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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 2 February/March 2022 ISSUE #212
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
There's been a plethora of announcements and goings-on since we last
spoke, so let's not dawdle...
* * * REST IN PEACE * * *
First up, we are saddened to report the loss of two of Cirque du
Soleil's high-profile collaborators:
First, on January 23rd, with the loss of Designer Manfred Thierry
Mugler, the founder of the brand Mugler and costume designer for
Zumanity. His personal Instagram account first reported the news: "We
are devastated to announce the passing of Mr. Manfred Thierry Mugler
on Sunday January 23, 2022," they wrote. "May his soul rest in peace."
And then on February 22, 2022, with the announcement that composer
Violaine Corradi, had died. "We are sad to hear of the passing of
Composer Violaine Corradi, known for her beautiful melodies. Zaïa,
Dralion & Varekai would not have been the same without her inspiration
& musical gifts. A talented soul has left us too soon, her music will
always live on in our hearts."
* * * CIRQUE ANNOUNCES "MAD APPLE" * * *
On Tuesday, February 22nd, Cirque du Soleil announced, "NYC's wildest
night out comes to the Las Vegas stage! with "MAD APPLE", a delicious
Cirque du Soleil cocktail of high-flying acrobatics, music, dance,
comedy, and magic celebrating the city that never sleeps.
Starring comedian Brad Williams, Mad Apple is a nonstop New York
thrill ride from the moment you step into the theater. From pre-show
magic and boozy libations at the stunning stage bar, to the band
playing the biggest musical hits inspired by the city, Mad Apple blurs
the lines between circus, live entertainment, and New York nightlife
culture.
Featuring six brash acts and a dynamic makeup of musicians, dancers,
comedians, magicians, and circus performers, Mad Apple rewrites the
script on Las Vegas entertainment. Each act is like a snapshot from a
different nocturnal side of New York, brought to life by underground
stars, high-flying acrobats, street performers, up-and-coming
entertainers, and the biggest musical hits to come out of the city.
Only at New York-New York Hotel & Casino.
o) Preview Performances: May 12, 14, 19, 20, 24, 25 @ 8:00pm
o) Double Preview Performance: May 21 @ 7:00 PM & 10:00 PM
o) Tickets start at $59.00
o) Shows Friday Tuesday, 7:00 PM & 9:30
o) Dark Wednesday & Thursday
Discover much more about MAD APPLE in our FEATURE this month: "Cirque.
Comedy. Music. Mayhem" - a Collection of Articles Celebrating the
Announcement of Cirque's Newest Show: 'Mad Apple'.
* * * CELEBRATING THE BEATLES' FINAL CONCERT * * *
In celebration of the anniversary of The Beatles' final concert on the
rooftop of their Apple Corps building in London, The Beatles LOVE by
Cirque du Soleil shared a special tribute video featuring their own
special rooftop performance. Filmed atop The Mirage Hotel & Casino,
the vibrant video stars 27 LOVE cast members performing to "Get Back"
(LOVE Version). Filming the once-in-a-lifetime performance required
two drones and four cameras and was completed in just two and a half
hours. Watch The Beatles LOVE cast's rooftop performance video here:
https://youtu.be/STlpHIVKECE
Cirque also took fans behind-the-scenes to give a look at the filming
process with an exclusive making-of video. Filmed to accompany the
LOVE cast's rooftop performance video, this featurette shows the
planning process and dance rehearsals for the special performance,
with commentary from LOVE's Senior Artistic Director, Tim Smith. Watch
the behind-the-scenes video here: https://youtu.be/GWxcp4Ig7aI
The Beatles LOVE cast's tribute performance video is one of several
special activities celebrating the 53rd anniversary of The Beatles'
legendary January 30, 1969 rooftop performance, including 'The
Beatles: Get Back-The Rooftop Performance' streaming audio release
(Apple Corps Ltd./Capitol/UMe); an exclusive IMAX screening events for
"The Beatles: Get Back-The Rooftop Concert" (Disney/Apple Corps
Ltd./WingNut); Norah Jones' two tribute performance videos of Beatles
songs filmed on the rooftop of New York's Empire State Building;
SiriusXM The Beatles Channel's "The Rooftop Concert Special," on the
SXM App; and the Rock & Roll Hall of Fame's announcement for "The
Beatles: Get Back to Let It Be" immersive exhibit, set to open on
March 18th.
* * * LESSONS FROM THE CIRCUS * * *
As you know, the pandemic-induced carnage that swept through live
entertainment didn't spare one of the most recognizable names in the
industry. Cirque du Soleil's revenues went from millions to zero in
two days as lockdowns forced the company to cancel shows. But that's
not all that happened to our beloved Cirque du Soleil. Layoffs
followed cancellations, and eventually the company ended up bankrupt.
Come with us as we explore these last tumultuous years of Cirque du
Soleil with a couple of special features:
First, "Learning from the Most Innovative Organization on the Planet",
a collection of articles about Daniel Lamarre's Book: 'Balancing
Acts'. Lamarre, now executive vice-chairman of the Cirque, shares what
it takes for anyone, regardless of position or industry, to embrace
the value of creative leadership in his book, which has received
extensive coverage in the press since its release on January 18th.
Highlights from a number of these conversations and reviews have been
collected for you within. And...
Second, we've prepared a three-part "Historia" series reviewing the
last two years from the company, taking you through the initial COVID
outbreak, all the way through to the company's bankruptcy, sale, and
revival... at least through to the end of 2021. We begin this look
back with the first part within.
Before we get started, though, whet your appetite with the following
podcast from Bloomberg. In it Lamarre describes how Cirque got through
this difficult time, what years of working in entertainment have
taught him about creativity and trust, why it's a good idea to lock
creative people in a room and he tells us what working in the circus
has taught him about leadership: https://www.bloomberg.com/news/audio/
2022-02-16/cirque-du-soleil-lessons-from-the-circus-podcast
* * * SOME MILESTONES * * *
With all that's going on in the world, let's celebrate some
happy milestones, shall we?
o) On December 1, 2021, Alegria: In a New Light celebrated it's
7,000th Performance of Alegria since 1994.
o) On February 16, 2022, Drawn to Life celebrated its 100th
performance at Disney Springs in Orlando, Florida.
o) On March 1, 2022, Cirque du Soleil announced that CRYSTAL,
its breakthrough ice experience, was on the road again!
Mike Newquist, Senior Vice President, Touring Shows Division
said: "We are absolutely thrilled to finally bring CRYSTAL
back on the road. For two years our performers have been
waiting to skate again and experience the joy of the audience
once more. It will be an emotional and magical return."
Check out the ITINERAIRE section within to see current dates
and locations!
o) Also on March 1st, Cirque announced that CORTEO was also
"back on the road"!
So, shall we get into it?
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
| |
| Realy Simple Syndication (RSS) Feed (News Only): |
| < http://www.cirquefascination.com/?feed=rss2 > |
| |
\----------------------------------------------------/
- Ricky "Richasi" Russo
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CONTENTS
===========
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) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* SPECIAL /// "Cirque. Comedy. Music. Mayhem" - A
Collection of Articles Celebrating the Announcement
of Cirque's Newest Show: 'Mad Apple'
* SPECIAL /// "Learning from the Most Innovative
Organization on the Planet" - A Collection of Articles
about Daniel Lamarre's New Book: 'Balancing Acts'
* "The Last Two Years, Part 1: 'The Final Curtain Call?'"
By: Ricky Russo - Atlanta, Georgia (USA)
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
***************************************************************
LA PRESSE -- General News & Highlights
***************************************************************
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Cirque du Soleil upgrades audio during pandemic pause
{Jan.10.2022}
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The world-famous production, Cirque du Soleil, was brought to an
abrupt end, like many shows around the globe, as a result of the
pandemic.
As technicians brought shows down, the production team at Cirque du
Soleil were able to test, evaluate and verify its entire equipment
arsenal for its touring operations. Launching the KOOZA show in May
2021, which involves clowning and acrobatics, the production team
introduced Sennheiser's Digital 6000 Wireless Microphone System.
The Alegria show, which opened in Houston in November 2021, has also
been equipped with the system and the production team has found that
it has suited the technical aspects perfectly. "You can have what
appears to be a functioning system, but if you are able to improve two
or three links in an audio chain, you can achieve greater performance
in the end. While we are on tour, we usually only have one day in
every city to do all our maintenance," says Matthew Steuart, sound
specialist at Cirque du Soleil.
In the case of the Sennheiser Digital 6000 Wireless System that was
already used in Alegria, the team didn't have to do anything except
perform a recommended firmware update. "We tested it and everything
just worked."
On Alegria, for which rehearsals have occurred in Houston, 18 channels
of the Digital 6000 system have been deployed, along with several
bodypack transmitters and a pair of SKM 6000 handheld transmitters.
One of the reasons Cirque du Soleil chose the Digital 6000 System was
because of its ability to identify and lock in frequencies in an
increasingly congested RF environment: "The spectrum is just getting
more and more crowded," observes Steuart, who appreciates Sennheiser's
routine firmware updates.
"When we sent Alegria to Miami a year and a half ago, if we didn't
have the Digital 6000, we simply wouldn't have been able to do the
show there was just no RF space. Now, with the latest firmware
updates including the new Link Density mode, it is so much easier."
"Sometimes we have to fit all of our wireless channels into a 6 or 8
MHz block if we are lucky, so being able to work within such a narrow
bandwidth has been key."
{ SOURCE: AV Interactive }
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Sennheiser's Digital 6000 Wireless Mic System supports CDS
{Jan.19.2022}
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Cirque du Soleil has been delighting and mesmerising audiences every
year since its founding in 1984. The Company's highly theatrical and
acrobatic touring performances, known around the world for their
dramatic creativity, imaginative storylines and audience engagement,
are also recognised for their no-compromise production values from
sound and lighting, to costumes and stagecraft. In March of 2020,
Cirque's touring operations were brought to an abrupt halt with the
onset of the pandemic.
Despite this most unwelcome pause from live performance, the downtime
afforded Cirque du Soleil's production team an opportunity to test,
evaluate and verify its entire equipment arsenal for its touring
operations. "When all the shows shut down, most of the gear that was
in North America was trucked back to our warehouse and just put on a
shelf," states Matthew Steuart, sound specialist at Cirque du Soleil.
"But in May 2021, we started on a show called KOOZA and came up with a
list of projects for that show." Steuart says that after testing and
evaluating their equipment needs for the show, which combines the two
classic circus traditions of clowning and acrobatics, they upgraded to
Sennheiser's Digital 6000 Wireless. "Switching to the Digital 6000 was
a no-brainer, there were just so many benefits," he says.
Another Cirque du Soleil show that opened in Houston in November 2021
is Alegria, a performance that has been reawakened from the touring
troupe's original 1994 production. Alegria, which is the Spanish word
for 'joy', features many of the entertainment ingredients Cirque du
Soleil fans have come to expect: stunning acrobatics, beautiful stage
craft and a poetic storyline.
For Cirque du Soleil, the recent long break afforded the sound team a
chance to closely examine each part of the signal chain: "We were able
to look at everything more closely, including the RF," says Steuart.
"You can have what appears to be a functioning system, but if you are
able to improve two or three links in an audio chain, you can achieve
a greater performance in the end. While we are on tour, we usually
only have one day in every city to do all our maintenance." In the
case of the Sennheiser Digital 6000 Wireless System that was already
used in Alegria, the team didn't have to do anything except perform a
recommended firmware update. "We tested it and everything just
worked."
One of the reasons Cirque du Soleil chose the Digital 6000 System was
because of its ability to identify and lock in frequencies in an
increasingly congested RF environment: "The spectrum is just getting
more and more crowded," observes Steuart, who appreciates Sennheiser's
routine firmware updates. "When we sent Alegria to Miami a year and a
half ago, if we didn't have the Digital 6000, we simply wouldn't have
been able to do the show, there was just no RF space. Now, with the
latest firmware updates including the new Link Density mode, it is so
much easier. Sometimes we have to fit all of our wireless channels
into a six or eight Mega Hertz block if we are lucky, so being able to
work within such a narrow bandwidth has been key."
Prior to the onset of the COVID-19 pandemic, Cirque du Soleil's
touring operation had over a dozen active shows, each with its own set
of artistic and technical challenges. Now, in the middle of its
relaunch period, the company is quickly scaling up towards its pre-
pandemic level of performances: "Before COVID, we were at 12 shows,
which was a lot. Now, with Alegria and at least four more productions
including KOOZA, LUZIA, KURIOS Cabinet of Curiosities and OVO coming
in 2022, we are well on our way. There are many more shows in the
works," he says.
On Alegria, for which rehearsals have occurred in Houston, 18 channels
of the Digital 6000 system have been deployed, along with several
bodypack transmitters and a pair of SKM 6000 handheld transmitters.
"The bodypack transmitters are hidden and pretty well protected in the
costumes," says Steuart. "Our wardrobe department is fantastic they
will add these little pouches anywhere in the costume that works best
for the artist inside the thigh, in the small of the back, behind
the neck or under the arm." Steuart appreciates the diminutive size of
the SK 6212 bodypack transmitter: "Having these really small
transmitters is amazing and we can fit them anywhere. Also, the
feedback that comes back into our Sennheiser Wireless Systems Manager
(WSM) including battery levels and mutes and other information, is
great."
On KOOZA, which is scheduled to open in Punta Cana later this year,
the Cirque du Soleil production team is using ten channels of the
Digital 6000 system, including some unorthodox and challenging stage
applications: "We have a guy in a big fuzzy dog costume wearing a
wireless mic, and in another scene, we have a big confetti blower that
also has a wireless mic to pick up the noise of the blower," says
Steuart. No matter what the application, the team has come to expect
both dependability and pristine audio quality: "Everything we run
through the Digital 6000 wireless is super clear and great sounding,"
Steuart says. "It is also super easy to plug instruments into our
bodypacks, and it always sounds great. With other brands, we haven't
had as much success when it comes to that kind of flexibility with
instruments and microphones," he adds.
While Steuart is delighted at the relaunch of Cirque du Soleil's
touring productions, he is grateful for the training and support
Sennheiser provided over the course of the last 20 months: "When the
pandemic began, Jamie [Criswell, business development manager at
Sennheiser] was on the phone with us the next day offering training
classes," Steuart recalls. "It was fantastic; Sennheiser made it clear
that they wanted us to know what was happening and to make sure we had
what we needed for the shows to run. This level of support was
priceless and appreciated by everyone on our team."
{ SOURCE: ET Now }
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Famed Designer Manfred Thierry Mugler Has Died at 73
{Jan.23.2022}
----------------------------------------------------------
Designer Manfred Thierry Mugler, the founder of the brand Mugler, has
died.
His personal Instagram account first reported the news.
"We are devastated to announce the passing of Mr. Manfred Thierry
Mugler on Sunday January 23, 2022," they wrote. "May his soul rest in
peace."
Mugler was an iconic designer who made an international name for
himself in the 1980s and early 1990s. His creations have gone on to
inspire generations of designers, and in his over-the-top theatrical
shows, he was one of the first designers to consistently use out trans
models on the runway.
He was born in Strasbourg, France, and started studying classical
dance at a young age he learned to make clothing by making outfits
for himself. He began his design career in 1971 but didn't launch is
own collection until 1973. His designs often featured broad, sharp
shoulders, high glamour, and sharp tailoring. He also often
incorporated sci-fi or futuristic elements into his designs.
While his creations were marvels in and of themselves, Mugler began to
present them in arena-like presentations with over-the-top themes. His
brand expanded, with the designer showing at Paris Haute Couture
Fashion Week as well as launching a successful fragrance arm this
started with Angel in 1992. Parent company Clarins shuttered the
apparel line in 2003 and Manfred turned his creativity elsewhere.
(Claris had bought the brand in 1997.) The fragrances remain some of
the best-selling in history.
He also explored other projects like doing the costumes for the models
in George Michael's "Too Funky" video in 1992.
As his fashion shows became spectacles, his castings for those shows
varied. He would cast bonafide supermodels as well as celebrities. He
also often cast out trans women. For example, in the spring 1991 show
Tracee Ellis Ross, Naomi Campbell, Linda Evangelista, and Roberta
Close all walked the runway. In addition to Close, other trans models
like Connie Fleming and Teri Toye \ walked in Mugler shows in the
early '90s.
In 2003, Muglar served as Costume Designer for Cirque du Soleil's
Zumanity.
In 2009, after his retirement from fashion, Mugler notably created the
costumes for Beyonce's I Am ... world tour and functioned as an
artistic adviser to her. He also directed for Cirque du Soleil and has
worked as a photographer. In addition, he became a bodybuilder.
Over the past decade, there has been a renewed interest in Mugler
designs, which has materialized in not only retrospectives but
celebrities wearing archival pieces. The house of Mugler is currently
under the purview of creative director Casey Cadwallader. Cadwallader
stepped into the role in 2018 but was preceded by designers like David
Koma and Nicola Formichetti.
{ SOURCE: Advocate }
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Cirque to debut major international shows in Saudi Arabia
{Jan.25.2022}
----------------------------------------------------------
Saudi Arabia's Ministry of Culture has signed an agreement with the
Canadian entertainment group Cirque du Soleil to enable it to put on
its renowned creative performances in the Kingdom.
The agreement was signed by Prince Badr bin Abdullah bin Farhan,
minister of culture and chairman of the Theater and Performing Arts
Authority, and Gabriel de Alba, co-chairman of Cirque du Soleil, at a
meeting held in New York City.
The agreement will see Cirque du Soleil present a number of award-
winning circus shows for the first time in the Kingdom, including
touring shows such as "The Illusionist," "Now You See Me," "Paw Patrol
Live," "Race to Rescue," "Trolls Live," and the Blue Man Group's world
tour. The Kingdom will also host a brand new Cirque du Soleil resident
show unique to Saudi Arabia.
The agreement also says the two parties will establish a regional
Cirque du Soleil academy and office, to provide a curriculum of high
standards led by the best global circus experts. Students from all
over the Kingdom and abroad will have the opportunity to hone their
performance skills through the circus' international school exchange
and artist-in-residence programs, and will also be awarded
internationally recognized certificates.
Cirque du Soleil has presented six shows in Saudi Arabia since 2018,
the last of which was the "Messi 10" show, which was held in November
during the Riyadh Season and shed light on the life of the famous
Argentine footballer Lionel Messi.
The agreement comes with the performing arts witnessing greater
development in the Kingdom, especially after the establishment of the
Theater and Performing Arts Authority, which announced its strategy to
further improve the sector last year.
The plan includes better infrastructure for theater and performing
arts, providing job opportunities, building partnerships, and
providing educational and training opportunities for about 4,500
playwrights and more than 4,000 trainees by 2030.
{ SOURCE: Arab News }
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How Michel Laprise Crafted a Storyline and Disney Villain
{Jan.28.2022}
----------------------------------------------------------
Disney animation and Cirque du Soleil aren't obvious soulmates, but
their origin stories sparked an idea in writer and director Michel
Laprise that served as the foundation of Drawn to Life, now playing
under the tent at Walt Disney World in Orlando, Florida.
After stumbling across a biography of Walt Disney, the auteur was
fascinated by the parallels that could be drawn between Disney and
Cirque. For example, both companies had to be stubborn and tenacious
because nobody believed success was possible for them.
"I was also fascinated by the dedication that is in the work of an
animator who does classic hand-drawn animation," says Laprise. "You
have to do something like 24 amazing drawings to create one second of
illusion of life."
That parallels the life of an acrobat at Cirque du Soleil, who often
has to start training at a young age and practice every day. "All the
sacrifice and egoless-based dedication coming to both approaches was
fascinating to me."
After establishing an emotional core based on dedication and tenacity
between the two companies, Laprise decided to make a show about it.
Thankfully, his boss called a few weeks later and said they were
planning on replacing La Nouba (which held residency at Disney World
for almost 20 years).
With total creative freedom, the visionary went to work, striving to
hit the core of what Disney animation is. "It's the stroke of the
artist with the pencil on the piece of paper. From the first year of
development, that authenticity, that artistry, we really wanted [to
create] a love letter to the art of Disney animation."
What sets Drawn to Life, which opened in November 2021, apart from
other Cirque du Soleil shows is its storytelling. Usually, Cirque du
Soleil shows are more of a tableau, or a poem, but Drawn to Life is
different, with a complete storyline just like any good Disney movie.
The show follows Julie, whose late animator father leaves behind an
inspiration to start drawing. With the help of Mr. Pencil (and her
favorite pillow, touched with a dash of magic carpet pizazz), she sets
out to develop her own skills as an artist but must spar with Miss
Hésitation, a living embodiment of Julie's doubts and fears of her own
talent.
"It's pretty tough in a Cirque show because if you have a character
with an obstacle, but then you have an acrobat doing a triple salto,
that is the obstacle. If you want to be credible, it has to be very
real."
For Laprise, Miss Hésitation couldn't be some supernatural monster.
"It's funny because when we pitched the story the first time, they
said, 'Oh my God, you got to keep this Miss Hésitation character. All
of us who are involved in any creative process, we have this entity
that comes from us, comes from our parents or peers, that makes us
doubt and it's part of the creation process. You have to go through
this fear in order to to create.'"
When Julie begins her first drawing and Miss Hésitation appears above
her shoulder and says "ehhhhh," signaling she's not very impressed,
it's the living embodiment of that doubt. As the story goes on, Miss
Hésitation's backstory reveals there's more going on behind her tough
exterior. "It was also important for me to love Miss Hésitation. She's
not only the villain, villains are hurt people underneath." That
multi-layered character development adheres to Disney's long history
of creating stories with substance.
Of course, all of the typical Cirque du Soleil spectacle is still
there, with 10 jaw-dropping acrobatic sequences all tied to some form
of animation, whether it's the rhythmic gymnasts interpreting pages of
drawings in continuous sequence, a pair of human trapeze artists
moving as paintbrushes to create a kaleidoscope of colors, or
teeterboard artists displaying the squash and stretch principle of
animation.
One segment pays tribute to the unsung heroes of Disney animation: the
women of the Ink and Paint department. "We were told about Mary Blair,
and I wanted to make a tribute to the concept art phase of the
creation process," said Laprise. "Her presence is eternal...so I
imagined that Julie finds Mary's desk, she puts the white costume on
and the glove and then, suddenly, she starts to draw like her. It's
important for us to speak about the reality of the creativity of those
women because yes, we have the Nine Old Men (the name bestowed upon
the original animators for films like Snow White and the Seven Dwarves
and Pinocchio), but there were these women in the universe of Disney
that were doing great work."
The acrobatic stunt involves a wheel that, as it spins, creates a
spectrum of colorssomething Blair was known for exploring in her
work. "In those years, everybody was very conservative...[using] quiet
colors. And she came in there like BANG! She broke all the rules and
influenced so much of the work after that."
It's that level of reverence that reverberates throughout the entire
production and takes Drawn to Life to the next level, capturing the
magic that Disneyand now Cirque du Soleilhas brought to audiences
for nearly a century.
{ SOURCE: Dan Meyer, Playbill }
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Meet 10-Year-Old David Bartlett from LOVE
{Feb.07.2022}
----------------------------------------------------------
David Bartlett is just like any other kid in his fifth-grade charter-
school class in Las Vegas. He likes playing with his friends and
creating things from cardboard. But three days a week, Bartlett gets
picked up after school and driven to The Mirage on the Vegas Strip,
where he plays one of the kids of Liverpool in Cirque du Soleil's
"LOVE," a show about the Beatles.
"I really like how I get to present in front of a live audience,"
David told Insider.
FOLLOWING IN THE FAMILY TRADITION
Given David's family history, it's no surprise that he's at home on
the stage. His mother and father, Anna Zlatkova and Terry Bartlett,
are both experienced performers with Cirque du Soleil. David loves to
break dance, so Anna thought he might be good for the Beatles show.
But when she mentioned an audition, "I had no idea what she even
meant," David said.
His parents knew that performing in a Vegas show would be a huge
learning experience, regardless of whether David decides to make a
career out of performing.
"I wanted him to get inspired, and I knew he would be," Anna said.
There are about 70 other performers in the show, including seven other
boys who play the kids of Liverpool. That means David gets to
experience the camaraderie of group performance and the thrill of
being before an audience, his dad said.
Seeing David on stage left Terry "glowing with pride," he said. But
for Anna, the most emotional moment was watching her son return to the
stage after the COVID-19 pandemic put the show on hold for months.
A TYPICAL BOY AND FAMILY
David is in school five days a week, just like most kids his age. And
Anna and Terry spend their afternoon hours shuffling kids to various
activities. In addition to David, they shuttle their daughter, Bianca,
who does rhythmic gymnastics, and their 5-year-old son, Jacob, who is
still deciding what his activity of choice might be.
"It's a lot of driving around," Anna said.
On days without a show, David might have rehearsal, make-up reviews,
and costume adjustments. About three nights a week, David performs,
usually in back-to-back shows that can stretch into the night. Over
the course of a year, David has more than 200 performances, with only
one month off during the show's scheduled break.
Luckily, the producers and staff are used to working with kids. There
are eight boys to fill just four roles, making sure none of the kids
works too hard, Anna said.
FUN, WITH A TIME LIMT
The role David plays is limited. No matter how long "LOVE" runs for,
he'll eventually outgrow it. Anna worries about that time when he's
not able to perform in Cirque du Soleil anymore.
"That's not an easy transition," she said.
Luckily, David has kept in touch with other boys who have held the
role before him. And he focuses on other hobbies like break dancing
so that he has creative outlets outside of the show.
For now, though, he enjoys each time he steps on stage. After so many
performances, his nerves are gone, he said.
"My first show I was crying. I didn't want to do anything," David
said. "Now I go out there, I do a dance or choreography set, and I
wasn't even thinking when I was doing it. My body just knows what to
do."
{ SOURCE: Insider }
----------------------------------------------------------
Cirque Walking an Ethical Tightrope in Saudi Arabia
{Feb.11.2022}
----------------------------------------------------------
Send in the clowns.
Don't bother. They're here.
Cirque du Soleil is defending its decision to deepen its business ties
with Saudi Arabia despite concern about that country's human-rights
record and the fate of imprisoned blogger Raif Badawi whose family
lives in Quebec.
The Montreal-based entertainment company recently signed an agreement
with the Saudi Ministry of Culture to bring more of its shows to the
kingdom, including The Illusionist, Now You See Me, Paw Patrol Live
Race to Rescue, Trolls Live! and Blue Man Group World Tour.
The agreement also sets the stage for Cirque to create an original
performance for Saudi Arabia and to collaborate with its officials to
establish a regional training academy and office.
Although Cirque is eager to generate new revenue after emerging from
bankruptcy protection, its new owners are walking an ethical tightrope
by doing more business with Saudi Arabia. The company has had six
shows there since 2018, and some of those performances prompted a
backlash from employees and ordinary Quebeckers. So it is baffling
that it is risking a new controversy while there is widespread worry
about Mr. Badawi's case.
"Through our shows, our goal is always to inspire the local population
and our presence in any market should not be interpreted as a
political and moral stance," Cirque spokeswoman Caroline Couillard
wrote in an e-mail. "As a private company, we do not believe it is
appropriate to interfere in the domestic and foreign affairs of the
governments of the countries we visit."
Let's get real. This is where the rubber meets the road on corporate
social responsibility. Cirque's seemingly apolitical stance isn't in
keeping with its pledge to act "as a responsible agent of change."
Saudi Arabia is talking a good game about cultural transformation
these days, but it is still very much a repressive regime. Despite
relaxing some social norms, the kingdom has made no substantial
progress on human-rights issues since the assassination of Washington
Post journalist Jamal Khashoggi at the Saudi consulate in Istanbul in
2018.
Its track record on human rights is already a sore spot with
Canadians. We've learned that Crown Prince Mohammed bin Salman (MBS)
allegedly sent a hit squad to Canada in a foiled attempt to
assassinate former Saudi intelligence officer Saad Aljabri not long
after Mr. Khashoggi's murder. And much to our collective horror,
Canadian arms are fuelling the worsening conflict in Yemen
(effectively a proxy war between Saudi Arabia and Iran).
Now, with Ottawa calling on Riyadh to release Mr. Badawi from prison,
offer him leniency and allow him to reunite with his family, Cirque's
new agreement comes at a particularly sensitive time for Canadian-
Saudi relations.
Although Mr. Badawi is a Saudi citizen, his wife Ensaf Haidar and
three children are Canadian. He was arrested in 2012 and sentenced to
10 years in prison and 1,000 lashes for criticizing Saudi clerics on
his blog. According to the Islamic calendar, Mr. Badawi's prison term
ends Feb. 28, but his release is far from certain. Even if he is
liberated, he still faces a 10-year travel ban.
Perhaps that's why the Cirque agreement caught the eye of Ms. Haidar,
who congratulated MBS for it in a recent letter, written in French.
She took the opportunity to urge him to release her husband and lift
his travel ban.
"We believe that this gesture would be in perfect harmony with the
reforms you are undertaking," Ms. Haidar wrote.
Her tone was remarkably polite given the circumstances, but when the
potential penalty for offence is to be cut into pieces like Mr.
Khashoggi, it's understandable.
Separately, Mr. Badawi's supporters are urging Ottawa to grant him
Canadian citizenship.
"The Government of Canada is very concerned by the case of Raif Badawi
in Saudi Arabia," said Jeffrey MacDonald, a spokesperson for
Immigration, Refugees and Citizenship Canada. "We have consistently
advocated on his behalf and will continue to use every opportunity to
do so. His well-being is foremost in our minds."
That's why it's unfathomable that Cirque would sign an agreement like
this. And yet Ms. Couillard frames the deal as coming "on the heels of
announced reforms and social changes in the country, as well as the
announcement of business deals to build an entirely new entertainment
industry in Saudi Arabia."
However, Canadians are unlikely to buy into Saudi Arabia's propaganda
campaign, given how some of Cirque's previous performances in the
kingdom also generated controversy. Not only did Cirque's own artists
voice their concerns back in 2018, but so, too, did co-founder Guy
Laliberté, according to a published report from Radio Canada
International.
Cirque's most recent performance in the country was Messi10, named
after Argentinian soccer player Lionel Messi, which was held in 2021.
Perhaps it should instead take its cues from entertainment
heavyweights, such as rapper Nicki Minaj, who have cancelled shows
there over human-rights concerns.
The company is twisting itself into a pretzel to justify this new
agreement, but its mental gymnastics only risk courting more
controversy.
{ SOURCE: RITA TRICHUR, The Globe and Mail }
----------------------------------------------------------
Cirque Reveals Mad Apple Details, Vegas Shrugs
{Mar.02.2022}
----------------------------------------------------------
Cirque du Soleil recently shared details about the Las Vegas show we
told you about six months ago, Mad Apple. (Our sources say the apple
isnt mad, its more chafed, but Chafed Apple just sounds wrong.)
How did we know about it six months before it was announced? Because
in Las Vegas, WE are the show.
Yeah, we said it. While we cant see your reaction, the eye-rolling is
duly noted.
So, Cirque has a new show coming to New York-New York, lets talk
about it!
From what we can tell, Mad Apple isnt really a Cirque show, which
should raise no red flags at all. In fact, we invite you to not
imagine us frantically waving red flags as you read the rest of this
story.
While Mad Apple comes from Cirque du Soleil, its really the product
of some folks at an entity called The Works, a company Cirque acquired
in 2019. The Works is described as the world-class creative and
production company known for The Illusionists franchise and other
variety shows.
When your biggest credit is something most people havent heard of,
gird your kicks, because its going to be a bumpy toprock. Yes, we
used a break dancing word. Dont faint. Thats because in the ad (see
above) for Mad Apple, Lady Liberty, a national treasure symbolizing
hope, opportunity and freedom for millions of Americans, is break
dancing.
Which most people dont seem to have a problem with, so moving on.
Since one of the credits of The Works is and other variety shows, it
may come as no surprise Mad Apple is a variety show.
In fact, its not only a variety show, its a variety show with
comedy. Oh, and also some magic, a little circus and mayhem.
So, its Absinthe, but at New York-New York and we suspect
infinitely less funny and original.
We really wanted to get excited about Mad Apple, but it feels like
theyre just throwing everything thats ever worked in a Las Vegas
show into a sausage grinder to see if the thing that comes out can
also work. Yes, we know you dont grind sausages. You grind meat, and
the ground meat is stuffed into casings, thats sausage. Who made you
like this?
Weve been saying for years Cirque needs to stick to its roots,
because it needs a hit badly, but apparently Cirque doesnt really
care too much about what we think.
The company has had a string of disasters in recent years, and at one
point filed bankruptcy. There was Viva Elvis at Aria. Zarkana
followed and was so disastrous, the hotel turned its theater into
convention space.
Zumanity was always the least popular of Cirques Las Vegas shows,
and never emerged from the pandemic.
Far and away Cirques biggest implosion, though, was R.U.N. at
Luxor, estimated to have lost $60 million. Dollars. Not French-
Canadian krugerrands or whatever.
In an effort clearly intended to redeem itself, Cirque presents Mad
Apple. Lets just say if theres a live band, it will have a sad
trombone section.
Enough with the naysaying, lets dive into Mad Apple.
Heres what it said in the news release: Featuring comedian Brad
Williams, freestyle rapper Chris Turner and vocalist Xharlie Black
amongst the incredibly talented cast of 39 people, Mad Apple will be a
nonstop New York thrill ride from the moment guests enter the theater.
From pre-show magic and boozy libations at the stunning stage bar, to
the band playing hits inspired by NYCs most famous musicians and
composers, Mad Apple will blur the lines between circus, live
entertainment and New York nightlife culture.
Look at how we didnt say anything snarky about the name Xharlie.
We really, really want to love Mad Apple.
The release continues, Featuring six brash acts and a dynamic makeup
of musicians, dancers, comedians, magicians and circus performers, Mad
Apple rewrites the script for Cirque du Soleil entertainment. Each act
will reflect a different nocturnal side of New York, brought to life
by underground stars, high-flying acrobats, street performers, up-and-
coming entertainers, and the biggest musical hits to come out of the
City.
On the bright side, Mad Apple seems to be of a scale (six whole
acts!) where even if it doesnt rewrite any scripts, its not that
expensive, so its much less risky than an overblown debacle like
R.U.N.
The budget for the show is rumored to have been $5 million, but has
blown through that number pretty significantly. Still, Mad Apple has
the luxury of comparing itself to R.U.N. By that measure, its
already a huge success.
Mad Apple is a 50-50 deal with MGM Resorts, which further helps
protect Cirque from financial risk.
Variety shows tend to do pretty well in Las Vegas, but Absinthe and
its sister productions, Atomic Saloon at Venetian and Opium at
Cosmo, have set a pretty high bar.
Because Mad Apple seems to have a lot of everything, it means
theres likely to be something for everybody.
The big potential disconnect is Cirques core audience looking for
Mad Apple to look like a Cirque show.
Listen, if youre not even going to acknowledge our core reference,
why should we even bother to continue? You dont have to laugh out
loud, that would be weird, but a begrudging nod wouldnt kill you.
Also, Begrudging Nod would make a pretty good band name.
Some at Cirque blamed the demise of R.U.N. on the fact customers
werent ready for a show that veered so far from the Cirque formula.
Pure spin. They werent ready for a show that veered so far from being
good.
Mad Apple looks like it could be a fun evening out, and while the
New York-New York theme is a little on the nose, the show has all the
ingredients of a people-pleasing show. Especially if those people are
drunk.
The reality is a show thats a rehash will be criticized for being
unoriginal, and one that tries to be original (like R.U.N.) is
criticized for not sticking to a formula, especially a formula thats
been as successful as Cirques, until recently.
With Mad Apple, Cirque chose the safe route that could result in a
reliable show that wont break any records, but which also wont break
the bank at Cirque du Soleil.
The company has been through a lot, including the pandemic, although
many of its challenges were around before COVID. Attendance at
historically reliable Cirque shows in Las Vegas has been painfully low
recently.
Daniel Lamarre, longtime President and CEO of Cirque du Soleil, has
stepped down, which is step in the right direction. The company took a
hit when Cirques Chief Creative Officer, Diane Quinn, left the
company not too long ago. The guy who helped make Cirque, well,
Cirque, Franco Dragone, is off making really bad career choices by
collaborating with Criss Angel.
If you cant keep track of all the Cirque du Soleil shows in Las
Vegas, please check out our One Minute Guide to All the Cirque Shows
in Las Vegas.
If youve read this blog for any length of time, you know were a
cheerleader for Las Vegas, and of course want Mad Apple to thrive.
The reaction to Mad Apple hasnt been enthusiastic, but it also
hasnt been bad. Its just nothing. A shrug. We heard the shows media
event to share details of the show got the same response from MGM
Resorts executives. Ouch.
Heres hoping Mad Apple will surprise and delight, and not get lost
amid all the established shows in Las Vegas that feature the same
things (comedy, magic, variety, dancing, singing) and already have a
head start on visitor awareness.
Yes, Mad Apple has the Cirque du Soleil name on it, but nobodys
really sure if that means what it once meant because Cirque shows
sometimes dont look like Cirque shows anymore. (Another show thats
suffering is Blue Man Group, not exactly what springs to mind when
you think of a Cirque show, but Cirque owns it.)
Assuming Mad Apple has some appeal (well wait), and you plan to
check it out as we will, weve got the ticket prices: Previews for
Mad Apple begin on May 12, with tickets starting at $49 ($129 VIP).
The official debut of the show is May 26, tickets start at $59 ($163
VIP).
Its worth noting tickets in Category D during previews cost $69. If
you dont know why thats worth noting, you must be new here.
Learn more about Mad Apple at the official Web site, and dont tell
them about our frantically waving red flags. Those can be very
distracting to acrobats and break dancers.
{ SOURCE: Vital Vegas }
----------------------------------------------------------
Go Behind the Scenes of KA
{Mar.04.2022}
----------------------------------------------------------
So, you have your tickets for KÀ. You know its the only Cirque du
Soleil show in Las Vegas which has a proper storylinea pair of royal
twins have been separated during a devastating attack, and each is on
a separate coming-of-age journey which will lead them to their
destiny. Sounds simple, doesnt it?
But its one thing to be sitting in a plush seat in the elaborate KÀ
Theatre for 90 minutes, watching a massive bird swoop downward with
several acrobats on its back, or seaside characters magnified to huge
size frolicking on a sandy beach, or two warring sides scrambling up a
cliffside, or an enormous wheel with flames shooting out. Its quite
another to realize what it actually takes to ensure that the
production runs smoothly throughout the entire show.
If you want to truly understand it, a look around the stage will leave
you even more in awe of the complexities that go into each
performance.
As you walk into the theater, it immediately seems so different from a
normal theater. Sure, there are rows and rows of raked seating, but
there are also many massive columns that seem to resemble some sort of
sci-fi movie set. In each of those columns, connected by catwalks,
youll find multiple lights. Looking at the stage from the audience
area, youll see many tiers of catwalks and multiple floors on the
back and in the wings of the stage area. Turn around and youll see
floors curving around the back walls of the theater, filled with
equipment; they are dedicated to sound and lighting.
If you head down to the curved edge of the stage, thats where youll
really start noticing the difference from a traditional theater. The
edge of the stage, called the boardwalk, is several feet wide and
looks like wooden planks.
During one recent afternoon, Jim Moran, KÀs technical director, who
is in charge of many of the theaters systems, went over some of the
more amazing facets of the area, including the sheer size of the pit.
Glance over the edgeits 50 feet down. Look upits 89 feet. And it
seems like theres something going on at every level (which there is).
Moran points out five separate lifts used during performances in
different areas of the pit, including one that is directly in front of
the edge.
Its frequently been said that the biggest character in KÀ is the Sand
Cliff deck, an incredible moving platform that stands nearly vertical
during some scenes. And it certainly dominates the scene before you.
The deck itself weighs about 50 tons, and is 50 feet long, 25 feet
wide and 6 feet deep, and is perched atop a gantry crane. The deck can
rotate 360 degrees and tilt in all directions.
The hydraulic pistons, which move the stages, are the longest in the
world, says Moran. There is also a power system built into the deck
and lighting. Plus, there are areas which allow performers to appear
from out of the stage. Video projection tiles allow different scenes
to appear on the surface, from water to flame. It can also react to
performers movements.
During the battle scene, when performers scale the vertical stage,
they are actually making use of 80 pegs called rod actuators. Those
give the performers handholds that are highly choreographed, not only
when they appear but also when they disappear. Below the stage are two
of the largest acrobatic nets in the world and one of the worlds
largest airbags. Its used in the climax, says Moran, and sits on top
of the net so the artists slide off a deck and get in a nice little
bounce. The Tatami deck is the second of KÀs moveable stages, a 30-
foot square piece weighing in at 75,000 pounds that, Moran says,
comes out like a big sliding drawer. And it can come right up to the
edges of the stage. In 2008, the Sand Cliff Deck and the Tatami Deck
helped KÀ win a Thea Award for Outstanding Technical Achievement from
the Themed Entertainment Association.
In the wings, theres a lot that goes on. Stage right are the
elevators. During a performance, these are on a strict schedule (they
have their own cue track), but at other times you can take them down
to the lower levels, where the airbags are filled, or up, where youll
find several floors and a huge array of systems and props. Depending
on the time of day, you might see set pieces being removed or replaced
on the Tatami Deck (the Wheel of Death is stored here), or a green
cover put on to emulate nature during the forest scene. In another
area, youll find a giant winch with cables snaking out of it around
and behind the stage. In the forest
the big red (column) is
actually moved by thisthats our biggest winch in the theater. Its a
counterweight system. That assists in moving arbors that are on the
other side of the theater, Moran says.
A row of white cabinets may remind you of heating or air-conditioning
systems, but they are actually used to house the server for the
computers, which control much of the mechanical aspects of the show,
which need to be timed to the absolute second. So, all the moves of
the lifts
everything is in our automation system. And everything is
programmed. We dont just kind of wing it. Everything has to be
programmed, says Moran.
Go further and youll find a massive bin, which is used to help filter
the beach sand. That sand is actually cork, and it is put through
multiple filters every day, which remove any and all metal, and make
sure it is exactly the right size. Its then moistened. Why? Because
its not only more comfortable for the artists, but it also keeps down
dust, which is important, since KÀs systems employ thousands of
sensors that might be obscured otherwise. It also keeps a potential
fire hazard out of the air, which is also important, as pyrotechnics
light up several scenes in KÀ. That cleanliness extends to the entire
backstage area.
Youll also find storage areas for different acts throughout upper and
lower levels. As Moran says, its all about what is needed, and where.
For example, in the scene where the nanny nearly drowns, she comes
down from the top level of the wing. They come up here; and this is
where they get attached, and load for that act. So, rather than bring
the nanny costume up here every day for a specific thing (they store
the costumes here)
In fact, they get clipped in. They have a harness
with two swivels on it. That particular costume has cutouts.
In every show, the leading lady or man has the backing of an entire
cast, and KÀ is no exception. So during a show we have about 110
backstage, all in all about 135, about 70 artistsa lot of people, and
its just as choreographed backstage as it is onstage, says Moran.
As you walk backstage, youll be struck by the fact that nearly every
person is wearing a harness. And in fact, as you walk through the
floors, youll see many areas where a worker can hook into. And just
as the acrobats in the show rehearse their scenes, so, too, do the
backstage crew; workers go through extensive training when they join
the crew of KÀ; and theyll go through that training for different
areas and different jobs, from 10-14 days.
For Moran, who helped open the theater back in 2005, theres one
aspect that impresses him most. Everybody comes together and works
together to make it happen. I mean, all the technical stuffs amazing
and (we) have lots of buttons to push, but really none of it happens
without everybodythe artists and technicians, the management(it)
takes a big group to pull this off.
By the numbers:
o) 75,000 - The weight of the Tatami Deck in pounds
o) 3,500 - Approximate number of lights in the theater
o) 4,774 - Number of speakers in the theater
{ SOURCE: Nina King, Las Vegas Magazine }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Alegria INAL, Koozå, Kurios, Luzia}
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}
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 >.
Alegría-In a New Light:
Seattle, WA -- Jan 18, 2022 to Mar 13, 2022
Vancouver, BC -- Mar 25, 2022 to May 1, 2022
Portland, OR -- Jun 16, 2022 to Jul 17, 2022
Koozå:
Punta Cana, DR -- Jan 7, 2022 to Apr 10, 2022 [RESTART]
Montreal, QC -- May 12, 2022 to Aug 14, 2022
Kurios:
Toronto, ON -- Apr 14, 2022 to Jul 17, 2022 [RESTART]
Washington, DC -- Jul 29, 2022 to Sep 25, 2022
Rome, IT -- Mar 22, 2023 to Apr 30, 2023
Milan, IT -- May 10, 2023 to June 25, 2023
Luzia:
Barcelona, ES -- Mar 17, 2022 to May 1, 2022
Geneva, CH -- May 28, 2022 to Jul 3, 2022
Alicante, ES -- Jul 14, 2022 to Aug 21, 2022
Madrid, ES -- Nov 5, 2022 to Nov 27, 2022
Bazzar:
Sao Paulo, BR -- Sep 8, 2022 to Oct 16, 2022 [RESTART]
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Savannah, GA -- May 5, 2022 to May 8, 2022
North Charleston, SC -- May 12, 2022 to May 15, 2022
Amherst, MA -- May 19, 2022 to May 22, 2022
Boston, MA -- Jun 1, 2022 to Jun 12, 2022
Montpellier, FR -- Sep 14, 2022 to Sep 18, 2022
Rotterdam, NL -- Sep 22, 2022 to Sep 25, 2022
Leipzig, DE -- Sep 30, 2022 to Oct 9, 2022
Nuremberg, DE -- Oct 12, 2021 to Oct 16, 2022
Cologne, DE -- Oct 19, 2022 to Oct 23, 2022
Hanover, DE -- Oct 26, 2022 - Oct 30, 2022
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 11, 2022 to Dec 18, 2022
Lisbon, PT -- Dec 22, 2022 to Jan 1, 2023
Pamplona, ES -- Jan 4, 2023 to Jan 8, 2023
Lausanne, CH -- Jan 25, 2023 to Jan 29, 2023
Stuttgart, DE -- Feb 22, 2023 to Feb 26, 2023
CORTEO:
Vilnius, LT -- May 26, 2022 to May 29, 2022
Helsinki, FI -- Jun 2, 2022 to Jun 5, 2022
Antwerp, BE -- Jun 23 2022 to Jul 2, 2022
Dublin, IR -- Jul 6, 2022 to Jul 10, 2022
London, UK -- Jul 13, 2022 to Jul 17, 2022
Nice, FR -- Jul 21, 2022 to Jul 24, 2022
Aix-en-Provence, FR -- Jul 27, 2022 to Jul 31, 2022
Palma de Mallorca, ES -- Aug 5, 2022 to Aug 14, 2022
Krakow, PL -- Sep 1, 2022 to Sep 4, 2022
Gdansk, PL -- Sep 8, 2022 to Sep 11, 2022
Bratislava, SK -- Sep 15, 2022to Sep 18, 2022
Vienna, AT -- Sep 21, 2022 to Sep 25, 2022
Nantes, FR -- Sep 29, 2022 to Oct 2, 2022
Manchester, UK -- Oct 5, 2022 to Oct 9, 2022
Glasgow, UK -- Oct 12, 2022 to Oct 16, 2022
Birmingham, UK -- Oct 19, 2022 to Oct 23, 2022
Berlin, DE -- Oct 27, 2022 to Oct 30, 2022
Copenhagen, DE -- Nov 3, 2022 to Nov 6, 2022
Trondheim, NO -- Nov 11, 2022 to Nov 13, 2022
Oslo, NO -- Nov 17, 2022 to Nov 20, 2022
MESSI10:
Buenos Aires, AR -- Mar 9, 2023 to Mar 26, 2023 [RESTART]
OVO:
Los Angeles, CA -- Mar 16, 2022 to May 1, 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) January 7 thru 18, 2022
o) February 13, 2022
o) March 18, 2022
o) May 13 thru 17, 2022
o) July 22, 2022
o) September 9 thru 13, 2022
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) February 13, 2022
o) April 18 - 26, 2022
o) June 19 - 22, 2022
o) August 21, 2022
o) October 9 - 12, 2022
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) January 3 - 7, 26, 2022
o) February 9 - 25, 2022
o) March 23, 2022
o) May 5 - 13, 2022
o) June 8, 2022
o) August 10, 24, 31, 2022
o) October 6 - 14, 26, 2022
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) January 4-8, 2022
o) February 1, 2022
o) March 22, 2022
o) May 3-7, 2022
o) June 21, 2022
o) July 5, 2022
o) November 1, 2022
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) March 14, 2022
o) May 19 - 23, 2022
o) August 18 - 22, 2022
o) October 17, 2022
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
** PREVIEW PERFORMANCES BEGIN MAY 12, 2022! **
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) CIRQUE DU SOLEIL TOUR STORIES
Intermission Is Over and we can tour again! In our newest series
This Starts Today: Cirque du Soleil Tour Stories, we will take
you along as our shows train in Montreal and then head off to
their first touring location!
01: https://www.youtube.com/watch?v=Zr00yRRHIDw {Oct.29} (Alegria)
02: https://www.youtube.com/watch?v=B8oiOTQF1Q4 {Nov.15} (Alegria)
03: https://www.youtube.com/watch?v=cyZW-h9sy24 {Dec.08} (Alegria)
04: https://www.youtube.com/watch?v=41fWciwXbFY {Dec.24} (Luzia)
05: https://www.youtube.com/watch?v=1RKn4sNWk1c {Jan.12} (Luzia)
06: https://www.youtube.com/watch?v=0VA9MJA21J8 {Jan.14} (OVO)
07: https://www.youtube.com/watch?v=wKc-9rS4whM {Jan.27} (Luzia)
08: https://www.youtube.com/watch?v=BtlKuJZRj2w {Feb.04} (Kooza)
09: https://www.youtube.com/watch?v=apSDt3grMuE {Feb.18} (Luzia)
o) OTHER VIDEOS
- ALEGRIA | 2022 SHOW TRAILER
https://www.youtube.com/watch?v=snZ1yDnVhfU {Jan.27}
- EVERYDAY BALANCING COMPILATION
https://www.youtube.com/watch?v=TpzUYXjl7IQ {Jan.31}
- COSTUME CHANGE COMPILATION
https://www.youtube.com/watch?v=y4YNNBz41Hg {Feb.07}
- 60 MINUTE SPECIAL | MYSTERE, BAZZAR, OVO, KÀ AND MORE
https://www.youtube.com/watch?v=YzcvtKOKp0w {Feb.14}
- CELEBRATING 25 YEARS AT THE ROYAL ALBERT HALL
https://www.youtube.com/watch?v=hHFgonNXwq0 {Feb.16}
- CONTORTIONISTS COMPILATION
https://www.youtube.com/watch?v=k66qZ13-vAE {Feb.28}
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) SPECIAL /// "Cirque. Comedy. Music. Mayhem" - A
Collection of Articles Celebrating the Announcement
of Cirque's Newest Show: 'Mad Apple'
o) SPECIAL /// "Learning from the Most Innovative
Organization on the Planet" - A Collection of Articles
about Daniel Lamarre's Book: 'Balancing Acts'
o) "The Last Two Years, Part 1: 'The Final Curtain Call?'"
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
SPECIAL /// "Cirque. Comedy. Music. Mayhem" - A Collection
of Articles Celebrating the Announcement of Cirque's Newest
Show: 'Mad Apple' in Las Vegas
------------------------------------------------------------
"CIRQUE, THE WORKS PARTNERSHIP OPENING ON THE STRIP THIS SPRING"
BY: THE LAS VEGAS REVIEW-JOURNAL | Feb 14, 2022
Cirque du Soleil is taking a bite of the big apple this spring on the
Strip.
Themed for New York and staged at New York-New York, "Mad Apple" is
set for a spring opening. The title has been rumored in earlier online
reports and confirmed through multiple sources. The show takes over
the renovated theater that was home to "Zumanity " for 17 years before
that show shut down in November 2020.
Details about the new project are being announced Feb. 22.
"Mad Apple" arrives from veteran producer Simon Painter's company The
Works, which Cirque acquired in 2019. The New York-New York production
is the first original show developed on the Strip by a Cirque
acquisition company. It is also the first Cirque show to open in Las
Vegas since "R.U.N" at Luxor collapsed in January 2020 after a 4 1/2-
month run.
A version of the show was being planned about two years ago at the old
Bank nightclub at Bellagio, with Painter working with Cirque after the
company merged with The Works. The idea then was to present specialty
acts in the club and along the bar, shifting from the production show
to the late-night club format. Those familiar with the NY-NY project
have described it as a less-raunchy version of a long-running Strip
hit "Absinthe."
The Works is also a partner in "America's Got Talent Live!" at Luxor
and produced the inspired, if ill-fated, "Circus 1903." That family
production closed at Paris Theater after a five-month run in January
2018. The Works has developed the all-star magic show "The
Illusionists," which, for a time, was the center of speculation it
would move into New York-New York.
The hotel's current entertainment roster is led by long-running Strip
headliner Terry Fator in its upstairs Liberty Loft theater and dueling
pianos at its Bar at Times Square. Those venues, too, are (obviously)
themed for New York.
* * *
"CIRQUE CONFIRMS NEW SHOW AT NEW YORK-NEW YORK, 'MAD APPLE'"
BY: VITAL VEGAS | Feb 14, 2022
Cirque du Soleil confirmed it has a new show opening at New York-New
York this spring..
The company will share details about the new show at a new conference
on Feb. 22, 2022, including the show's name, which we first shared six
months ago.
It's "Mad Apple."
Translation: We're pretty sure we're not invited to the news conference.
At the news conference, Cirque says it will unveil the show's concept
(variety acts), introduce the creative team (French Canadians) and
cast members (lots of bendy people with accents) and give a sneak peek
of the production (bendy variety acts with accents).
New York-New York has been without a Cirque show since "Zumanity"
closed. The show's final performance was on March 14, 2020, just days
before casinos and shows shut down due to the COVID-19 crisis.
"Zumanity" had been under-performing for some time. Hey, we've all
been there. Especially when we've been drinking. If you get our drift.
It's an interesting time for Cirque to open a new show given abysmal
ticket sales at its existing shows in recent weeks. Blue Man Group,
another Cirque show, is rumored to be going through an especially
difficult time.
Cirque needs conventions back, a truism that applies to Las Vegas
overall as well.
The chatter is Cirque du Soleil could be teetering on the brink of
another bankruptcy (the previous bankruptcy happened in June 2020) or
sale.
Cirque du Soleil recently gave its longtime CEO, Daniel Lamarre, the
boot (sorry, "transitioned" him to Executive Vice President of the
Board) and gave the gig to Stephane Lefebvre. Lefebvre was the
company's Chief Operating Officer. Yes, the skill set for a COO is
radically different than what's required of a CEO, but mind your own
business. Things work differently in French Canada.
The good news is it's likely the new show at New York-New York will go
back to Cirque's roots, rather than the dumpster fire that was
"R.U.N." at Luxor, a failure that cost the company more than $60
million.
The hope would be a new Cirque show won't cannibalize from the
existing pool of shows, and will renew interest in these lavish (and
very expensive to produce) shows, several of which have been on The
Strip for decades.
If conventions rebound, Cirque's shows should pick up steam. Many
industry experts believe that could take until 2024 or 2025.
There's a lot of awkward between now and then.
Still, we love Cirque and we love new, and "Mad Apple" qualifies on
both counts.
The production is a collaboration with The Works, a company Cirque
purchased in 2019.
The Works was responsible for the excellent "Circus 1903" at Paris,
which promptly failed.
The company is also behind "America's Got Talent Live" at Luxor, which
we hear isn't long for this world due to lackluster ticket sales.
We would write more about The Works, but all our fingers are busy
being crossed for "Mad Apple."
"Zumanity" was our least favorite Cirque show, so we're up for its
replacement.
On a related note, "Love" is likely to be out at Mirage because it's
being sold (to Hard Rock International) and, again, ticket sales
aren't exactly booming from what we're told.
* * *
"CIRQUE REVEALS DETAILS ON 'MAD APPLE'"
BY: THE LAS VEGAS REVIEW-JOURNAL | Feb 23, 2022
Cirque du Soleil is developing its first new show on the Strip in more
than two years. But the company's latest original foray borrows
generously from a familiar theme and a famous city.
"Mad Apple" is set to open at New York-New York on May 26 (previews
open May 12) with tickets starting at $59, without fees, available at
MadAppleLV.com. The production is to reflect a night out in NYC.
Veteran stand-up comics will perform sets around numbers from a live
band (featuring the grand-nephew of a legendary vocalist Nat King
Cole) and acts by Cirque artists.
"The best way of describing this show is the first time you ever went
to New York," says Simon Painter, founder of The Works Entertainment,
co-producing the show with Cirque. "You have the greatest night out of
your life. You saw the funniest comedian, you saw the craziest bands,
you heard someone singing the most beautiful jazz ever, and then you
saw somebody doing triple back-flips off the Brooklyn Bridge all at
4 o'clock in the morning. That's what this show is."
The show is to be performed in a redesigned Zumanity Theater, where
Cirque's adult comedy-acrobatic production closed in November 2020
after a 17-year run. The show is for ages 5 and older, but recommended
for those ages 16 and older for some of its late-night, adult content.
A formal announcement and sample performance event played out Tuesday,
at 2:22 p.m., on the Strip-facing Brooklyn Bridge outside New York-New
York.
We know from the outset the "Mad Apple" operation will employ a
considerably smaller cast and crew than "Zumanity." The new show
incorporates 60 cast and crew, about half the number on the "Zumanity"
team.
"Mad Apple" is now the sixth Cirque show on the Strip, joining "O" at
Bellagio, "Mystere" at Treasure Island, "Ka" at MGM Grand, "Love" at
Mirage and "Michael Jackson One" at Mandalay Bay. The company also
operates Blue Man Group at Luxor, another of its more recent mergers.
"Mad Apple" is unique in that it is the first original Cirque
production delivered on the Strip by one of its acquisition companies,
specifically The Works. Cirque snapped up Painter's company in
February 2019.
The Works was a busy international entertainment company when Cirque
stepped in, with mixed results in Las Vegas. Over the past decade,
Painter's troupe developed the touring production "The Illusionists"
series of ensemble magic productions (which has played a holiday run
on Broadway) and also "Circus 1903," staged briefly at Paris Theater.
"The Illusionists" formerly featured Shin Lim, now a headliner at
Mirage Theater and a show long rumored to be eyeing a Vegas run. The
show was to be the featured production in the 2020 "One Night for One
Drop" charity event, knocked out by COVID-19. "Circus 1903" was an
inspired family show, filled with wondrous acts and a dynamite
ringmaster in David Williamson that nonetheless closed in January 2018
after just five months. Painter's company is also a partner in
"America's Got Talent Live!" still trying to fill the house at Luxor.
Soon after Cirque merged with The Works, the companies embarked on a
boutique-style production, tentatively titled "caBARet," at the former
Bank nightclub space at Bellagio. That partnership was the cornerstone
for "Mad Apple." Painter said his company is working on upwards of 100
ideas every year. But this one stuck because it found a beautiful, and
conveniently unoccupied, theater.
"To be honest, that space, the old Zumanity Theater, is my favorite
space in Vegas," Painter says. "So I thought, if there is ever an
opportunity to produce a show in Vegas, it would be in that room
there."
The venue is seated at 1,151 capacity, about the maximum for
"Zumanity." The difference is in its staging. A bar doubles as the
main stage, where performers will be showcased. Tall cases of booze
are at the back, with the bar set in a semi-circle. The stage's
original thrust has been moved closer to the audience and connects
with the bar and stage, giving the show multiple performance
platforms.
STAKES ARE HIGH
"You can walk up to and get a drink the central stage is a sort of
circular bar and then the top of the bar comes down and makes the
stage," Painter explained.
The stakes are high for "Mad Apple" as Cirque works to maintain its
position as the city's predominant production company. The long-
standing Strip institution battled through a companywide shutdown in
March 2020, to be rescued by a group of new investors in November
2020. Numbers have been erratic since the company's pandemic
reopening, with "O" and "Mystere" performing strong business but
midweek ticket sales at "Love" and "Ka," which have reportedly dipped
to 30-percent capacity during the week, are an ongoing concern.
And Cirque has not launched a long-running production on the Strip
since "MJ One" opened in 2013. Over the past decade, the company has
fallen short with "Viva Elvis" and "Zarkana" at Aria, and "R.U.N" at
Luxor.
In short, Cirque is due for a hit in Vegas.
Cirque Senior Vice President Eric Grilly, the company's ranking exec
in Las Vegas, says that though "O" and "Mystere" remain strong,
revenues from those shows are not shifted to support shows that are
not so successful.
"Each of our shows has to stand on their own financially," Grilly
says. "We've got partners that have invested in the show, and it's a
business that has to have return on investment."
Though "Mad Apple" is primarily a Works entity, it fits into the same
company operation family as the traditional Cirque productions.
"The Works is creating this show for Cirque and MGM Resorts," Grilly
says. "This show will be operated as all of our shows in Las Vegas are
operated. The same teams will be involved in all of our daily shows
and running the show after it launches."
Grilly says the show is simply evolving the resort's famous New York
theme.
"I think there is a global awareness of New York as a destination and
in the iconic representation of the Statue of Liberty, the Chrysler
Building, the Empire State Building," Grilly says. "The New York-New
York property is encompassing so much of that skyline that represents
New York, I think the connection is fairly easy for us to make."
COMEDIANS AND SINGERS
Even so, some of "Mad Apple's" performances can play anywhere, in the
form of stand-up comedy. Brad Williams is the little-person comedian
who performs where "Zumanity" emcee Edie once towered over the scene.
Williams cuts to the quick in delivering material about his dwarfism
and how his absence of height affects his daily life.
"I'm pretty sure it is every dwarf's destiny to end up in the circus,"
Williams says. "That's what my parents told me when I told them 18
years ago I was getting into show business."
Williams has appeared on "Comedy Underground with Dave Attell" and all
the network late-night talk shows. He carries substantial
responsibility as the primary comic in "Mad Apple."
"Simon contacted me and told me he had been watching a lot of videos
of stand-up comics, and when he saw my video was just like, 'That guy!
That guy!' " Williams says. "And to be honest, if he had brought this
to me in 2019, right before the pandemic, I probably would have said
no, just because I was touring. But now is the perfect time because I
feel like this is like the comeback, where everyone's really excited
to get back out there to see live shows."
Also cast for the opening run is Chris Turner, a rare British rapper
and improv comic. Turner was cornered by Painter after a set at The
Comedy Cellar in New York last year and offered a role in "Mad Apple,"
on the spot.
Turner is a founding member of the highly regarded improv troupe in
the U.K., and has amassed more than 35 million views on YouTube.
Turner takes terms called from the audience and turns them into
freestyle rap songs. He prefers complex, even arcane subjects, his
rules being no food, no animals and "nothing obvious." During his
appearance last September on "The Late Show With Stephen Colbert,"
Turner rapped a number from such suggested topics as hoarding toilet
paper, the Oscar won by Colbert bandleader John Batiste, weird baby
names on Mars and people fighting over Pokemon cards at Target.
"This all started with me in my bedroom, listening to Dr. Dre, Snoop
Dogg and Eminem, and I would make up my own raps," Turner said last
week. "Then I was in Boy Scouts and we'd be hiking on these five-day
expeditions, just like six guys in the mountains. Everyone's morale is
down and I just created these little rap songs about what was
happening."
Turner's improv rapping is not the only music in "Mad Apple." Eric
Cole, great-grand nephew of Nat King Cole, heads up the show's vocal
lineup, which Painter culled from a nationwide search of singers. Cole
is music director of a hip house band featuring a brass section and
also boosted by audio tracks.
"Eddie is one of the greatest talents I've ever seen in my life,"
Painter says "He's a dear friend of mine. He wrote some of the music
for "The Illusionists" show back in the day. The talent we have in
this show is just ridiculous."
One of the comics has a concern leading to the show's opening.
"When I told my mom I was in a Cirque show, she was like, 'They won't
make you wear a leotard, will they?' " Turner says. "And I've been
promised I can wear normal clothes."
* * *
"MAD APPLE: 'IT'S NOT JUST A CIRQUE SHOW'"
BY: USA TODAY | Feb 23, 2022
When standup comedian Brad Williams was first pitched the idea of
joining a Las Vegas Cirque du Soleil show, two words crossed his mind:
holy crap.
"My very first thought was: Holy crap, my dad was right. I'm going to
end up in the circus," the standup comedian born with achondroplasia
told USA TODAY. "Turns out, he was right."
Williams is set to star in "Mad Apple," a new Cirque du Soleil
performance scheduled to hit the Las Vegas Strip on May 26. The show
will be held at MGM Resorts International's New York-New York hotel-
casino and will be the first under the Cirque banner to incorporate a
standup comedian.
"It's not just a Cirque show. It's about four or five different shows
in one," Williams said. "In order to stand out in Vegas, you got to go
big. And they went big by having a dwarf comedian."
"THE GREATEST NIGHT OUT IN NEW YORK," IN LAS VEGAS
Mad Apple will be the first Cirque project led by director Neil
Dorward and Simon Painter, whose company The Works Entertainment
known for "The Illusionist" was acquired by Cirque in early 2019.
Painter describes the show as unlike any other Cirque show before it:
a mishmash of acrobatics, music, dance, comedy and magic that
celebrates New York City.
A preview video of Mad Apple highlights neon-clad basketball
performers dunking trick shots off a trampoline à la Harlem
Globetrotters, juggling bartenders, piano players and plenty of
breath-taking Cirque acrobatics.
"We wanted to make a show that really was like the greatest night out
in New York," Painter told USA TODAY. "It's a very well-rounded piece
of entertainment. ... We wanted to give the people coming to Vegas a
true flavor of the craziest, most amazing things you'd see in New
York."
Painter said the six-act show allows the audience to get "much closer"
to the action than other performances.
"The audience sits almost all the way around the stage, so if you're
sitting in the VIP section, you're incredibly close to the action," he
said.
Mad Apple's pre-show offerings will also offer up-close entertainment
with a stage bar and magicians.
"I like the fact that the show starts before the show," Williams said.
"Then once the show actually starts, once you see this bar go full
transformer and become the stage, that sets the table for the
craziness that you're going to experience for the rest of the night
where you go: 'Oh, I don't know what's going to happen.' "
The show's fresh take on the Cirque format was what initially drew
Williams to the project.
"They've had adult, grown men dressed as babies flying through flaming
hoops, sure, but not a comedian," he said. "They're doing stuff that's
never been done before, and that excited me."
Guests can expect plenty of New York-themed jokes from Williams, but
the comedian said his routine won't ostracize those who haven't been
to the Big Apple.
"I've been given carte blanche, which I don't know if that's the
greatest idea," Williams joked. "(Painter) has let me do just whatever
I feel is funny. So I'm going to be doing stand-up during multiple
parts of the show ... (and) I'm going to be the voice of the audience.
I'm going to be giving life to all the crazy thoughts that are going
on inside of their heads."
A LONG WAY FROM 2020
Mad Apple will be the first Cirque show in New York-New York since
Zumanity, which was permanently closed in November of 2020.
The new show is a sign of just how far Montreal-based Cirque has come
since March 2020, when it suspended all of its Las Vegas shows and
temporarily laid off 95% of its workforce. The company filed for
bankruptcy in June of 2020 before announcing new owners five months
later.
Since then, all other Las Vegas shows KÀ, Michael Jackson ONE,
Mystère, O and The Beatles LOVE have resumed production.
"We love making shows, and it's just a complete honor ... to produce
the show under their banner," Painter said.
Painter said Mad Apple is made for "anybody who wants to have the
greatest night out," but added the target audience was a more mature,
15-and-older crowd.
"It's going to be a very fun night out. That's the whole purpose of
this, it's kind of what we need after this bloody pandemic," Painter
said. "We're looking for people that really truly want to have a fun
time. They want to be amazed, they want to laugh, they want to see
beautiful things to the famous soundtrack of New York. ... It's a
really, really fun, fantastical, wild night out."
* * *
"CIRQUE DU SOLEIL PLANS A NEW AND HYBRID LAS VEGAS SHOW"
BY: ASSOCIATED PRESS | Feb 23, 2022
Cirque du Soleil is planning a brand new, eye-popping show on the Las
Vegas Strip this spring that appropriately flips its typical script.
"Mad Apple" will feature stand-up comedians, close-up magic and a live
band playing pop music onstage alongside Cirque's famous acrobats in a
new hybrid form of live entertainment.
The show inspired by New York City's eclectic nightlife of jazz
cubs, street buskers, comedy shows and live music will replace
"Zumanity" at the New York-New York Hotel & Casino in May on the Las
Vegas Strip.
"We really wanted to do something joyous and something celebratory,"
veteran producer Simon Painter told The Associated Press ahead of
Tuesday's unveiling. "It's basically a giant party, the greatest night
out in New York."
"Mad Apple" will be Cirque's sixth Las Vegas show and the first all-
new one since it emerged from bankruptcy protection with new owners.
In 2020, it had to suspend its productions around the globe as the
pandemic crushed live entertainment.
Visitors enter the performance space before the show to find a massive
bar and are greeted by magicians. The bar then transforms into the
stage and the show begins, the infamous Cirque clowns replaced by two
stand-up veterans Brad Williams and Chris Turner.
"I'm the first stand-up comedian to be a part of a Cirque show and
doing traditional standup," said Williams. "That's really exciting to
me because I do like doing things that I've never done before."
Usually, a Cirque show means pre-recorded whimsical and atmospheric
worldbeat music, but not here. A live band with singers will stay
onstage for most of "Mad Apple" performing hits by the likes of Billy
Joel and Lady Gaga, including tunes by the Gershwins and notable jazz,
culminating in "a big sort of Studio 54 party," Painter said. "The
whole show is set to the soundtrack of New York."
Unlike many of Cirque's big-top shows, there will be no narrative.
"Given the current state of the world and everything else, we wanted
to do a piece that was pure entertainment," said Painter.
"Mad Apple" won't skimp on physical stunts, with acrobats tumbling on
top of a New York City taxi, an acrobat swinging on a New York street
sign and the show closing with an acrobat doing tricks on an aerial
pendulum of the Empire State Building.
"You could go see an acrobatic Cirque show. You can go see a live
band. You can go see a magician. You can go see a comedian and
that's four separate shows. Or you can go see 'Mad Apple' at New York-
New York and all of that will be in one show," said Williams. "This is
a Cirque show that is really trying new things."
When he was approached by Painter, Williams asked what sort of comedy
the creative team was looking for. Would there need to be a theme,
topics to avoid or suggested areas? "Simon said the most beautiful
thing a performer could ever hear," said Williams. "He said, 'All I
care is that it's funny.'"
The show in some ways promises to nod to Cirque's DIY Canadian roots.
The now-global entertainment giant started out humbly with just a
couple of buskers in Quebec.
Painter's company, The Works Entertainment, which Cirque acquired in
2019, has developed several other live shows including "The
Illusionists" and "Circus 1903," which have always had a strong
comedic element. Neil Dorward, veteran The Works director, will direct
"Mad Apple."
* * *
"MAD APPLE: THE OFFICIAL PRESS RELEASE"
BY: CIRQUE DU SOLEIL | Feb 23, 2022
With nearly four decades at the forefront of groundbreaking
entertainment, Cirque du Soleil will debut a completely new and
wickedly fun Las Vegas production Mad Apple at New York-New York
Hotel & Casino on May 26, 2022. Mad Apple will be a delicious Cirque
du Soleil cocktail of music, comedy, magic and mayhem that puts NYC
nightlife under the Las Vegas lights.
Tickets now on sale at MadAppleLV.com
Featuring comedian Brad Williams, freestyle rapper Chris Turner and
vocalist Xharlie Black amongst the incredibly talented cast of 39
people, Mad Apple will be a nonstop New York thrill ride from the
moment guests enter the theater. From pre-show magic and boozy
libations at the stunning stage bar, to the band playing hits inspired
by NYC's most famous musicians and composers, Mad Apple will blur the
lines between circus, live entertainment and New York nightlife
culture.
"Mad Apple will deliver a night of joy and entertainment with the
thrilling backdrop of New York City," said Simon Painter, Mad Apple
concept co-creator and executive producer. "We've taken inspiration
from the city's rich musical history, legendary comedy scene and
unrivaled nightlife, and combined it with the wow factor of Cirque du
Soleil to create an experience that will feel like a giant party from
start to finish." Mad Apple is the first Cirque du Soleil production
in creative collaboration with Painter and Neil Dorward, the show's
co-creator and director. Painter was the creator behind several
celebrated productions including The Illusionists; his company The
Works was purchased by Cirque in February 2019.
Featuring six brash acts and a dynamic makeup of musicians, dancers,
comedians, magicians and circus performers, Mad Apple rewrites the
script for Cirque du Soleil entertainment. Each act will reflect a
different nocturnal side of New York, brought to life by underground
stars, high-flying acrobats, street performers, up-and-coming
entertainers, and the biggest musical hits to come out of the City.
Eric Grilly, Cirque du Soleil president of resident and affiliate show
divisions, said, "We're excited to share a completely reimagined
experience from Cirque du Soleil with a show that fuses the spirit and
creativity of the two 'Cities that Never Sleep.' Cirque has long been
known for celebrating the limits of human ability, and Mad Apple will
continue this revered tradition. To this, we're adding acts and
artists you wouldn't expect to find on a Cirque du Soleil stage. The
end result will be exactly what we're known for creative,
astonishing and enjoyable live entertainment."
New York-New York's president & COO Mike Neubecker said, "There
couldn't be a better fit for a resort inspired by New York City than
Mad Apple. We are beyond thrilled to welcome this new evolution of
Cirque du Soleil and know our guests will be in for the time of their
lives."
Previews for Mad Apple begin on May 12, with tickets starting at $49.
Mad Apple will celebrate its premiere May 26; tickets are available
for shows beginning May 27 and start at $59. Tickets are now on sale
at MadAppleLV.com.
HEADLINING CAST MEMBERS
Lead Comedian Brad Williams. Marking the first time a standup comedian
will headline a Cirque du Soleil production, Mad Apple will debut with
comedian Brad Williams. Once described as "Prozac with a head" by the
late Robin Williams, Brad William's ability to make humorous
observations on disability, relationships, sex and race have won over
audiences and proven anyone can overcome their shortcomings.
Freestyle Rapper Chris Turner. Well-known for his jaw-dropping
freestyle raps, Turner makes his Cirque du Soleil debut with Mad
Apple. Turner is a regular at New York's world-famous Comedy Cellar
and became the first British comedian to perform on "The Late Show
with Stephen Colbert" in September 2021.
Musical Director and Lead Vocalist Xharlie Black. A character from the
mind of Eddie Cole, who inherited his velvety voice from his great-
uncle Nat King Cole, Cole's alias Xharlie Black will lead a group of
musicians and singers to reimagine the most iconic songs from New
York's storied history of music. A multi-talented musician and
producer, Cole has spent the past 10 years touring the world as
drummer/vocalist and then co-musical director for the New York legend
Nas. Xharlie Black is an homage to Nat King Cole and cousin Natalie
Cole, and the many artists with whom he's had the honor of sharing the
stage.
------------------------------------------------------------
SPECIAL /// "Learning from the Most Innovative Organization
on the Planet" - A Collection of Articles about Daniel
Lamarre's Book: 'Balancing Acts'
------------------------------------------------------------
In a new book, Balancing Acts, former Cirque du Soleil CEO and now
executive vice-chairman of the board, Daniel Lamarre, shares his
experience in his 20 years at the helm of a world-class, entertainment
juggernaut with over $1 billion in pre-pandemic annual sales. The
business lessons he learned while heading up the companywhich had to
shut down productions for almost a year and a half due to the
pandemictranslate to creative and traditional fields alike. We've
collected a number of these stories, articles and reviews for your
reading pleasure...
"LAMARRE ON EMERGING FROM BANKRUPTCY; LESSONS FOR SUCCESS"
BY: NEWSWEEK | Jan 12, 2022
In this Q&A with Lamarre, he discusses his thoughts on Cirque's
recovery from the months without any performances, how digital fits
into the future of Cirque and live entertainment, the essential place
of creativity in business and more.
Q. What's the most important thing for success in business?
Creativity. If you are not prioritizing creativitythe dictionary
definition of "making or bringing into existence something new"you
are wasting your time. No company deserves to exist unless it is
constantly discovering new ways to make its customers' lives better.
Without creativity, there is no business.
Q. How can creativity be incorporated in an organization? What about
in non-artistic fields or more traditional ones?
First, forget about the traditional pyramid corporate structurethat
tends to stifle experimentation. Employees need smaller, more intimate
"innovation cells" to express themselves and innovate in a supportive
environment. At least one cell should be devoted exclusively to
research and development to discover new ideas in areas appropriate
for your business.
Q. During COVID-19, you jumped on the digital bandwagon and launched
Cirque Connect. Do you envision this remaining a significant part
of your brand?
Absolutely. Cirque Connect has attracted more than 65 million views
since launching in March of 2020. Cirque Connect reached younger, more
digitally savvy fans, inspired a documentary film about the reopening
of our Las Vegas show O and led to talks with streaming platforms like
Disney+, Amazon Prime Video and Netflix about developing original
artistic content for them. The lesson is that sectors like retail,
manufacturing and live events that may perceive digital as an
existential threat should keep an open mind about its tremendous
power.
Q. In 2020, Cirque filed for bankruptcy protection and laid off 95
percent of its workforce. What factors necessitated this? What has
changed since Cirque emerged from that process with new owners?
Our bankruptcy protection filing was 100 percent caused by the
pandemic for a simple reason: You can't run a business with zero
revenue. Before that, we were thriving, with 44 profitable shows
playing around the world. In late 2020, we were acquired by our
creditors, who absorbed our debt and invested an additional $375
million. That put our market value, even in a crippled state, at a
stunning $1.275 billion. Today, many of our shows are back up with
lots more in the pipeline. We are still the same company, with
fantastic new owners who have learned how our unusual business works
but leave the creative side alone to work their magic.
Q. Have you been able to fully staff your shows with the Delta and
Omicron variants surging? What other challenges are you facing with
the ongoing pandemic?
We are obviously respectful of all the rules and regulations in place
in each of the cities and countries we perform in. The U.S. COVID-19
situation allows us to present our shows right now, and we are
fortunate that the return of our productions in Las Vegas, Orlando and
other key markets has been successful. We are confident, with the
current booster blitz, that the situation will return to normalcy in
the near future. In the meantime, we have observed a big trend of
people attending live showswhich is also a very positive thing for
us.
Q. Do you think there will be long-lasting effects on how the
entertainment industry and live shows operate as a result of the
pandemic? Anything positive that will remain?
Despite this crisis, live entertainment will remain a multibillion-
dollar industry worldwide. Many live-entertainment companies,
including us, embraced digital, reevaluated their business models, and
became leaner. Going forward, we will launch new productions at a more
measured pace, continuing to focus on quality, while touring major
cities in North America, Europe, and Asia more oftenall positive
steps that will increase efficiency.
Q. Are you a daredevil in your own recreation?
My temperament is probably the opposite, though you might say that
dealing with the crises that crop up constantly in a global live-
entertainment company has made me quite familiar with the concept of
risk. Quitting my secure job as CEO of a large Canadian television
network to join the circus in 2001 was a daring move but one I've
never regretted for a single moment. It's a thrilling ride that I'm
still enjoying every single day.
Q. What goals are next for you?
To continue being an evangelist for creativity. As the great German
poet Goethe put it, "Whatever you can do, or dream you can, begin it.
Boldness has genius, power and magic in it."
* * *
"WHAT DANIEL LAMARRE LEARNED ABOUT CREATIVITY FROM THE BEATLES"
BY: NEWSWEEK | Jan 13, 2022
Cirque du Soleil, the global entertainment company with annual pre-
pandemic revenues of $1 billion, is known for trafficking in multi-
million dollar extravaganzas with acrobatic feats that stretch the
boundaries of the imagination. For 20 years, Daniel Lamarre was the
chief executive officer responsible for bringing these fantastical
productions to life. In his new book, Balancing Acts, Lamarre, now
executive vice-chairman of the board, shares his insights into the
nature of creativity as an essential part of management in all
industries. In this excerpt from his book, Lamarre describes the
genesis of the unique collaboration between Cirque and the Beatles,
which resulted in the only live show in which Beatles recorded music
and images have ever been used since the breakup of the legendary band
more than 50 years agoand one of the biggest shows in Cirque's
history.
As the audience settles in the darkened theater, acrobats playing
Liverpool sailors climb ropes dangling from the ceiling. The lush a
cappella harmonies of Paul McCartney, John Lennon and George Harrison
fill the air.
It's August 26, 2021, our first showing of The Beatles LOVE at the
Mirage in Las Vegas after a 17-month pandemic intermission. As the CEO
of Cirque du Soleil (I've since transitioned to executive vice-
chairman of the board), I'm a bundle of nervous excitement. Whenever I
see this productioneven 15 years after its premiereI can't relax and
watch like everybody else. Sure, I'm dazzled by the acrobatics, the
dancing and the rich trove of characters and stories culled from more
than 120 Beatles songs that were sampled to create the soundtrack. But
I can't stop my mind from racing back to the long series of improbable
events that led to the staging of this spectacular show and how my
lifein fact, my whole approach to business and creativitywas changed
by working with the Beatles.
My journey started in 2001, less than a year after being hired by
Cirque as a senior executive. I entered a London hotel suite, nervous
as a schoolboy, and began shaking hands with Paul McCartney, Ringo
Starr, George Harrison, his wife Olivia and Yoko Ono. Never in my
craziest dreams did I ever imagine I would be in a business meeting
like this.
We were there to discuss an idea George had mentioned to Cirque
founder Guy Laliberté a few months earlier at George's 19th century
neo-Gothic mansion in Henley-on-Thames, near London. "I admire what
you have done [with Cirque], and it seems like we have a lot in common
when it comes to creativity. I know I am dying," George told Guy over
tea. "I don't know how many years I have left, but before I go, I'd
like to do a creative project with the Beatles music. Do you think
Cirque would like to be involved?"
That started a conversation that eventually brought us all together in
this London hotel suite. I was struck by how each Beatle was almost
exactly as I imagined. Paul was clearly in charge, a true people
pleaser who flattered us effusively, telling us how much he loved our
shows. George, "the quiet Beatle," was down-to-earth, like your next-
door neighbor. Ringo was pure Ringo: hanging back at first, but then
cracking jokes, one after another, keeping everyone loose.
Olivia, joining us because George had been ill and needed her
assistance, was charming and outspoken. The quietest of all was Yoko,
who only talked a little, in her quiet voice, about the artistry of
Cirque and how much John would have liked to be involved in this
project. Despite the band's freighted history with Yoko, I saw no
outward signs of tension. Remarkably, it was the first time the group
had all gathered for a business meeting since John's death in 1980.
"Okay, so what's the pitch?" Ringo said.
Guy didn't miss a beat. "There is no pitch!" he said. "You are a
creative force; we are a creative force. Let's just find a way to
create a show together!"
It was a risky maneuver to place Cirque on the same creative level as
the Beatles. But it worked brilliantly, piquing their artistic
curiosity. "That's quite a change," Ringo said, impressed. As we
talked, Paul became inspired. He drew a picture of the Nowhere Man on
a piece of paper, gave it to Guy and said, "When you guys figure out
what this means and can do a show with it, I'm in!"
Laughter all around. All in all, it was an encouraging first meeting.
Then, in November, we were all devastated by George's death from
cancer at age 58. The Beatles-Cirque collaboration appeared dead
before it got started. But during the ensuing months, a miracle
happened: Paul, Ringo, Olivia and Yoko decided to revive the project
as a tribute to George.
One of the many lessons I drew from working with the Beatles for
nearly five years during the creation of LOVE was this: Emotion can be
a powerful force in driving a project forward. Finding the emotional
heartbeat behind any new venture can unleash dynamic currents of
energy that can make the difference between success and failure.
My other learnings were no less influential as I absorbed the creative
culture of Cirque du Soleil and rose to chief executive in 2006.
Among them:
Showcase What You Do. When I joined the company in early 2001, I
noticed that Guy was spending $1 million of company money on a lavish
and legendaryannual party in Montreal. I objected to what seemed like
a ridiculous waste of money until I attended the bash that June and
realized the huge networking potential. George Harrison had shown up
the year before and was transfixed by the eclectic 19-piece band,
Fanfare Pourpour. Despite his illness, he ended up staying until
sunrise, had a magical time and invited Guy to his home. That was the
first step in what became our historic collaboration (which also
happened to be an enormous commercial success; in this case, the party
turned out to be quite a bargain). Most companies don't need to throw
a huge party like that, of course. But every firm can find original
ways to showcase their ingenuity to attract potential customers or
partners.
Don't Force Your Vision on Partners. Early in the development process,
we gave executives at the Beatles' management firm, Apple Corps, a
compact disk of the band's music recorded by local Montreal musicians,
spliced with electronic beats, or rhythmic accents. We usually use
live musicians for our shows and wanted to offer the Beatles some
ideas. What a huge mistake! The Apple execs thought the music was
awful and almost ended the relationship right there, questioning the
taste of our creative team, and insisting that the show use only
Beatles recordings. "What do you mean?" Cirque cofounder Gilles Ste-
Croix said. "Play CDs?" "We don't really know," confessed Neil
Aspinall, the CEO of Apple Corps. But his message was clear: We
shouldn't be giving the Beatles advice about music any more than we'd
want them lecturing us about acrobatics.
Trust Your Partners' Expertise. When Guy and I got the idea to ask
longtime Beatles producer George Martin, "The Fifth Beatle," to handle
the music for the show, it was a breakthrough. Both parties agreed
that Cirque would have final say on the visuals and the Beatles would
control the music. Finally, the project had some direction, rooted in
our respect for and trust in the other's expertise. When George Martin
teamed up with his son, Giles Martin, they created an astonishing
soundscape that thrilled our audiences and went on to win two Grammy
Awards.
Mobilize People Around Your Project. Inviting all four Beatles
stakeholdersPaul, Ringo, Olivia and Yokoto participate deeply in the
creation of the show, from concept through rehearsals, may sound like
a major potential headache. But it turned out to be a blessing. Paul
was relentlessly upbeat and encouraging, providing inspiration to our
awestruck cast and crew. He became so invested in the show that at one
point, during a long day of rehearsals, he began calling it "our
show"a sure sign that we were on the right track. Yoko and Olivia,
meanwhile, channeled the spirits of their late husbands to insist on
changes that made the show better and more authentic. (Ringo didn't
get very involved; he was OK with just about everything.) Every
business has similar constituencies to satisfycustomers, government
regulators, shareholders, suppliers and othersand learning how their
concerns can improve the product is a crucial part of trusting the
creative process.
Back at the Mirage last summer, the gorgeous harmonies of "Because"
from the Abbey Road album finish playing and the sailors slide back
down their ropes. The last chord of "A Day in the Life" rings out
(played backward), followed by the opening chord of "A Hard Day's
Night." Then Ringo's drum solo from "The End" fully ignites the show,
the stage exploding with light, sound and color as dancers in
flamboyant costumes let loose. Next, we hear recordings of shrieking
fans, wailing guitars and Paul's voice blasting through state-of-the-
art speakers: "Jojo was a man who thought he was a loner, but he knew
it couldn't last..."
The Beatles LOVE remains a major cultural event, the last live show
the band produced together. At the emotional premiere in June of 2006,
Paul McCartney, Ringo Starr, the families of George Harrison and John
Lennon, and George Martin and his son Giles joined director Dominic
Champagne, Gilles Ste-Croix and Guy on stage to celebrate after the
show. At one point, Paul and Yoko hugged and kissed. Aspinall turned
to me and said, "I never thought I would see that."
It's true that the creative process can be difficult, unpredictable
and maddening, just like life. But in the final number of the show,
the Beatles offer the best advice I've ever heard about how to deal
with it: "All you need is love."
Taken from Balancing Acts by Daniel Lamarre. Copyright (C) 2022 by
Daniel Lamarre. Used by permission of HarperCollins Leadership.
www.harpercollinsleadership.com.
* * *
"WHY CIRQUE'S CEO BELIEVES LEADERSHIP IS TWO-WAY TIGHTROPE"
BY: FORBES | Jan 13, 2022
Cirque du Soleil is likely an organization you've heard about. Maybe
you have attended one of their dazzling shows in Las Vegas. However,
you may not be as familiar with the company's CEO, Daniel Lamarre.
What an exemplar of leadership he provides.
Prior to becoming CEO at Cirque du Soleil in 2001, Mr. Lamarre held
senior roles in Canadian firms such as Cogeco, NPR, and TVA, Quebec's
most prominent private television broadcaster. Over his 40+ years of
leading teams and organizations, Lamarre has learned a thing or two
about leadership.
It's not solely about backflips and handstands.
During an interview with Lamarre, he made mention of a technique he
refers to as "knowing when to step up and step back." He believes
leaders should always be on the hunt for new and creative ideas.
That's the "step up" trait. But Lamarre also encourages leaders to
develop the skills that allow team members' ideas to come to you
effortlessly. Hence, "step back."
Wherever the ideas come from, they cannot result in groupthink either.
Lamarre argues that if people do not feel empowered to come forward
and debate their ideas with senior leadership, the culture ultimately
suffers. "They need to feel that their ideas are welcomed," he said,
"and that they can disagree with and debate with us."
"At the end of the day, it doesn't matter if the idea comes from me or
from any of the employees at the firm," remarked Lamarre. "What's
importantand that's a key principle of meis that the best idea
should prevail."
Lamarre points out what many leaders miss. You can't refer to your
organization as open and collaborative if you're not creating ways for
ideas to easily bubble up to senior leadership. Furthermore, if
employees are asked to surface ideas yet, they're never accepted or
even implemented, that has dire consequences for the overall culture
health of the organization.
Lamarre's new book, Balancing Acts: Unleashing the Power of Creativity
in Your Work and Life, is his attempt to share what he has learned
about creativity and leadership from the best creators in the world
the Cirque du Soleil team.
What Lamarre also demonstrates in the book, however, is his wonderful
leadership style, including the key traits of inclusivity,
collaboration, and mutual trust. For example, Lamarre indicated Cirque
does not talk about diversity; it is diversity. With employees from 49
different nationalities, diversity is not something the firm focuses
on; instead, it's at the core of how Cirque operates.
When discussing creativity, Lamarre believes that creativity directly
links one's ability to be vulnerable. He makes an astute point between
leadership and employees on this point. "I want my artists to feel
that I am as vulnerable and as committed to push the level of
performance as they (the artists) are on stage," he said.
Lamarre believes that if a leader is not vulnerable, employees will
not look up to or respect the leader. But when a leader acts with
vulnerability, employeesthe artists in the case of Cirque du Soleil
will feel more tightly aligned and connected with senior leadership.
It's such an important leadership trait to highlight because far too
many leaders believe that their style should be authoritarian or
Teflon-like. On the contrary, Lamarre suggests vulnerability begets
vulnerability, and good things ensue when this occurs. "People are
looking for authenticity," said Lamarre. It's hard not to agree with
him.
It's no wonder he has been at the helm of Cirque du Soleil for more
than twenty years, weathering calamities such as 9/11, the Great
Recession, and of course, the pandemic. The latter significantly
impacted attendance at the company's shows globally.
Imagine losing $1 billion in revenue overnight. That happened in Q1 of
2020 once the pandemic's first wave hit. So it's no surprise to see
how Lamarre used his styleand the operating culture of Cirque du
Soleilto walk the stilts of impactful leadership to step over
failure, eventually helping the company come back stronger than ever.
One might argue Lamarre is that rare breed of leader, successfully
balancing the tightrope of profitability through a collaborative,
creative, and engaging leadership style.
* * *
"DANIEL LAMARRE: FROM $1BN TO ZERO REVENUES IN 48 HOURS"
BY: THE FINANCIAL TIMES | Jan 13, 2022
The executive vice-chair steered the circus group through management
change and commercial challenges then Covid struck
"I never thought in my life that within 48 hours, I [would go] from a
billion dollars?.?.?.?of revenue to zero revenue, and there were
people saying that the debt was too high and this and that. The
reality is when you have no revenue, it doesn't matter what your debt
is: you have no money. Period. Full stop."
Daniel Lamarre knows about high-wire acts and not only the
metaphorical kind. In 20 years as chief operating officer then chief
executive, he helped lead Cirque du Soleil through changes of control,
the global financial crisis, and natural and commercial disasters. He
had always managed to keep the Montreal-based circus group's overall
show on the road. Until March 2020.
On what Lamarre now calls "Black Friday", March 13, 71 Cirque
performances around the world were cancelled as governments tried to
stem the spread of coronavirus. "All the touring shows are down, but
if Vegas remains open, we're OK," Lamarre reassured his wife. The next
day, Nevada shut down non-essential businesses and the Las Vegas
casinos where Cirque had six resident shows running closed
indefinitely. "I came back home and I was white," said Lamarre in a
November interview. "I said to my wife, 'It's over'."
Lamarre tells the tale of his and Cirque's pandemic in Québecois-
accented English, with the skill of an experienced ringmaster. But no
amount of his trademark optimism can conceal the stress of the past
two years. Lamarre had to repatriate the cast and support staff from
multiple touring shows as flights were grounded and borders closed.
Less than a week after Black Friday, he had to lay off 95 per cent of
Cirque's workforce 4,679 people by video. He took the company into
bankruptcy protection in June 2020, running it with a skeleton staff.
Two months later, the chief executive of one former investor, the
Caisse de dépôt et placement du Québec, said Cirque had been one of
the first businesses to close and would be the last to reopen.
Lamarre and his team have already confounded that forecast. Two Vegas
shows, Mystère and O, reopened in June 2021. Touring productions are
springing back to life. Lamarre said: "I don't have to rebuild the
momentum. The momentum is there. And much more than I expected. Not
only the momentum of the public buying tickets, but the momentum of
saying we want to be associated with Cirque du Soleil."
But coronavirus is still a threat. Lamarre made those comments two
days before the World Health Organization named the highly
transmissible Omicron variant in November. Interviewed again before
Christmas, Lamarre was still uncertain whether new measures would be
imposed on English theatres, potentially threatening the return of
Cirque du Soleil to London this week, with its Mexican-inspired show
Luzia. Wednesday's opening at the Royal Albert Hall is set to go
ahead. Around the world, though, Cirque, like its acrobats and
contortionists, needs to stay agile. "We're playing with a lot of
different scenarios: what if, and if, and if, and so on," the Canadian
said last month.
Lamarre, now 68, will not be directly responsible for how Cirque
juggles those "what ifs". He handed over the chief executive job to
Stéphane Lefebvre on December 1, taking on a new role as executive
vice-chair. As chief financial officer, Lefebvre helped Lamarre piece
together a deal with creditors in 2020. The restructuring brought in
$375m of new capital and left the circus under the control of
creditors led by Catalyst Capital, a Canadian private equity group
specialising in distressed debt.
Some see the changes as symptomatic of a wider shift that started in
2015 when another buyout group, TPG Capital, gained control of Cirque
from its creative driving force Guy Laliberté. Patrick Leroux, a
professor at Montreal's Concordia University and a specialist in
circus culture, pays tribute to Lamarre, a former television
executive, who led that transition and Cirque's pre-pandemic growth
with a blend of risk appetite and artistic flair. Lefebvre, by
contrast, is "very much an administrator and accountant: the right
person to weather the next few waves" of the pandemic, says Leroux.
Lamarre instead emphasises Lefebvre's six years steeped in Cirque du
Soleil culture, and his "sensitivity to artistic content and
creation". He has handed over a business, though, whose ambitions have
been tempered by the searing experience of pandemic and bankruptcy.
***
Three questions for Daniel Lamarre
Q. Who is your leadership hero?
Steve Jobs is my leader hero for his commitment to innovation but also
his passion for amazing design.
Q. If you were not a CEO/leader, what would you be?
I would be a personal adviser to politicians, business people and
artists and contribute to their success. It is so rewarding to see
people achieving their full potential.
Q. What was your first leadership lesson?
Myfirst leadership lesson was the importance to mobilise employees
behind a collective goal in our case: a new show!
***
Cirque went into the crisis of 2020 carrying $900m of debt, a legacy
of the TPG-led leveraged buyout in 2015, based on a strategy that
forecast continuing revenue of $1bn annually and an eventual exit
through sale or initial public offering. As Lamarre pointed out, it
was not the debt itself that closed Cirque. But he added in November
that he would be "lying [if I said] I wouldn't be more prudent [in
future], because obviously that was so tough to go through".
In those few days in March, Lamarre went from "probably the most
exciting job in the world? [to] a nightmare", not only wrestling with
the financial cataclysm but also at one point facing protests from
freelancers about Cirque's failure to meet their demands for $1.5m in
back-pay. In his new book Balancing Acts, published this month,
Lamarre writes that "to save the company, I had to violate the very
purpose of my life creating jobs for artists".
Concordia University's Leroux says the circus world "needs a strong
Cirque du Soleil, because it's the engine of the industry". But even
though the freelancers were later paid from a fund set up as part of
the debt restructuring, he believes the pandemic has changed the
relationship between Cirque and its performers. Some realised "they
didn't necessarily want to work for a large corporation"; others
struck out in search of more autonomy.
Lamarre said Cirque had striven to "keep in touch with our artists all
along the crisis, even if at one point they were not our employees".
He also rejects criticism that the group, which also owns other
theatrical franchises, such as the Blue Man Group, had grown too big
and lost its spark. The future, though, is about "market management"
as much as it is about creativity. Lamarre said in November that he
expected Cirque to change the "rhythm" of touring productions, to
enable the group to visit the more profitable "super" markets such as
London or Los Angeles more often. At the same time, he said Cirque was
in demand again, as an entertainment "anchor tenant" for new hotel and
leisure developments.
Like an Olympic athlete envisaging himself on the podium, Lamarre says
he survived the long months after the circus went dark by visualising
himself at the post-lockdown reopening. By late November, some 1,000
of the roughly 2,000 artists Cirque employed before 2020 had already
joined Cirque's comeback, mostly in revivals of established
productions. Lamarre reckons Cirque should be ready to premiere brand
new shows again in 2023. The likely tone of these new productions is
already clear: joy and celebration. "Four or five different groups of
creators came back to us and said: 'We don't want to do a dark show
right now. We want to be very joyful.'"
* * *
"WHAT THE 'CREATIVE DESTRUCTION' AT CIRQUE CAN TEACH YOUR COMPANY"
BY: INC. | Feb 28, 2022
Cirque du Soleil is the most creative organization on the planet. No
other comes close.
Each time Cirque develops a new show, creative directors start with a
blank sheet of paper. Their mandate is clear: Create the kind of magic
that Cirque fans know and love. Surpass their expectations. And then
do it again, and again. Several times every single year.
If you want to learn how to supercharge creativity in your life or
your organization, study Cirque. Jeffrey Cohn at INC. had the
opportunity to sit down with its long-time CEO, Daniel Lamarre, who
recently retired and wrote a compelling new book called Balancing
Acts: Unleashing the Power of Creativity in Your Life and Work. He
asked Daniel to share the secrets to Cirque's success. Here are the
takeaways:
CREATIVE DESTRUCTION
The concept of "creative destruction" exemplifies Cirque's culture
because it means it is constantly reinventing itself. Coined by
Austrian-born economist Joseph Schumpeter, the phrase "creative
destruction" describes the capitalist process of new innovations
replacing existing ones. For example, like video streaming services
replacing DVDs. Or, in Cirque's case, its new show, which must be even
more spectacular and impressive than previous shows. In other words,
nothing is sacred. Cirque is constantly reinventing itself.
ICONIC PARTNERSHIPS
Cirque has created strategic partnerships with some of the world's
most iconic artists and brands, from the Beatles to Elvis to Michael
Jackson. But this invites the question: How does Cirque convince
would-be partners that they are worthy of a long-term collaboration?
After all, the original artists have already created masterpieces that
have withstood the test of time. Cirque has a well-established
strategic partnership process in place, and it works. The company is
open minded and humble during the courtship process. Lamarre says, "We
don't have an ounce of arrogance during negotiations." Cirque makes it
clear that there is an underlying respect for the artist's
intellectual property. Cirque also indicates that, should they move
forward, it intends to get the partners involved at every step of the
creative process much more than they would expect. "After all, we
want to create something that will make them proud," says Lamarre.
NEW INTERPRETATIONS
Once Cirque gets the green-light, it is faced with the daunting task
of creating new interpretations of existing masterpieces. How can you
improve upon a song like "Lucy in Sky With Diamonds"? Cirque first
does a deep dive with the partners to understand how it could bring
certain characters to life. For example, they may ask Paul McCartney
to describe Lucy and how he envisions her. What does this woman look
like? What are her personality traits? Where is she coming from and
where is she heading? Cirque then assembles a diverse creative team to
develop these concepts and returns to the next meeting with a visual
interpretation of the characters. It's safe to say the partners are
usually blown away by what they see.
INTELLECTUAL CURIOSITY
James Cameron came to visit Cirque and wanted to know everything and
talk to everyone from the technicians to the artists to the set
designers. "I thought it would be a 20-minute meeting, but it lasted
three hours," said Lamarre. "Same thing with Elon Musk. He came to see
our show Kurios and I invited him to have a drink and meet the
cast after the show. He was the very last person to leave, two hours
after the show ended. He couldn't stop asking questions. He wanted to
know everything." When mutual partners share a healthy level of
intellectual curiosity about each other, good things tend to happen.
ALWAYS BE CHALLENGING
Cirque follows what I call the ABC's of creativity, which states that
it should always be challenging itself even its deepest preconceived
notions of what works and what doesn't. Ideas should come from
everywhere in an organization, and the best ideas should win. It's
that simple. It really doesn't matter who generates the idea at
Cirque; if it's good, it will be incorporated into a new show. And it
gets plenty of diverse ideas, with talent from over 70 countries
contributing to the collective mind. "I know the terms 'diversity' and
'inclusion' are in vogue now, but we never mention them. They're
already baked into our DNA," Lamarre asserts. "They have been for 37
years. We couldn't imagine any other way."
THE CEO MUST SET THE CREATIVE TONE
Case in point, many years ago, an employee walked into Lamarre's
office and said he had just seen a new technology called drones
that could likely be incorporated into one of Cirque's new shows.
Lamarre looked at the employee and said, "What are you doing in my
office?" For a split second the employee felt ashamed that he was
wasting the CEO's time. But then Lamarre said enthusiastically, "Hop
on a plane and go get the drone and bring it back to headquarters.
Let's find a place for it in our shows!" CEO actions like this become
legendary in creative organizations. It sets the right kind of tone at
the top. And of course, the story spread throughout Cirque in a matter
of weeks. People realized that not only did upper-level management
want to hear new ideas, but would also act on them and give credit to
the people who found them. David Novak, the former CEO of Yum Brands,
talks often about creating a culture of purposeful recognition to
drive engagement and results. Novak was always on the lookout for
people who did their jobs well and was quick to thank them for their
passion. This philosophy is well-heeled at Cirque.
CAST TALENT, DON'T RECRUIT
Cirque wants to find the best possible talent from creative
directors to acrobats to costume designers. Rather than writing a
detailed job description and following traditional recruiting
protocols, it casts talent instead. Prospects audition for their role
and convince casting directors they're the "right" person at the
"right" time for Cirque to bring into the organization. In Lamarre's
mind, casting is far superior to traditional recruiting. "When you're
recruiting, you're trying to fill a specific role. When you cast, you
find the best person in the world," according to Lamarre.
FIT IS A SMALL WORD WITH A HUGE IMPACT
There is one important caveat. Regardless of how talented an
individual may be, always take a pass if he or she doesn't fit into
the culture of the organization. The show is the star at Cirque.
Individual stars must understand and embrace this mantra. Otherwise,
they'll destroy the culture of the team, show, or even the entire
organization. Once the right person has been cast, then it's important
to give them plenty of opportunity to shine, grow, and develop. Cirque
looks for potential and ambition. "It's a two-way street. We have
massive opportunities for a rising star to lead an entire production,
but they must let us know it's their passion. Whenever we promote
someone from within it sets a great example for everyone else in the
organization. They know the sky is the limit."
DEFINE THE SANDBOX
Welby Altidor and Jamie King were the creative directors behind the
hit Michael Jackson ONE at Mandalay Bay in Las Vegas. When I was
meeting with King and Altidor backstage, they told me something that
was counterintuitive. Creatives do their best work, they said, when
they have boundaries. Before they enlightened me, I assumed leaders
were supposed to let creative talent do their own thing, in their own
weird way, and somehow magic was made. Not so. Lamarre phrased it
somewhat differently, "If you don't provide them with clear direction
and define the sandbox for them they will waste time and spin
their wheels." At the end of the day, even creative geniuses need
boundaries and guidance.
INSIDE-OUTSIDE MIX
Cirque has a unique approach to leadership. Instead of hiring someone
from "the outside" to direct a new show, or conversely, assigning an
internal creative director to helm the production, it relies on a
hybrid approach. It does both. It's a strange leadership mix that
produces spectacular results. Cirque finds the best external creative
director for a new show and has him or her work side by side with a
seasoned internal professional. This ensures Cirque infuses each show
with a fresh perspective, a unique signature style, while also hedging
against the cost of an external star spending months decoding Cirque's
culture and processes. Other organizations should give this leadership
structure a shot if they want to supercharge creativity.
------------------------------------------------------------
"The Last Two Years, Part 1: 'The Final Curtain Call?'"
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
Cirque du Soleil would meet the new decade with high expectations and
a myriad of projects on its slate, but like many, the company would
see its dreams shatter as the world succumbed to its first real viral
pandemic in over 100 years. The slow-motion shutdown of Cirque du
Soleil should have been an early warning of the disaster to come. The
novel coronavirus was still considered a local problem in late
January, when Cirque du Soleil canceled performances of "X: The Land
of Fantasy" in China. Within two months, the virus had spread to every
corner of the world. "Everything was going very well," recalls Diane
Quinn, Cirque's chief creative officer, who had visited the show in
Hangzhou, near the epicenter of the outbreak in Wuhan, just a few
weeks earlier.
CORONAVIRUS CAUSES SHUTDOWNS
----------------------------
"Right now, we all have the responsibility to step up, and to do
preventive activities. We are going to keep leading in this effort by
putting people's health and safety as our top priority", Daniel
Lamarre said at the time. "We're going to continue to make sure that
our partner Hangzhou Xintiandi Group who is managing the show, will
put in place appropriate measures to further protect our audience
members against the spread of the virus."
The abrupt cancellation of "X: The Land of Fantasy" was a serious blow
to profits, but a manageable one. Cirque still had 43 other shows
around the world. COVID-19 would not have an official name for a few
more weeks, and even as late as early March, the idea that it could
grind the entire world to a halt seemed unimaginable. But then the
Hong Kong leg of Amaluna's final tour had been canceled, with the show
now closing on March 1st in Sacramento, California instead. Then,
KOOZA's performances in Lyon, France were canceled and rescheduled,
and performances of PARAMOUR in Hamburg, Germany were under
restrictions in an attempt to curtail the spread of the disease there.
Even One Night for One Drop, scheduled for March 24th, was postponed.
"We are closely monitoring the rapidly evolving outbreak of [COVID-19]
and will continue to work with global health officials, authorities
and partners to determine what actions may be needed in the coming
days or weeks," a spokesperson said.
An outbreak in Italy was an inflection point for the company. Cirque
had a show set to open in Rome (TOTEM) its tent was already erected
and tickets were being sold when the event's promoter called it off.
The show would have gone on to Milan, but that would clearly be
impossible after the Italian government locked down the country on
March 9th. One by one, the dominos fell more cancellations, more
travel restrictions, more bad news. "As the virus spread across Europe
and ultimately into North America, we realized, boy, we're going to
have a problem on our hands," Quinn says.
Las Vegas, which accounted for some 35% of Cirque's revenue and is the
company's most important market, was the final straw. On March 14th,
CEO Daniel Lamarre received a call from MGM Entertainment in Las
Vegas, informing him that all of the city's casinos and other tourist
destinations would be shut down. "I woke up the day after, Sunday
morning, and I had no more shows, no more revenue," Lamarre said.
Safety is of utmost importance and our top priority. [...] Taking into
consideration the World Health Organization (WHO) and the Center for
Disease Control (CDC) recommendation for social distancing as well as
the escalation of the Coronavirus (COVID-19) pandemic, following
cancellations and/or postponements of numerous Cirque du Soleil shows
in recent days, Cirque du Soleil Entertainment Group announced the
immediate temporary suspension of all Cirque du Soleil shows world-
wide.
There were hopes in the early days that by limiting as many
transmission vectors as possible, COVID-19 would quickly burn itself
out. That proved not to be the case, however. The world had now come
to a halt, and Cirque du Soleil with it. For the first time in 35
years, the show wouldn't go on. But with economies in free fall and no
vaccine in sight, it remained to be seen how Cirque could reopen and
if it would be the same company when it did...
TEETERING ON THE EDGE
---------------------
On March 16th, just three days after the immediate suspension of all
its shows world-wide, Cirque du Soleil announced that it was laying
off 95% of its workforce - a total of 4,679 employees - effective
immediately. "This was an incredibly difficult decision, but a
necessary measure to stabilize the company for the future," the
company said in a press release.
"It is the most difficult day in Cirque du Soleil Entertainment Group
history. We're deeply saddened by the dramatic measures taken today,
as the temporary layoff includes many hardworking, dedicated people.
Unfortunately, this decision is our only option as we are forced to
position ourselves to weather this storm and prepare for eventual re-
openings," Daniel Lamarre said.
Cirque du Soleil is working with all its partners, as well as the
federal and provincial governments, to identify how to best support
its employees and prepare for a healthy return as soon as the pandemic
is controlled. Immediate steps to provide support for employees who
have been laid off temporarily include paid vacation time, insurance
coverage maintained during the temporary layoff and access to the
Group's employee support program. These strategic actions will
position Cirque du Soleil to continue operations and rebuild once the
global crisis subsides. A core support team will continue working in
the company to maintain basic operations, continue tour planning and
ticket sales for our shows later this year and in 2021, and prepare
for rehiring as soon as productions are allowed to resume.
"As one of the most trusted brands and successful live entertainment
organizations, we are confident that when the day comes when we can
reopen our shows, we will be ready to welcome the millions of fans who
come to our shows worldwide," concluded Lamarre.
Immediately after, influential American bond credit rating company
Moody's downgraded Cirque's credit rating deep into junk territory and
said there was a "high risk" the company would default on its debt.
Canceled shows were expected to result in steep financial losses for
the company "with limited prospects for a tenable capital structure
thereafter," the ratings firm said.
A similar blurb on Yahoo Finance reported on S&P Global Ratings which
"cut the company's rating to D, saying that it believed the company
[would fail] to make principal and interest payments due March 31st on
its first-lien credit facility and an interest payment on its second-
lien facility." Lamarre responded that he had no other choice given
that the company has had to cancel all 44 of its shows around the
world. "It happened within a week ... we were shut down by cities and
countries around the world," he said. "As we speak today, there is no
revenue coming in for the company and I don't know when it will come
back, which is why we're doing what we are doing. We have laid off
most of our employees and we will keep just a small fraction of
employees to be able, whenever the situation is stabilized, to come
back in a short period of time."
Of the 1,300 employees who worked at the head office in Montreal,
1,100 were laid off. Lamarre announced that 2,600 staffers and
performers around the world were being sent home. Of the 240 employees
still at work, 200 were at head office in Montreal, with another 40
still employed around the world, including 30 in Las Vegas. "I
certainly hope (that the Cirque survives)," Lamarre said. "We are in
communication with the government. I have been talking a lot with
(Quebec Minister of Economy Pierre Fitzgibbon) ... I'm working on two
fronts. On one hand, I'm working with the government to make sure that
I can have some support ... and it's coming from Investissement
Québec. They're the one that will help companies, so that's one front.
The other front is we have the Caisse de dépôt, which is a very
important shareholder and they're also very supportive of how they can
help us."
In hindsight, there were few companies as vulnerable to COVID-19 as
Cirque du Soleil. Since its inception in 1984, it's played shows in
1,450 cities in 90 different countries, and large gatherings are their
lifeblood. Its vast army of 1,800 artists relies on international
travel to get from show to show, regularly crossing borders,
performing on cruise ships, and interacting with fans. Daily training
regimens require constant physical contact. The entire operation
depends on an intricate logistical network of cargo ships, trucks,
hotels, and food-service businesses, all of which had ground to a
halt. In effect, government bans on large gatherings were a ban on
Cirque itself, leaving a company that generated an estimated $950
million last year with essentially "zero revenues," according to
Lamarre.
IN COMBAT MODE
--------------
The company was adamant that the massive layoffs were temporary, but
just ten days later Reuters reported Cirque du Soleil was exploring
restructuring options that included a potential bankruptcy filing, a
course necessary to restructure its massive amount of debt. "Yes, we
have liquidity problems. Yes, we are working to find solutions with
our partners and the governments, but we are in combat mode," said
Lamarre in an April 1st interview with La Presse. "We are not waiting
for [a] miracle solution and we are not looking for subsidies to get
by, we are working to put the company back on its feet so that it is
ready as soon as the situation allows." Lamarre did not deny that
bankruptcy was a possibility, though he called the reports
"overstated." Cirque du Soleil had about $105 million in available
funds, consisting of $20 million in cash and the rest from a revolving
credit line, Moody's reported. But Cirque was now expected to spend
about $165 million over the next year, including on ticket
reimbursements for canceled shows and debt payments. It would need
more income to stay afloat.
Cirque had a wealthy patron in TPG Capital though, the private equity
giant that purchased a majority stake in the company five years ago.
Perhaps even more substantial, Lamarre said, was support from another
major shareholder, Caisse de dépôt et placement du Québec, a Canadian
manager of pension funds that doubled its stake in February. (The
Caisse increased its share to 20% after buying the 10% stake still
held by Cirque founder Guy Laliberté) "They're very eager to keep us
alive," Lamarre said.
Still, the relationship with TPG was complicated. The 2015 deal that
made Cirque du Soleil co-founder Guy Laliberté a billionaire also
saddled Cirque with nearly $900 million in leveraged debt, a type of
loan given to companies that already have either a significant amount
of debt already or a poor credit history. TPG Capital borrowed
hundreds of millions to do it. That high-risk debt was later packaged
into collateralized loan obligations and sold to global investors a
common practice among private equity firms to generate higher profits,
but these high-risk leveraged loans make companies more vulnerable.
Especially when the purchasing entity places the debt on the books of
the company it purchased rather than on its own. Loans and interest
were easily being paid off with shows raking in profits, and so Cirque
du Soleil expanded, buying more companies like Blue Man Group, and
borrowing more money. As debt increased, so did risk and the interest
rates associated with them, which led them further into debt.
Now, with that debt reduced to junk status, Cirque was forced into
discussions on obtaining more funding. This lead to considering a $50
million loan from TPG, using its Canadian intellectual property rights
as collateral to buy time while seeking government assistance. "Having
support from the government would be helpful," Lamarre said, referring
to Cirque as a "Canadian ambassador" that represents the country all
over the world. "It's kind of intriguing right now because we have no
shows, we have no revenues, but we have an amazing brand."
Between Caisse and TPG, and with an additional leg up from the
government Cirque's "three buddies," as Lamarre called them the
company looked to be in a better position than many entertainment and
performing arts organizations, some of which had already announced
permanent closure in the wake of the pandemic. But its debt load was
only one part of the problem.
CREATIVE CHALLENGES
-------------------
Even though Cirque du Soleil had confidently announced a number of new
shows and projects for 2020 and beyond -- DRAWN TO LIFE to replace La
Nouba at Walt Disney World; NYSA, a resident show in Berlin, Germany;
R.U.N., a new action-oriented concept for Las Vegas, UNDER THE SAME
SKY, a new touring production slated to debut in Montreal; plus a
number of special events projects that had not yet been named -- the
company was already severely struggling.
Many consider the canceled 2019 IPO to be the first public indication
that things were not going well. Further confirmation came in a
December 2019 headline from the Montreal Gazette, which reported that
Cirque du Soleil was about to lay off 53 creatives for productivity
and reorganization purposes.
But it was the early February 2020 blurb from the Globe and Mail
announcing the Caisse de dépôt et placement du Québec had increased
its share in Cirque du Soleil to 20% after buying the 10% stake still
held by Cirque founder Guy Laliberté that wagged tongues and raised
eyebrows. What did Guy know that the rest of us didn't? By then the
February 27th announcement that Cirque was merging its multimedia
creative studio (4UTC) with its recently renamed / consolidated events
division (Cirque du Soleil Events + Experiences) to further reduce
overhead barely registered. And that's because word came that R.U.N,
Cirque du Soleil's new action-oriented project at Luxor Hotel and
Casino in Las Vegas, was done.
"We remain proud of the extraordinary talents that collaborated to
make this one-of-a-kind live show happen, but ultimately it did not
find an audience that could support it. Many avenues of creative
options were explored to enhance the existing show, but the resources
and time needed to make these changes proved to be obstacles too big
to overcome. Creative risk is a part of everything we do at Cirque du
Soleil. R.U.N was intended to push the boundaries of not only live
entertainment, but of Cirque du Soleil's own DNA, creating a unique
form of entertainment that unfortunately did not receive the intended
response. We're grateful to those of you who saw and supported R.U.N
and remain committed to bringing you ground-breaking live
entertainment."
"R.U.N" was in trouble from the very beginning. The show had received
scathing reviews since its debut, with many declaring it the "worst
show ever in Las Vegas." On TripAdvisor, 115 "terrible" ratings with
just 31 "excellent" ratings, although a good deal of the "excellent"
ratings were of questionable origin. For example, many used the same
or similar terminology ("immersive!"), and were written by first-time
reviewers using generic profile photos. Another common theme among the
dubious raves were claims audience disappointment with the show was
due to it not being a "typical Cirque show." We can't disagree, as
typical Cirque shows are "enjoyable" and "entertaining" and tend to
not feature torture sequences. As the future of R.U.N grew dim, Vital
Vegas reported that Cirque called in a new director to overhaul the
show (but that new director had left the project quickly), and that
buzz from insiders suggested TPG Capital, the majority owner of Cirque
du Soleil, had run out of patience and refused to invest any further
in the show's $62 million concept. Thus, R.U.N's fate was sealed and
the show permanently closed on March 8, 2020. "Many avenues of
creative options were explored to enhance the existing show, but the
resources and time needed to make these changes proved to be obstacles
too big to overcome," Cirque said of the closure. It'd been said the
show was losing about $1.6 million a month.
But R.U.N wasn't Cirque's only creative problem.
According to Brendan Kelly of the Montreal Gazette, there were also
serious creative problems plaguing "Under the Same Sky", the latest
touring show concept hoping to have its world premiere under the big
top in the Old Port of Montreal on April 23rd. (This, of course,
before the pandemic shut everything down.) He reported that
"Executives at Cirque du Soleil were not pleased after a preview
performance at Cirque headquarters in St-Michel [recently]. This led
to animated discussions between the executives and the show's high-
profile writer / director/ production designer Es Devlin, who was not
happy with the criticism.
Cirque reps insist the London, England-based artist is still part of
the show, but her role is now described as providing "conceptual
support." Daniel Lamarre said Devlin who has worked with Beyoncé,
U2, Adele and Kanye West will be given full credit for her work on
the show. But he confirmed the Cirque has brought in a new director,
Mukhtar O.S. Mukhtar, who has worked on previous Cirque shows, notably
Messi 10. He will begin work on 'Under the Same Sky' in the coming
days. Devlin is home resting in England, but will return to the show,
according to Cirque officials."
In either case, by April, with the world shut down, and all shows on
standby, the Globe and Mail reported that Cirque hired the National
Bank of Canada and U.S. investment bank Greenhill & Co. to advise its
board of directors on either selling the company or negotiating a
significant cash injection from its existing owners. The two
investment banks then set a June 8th deadline for initial bids for the
Cirque.
And things we're about to get ugly.
TO BE CONTINUED...
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COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 22, Number 2 (Issue #212) February/March 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.
{ Mar.09.2022 }
=======================================================================
