critical and commercial hit, Cirque du
Soleil's Pomp Duck was a mutualistic relationship that ultimately
allowed each company to grow and prosper out of an unexpected
collaboration. For Wodarz, Cirque brought his show back to life and
expanded his artistic license, allowing him to thrive more than ever.
For Cirque, Pomp Duck presented a challenge that forced them to expand
outside their comfort zone, allowing them to experiment with risky
elements that would later lay the groundwork for Zumanity, Solstrom,
JOYÀ, and all of their collaborative shows such as LOVE and Criss
Angel Believe.
Pomp Duck and Circumstance is an odd detour in the decades-long
history of Cirque du Soleil. Had Cirque not done such a good job at
hiding Pomp, perhaps we would know more about this experiment-this
strange, but ultimately successful, experiment. And though we'll never
truly know what the show was like, perhaps we can take some solace in
knowing that had it not been for this collaboration, we would've never
had other experiments like Zumanity and LOVE. And Cirque du Soleil,
ever the risk-taker, would certainly not be where it is now.
"And last, but not least, is Pomp Duck and Circumstance..."
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 20, Number 6 (Issue #197) - June 2020
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2020 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.
{ Jun.11.2020 }
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