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Fascination Issue 215
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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 22, NUMBER 5 November 2022 ISSUE #215
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Well, hello there! And welcome to the latest edition of Fascination,
the Unofficial Cirque du Soleil Newsletter. It's been a while since
we've last spoken, sometime back in July I think, but with a few new
Cirque du Soleil projects announced, I hope we'll be speaking a bit
more often now going forward. To that end I don't have a whole lot
to offer, other than to say that after 20-plus years of publication,
I needed a bit of a break. With that done hopefully there'll be many
more reasons to continue on from here. There's Alegria: INAL headed
off to Japan, LOVE's pending closure (or something), ECHO's premiere,
more new special event shows around the world, and more. So, without
further ado, let's get right into it... and catch up a bit!
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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
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
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LA PRESSE -- General News & Highlights
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Meet Cassia Raquel, Alegria's Singer in Black
{Jun.23.2022}
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"Alegría" is a classic that has been reimagined for a new generation
of Cirque du Soleil fans. An uplifting immersive experience, "Alegría"
whisks audiences away to a mystical world sprinkled with visual poetry
and acrobatic extravagance. Among those bringing the show to life is
Black Brazilian singer Cassia Raquel. With the production touring, The
OBSERVER recently interviewed through a translator the Portuguese-
speaking Raquel remotely.
Q. How and when did you join Cirque du Soleil?
I have joined Cirque du Soleil recently. I started rehearsals in
September 2021 for the relaunch of "Alegría" following its pandemic
hiatus. After weeks of rehearsals, we premiered in November in
Houston, Texas. I was selected through a virtual audition. My first
attempt to join "Alegría" was in 2018 when Cirque du Soleil was
casting for the remount of the show. At the beginning of 2021, I was
called up again for the role of the Singer in Black and got it. I had
applied for other Cirque du Soleil shows before, but "Alegría" fit
perfectly with my style and identity. I couldn't have started my
career with the company in a better way than with this show.
Q. What character/role do you play in "Alegría"?
I'm the Singer in Black and I share the stage with the Singer in
White. They are contrasting characters, but they complement each other
in their desire to bring back hope to the kingdom of AlegríThe Singer
in Black is the voice of the youth of Alegría, a movement yearning for
change as it enters a power struggle with the old order desiring to
keep the status quo. The Singer in Black represents strength and
emphasis on low notes to give power to the youth and illustrate
through vocals the physicality of the acrobatics performed on stage.
Q. What do you want audiences to walk away from the show with?
I want people to renew hope in life, faith in humanity and joy to
enjoy with their family.
Q. What was the first Cirque du Soleil show you saw? Did you think at
that time that you'd ever be a part of a show?
My only opportunity to watch Cirque du Soleil was the big top
production "Corteo" in São Paulo in 2013. I was on tour with a show at
that time and I glimpsed at the possibility that I could too sing in
one of their shows. But I didn't believe it would be possible. Friends
encouraged me to sign up and in the end it worked.
Q. When did you begin singing?
I started singing in the church where my father was pastor, as a
child. I developed technique at the age of 16, studying lyrical
singing, and graduated from the University of Rio de Janeiro years
later. I have been working in professional musical theater in Brazil
for over a decade and have had the opportunity to play iconic
characters such as Fantine from "Les Misérables" and Antônia from "Man
of La Mancha," among other roles in shows honoring Brazilian artists.
Q. What is it like trying to "make it" in the entertainment business
as a Black Brazilian? Are there a lot of roles open to you?
I entered this universe at a time when auditions were live and we were
selected for talent. I was lucky to start with the greatest Brazilian
directors who taught me a lot and included me in their work. I gained
visibility and today I am respected. But I still come across
productions that see me only to play the same types of roles, where it
needs to be described as a Black woman. I managed to break this
barrier in many shows, but producers always highlighted the fact that
I was the "first Black woman in that character" or the "only Black
woman in the cast." Until recently, many producers were asking me for
recommendations of other Black singers or actresses for work that I
couldn't do due to schedule conflicts. The Black community in Brazil
is huge, but unfortunately our emerging talent is still unknown and
not represented enough locally. I think it comes down to who is
casting or producing. For example, I was never considered to audition
for Christine from "The Phantom of the Opera," but was always
approached for roles in "Dreamgirls" or "The Lion King." I love these
plays, but I don't think as a Black woman I should be limited to
playing these roles. I guess little by little, the industry is
changing if performers like myself keep breaking barriers.
Q. How long will you be performing with "Alegría"?
I wish to remain on the show for as long as it is running. We will be
on tour at least for the next two years, but shows at Cirque du Soleil
usually have a 10-year lifespan. Let's see where this will take me.
Q. What's next for you? Any side projects/albums, etc?
"Alegría" demands exclusivity and dedication to keep the voice, mind
and body healthy. I want to enjoy the trips and leave space for the
opportunities that come along the way, whether it's a new song or a
collaboration with other artists. Meanwhile, when I'm off stage, I
upload singing classes on my social networks, help other Brazilians
with travel itineraries indicating the places I've been and enjoyed,
in addition to showing my daily life by commenting on skincare or
doing humor sketches. My plan is also to have a family at some point,
and to get a master's degree in music therapy or speech therapy that
will certainly be useful for when I return to Brazil after my touring
career to reopen my music school.
{ SOURCE: The Sacramento Observer }
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Want to See THE BEATLES LOVE? Think About Going Now
{Jun.23.2022}
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An empty tricycle trailed by a row of small yellow galoshes sits on
the concrete floor.
Along the wall, the massive hands of a Blue Meanie hang next to a
skirt of mannequin legs.
Round a corner and behold a half-pipe fitted with measuring sticks at
the top, guides for roller-skating acrobats to practice their airborne
maneuvers.
They're all part of the glorious mishmash of props stashed backstage
at "The Beatles Love by Cirque du Soleil," a valentine to the Fab Four
as much as it is a colorful uplift powered by one of the headiest
catalogs in music history.
The trippy, sound-intensive production three speakers are embedded
in every seat headrest recently celebrated its 16th anniversary, and
is currently the fourth longest-running Cirque among the Las Vegas
offerings.
The show's cast and production team hope to build on that tenure,
despite some anxieties about the future of "Love."
The in-the-round show an anomaly in Cirque staging opened in its
$100 million signature theater at The Mirage in 2006 as the first to
feature all pre-recorded music and fixate on a singular music act.
("Viva Elvis" followed in 2010 at Aria Resort & Casino for a
disappointing two-year stint, while the well-regarded "Michael Jackson
ONE" continues to dazzle at Mandalay Bay after nearly a decade.)
"The stage is one of the stars of the show," says Tim Smith, senior
artistic director of "Love."
A specialized soundtrack of Beatles songs reconstructed by the late
George Martin and son Giles remains a primary draw, and the show has
been blessed by surviving band members Paul McCartney and Ringo Starr.
"Love" has also been endorsed by Yoko Ono and Olivia Harrison as
family surrogates for John Lennon and George Harrison.
But the recent sale of The Mirage by MGM Resorts International to Hard
Rock International, which is expected to acquire operations of the
property later this year, shrouds "Love" with uncertainty.
"There's an emotional attachment to Love' because it is different
than the other Cirque shows. But it still feels like a musical and
(those types of productions) haven't done fantastically in Vegas,"
says Scott Roeben, founder of the Vital Vegas blog and columnist for
Casino.org. "It's done fine (financially), but fine' isn't enough for
the Hard Rock to say, this has to stay."
Since reopening in August after a nearly 17-month pandemic shutdown,
"Love" has welcomed about half a million visitors, according to the
show.
Roeben notes the audience demographic for a Beatles-centric production
might not be a priority for the Hard Rock.
"The Beatles are kind of beloved, but that audience is getting older,
and while they are a ticket-buying audience, that audience is not
growing," he says. " Love' is a very specific show. You'd better like
The Beatles and if you're 20 years old, you might not know (their
music) that well. Hard Rock is looking at two years, five years, 10
years from now. What are they going to build for a foundation? I don't
think it's The Beatles."
But the Cirque camp remains sanguine.
Eric Grilly, president of resident and affiliate shows divisions for
Cirque du Soleil, tells USA TODAY in a statement, "We look forward to
working with MGM Resorts and Hard Rock International through this
transition. We hope to have news to share in the coming months when
the sale is finalized."
For now, the international cast of nearly 70 artists and 100-plus crew
and tech specialists continue to romp through "Love" twice a night,
five times a week.
The soundtrack which earned two Grammy Awards in 2008 is the
heartbeat of "Love." But the collective beauty of song stitchings and
mashups initially prompted scorn, Giles Martin says.
"When I was at Abbey Road doing the project, I was vilified by people
there. I was the new guy and they're going, What is George Martin's
son doing, chopping up Beatles songs?' The whole idea sounds
ridiculous, especially if you're a purist," he says on a video call
from the Abbey Road Studios. "I thought I'd get fired and the whole
thing wasn't going to work. My dad initially thought I'd gone too far
and Paul (McCartney) came in and said, I love this,' so my dad said,
If he said it's all right, it's all right.' "
"Love" received a refresh in 2016 more images of The Beatles were
inserted into visuals, an "I Am the Walrus" act was axed for "Twist
and Shout" but one of the foundations of the production's endurance,
according to Smith, is continual tweaking.
The presentation of "Blackbird" has undergone several metamorphoses,
shifting from whimsical to thoughtful; the elegant trapeze routine
during "Yesterday" is tuned to the strengths of whichever acrobatic
duo is performing; trampoline work during a frenetic "Revolution/Back
in the U.S.S.R." required a month to perfect.
"That's testament to why our shows run so long," says Smith, who
joined "Love" six years ago. "Often, producers say if the T-shirt is
selling, don't change anything.
Where the show is now, we've hit a
great stride with dancing and acrobatics."
But even with modifications, the meticulous details that thrill
Beatles fans such as the license plate (LMW 28IF) seen in the
background of the "Abbey Road" album cover appearing on a pop-apart
Volkswagen in the show remain hallmarks of a production that
requires more than 600 props.
Throughout the pandemic closure of "Love," a tech crew regularly
checked on the complicated mechanisms of the stage to ensure
preservation.
Before "reopening night" last summer, the production team had eight
weeks to resume operations, during which they hired 15 new artists to
replace those who left the cast during the COVID-19-enforced
shuttering. It typically takes about six weeks to learn a new act, so
the timeline was tight.
"That's a lot to learn," Smith says. "But it was great when we were
able to get back to rehearsing because we got to look at (the show)
like a new creation."
Regardless of the future, the "Love" team isn't wavering in its
dedication to showmanship, eyebrow-raising acrobatics and lavishly
creative presentations of Beatles songs.
"It's the only place in the world you can step into The Beatles'
universe," Martin says. "I always liked the idea that it was The
Beatles' room. I love that about Vegas you're surrounded by the
dinging of slot machines and people wandering around with yards of
tequila and then you walk into the hallowed grounds of Love.' I get
the same thrill every time I walk in that theater."
{ SOURCE: USA Today }
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LOVE Contract Extended at Mirage, Questions Abound
{Jul.22.2022}
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Some of the questions surrounding the fate of "Love" at Mirage have
been answered, while others remain a mystery.
On July 22, 2022, an internal memo was distributed by Eric Grilly,
President of the Resident Shows Division at Cirque du Soleil.
Of course, we got our hands on it. Do you know this blog at all?
The internal communication from Grilly said, "I am pleased to announce
today that we have extended the contract for The Beatles Love'
through 2023."
It continues, "As we know that the sale of The Mirage to Hard Rock
will take some time to be finalized, we wanted to ensure that the show
can continue to be performed throughout that process and through the
transition of ownership."
The memo closes with, "We will have ongoing conversations with the
Hard Rock as they develop their plans for the property and will be
sure to keep you updated as things progress. For today, we celebrate
the good news that Love' will continue to wow audiences for the
foreseeable future."
While great news for the cast and crew of "Love," it's tempered by the
fact Mirage hasn't said whether the hotel will close for its
transition to Hard Rock or not.
We're told the current plan is for Mirage to stay in operation during
the rebrand (and, presumably, while the new guitar tower is being
built).
Speculation has been "Love" would close when Mirage did, and the show
wouldn't be back, at least not at Hard Rock.
The only thing we can be fairly sure about is "Love" won't close in
2022, which seems to mean Mirage won't, either.
In our humble opinion, "Love" won't survive the transition to Hard
Rock Las Vegas.
Our sources say the "Love" theater will be gutted during the Hard Rock
rebrand, and the space will be used as a theater, but probably not for
a resident show.
We're happy for the cast and crew of "Love," but this contract
extension seems to be a response to chatter the show will close soon.
That doesn't mean it won't close, it just means it's unlikely to in
2022. The memo is sort of ambiguous and weird, to be honest. (Sorry
about the technical entertainment jargon.)
"Through 2023" leaves a lot of wiggle room. Cirque doesn't sound
particularly confident the show will stay open as Mirage becomes Hard
Rock, but they're putting on a happy face to calm the troops.
If Mirage closes for the renovation, as one analyst predicted, this
contract extension won't mean a whole lot. Chatter is the rebrand
could start as soon as September 2022.
A Hard Rock International news release mentioned Hard Rock Las Vegas
will open in 2025. Not a lot of help, timelinewise.
While the baby contract extension is small consolation for "Love"
fans, at least they know they'll have time to see the show during
their next visit.
More to come.
{ SOURCE: Vital Vegas }
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MJ ONE Hosted The Annual Celebration Of The
King Of Pop's Birthday
{Aug.30.2022}
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Michael Jackson ONE by Cirque du Soleil, in collaboration with The
Estate of Michael Jackson, honored the legendary King of Pop's
birthday by delighting guests this past weekend with fun-filled
activities inside its world-class theater at Mandalay Bay Resort and
Casino.
The two-day birthday festivities began Sunday, Aug. 28, with a special
screening of the record-setting behind-the-scenes documentary, "Making
of Michael Jackson's Thriller," to all in the theater, including
Michael's son, Prince, who was in attendance. The 45-minute
documentary was followed by an exclusive Q & A session with musical
director and keyboardist, Greg Phillinganes. In recognition of the
upcoming 40th anniversary of the world's best-selling album,
"Thriller," Greg shared personal stories of having worked with
Michael.
The audience was then dazzled by a specially created, one-time-only
performance by the electrifying cast of Michael Jackson ONE. The dance
number, performed to Michael's hit "The Girl Is Mine" from the
"Thriller" album, was conceived by cast members and Dance Master
Tiffany Baker.
And, for the first time, in addition to those lucky enough to be in
the theater, the Q&A and special performance were live streamed for
everyone to enjoy.
Later in the day, guests joined a private book signing by Michael
Bush, Michael Jackson's longtime costume designer and author of "The
King of Style: Dressing Michael Jackson." The evening concluded with
complimentary birthday cake and a meet and greet with John Branca, the
Co-Executor of The Estate of Michael Jackson, Michael Jackson ONE
writer and director Jamie King and show choreographers Rich and Tone
Talauega.
To wrap up the celebratory weekend, on Monday, Aug. 29, ticket holders
attended a private brunch where Sony Music presented new Recording
Industry Association of America (RIAA) certification plaques for four
singles on the "Thriller" album. Both "Billie Jean" and "Thriller"
received diamond certification, signifying the 10X platinum
achievement. In addition, "Beat It" achieved 8X platinum certification
and "P.Y.T." achieved 4X platinum achievement.
In addition to celebrating Michael Jackson's iconic legacy and the
upcoming 40th anniversary of the best-selling album worldwide,
"Thriller," the production introduced a brand-new premier VIP package
for experiences starting Saturday, Sept. 15. Packages are now
available for purchase at cirquedusoleil.com/michael-jackson-one.
The VIP experience allows fans to explore the world of Michael Jackson
ONE like never before with a private entrance and early access to the
theater, followed by an intimate pre-show reception inside the VIP
room. Guests can take an exclusive guided video tour including a meet
and greet with several cast members. Also included is special VIP
seating, giving guests the opportunity to enjoy the musical sensation
set to Michael Jackson's greatest hits. To mark the unforgettable
evening, showgoers will receive a commemorative gift along with
photos. The experience is available for both early and late
performances and dates are based on availability.
{ SOURCE: Broadway World }
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Meet Roger Hewett Band Leader, CORTEO
{Sep.13.2022}
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The internationally-renowned Cirque du Soleil have productions playing
across the globe, including Corteo which is currently making its way
across Europe before coming to the UK next month. Jacob Bush at the
West End Best End site was recently lucky enough to speak to the
show's band leader, Roger Hewett an accomplished musician who has
also worked with Paramount, Warner Bros, Disney, Alliance Atlantis,
Lionsgate, CBS and more.
Q. How did you first get involved with Cirque du Soleil?
As a musician, I had always admired the music of Cirque. I
successfully auditioned for the company when I lived in Montreal, but
was not available to leave on a long-term contract at that time.
Finally, in late 2004, I was approached by the composer who had been
hired to write for a new show. He asked if I could assist him with the
arranging of the music and the formation of the band. The rest is
history!
Q. Can you tell us a bit about what your role as band leader entails?
Being a live show, anything can, and does, happen. It's largely a
collaborative effort between the musicians. The music is structured in
such a way that it is flexible. It's my job to keep a close eye on the
onstage action and to shape the music to fit. I do this by
communicating with the musicians throughout the performance, in order
to hold things together.
Q. You've worked with such a wide variety of companies, from Disney to
CBS to Lionsgate and Paramount. What has been the highlight of your
career so far?
Probably handling the orchestrations for some major features,
including Double Jeopardy (Tommy Lee Jones, Ashley Judd). Though
having been involved with Corteo since 2005, it all seems so long ago
now!
Q. Is there anything that you would still like to do in your career in
the future that you haven't had the chance to do yet?
I would dearly love to conduct a musical. I enjoy being in the
theatre, and especially adore orchestral direction.
Q. What is the idea behind Corteo and how have audiences been
receiving it so far?
Corteo is about a clown dreaming of his passing, and funeral parade.
As dark as that may sound, it is about a celebration of life. His
friends and family coming together to recall moments of his past. I
used to joke we "put the fun in funeral!" This particular show touches
so many emotions on a deeply human level, which I believe we can all
use these days.
Q. Cirque du Soleil is hugely popular across the globe. What do you
think gives these shows such an international appeal?
The colours, the high-level artistry and incredible acrobatics. And
great music! Each Cirque show tells a different story. It's an
interesting experience traveling across many countries, as we do, but
the ability to appeal to the human side of our lives is the thread
that holds us all together.
Q. What can people expect when they come to see Corteo?
There is a dramatic opening that switches very quickly to some
beautiful artistry, into some lighthearted humour
all within the first
15 minutes. And it continues from there. You'll laugh, you'll cry.
Children also love it! I once heard somebody say "it's a show that
makes you want to go out and hug your neighbour." I think if the
audience allows themselves to be immersed, to let go of their daily
lives for a couple of hours, they will have a great experience.
Q. You can also see Roger discussing the show's score in the video below
https://youtu.be/kWlJTCPGM3o
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KURIOS set to make its European Debut at the
Historic Royal Albert Hall in 2023
{Sep.22.2022}
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Cirque du Soleil is proud to announce the London run for one of its
most critically acclaimed touring show KURIOS Cabinet of
Curiosities. Opening on 13 January, audiences are invited to escape
reality and step into a world of extraordinary imagination at the
iconic Royal Albert Hall for a limited series of performances. Pre-
sale tickets are available via Cirque Club now, with tickets going on
sale to the general public on Friday 16 September via the Cirque du
Soleil website.
Taking aesthetic inspiration from the Victorian era and 19th century
industrial revolution, KURIOS fittingly arrives in 2023 at the
prestigious Royal Albert Hall in London, the venue where the show
truly belongs, with the residency coming to the hall during the venues
150th anniversary celebrations. The run of KURIOS marks the 26th year
that Cirque du Soleil have performed at the renowned venue, having
graced the stage over 1,200 times and having sold almost 3.8 million
tickets since 1996.
The only historic venue worldwide to have installed permanent
technology to accommodate Cirque du Soleil's wonderous performances,
this year the Royal Albert Hall in collaboration with Cirque du Soleil
have installed additional steelwork beneath the stalls to strengthen
the venue in specific locations allowing this and all future Cirque du
Soleil shows to be bigger and better than ever before. Work began on
the steel installation in January 2022 and the nine month long project
is is expected to be completed this week. In addition, for the first
time the production of KURIOS at the hall will require the floor to be
elevated to accommodate the unusual set design, transforming the
ground level of the venue to the eyes of the regular visitor. KURIOS
at the Royal Albert Hall promises to be a circus event like no other.
"KURIOS was an absolute joy to create. Inspired by one of the most
creative and forward-thinking periods in time, the second half of the
19th Century, we created it with inventiveness in mind as a way to
celebrate life and bring people together more, with the intention that
the audience would reconnect with the optimism and the feeling that
everything IS possible. During the creation period, we were already
dreaming of the day when KURIOS would arrive in the iconic setting of
the Royal Albert Hall as they are meant for each other. We're so
excited to perform the show's European Premiere in London! The Royal
Albert Hall has always been an incredibly special home for Cirque du
Soleil in the UK and we're proud to be celebrating its 150th
anniversary with KURIOS, our Cabinet of Curiosities!" Michel Laprise,
Writer and Director of KURIOS
"We are delighted to be welcoming Cirque du Soleil back to its London
home, the Royal Albert Hall. This long-running partnership has
consistently captivated audiences over the last 26 years and we cannot
wait to see the steam-punk themed production they have in store for us
with KURIOS. Cirque du Soleil are renowned for creating immersive
experiences with their performances, and it is an honour to have them
here, marking their European debut of KURIOS in this historic venue."
Craig Hassall, CEO Royal Albert Hall
A "KURIOS" EXPERIENCE LIKE NO OTHER
Critically acclaimed the world over, KURIOSCabinet of curiosities
astonishingly revisits the signature Cirque du Soleil style of
performance by weaving jaw-dropping acrobatics with a refreshing touch
of poetry, artistry and humour. Featuring never seen before acts,
KURIOS is a mind-boggling escape from reality, unveiling a festive,
steampunk-inspired universe where the unexpected lies at every corner.
In an alternate yet familiar past, KURIOS steps inside the mechanical
lab of an inventor convinced that there exists a hidden, invisible
worlda place where the craziest ideas and the grandest dreams await.
Once the inventor succeeds to unlock the door to this world of
wonders, time comes to a complete stop and an uplifted cast of
otherworldly characters invades his curio cabinet, bringing his
makeshift creations to life one by one. As the visible becomes
invisible and perspectives transform, KURIOS bursts into a celebration
of the power of the imagination.
Written and directed by Michel Laprise, he joined Cirque du Soleil in
2000, having previously worked in theatre for nine years as an actor,
director and artistic director. Since then, he has co-wrote and
directed the Virtual Reality movie Kurios: Inside The Box' which won
three awards, including the Emmy Daytime award in the Outstanding
Interactive Media category, and also wrote and directed Cirque du
Soleil's 40th production, SEP7IMO DIA No Descansaré'. Additionally,
he has collaborated with pop star Madonna, directing her 2012 MDNA
tour and providing artistic direction to her Super Bowl XLVI halftime
show, as well as directing the opening show at the Eurovision Song
Contest held in Russia.
Premiered in Montreal in 2014, KURIOS has mesmerized over 4.5 million
spectators in 30 cities worldwide with over 2,000 performances brought
to life by its cast of 49 world-class artists.
{ SOURCE: Cirque du Soleil }
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The Kolev Sisters Explain How to Train Like CDS Acrobats
{Sep.22.2022}
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It's easy to see why the Kolev sisters have an intense passion for
performing for Cirque du Soleil. Born in Italy, Michelle (24) and
Nicole (22) are fourth-generation circus performers on their mothers
side while their dad was a competitive gymnast who later joined the
family business. It's now wonder their strength and flexibility are
something to be marveled.
Undoubtedly, the Kolev's have physical expression in their DNA, but
staying flexible and strong in order to wow audiences night after
night takes more than great genes. So, as they prepared to take to the
stage at the Treasure Island Hotel and Casino in Las Vegas for another
epic outing with Mystère, we wondered how the girls make those lifts
and stretches look so easy.
During the course of our chat, the sisters provided some advice for us
mere mortals as regards improving our own strength and flexibility.
The eldest of the Kolev sisters, Michelle made her debut in front of
an audience when she was 12 years old. "My parents, at the time, were
performing in the biggest touring show in Italy," she says. "That
year's show was based on a fairy tale and all the performers were
taking part in the grand opening. They gave me a ballerina costume and
taught me some choreography based on simple splits, jumps, and
rhythmic movements. It was very simple, but I remember how happy it
made me feel to be part of that magical world; to wear a shiny costume
and to be able to smile at the audience." Nicole was younger still,
just 8 years old when she caught the magic. "I remember that every
day, I couldn't wait to enter the stage. I really liked the emotion I
felt," she recalls.
THE KOLEV SISTERS HAVE STRONG ACROBATIC ROOTS
Learning from their parents, the Kolev sisters practiced their
handstands so that they could slowly build knowledge of their bodies
and how they balanced. By the time Michelle was 17 and Nicole was 14,
they were able to work on their "hand to hand" movements. This is a
type of acrobatics where one person acts as a base and they lift the
"flyer," hand to hand. The moves are often strung together in
sequences that use dynamic catches and throws, creating a spectacular
show of strength and balance.
In 2021, the sisters had their dreams turn to reality when they were
booked by Cirque du Soleil. "We didn't have to audition," says
Michelle. "The casting director had seen us perform in the past, at
two different circus festival competitions, and they were looking for
a hand-to hand-act to integrate into Cirque du Soleil's "Mystère." He
contacted us to see if we were interested in the position. And
obviously we were!"
Cirque du Soleil's "Mystère," is a mesmerizing show based around
themes such as the origins of life and the beauty of the Universe. The
Kolev sisters make it all look so easy on stage, but then those that
have mastered their craft always do. "Among the most exciting things
we do on the show is to perform our hand-to-hand exercise on a stage
in the shape of a planet that spins counter clock wise, with
spectacular costumes," beams Nicole.
ACHIEVE GREATER STRENGTH AND FLEXIBILITY
While it's unlikely that most of us will ever reach the levels of
strength and flexibility that the Kolev sisters have acquired, just
how could we go about making our own improvements? "The first step to
achieving greater flexibility is to do a lot of stretching and to
increase the intensity of stretching every day, because it is
important to soften every part and muscle of the body," says Nicole.
Consistency is key: "I am certainly not the most flexible person,
unlike my sister," admits Michelle. "But despite this, I have always
performed flexibility exercises suited to the level that my body
allowed me to reach. Try step-by-step splits stretching, back and
shoulder extension exercises, taking baby steps. The only way to
improve your flexibility would be to engage with daily practice."
STRENGTH AND FLEXIBILITY RELY ON EACH OTHER FOR BALANCE
During each performance, the girls must support each other's
bodyweight without letting the strain show on their faces. "Strength
is a key element in our discipline, and like flexibility, strength
doesn't take you far by itself," says Michelle. "Strength and
flexibility both need each other. Being strong is the best basis to be
able to reach the goals we set ourselves every day and helps us to
have confidence in our body and its infinite capabilities. To improve
and maintain a certain level of strength we train 4-5 times each week
with exercises that include weights, resistance bands, and abdominal
exercises. As for balance, I do the best training with my sister,
repeating the basic hand to hand exercises several times to improve
our balance skills combined with our strength and endurance."
Nicole explains that they undertake many traditional strength
exercises as part of their everyday training. "We really like pushups,
pullups, planks, and various cardio exercises," she says. "I
especially like to train with various handstand exercises such as
handstand pushups, to increase my resistance and balance in this
position." The girls have devoted most of their lives to perfecting
their art.
"I do classic shoulder strengthening exercises with weights, push-ups,
pull-ups, farmers carry, and overhead carrying dumbbells," adds
Michelle. "Then I also train the lower body using kettlebells to
strengthen the back. I do dumbbell lunges and squats with weights to
strengthen my leg muscles. I also like running and doing yoga. And,
when I get the chance, I like to go out in the open air to do some
physical exercise because this helps me to connect the mental sphere
with the physical."
KEEP YOUR DIET LIGHT AND HEALTHY
Of course, it would not be possible for the girls to continue to lift
each other, if their bodyweights increased too much. While they do not
count calories, they do make sure to eat healthily. Breakfast
generally consists of oats with fruit. "It helps me start the day with
the right energy," says Michelle. Lunch will consist of pasta or rice.
Michelle also likes to top up her protein intake with shakes and
almond milk. Nicole has a similar attitude towards food although she
is a vegetarian. Their Italian heritage demands that they enjoy their
food, but they tend to eat their biggest meal of the day at lunch
time, in order to give them the fuel to perform each night. After each
show, evening meals are a much lighter affair.
The sisters recently celebrated Mystère's 13,000th performance. It's a
show that boasts more than 1,000 costume pieces. Then there's a giant
snail called "Alice," that weighs 2,000 pounds and is pushed around by
four carpenters. Michelle and Nicole couldn't be more excited about
how they are continuing the family legacy. "What I like most about the
Mystère show is sharing the stage and taking inspiration from our cast
members, who are among the best performers I have ever met," says
Michelle. It's a sentiment that Nicole shares: "Mystère has always
been one of my all-time favorite shows and being a part of it is a
dream come true."
{ SOURCE: Muscle and Fitness }
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CDS Welcomes Nickole Tara to the Newly Created
Position of Chief Growth Officer
{Sep.27.2022}
----------------------------------------------------------
Global business development veteran joins Cirque du Soleil to help
drive business growth and new opportunities
Nickole brings more than 20 years of extensive experience leading both
business development, as well as business and operating units. A
seasoned sports and entertainment industry executive with the heart
and passion of a thoughtful entrepreneur, she has led multimillion
global partnerships with several key Fortune 500 companies throughout
her career and built a vast and strong network of connections with the
entertainment industry. Prior to joining Cirque, she worked for AEG
Worldwide where she headed the Global Portfolio division and oversaw
the business development for AEG's collection of global properties. As
such, she engineered first-in-class partnerships for AEG's top music
festivals (namely Coachella and Stagecoach), naming rights of world
class facilities (such as Crypto.com Arena and LA Live), and for
storied sports franchises (with LA Kings and LA Galaxy). Previously,
she held various roles at Topgolf where she built the national
partnerships team and at IMG where she oversaw all business
development for IMG Golf.
"I'm thrilled to be joining the dynamic and talented team at Cirque du
Soleil during such an exciting time of growth and transformation,"
said Nickole Tara. "Working closely with the leadership team, I look
forward to strengthening our go-to-market strategy and bringing value
creation opportunities to ensure consistent growth across the
company."
This is the first executive appointment for CGO at Cirque du Soleil,
illustrating the company's commitment to, and investment in, business
development and partnership strategy to propel the long-term growth of
the organization.
"I am very happy to count on Nickole's solid experience in the sports
and entertainment industry and extensive network as we look to create
unique and meaningful brand engagement opportunities to achieve our
growth ambitions," added Stéphane Lefebvre, President and Chief
Executive Office of Cirque du Soleil Entertainment Group. "Nickole's
significant business development expertise and transformational
leadership skills are a wonderful addition to our leadership team and
will be key to help execute our business strategy and enhance our
position as a leader and partner of choice in the industry."
{ SOURCE: Cirque du Soleil }
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In conversation with Roger Hewett
{Sep.30.2022}
----------------------------------------------------------
Jessica Hamilton interviews band leader Roger Hewett ahead of Cirque
du Soleil: Corteo's residency at Manchester's AO Arena.
The circus has always fascinated me. If I had the chance (or athletic
ability), I'd join in an instant. The visual art forms and acrobatics
are spectacular to watch. It's a fantastic and impressive form of
entertainment.
Succeeding its long and controversial history, the most famous modern-
day circus is Cirque du Soleil. The Canadian company is currently
touring with the show Corteo. Ahead of its UK journey, I lived my
circus dreams vicariously through Roger Hewett. The band leader and
arranger shared all about his involvement in the show.
Hewett joined Corteo in 2005, he said: "I was one of the original
members; I've pretty much been there since the beginning."
Whilst many would automatically think of acrobats, animals or clowns
in the circus, the band is also a necessary component. Hewett
explains: "It involves putting the band together and arranging the
music, and a lot of it has been the same since, which is great."
Not many can say they've run away with the circus, and Hewett
explained the fatigue the comes with working in such a fast-paced
environment: "It's quite a tiring experience, and this is phase two;
it was in the big-top originally which is kind of a different
experience because you get to live places a bit longer." He continued,
"Now it's a bit more fast moving, travelling around in arenas; we
change cities, sometimes even countries, weekly."
But despite the quick nature of the show, Hewett is passionate about
what he does. "It's very dizzying, but at the same time, it's still a
fascinating experience." Hewett elaborates, "It's great to be able to
leave your mark on something like that" which, he explains, is why
he has stayed in the show for so long: "This is the longest contract
I've ever done; I believe it's been over 4000 shows I've done, but
it's always different." He said, "It's never been the same show twice,
which certainly keeps it interesting."
Corteo has an excellent score behind it, which was created by a
variety of composers: "We actually have five different composers."
Whilst Hewett had some involvement in composing, he explains, "I've
left my mark arrangement wise, where the music has been adapted or
extended [
] It's nice for me to get my stamp on that as an
orchestrator; I love orchestrating."
A live band adds atmosphere to any show, but Corteo goes the extra
mile. Hewett explained the set up of the show: "We are divided into
four different pits and communicate through headsets." He elaborates:
"Many times there's a certain pit I don't get to see at all; we come
up on stage for a bow at the end, and it's like, Oh
nice seeing you
all!'"
Corteo is an impressive show, but it's just one production in Hewett's
long list of work. He described his love for music and how he ended up
pursuing it as a career: "I started playing piano when I was six but I
wasn't really planning on doing anything with it. My sisters used to
dance in Norwich, and my first job was accompanying dance classes." He
further explained how it was more of an accidental opportunity: "It
came out of laziness. The dance teacher gave me a stack of books to
read from, and I instead went off the steps of the music and just made
my way by improvising."
Hewett explained the movements of Corteo made it easier for the music
to flow. He struggled to choose his favourite piece to play but said,
"Right towards the end, you've got this beautiful duo straps act which
I just love; the music is gorgeous to play and it always gives me a
lump in my throat."
Though Hewett is strictly on the musical side of this show, when asked
if he would like to play a part in Corteo, he said: "It would probably
be less of the acrobatic stuff and would be more of a character where
I can express a bit more comedy in myself."
After speaking to Hewett, I envy anyone who is able to see this
fantastic show and am gutted I moved to London before the show comes
to Manchester! Be prepared for an elaborate night filled with pure
wonder. Hewett's advice for anyone watching is to "come with an open
mind, it's a journey through the emotions."
{ SOURCE: The Mancunion }
----------------------------------------------------------
Franco Dragone, 1952-2022
{Sep.30.2022}
----------------------------------------------------------
Franco Dragone created the first Cirque du Soleil shows to play Las
Vegas. He was the architect of Celine Dion's ground-breaking
production show, which would set the stage for superstar resident
headliners on the Strip.
And he wasn't finished.
"We always have several projects on the go," Dragone CEO Francois
Girard said. "This was a devastating surprise to all of us We will
look to the future with the strength of the past, on the path paved by
an extraordinary man, the legend we have lost."
Dragone died of a heart attack while conducting business in Cairo,
Egypt, on Friday. He was 69. His trip was also a for some needed
vacation time. Dragone was a heavy smoker, but was known to be in
relatively good health after recovering from leukemia last year.
News of Dragone's death was posted on his official social media pages
at about 11:45 a.m. Friday. The message was simply: "Franco Dragone,
1952-2022."
"A New Day
" at the Colosseum at Caesars Palace, in which Dragone
worked with Dion and the late Rene Angelil, remains the top-grossing
residency production ever in Las Vegas. The show ran from 2003-2007,
earning $385.1 million. The show created the template for similarly
scaled, superstar productions in Las Vegas.
"It is with great sadness that we learned of the passing of my dear
friend and collaborator Franco Dragone," Dion posted on social media
Saturday morning, conveying her feelings in English and French. "My
most sincere condolences to his family, his loved ones and to all
those who had the privilege to cross his path."
Over the past couple of years, Dragone had returned to work in Las
Vegas to collaborate with Criss Angel in "Amystika" at Planet
Hollywood Resort. The production was paired with Angel's own "Criss
Angel Mindfreak" performed earlier in the evening.
This year, Dragone's company opened an office in the Arts District,
where his creative team have been developing multiple projects, for
Las Vegas and internationally.
Dragone brought "Mystère" to Treasure Island in 1993, followed by "O"
at Bellagio five years later. Dragone worked alongside Cirque co-
founders Guy Laliberte and Gilles Ste. Croix to create the city's
predominant production company.
Cirque become the first company to present, over multiple shows, a
blend of dance, circus acrobatics and clown-delivered comedy in a
theater setting.
Dragone had originally met the Cirque team in the mid-'80s in
Montreal, where he said he was chasing "a beautiful girl." He had
gained theater education and training from Belgium, where his family
moved from Italy when he was a child. He directed workshops for
teachers and students at The National Circus School. Laliberte saw a
show, and invited Dragone to join his burgeoning performance troupe as
a creator.
The partnership continues to pay off. "Mystere" and "O" remain two of
Cirque's best-selling productions. Dragone saw "O" upon its return
from the pandemic shutdown. More than 20 years after bringing the show
to fruition, the creator remained excited.
"What I will tell you is banal and all cliches, but what they do is
so, so, so, impressive," Dragone said during a walk from the O Theatre
seating area to the lobby. "They respect every little detail. What
they do is so very difficult, and maybe when people are watching, they
don't realize this. But here, we see the precision, every movement,
every position of the body can send a different message."
Cirque du Soleil said in a statement:
"We are deeply saddened to learn of the passing of Franco Dragone. Our
hearts go out to his friends, family, and the entire Dragone
organization. Franco was an industry icon. Responsible for some of our
most successful productions, including Nouvelle Expérience, Alegría,
Mystère, O,' and La Nouba,' he has contributed invaluably to the
success of Cirque du Soleil.
"His passing is a loss not only for his family, but for the entire
industry. Out of respect, tonight's performances of Mystère' and "O"
in Las Vegas will be dedicated to his life's work."
MGM Resorts International was in partnership with Cirque in "Mystere"
for several years, when it owned T.I. (as MGM Mirage) prior to Phil
Ruffin's purchase of the property. MGM Resorts is still host to "O" at
Bellagio. The company's statement:
"Franco Dragone's legacy in the world of entertainment in Las Vegas
and around the world is unparalleled. While we are deeply saddened to
hear of his passing, we are honored to be home to one of his most
enduring shows O' by Cirque du Soleil at Bellagio. His mark on the
Las Vegas entertainment scene will live on and we are grateful for the
opportunity to have worked with such a creative genius. Our thoughts
are with Franco's friends, family and fans around the globe."
'LE REVE' AND BEYOND
Following his time with Cirque, Dragone partnered with Dion in "A New
Day
" He then created the long-running and critically acclaimed "Le
Reve" at Wynn Las Vegas, which opened with the hotel in 2005.
Dragone continued to work on the production after early audiences
complained it was too dark. Similar to "O" for its lavish aquatic
elements, "Le Reve" would run 15 years and log more than 6,000
performances before being cut down by COVID (a new show in its place,
"Awakening," is targeting an October opening).
Elaine Wynn, who saw both "Le Reve" and "O" multiple times, said in
text Saturday, "My heart is broken. Franco was the real Le Reve in all
that he did. He was full of optimism about his many projects. A gentle
man and an artistic genius." Wynn also said "O' was her favorite show
she has seen, including superstar headliners and Broadway productions.
Known for his fanciful aquatic designs, Dragone went on to create "The
House of Dancing Water" at Macao's City of Dreams resort in 2010. The
production was the largest water show in the world in its 2,000-
capacity theater. A Dragone companion show, the adult-burlesque
production, "Taboo," opened in 2012.
He created "Story of a Fort, Legacy of a Nation," which ran for a year
in Abu Dhabi. His "Han Show" opened in Wuhan, China i 2014. A year
later h brought "Paris Merveilles" to Paris's Le Lido cabaret theater.
His "Me," a partnership with Russian singer Philipp Kirkorov,
premiered at the Kremlin Palace in March 2016.
In 2017, just prior to his return to Las Vegas, Dragone opened "La
Perle" in Al Habtoor City, Dubai, in a theater standing 10 stories
high. It was another show incorporating water and acrobatics, along
with fire and motorcyclists spinning in a metal sphere. The show took
him five years to finish.
Dragone's finances had been a source of controversy over the years. He
had been under investigation for international tax fraud and money
laundering charges for a period covering 2005-2012. In June 2020, the
Belgian business publication Le Viv L'Express reported the country's
prosecutor's office had brought charges against six people, including
Dragone, in a case of tax fraud and money laundering.
Dragone aggressively rebutted the reports, saying, "I deny in all
respects the tax facts alleged against me by the prosecution. It is
important to emphasize that the indictment is directed against me and
a heritage company, to the exclusion of all the other companies of the
Dragone group." He consistently and firmly denied any wrongdoing in
the case.
HIS FINAL ACT
At the time of Dragone's passing, more than 100 million people had
seen his creations around the world. He was eager to return to
prominence in Las Vegas, where his concepts of dancing water and
precision acrobatics continue to thrill audiences and drive business.
Angel would be his final star collaborator. The magician headliner
posted Friday, "Today I lost my friend, brother, and partner Franco
Dragone. He is and always will be a huge inspiration to me since I
first saw his work in the 80's. Hands down he was and always will be
the most prolific director who changed the face of entertainment as we
know it.
"I'm so grateful I had the opportunity to spend so much time working
on what would be his last creation Amystika' which ironically
celebrates its 100th show tonight. I'll never forget the long days and
nights together and the amazing friendship and how much love and
respect we had for each other."
Asked before the opening of "Amystika" if Cirque were a friend or a
competitor, Dragone smiled and said, "Of course, the competition is
there, but this is not my motivation. Cirque du Soleil? I love them.
We both started from scratch together."
{ SOURCE: The Las Vegas Review-Journal }
----------------------------------------------------------
Cirque Tour 2023 is "ECHO"
{Oct.11.2022}
----------------------------------------------------------
Cirque du Soleil is proud to announce its new Big Top show: Cirque du
Soleil ECHO, directed by Mukhtar Omar Sharif Mukhtar, based on the
original concept of Es Devlin. Presented by Sun Life Global
Investments, the show will premiere under the Big Top in the Old Port
of Montreal starting April 20th, 2023. Tickets are now on sale
exclusively to Cirque Club members and to the public on October 17,
2022.
Cirque du Soleil's 20th Big Top show will bring bold new visuals and a
different aesthetic approach. High-level acrobatics will be woven
within a striking and disruptive visual universe.
"We are thrilled to announce Cirque du Soleil ECHO, a new Big Top show
that will premiere in the Old Port of Montreal in April 2023. After
this summer's amazing success with KOOZA and now seeing our fans'
anticipation for Corteo at the Bell Center during the Holidays, we are
looking forward to launching this new creation and premiering it in
our hometown as per our long-time tradition.", commented Stéphane
Lefebvre, President and CEO of Cirque du Soleil Group.
"Cirque du Soleil ECHO is a show whose production had started before
the pandemic. Three years have passed, and we are in a different world
now than the one we were in 2020. This brought us to rethink the
intention of the show, to bring innovation to it and to even revert to
Es Devlin's original proposed title ECHO because it was fitting better
with the new story line. We also invited new people to join the show
creation team, including the director Mukhtar Omar Sharif Mukhtar.",
says Chantal Tremblay, creation director.
Director, Mukhtar Omar Sharif Mukhtar adds: "Creation should always be
at the heart of Cirque du Soleil, and one of our biggest excitement
anchors itself in our ability to deliver a new show to our audience.
Cirque du Soleil ECHO will push the values of connection, inspiration
and the power of intention. We have the ability to create and
manifest the world we want to live in, if we all put our collective
minds together and encourage a movement that is pushed by the youth of
today. What really excites me most about this beautiful project is the
ability to push the boundaries of what can be achieved in a Big Top
setting and deliver a joyful experience, full of surprises, to
millions of people around the world."
ABOUT ECHO
The World is Yours to Create! Cirque du Soleil brings new and
surprising twists to its big top magic with a story about evolution
and the symbiotic unions that our future depends on. Poetry,
stagecraft, daring acrobatics and technologies come together in a
spectacle exploring the precious balance between humans, animals and
the world we share. As they navigate the phases of evolution, our main
female protagonist Future and our characters learn that their actions
have the power to shape the world. Inspired to collaborate, they come
together to rebuild our planet piece by piece, creating the world we
all want to live in. Fueled by the power of invention, the hope of the
youth and the importance of empathy, Cirque du Soleil ECHO invites the
audience to participate in a universe of color, wonder and infinite
possibilities.
CREATION TEAM
Director -- Mukhtar Omar Sharif Mukhtar
Original Concept -- Es Devlin
Creation Director -- Chantal Tremblay
Production Director -- Serge Côté
Set and Props Designer -- Es Devlin
Costume Designer -- Nicolas Vaudelet
Composers -- Jade Pybus and Andy Theakstone
Music Consultant and Music Arrangements -- Thierry Angers
Concepteur des éclairages -- Martin Labrecque
Concepteur des projections -- Jérôme Delapierre
Concepteur des performances acrobatiques -- Daniel Cola
Concepteur des appareils acrobatiques -- Jaque Paquin
Chorégraphe acrobatique -- John Cartin
Chorégraphe mouvements -- Andrew Skeels
Concepteur sonore -- Jacques Boucher
Concepteur des maquillages -- Julio Cesar Da Silveira
TICKET INFORMATION
Cirque du Soleil ECHO will be presented under the Big Top in the Old
Port of Montreal starting April 20, 2023. Cirque Club members can
purchase tickets for these performances online starting today at
www.cirquedusoleil.com/ECHO
PARTNERS
Cirque du Soleil ECHO is presented by Sun Life Global Investments,
presenting partner of the 2023 Canadian Tour. Cirque duSoleil would
also like to thank Air Canada and Mastercard official partners.
{ SOURCE: Cirque du Soleil }
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CDS launching its first original show since the pandemic
{Oct.12.2022}
----------------------------------------------------------
The Cirque du Soleil unveiled its first original show since before the
pandemic at a press conference Tuesday morning at the Palais des
congrès. But Echo isn't completely new. It's a radical revamp of a
Cirque show that was supposed to have its world première under the Big
Top in April 2020.
That show, titled Under the Same Sky, never opened, shut down like
every other Cirque du Soleil production around the globe by the COVID-
19 pandemic. There were issues with the show even before the pandemic
scuttled it. A preview for Cirque executives early in 2020 didn't go
well and the original writer/director/production designer Es Devlin
had already been shifted aside, with her role described only as
"conceptual support."
The Cirque brought in new director Mukhtar Omar Sharif Mukhtar in the
first months of 2020 and he has been reinventing the show ever since.
The original creation remains Devlin's work and she is also
responsible for the set design.
"Unfortunately we went through this very tough period of time, but it
allowed us to step back and rethink the creative intent of the show,"
Cirque du Soleil CEO Stéphane Lefebvre said. "We brought some new
blood into the creative team and I think we've landed something very
powerful as a new show."
Echo will première under the Big Top at the Old Port beginning April
20, with tickets going on sale Oct. 17. This will be the Cirque's 20th
Big Top show.
Chantal Tremblay, creation director for Echo, said this is a very
different show from Under the Same Sky.
"Visually it's the same," Tremblay said. "So we have the same set. But
with Mukhtar, we've changed the rhythm."
Tremblay noted that they had brought Mukhtar in before the pandemic to
collaborate with Devlin, a well-known British multimedia artist and
stage designer, and Tremblay underlined that it is not unusual for the
Cirque creative team to rework shows in the weeks leading up to the
première.
"Es has great ideas, but to put it together on stage we needed support
and that's what we did," Tremblay said.
Mukhtar, who lives in Las Vegas, appeared at the press conference via
video conference. He said one of the big changes to the show in the
past two years was to focus on today's youth, a demographic
represented by the lead character, a woman named Future, played by
Montreal-based French circus performer Louana Seclet.
"A lot has happened in the last three or four years," Mukhtar said.
"The way we think right now is different to what it was pre-pandemic.
We look at life differently. We exchange with each other differently.
So this was another big inspiration for me
the last inspiration is
the youth of today, the creativity that youth have, their drive.
Lastly, the awareness that youth have of what's going on in the
world."
One of the central elements in the show is a giant two-storey-high
cube, which will have acrobats performing in it and on top of it as it
moves around the stage.
Lefebvre said the Cirque has managed to rebound after a disastrous
period in which all of its shows were shuttered. The resulting loss of
almost all its revenue forced the company to seek bankruptcy
protection. Now the Montreal-based circus has new owners a creditors
group led by Toronto-based investment firm Catalyst Capital Group
and has 15 shows running around the world.
In Las Vegas, the Cirque has seven shows, the same number it had
before the pandemic started, and it has eight touring productions.
That is still a lot fewer than it had pre-COVID, when 44 shows were
being performed internationally.
The first show in Montreal since the pandemic was a revival of their
2007 hit Kooza and it was the circus's biggest success in Montreal,
with 270,000 tickets sold following its première in the Big Top in the
Old Port this past May.
"We are so pleased with the way things have panned out," Lefebvre
said. "All of our employees put so much effort into relaunching the
shows. It was a huge challenge, frankly, so people have worked so hard
to make it work. A couple of big surprises we've had is that
performers wanted to come back to work with us and they were actually
fit, which helped the whole relaunch plan. And the response from our
fan base was phenomenal. We broke a record for ticket sales in
Montreal and we had the same thing in many other markets around the
world."
{ SOURCE: Brendan Kelly, Montreal Gazette }
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CDS to Present AMORA in Malta
{Oct.14.2022}
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AMORA by Cirque du Soleil, a brand-new production created exclusively
for Malta, will be presented in at the Mediterranean Conference Centre
in Valletta, from November 24 to December 18.
"Cirque du Soleil has become a yearly awaited event in Malta's
cultural calendar. From signature style acrobatics to visual artistry,
both foreign and domestic tourists will have the opportunity to see
high-level artists produce a memorable spectacle for another year,"
remarks Minister for Tourism Clayton Bartolo.
For the third year, Cirque du Soleil is honoured and thrilled to
present a brand-new creation for locals and tourists alike. "It is a
great privilege for us to imagine a story and craft a show that will
resonate with a wide audience, wherever they come from and whatever
background they have. AMORA is about the power of love. Packed with
colourful characters and high-calibre acrobatics, the show is a love
letter to the beauty of Malta and a celebration of circus arts. We've
carefully curated the 12 acrobatic acts composing the show, all of
them never seen before in Malta." explains show director Alexia
Bürger.
After a creative and acrobatic workshop at the Cirque du Soleil
International Headquarters set to happen end of October, the cast and
crew along with the creative and production teams will soon be
travelling to Malta to put the finishing touches to AMORA.
AMORA by Cirque du Soleil is a celebration of the magnetic force of
love, it speaks to the central love story between Bruno and Loulou. At
the same time, it is a love letter to the beauty and richness of
Malta, and to the circus arts.
The story centres around a clumsy but lovable character, Bruno. Gazing
up at the skies of La Valette, he sets eyes on a mysterious woman,
Loulou. Captivated, he tries to climb up to her balcony to reach her,
but she flies away and vanishes out of sight.
Bruno's obsession to find Loulou grows as the story unfolds. He sets
out on a quest to find her, meeting colourful new friends with
extraordinary powers along the way. These characters will teach Bruno
how to defy gravity and reach the sky to unite with the woman he
loves.
Despite Bruno's clumsiness and many challenges along the way, love
ultimately conquers all, and the entire city comes together in
celebration as he finds his way to Loulou's heart.
Tickets for the 75-minute performances of AMORA by Cirque du Soleil,
presented at the Mediterranean Conference Centre (Valletta) from
November 24 to December 18, are available online at
www.cirquedusoleil.com/amora / www.visitmalta.com.
{ SOURCE: The Times of Malta }
----------------------------------------------------------
Cirque du Soleil spotlights its digital strategy
{Oct.25.2022}
----------------------------------------------------------
Today's digital experience platforms are geared up to serve every kind
of business, traditional or disruptive, from D2C and e-commerce to
banks, engineering and construction and publishing.
How about the largest contemporary circus company in the world?
With a huge presence in Las Vegas and shows around the world, today's
Cirque du Soleil is worlds away from the small troupe of performers
busking in a Quebec town almost 40 years ago.
Pierre-Luc Camirand is the circus's director of digital customer
experience. "I'm in charge of all that relates to digital, so
basically I oversee everything in regard to CRM, web development, our
martech project management office, as well as everything in regard to
customer data." While there are B2B elements in Le Groupe Cirque du
Soleil's business, Camirand is responsible for the individual user
side of the CRM that relates to customer support.
MANAGING AN ENTERTAINMENT PORTFOLIO
The need for this technology came out of an onslaught of too much
complexity. "In 2017 and 2018," said Camirand, "we went through an
acquisition phase. We bought different entertainment companies like
Blue Man Group; so we had to manage all these platforms. Sitecore
allows us to manage a dozen platforms with a pretty small team of
engineers."
Unlike the publisher Wolters Kluwer, another Sitecore user, Cirque du
Soleil wanted to preserve the individual branding of their new
companies, rather than migrate them all to a central, common
destination. "Each brand has its own website, but when you look in the
back-end behind it, it's the same for everyone."
Initially, the plan was for each website to be operated separately.
"We quickly realized it was way too much work, so the strategy quickly
became to use the same baseline, re-use the same modules from one site
to another, but keep a certain flexibility with the front-end and
design."
Cirque du Soleil used Sitecore's technology to make this happen. Their
relationship with the tech company precedes the acquisitions. "I think
we started back in 2009 with Version 5," said Camirand, "so it's been
a while."
THE KEY SITECORE MODULES
In keeping with Sitecore's offering of composability, Cirque is using
some Sitecore products and not others. "Definitely the multi-site
infrastructure," said Camirand. "We are now able to do release and
deployment for all our websites at the same time. This is a huge
advantage for us because it allows our development team to work faster
and be more efficient."
In 2018, building a new website could take six months; a new page or
section, two or three months. "Now we talk about weeks," said
Camirand. "Also what's really important is the multi-language
capability of Sitecore, because have shows everywhere on the planet
South Korea, South America, Europe so we need to be able to manage,
I think, ten different languages."
Marketing teams use drag-and-drop functions within the CMS to create
content on their own. More complicated challenges end up with a
webmaster expert.
They are not yet using the Sitecore DAM. Their vast trove of assets
reside in Widen which does have the potential to connect with Sitecore
(something Camirand hopes to have in place next year).
The system lets Cirque visitors to third-party ticketing platforms
like Ticketmaster content from its own sites related to the shows
people are looking at.
"We want to go further than that," Camirand said, "using other sources
of data; for example, if you're looking at family packages, when you
come back to cirquedusoleil.com we want to show you family content.
Pushing the right content to the right person at the right moment is
really key, so personalization is something we need to do."
The international nature of the business means privacy regulation is a
minefield. To tackle this, the company plans to create a CDP, not only
to handle customer data from multiple sources, but consent records
too. They are currently looking at several possible solutions and do
not expect to use Sitecore's CDP.
THE KEY CHANNELS
Perhaps surprisingly, it chooses not to have a mobile app. "It's not
easy to attract people to download your app and re-use it," Camirand
said. "Most apps are not used; people use maybe 10% of the apps on
their phone."
Instead, about a year ago, they launched a platform they call the
"interactive program."
"It's a mobile platform; a website optimized for mobile. The goal was
to improve the pre-show and post-show experience of our guests."
The program offers "fun facts" about the show, character descriptions
and storylines. Unlike an app, the mobile website can't do push
notifications. However, it does allow Cirque to re-target customers
elsewhere such as the main website.
That website has a blog to bridge the gap between customers and
individual performers. Performers are encouraged to create content for
the blog that can then be amplified on their own social media feeds.
"They're quite happy to do it because they want the exposure."
DOWN THE ROAD?
On Camirand's informal roadmap, he plans to look at Sitecore
connectors going beyond Widen. "I know there's a connector for
Salesforce and Sitecore." (Cirque is using Salesforce CRM.) "There's
probably a good way to connect both platforms together and better run
our campaigns."
{ SOURCE: MarTech }
----------------------------------------------------------
Meet Dawn Porter "Cirque du Soleil: Without a Net"
{Nov.15.2022}
----------------------------------------------------------
Dawn Porter is an award-winning writer and producer. Her work has been
featured on HBO, Netflix, CNN, PBS, MSNBC, MTV Films, and other
platforms. Porter's 2016 film "Trapped," which explores laws
regulating abortion clinics in the South, won the Special Jury Social-
Impact Prize at the Sundance Film Festival and a Peabody Award. Her
other credits include "37 Words," "The Way I See It," "John Lewis:
Good Trouble," and "Gideon's Army." She is the recipient of the 2022
Critics Choice Documentary Awards Impact Award, and is an honoree at
the 2022 Gracies Leadership Awards.
"Cirque du Soleil: Without a Net" is screening at the 2022 DOC NYC
film festival, which is running from November 9-27.
Q. Describe the film for us in your own words.
"Cirque du Soleil: Without a Net" is an extraordinary journey back
from the brink of collapse. Cirque almost did not survive the
pandemic. Their staff experienced significant hardship and isolation.
A year later, the reopening of live entertainment at large was
uncertain but it was also too important to let go. We embedded
backstage at "O," Cirque's most popular show, and filmed for two
months as the cast and crew worked tirelessly to put their show back
together. What we uncovered was a story fraught with uncertainty but
also full of hope and resilience.
Q. What drew you to this story?
I am a news junkie, and a year into the pandemic, I was completely
exhausted by the state of the world. I wanted to focus on something
else. I've always been fascinated by the beauty and artistry of Cirque
and jumped at the opportunity to explore their world.
Q. What do you want people to think about after they watch the film?
Something that I thought about a lot while making this film was the
idea of connection. All of us lost a sense of connection at some point
during the pandemic. Many are still searching for it. What is it about
gathering in person that can't be replicated? A feeling that is
indescribable and yet, essential. The experience of sitting in a
theater and watching a Cirque du Soleil show has everything to do with
that connection between the artists on stage, the crew in the
background, and the audience in their seats. I hope this film can help
remind us all how magical it is when we come together.
Q. What was the biggest challenge in making the film?
Filming every day for two months was both a blessing and a curse.
Think about how visual a Cirque show is people literally do flips
while flying through the air. "O" is a water-based show, so there are
complicated and intricate details unfolding both above and below the
surface. We filmed all of it, from multiple angles, rehearsal to
rehearsal, day after day. We were fortunate to capture hours and hours
of stunning footage. But when it came to post-production, it was a
challenge to sift through the sheer volume of footage to find the best
moments.
Q. How did you get your film funded? Share some insights into how you
got the film made.
It is privately financed.
Q. What inspired you to become a filmmaker?
I felt I had something to say.
Q. What's the best and worst advice you've received?
Best advice: don't be deterred from your goals as long as you know who
you are. If you know who you are and what you want, your inner voice
is a good guide. Worst advice: Buy crypto! I didn't I don't buy
things I don't understand.
Q. What advice do you have for other women directors?
My advice for female directors is the same as for any director: figure
out what you want to say and keep asking yourself if you are saying
it.
Q. Name your favorite woman-directed film and why.
"The Oath" by Laura Poitras. It's so honest.
Q. What, if any, responsibilities do you think storytellers have to
confront the tumult in the world, from the pandemic to the loss of
abortion rights and systemic violence?
I think it's a given that documentary storytellers are driven by a
desire to right wrongs and confront injustice. But at this point, the
field is crowded and audiences are dealing with information overload.
We have a responsibility to make sure we create stories that go beyond
just showing the terrible thing that exists in the world: what else
can we say with our story?
Q. The film industry has a long history of underrepresenting people of
color on screen and behind the scenes and reinforcing and creating
negative stereotypes. What actions do you think need to be taken to
make Hollywood and/or the doc world more inclusive?
There are so many people involved in making a film executives,
financiers, directors, agents, writers, producers, DPs, etc. The
decisions that each of them make compound and can have a huge impact
on which stories are told, and by whom. The more people of color we
have in decision-making positions throughout the industry, the better
equipped we are to tell authentic stories.
{ SOURCE: Women and Hollywood }
----------------------------------------------------------
How to rebuild your team post-pandemic,
according to Cirque du Soleil's CHRO
{Nov.16.2022}
----------------------------------------------------------
If there's one organization that values all things wired and
wonderful, with a little bit of folly, it's Cirque du Soleil. The
world-famous circus is known for its dazzling performances and death-
defying tricks but the past couple of years have been a far cry from
the glitz and success they're used to. Pre-pandemic, Cirque du Soleil
Entertainment Group had a global staff base of more than 5,000
employees. However, when COVID hit in 2020, the company was forced to
cut nearly all of its employees.
"In March 2020, we had to close down our 44 active shows, following
government guidance, and to ensure the health, safety, and wellbeing
of our employees, artists, and guests," says Marie-Noëlle Gagnon,
chief talent officer at Cirque du Soleil. "COVID-19 has had a dramatic
but temporary impact, effectively requiring a total shutdown of our
business and resulting in nearly $100M in lost revenue per month. We
weren't sure how long it would be until we could relaunch our shows
I thought maybe a couple of weeks little did we know it would take
months, yet years for some shows. In shutting everything down, we had
to let go of 95% of our employees going from 5,000 employees to
around 150, to stabilize the company for the future. For the HR
department, we went from 125 employees to nearly 20."
Happily, the organization was bought out by a group of creditors,
meaning they could afford to rebuild in preparation for lockdowns
lifting. Part of this suggested that Gagnon could rehire some former
employees and supercharge her HR team.
"As of today, we're sitting at around 3,500 employees, out of which
65% are people that we had to let go and that have now been rehired,"
she says. "This is phenomenal considering where we were months ago."
Rebuilding the HR team presented quite a challenge. Gagnon had to
effectively piece the whole organization back together while she was
running on skeleton staff and trying to repopulate her own department.
"We relaunched the operations at the same time we rebuilt the HR
team," she tells HRD. "We have 60 employees now in our HR team. Every
single person that joined our department post-pandemic has been
handpicked and a lot of that centered around trust, growth mindset,
and leading-edge competency. At Cirque, we aim to have the best talent
on stage and off-stage."
COVID impacted the live entertainment industry more than most other
sectors, forcing many organizations to shut up shop for good. Because
of this uncertainty, Gagnon had to field many questions from
candidates about future closures and possible lockdowns ahead.
"It all came down to authenticity, transparency, and trust," she says.
"When I was recruiting my new team, there were a lot of questions
like, "Can you guarantee there won't be another crisis? Will my job be
safe in the months to come?" Obviously, I couldn't make any promises
but what I did say to the candidates is that I'm fully committed to
working with you to collectively co-create the second golden age of
Cirque du Soleil, contribute to your personal and professional growth,
make this journey meaningful for you and our people and have much fun
whilst we are doing it.
"We hired people based on their mindsets, unique genius,
unconventional backgrounds, and can-do attitude. Let's never forget
where Cirque started: a bunch of street performers, fire breathers,
and stilt walkers with a dream to make a living out of traveling the
world. For me, it was important to be surrounded by people who can
dream big, challenge the status quo, and are experts in their own
field. After all, we're rebuilding the foundation of one of the
world's most beloved brands in performance entertainment. We need a
team that's excited about it, isn't afraid of challenges, and is
committed to seeing all of us succeed for the benefits of our millions
of fans worldwide."
Aside from this, Gagnon was looking for curiosity, agility, and
empathy as key traits, especially in post-pandemic times.
"I invited all my leaders to be what I call a "player-coach", which
means that while they set the direction for their people, empower them
and contribute to their growth, they also get their hands dirty, get
on the ground with their teams and make things happen."
At the very core of Cirque du Soleil, their mission is to invoke the
imagination, provoke the senses and evoke the emotions of people
around the world. This isn't just a promise to the customers and fans;
they're values that apply to their employees too. Intrinsically linked
to these values are Gagnon's own personal attachments to talent
support and development. "We want to be a Talent magnet, on stage and
off-stage, hence why we are taking pride in our approach to inclusion
and diversity. The world is our playground. We have employees from
everywhere across the globe
we are collectively unique."
As for the future at Cirque du Soleil Entertainment Group, Gagnon
believes its second golden age is well underway and promising. "I'm so
excited to see what the future holds for our people at Cirque and our
millions of fans," she tells HRD. "We're rebuilding, we're growing,
and we're going bigger and better than before. My team and I will
focus on talent growth, ESG, and fostering an engaging, unique, and
caring employee experience. It's a great time to be part of Cirque du
Soleil Entertainment Group. I would not want to be anywhere else; this
is the most exciting time in Cirque's history."
{ SOURCE: Human Resources Director Canada }
----------------------------------------------------------
Hommage 2023: "Guy!"
{Nov.16.2022}
----------------------------------------------------------
Translated from the original French via Google Translate
The Corporation des Évènements de Trois-Rivières and Cirque du Soleil
are delighted and excited to unveil today the theme of the seventh
show in the Cirque du Soleil Tribute Series which will be presented
during the next summer season. The new Cirque du Soleil production
will celebrate the ice cream prodigy, exceptional player and mythical
number 10, the legendary Guy Lafleur .
"We are very proud to be associated again with the Cogeco Amphitheater
for a seventh year. Over the years, the Trois-Rivières public and its
visitors have become loyal to our proposal to combine circus arts and
Quebec's cultural heritage. Once again, we will have the chance to
deepen and explore the creative platform of the Tribute Series, but
from a new angle. Gathering, inspiring and persevering, Guy Lafleur,
who has become the idol of a people, is part of our history, and we
are honored to be able to pay tribute to him through this new
creation," says Stéphane Lefebvre, President and Chief Executive
Officer. from the Cirque du Soleil Group.
"For six years now, the Cirque du Soleil Tribute Series shows have
been the foundation of the Cogeco Amphitheater's summer programming.
It's a get-together, a tradition deeply rooted in the hearts of
Quebecers. We are delighted to be able to breathe new life into the
Tribute Series this year with a theme that goes beyond our usual
slots," says Roger Picard, president of the Corporation des Évènements
de Trois-Rivières.
In fact, after six great editions that have hailed the big names in
Quebec music and nearly 334,000 spectators, the creative platform of
the Tribute Series is enriched with the choice of Guy Lafleur. "It's a
natural evolution," adds Marie-Josée Adam, vice-president and general
manager of Cirque du Soleil's Events & Experiences division. "Above
all, we celebrate Quebec figures, who through their musical work,
their sporting genius or their larger-than-life personality have
marked and still mark the hearts of Quebecers. A source of inspiration
for many, it is therefore the man, his immense talent and his legacy
that we will celebrate within the walls of the Cogeco Amphitheater
next summer. »
Nicknamed the Blond Demon or Flower by his teammates and many fans
during his career, Guy Lafleur thrilled several generations in Quebec
with his flashes of play, his great generosity and his innate sense of
sports spectacle. He made the Colisée de Québec and then the Forum de
Montréal resonate with scenes of collective jubilation, where the
crowd chanted "Guy, Guy, Guy" in the same glorious momentum. With more
than 1,125 games played and no less than 560 career goals, Guy Lafleur
rose to the top with determination, perseverance and humility.
"My father was an ice artist. He knew how to show great imagination to
be the best in his discipline. He also used to say that hockey is not
a one-man show, but rather teamwork," adds Martin Lafleur, son of Guy
Lafleur. "This creativity and this sense of community are very strong
and very present in Cirque du Soleil shows. I am proud to know that my
father will be honored in Trois-Rivières next summer. »
Tickets
The seventh edition of the Cirque du Soleil Tribute Series will be
presented at the Cogeco Amphitheater from July 19, 2023 until August
19, 2023. Starting at $55.83 (plus tax), tickets will be on sale
Wednesday, November 16 starting at 10:30 a.m. on
amphitheatrecogeco.com, at the J.-Antonio Thompson box office and at
819 380-9797 or 1 866 416-9797 Tuesday to Saturday, 11 a.m. to 6 p.m.
Cogeco Amphitheater
Located at the confluence of the Saint-Maurice River and the Saint-
Lawrence River, the Cogeco Amphitheater is an exceptional cultural
venue for the presentation of shows distinguished by its remarkable
acoustics and enchanting decor. With a capacity of accommodating up to
3,500 people in its bleachers and an additional 5,500 people on its
grassy esplanade, it includes top-notch outdoor stage equipment that
can host the biggest local, national and international productions
from May to September, including an exclusive show by Cirque du
Soleil. The rest of the year, the stage of the amphitheater is
converted into a cabaret, an interior room accommodating up to 600
people. Programming details on amphitheatrecogeco.com
{ SOURCE: Cirque du Soleil }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Alegria INAL, Koozå, Kurios, Luzia, Bazzar}
o) ARENA - In Stadium-like venues
{Crystal, Corteo, Messi10, OVO}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", LOVE, MJ ONE, JOYA, X: The Land of Fantasy,
and Mad Apple}
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/ >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Alegría-In a New Light:
Seoul, KR -- October 20, 2022 to January 1, 2023
Tokyo, JP -- February 8, 2023 to June 4, 2023
Koozå:
Mexico City, MX -- November 18, 2022 to December 25, 2022
Houston, TX -- January 25, 2023 to March 5, 2023
Denver, CO -- July 5, 2023 to August 13, 2023
Calgary, AB -- August 25, 2023 to October 8, 2023
Kurios:
Atlanta, GA -- Oct 6, 2022 to Dec 24, 2022
London, UK -- January 13, 2023 to March 5, 2023
Rome, IT -- Mar 22, 2023 to Apr 29, 2023
Milan, IT -- May 10, 2023 to June 25, 2023
Luzia:
Madrid, ES -- January 11, 2023 to January 22, 2023
Seville, ES -- February 3, 2023 to March 5, 2023
Frankfurt, DE -- June 13, 2023 to July 16, 2023
Vienna, AT -- April 12, 2023 to May 14, 2023
Bazzar:
Sao Paulo, BR -- Sep 8, 2022 to Nov 27, 2022
Rio de Janiero, BR -- Dec 8, 2022 to Dec 30, 2022
Santiago, CL -- January 19, 2023 to February 5, 2023
ECHO:
Montreal, QC -- April 20, 2023 to August 20, 2023
Washington, DC -- September 6, 2023 to October 22, 2023
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Munich, DE -- Nov 3, 2022 to Nov 6, 2022
Frankfurt, DE -- Nov 9, 2022 to Nov 13, 2022
Oberhausen, DE -- Nov 16, 2022 to Nov 20, 2022
Malaga, ES -- Dec 10, 2022 to Dec 18, 2022
Lisbon, PT -- Dec 22, 2022 to Jan 1, 2023
Pamplona, ES -- Jan 4, 2023 to Jan 8, 2023
Barcelona, ES -- Jan 12, 2023 to Jan 22, 2023
Lausanne, CH -- Jan 25, 2023 to Jan 29, 2023
Brussels, BE -- Feb 9, 2023 to Feb 12, 2023
Antwerp, BE -- Feb 17, 2023 to Feb 19, 2023
Stuttgart, DE -- Feb 22, 2023 to Feb 26, 2023
Oslo, NO -- Mar 23, 2023 to Mar 26, 2023
Hamburg, DE -- Mar 30, 2023 to Apr 2, 2023
Brisbane, AU -- Jul 21, 2023 to Jul 30, 2023
Sydney, AU -- Aug 3, 2023 to Aug 13, 2023
Melbourne, AU -- Aug 17, 2023 to Aug 27, 2023
Adelaide, AU -- Aug 31, 2023 to Sep 3, 2023
Perth, AU -- Sep 15, 2023 to Sep 24, 2023
CORTEO:
Bangor, ME -- Dec 9, 2022 to Dec 11, 2022
Hartford, CT -- Dec 15, 2022 to Dec 18, 2022
Montreal, QC -- Dec 21, 2022 to Jan 1, 2023
Pittsburgh, PA -- Jan 5, 2023 to Jan 8, 2023
Worcester, MA -- Jan 12, 2023 to Jan 15, 2023
Manchester, NH -- Jan 19, 2023 to Jan 19, 2023
Norfolk, VA -- Jan 26, 2023 to Jan 29, 2023
Austin, TX -- Feb 2, 2023 to Feb 5, 2023
Oklahoma City, OK -- Feb 9, 2023 to Feb 12, 2023
Seattle, WA -- Mar 2, 2023 to Mar 5, 2023
Portland, OR -- Mar 9, 2023 to Mar 12, 2023
Los Angeles, CA -- Mar 23, 2023 to Apr 30, 2023
Frisco, TX -- May 17, 2023 to May 21, 2023
Kansas City, MO -- May 25, 2023 to May 28, 2023
Hoffman Estates, IL -- Jun 1, 2023 to Jun 4, 2023
Boston, MA -- Jun 8, 2023 to Jun 11, 2023
Newark, NJ -- Jun 15, 2023 to Jun 18, 2023
Ottawa, ON -- Jun 28, 2023 to Jul 2, 2023
MESSI10:
Buenos Aires, AR -- Mar 9, 2023 to Mar 26, 2023
OVO:
Riyadh, SA -- Oct 12, 2022 to Dec 3, 2022
Kuwait City, KW -- Dec 14, 2022 to Dec 18, 2022
Dubai, UAE -- Jan 11, 2023 to Jan 18, 2023
TWAS THE NIGHT BEFORE...:
Boston, MA -- Nov 25, 2022 to Dec 11, 2022
Detroit, MI -- Dec 15, 2022 to Dec 26, 2022
Dallas, TX -- Nov 25, 2022 to Dec 11, 2022
Phoenix, AZ -- Dec 16, 2022 to Dec 24, 2022
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Variable Nightly - 7:00pm and/or 9:30pm
2022 Dark Days:
o) November 8 & 11, 2022
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Friday, Dark Monday/Tuesday
Two Shows Nightly - 7:00pm and 9:30pm
2022 Dark Days:
o) November 30, 2022
o) December 1 - 13, 2022
KA:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
2022 Dark Days:
o) December 14, 2022
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Tuesday to Saturday, Dark: Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
2022 Dark Days:
o) December 31, 2022
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Thursday through Monday - Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
2022 Dark Days:
o) December 5 & 12, 2022
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
X: THE LAND OF FANTASY:
Location: Hangzhou, China
DRAWN TO LIFE:
Location: Walt Disney World Resort, Orlando, Florida (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 5:30pm and 8:00pm
MAD APPLE:
Location: New York-New York, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
Age Requirements:
- Children under 16 not permitted.
- Children under 18 must be accompanied by an adult
=======================================================================
COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 22, Number 5 (Issue #215) November 2022
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2022 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.
{ Nov.16.2022 }
=======================================================================
