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Fascination Issue 218
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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 23, NUMBER 3 April/May 2023 ISSUE #218
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
Wow, do we have a great issue for you all!
* * * "ECHO" PREMIERES! * * *
Cirque du Soleil's ECHO launched in Montreal on Thursday, April 27th
to much fanfare; the atmosphere was festive under the Big Top! "It was
with great excitement and enthusiasm that numerous political, cultural,
and sports personalities walked the red carpet at the grand premiere.
The 2,500-seat Big Top was packed to the rafters to applaud the 51
artists of ECHO."
ECHO (three years in the making) is the company's 20th creation under
the Big Top, distinguished by its bold visuals and contemporary aesthetic
that highlight spectacular acts performed by artists at the top of their
game. As determined as ever to dazzle us, Cirque du Soleil once again
manages to surprise us with a show that combines poetry, performing arts
and high-flying acrobatics, exploring the precious balance between
humans, animals and the world they share. Future, the protagonist, invites
us into a fantasy world where she meets animal and human characters.
Driven by the spirit of collaboration, they join forces to rebuild their
planet little by little and create a better world. ECHO is a show that
plunges the audience into a universe of a thousand and one colors,
wonders and possibilities on the themes of inventiveness, hope of youth
and the importance of empathy.
And you can explore this new world within through a couple of featured
articles this month. First, a small collection of reviews of the
show's first steps, and then, the full text of the show's Press Kit,
which'll take you into the show's creation, and perhaps shedding some
light on the show's mysteries. Beware, though, as spoilers abound the
show abound here!
As a primer, check out Cirque du Soleil's making-of mini-series here:
00: "Preview" -- https://www.youtube.com/watch?v=7xr5N1E_39o
01: "A New Start" -- https://www.youtube.com/watch?v=gnabHar4k1I
02: "Artist Adrenaline" -- https://www.youtube.com/watch?v=bYmIU8qa888
03: "The Cube" -- https://www.youtube.com/watch?v=PgRDiuiuOD8&t=57s
04: "Costume and Staging" -- https://www.youtube.com/watch?v=-KBzzHPB9zQ
05: "Studio's Final Touch" -- https://www.youtube.com/watch?v=yJ4xIjRb4r4
* * * MORE ANNOUNCEMENTS * * *
Cirque du Soleil has announced a number of special event shows since
we last spoke. First, there's VIZION, the second in the so-called
"best-of" series o shows, which opened on Thursday, April 27th at
King Adbulla Sports City near Jeddah, Saudi Arabia. This new creation
follows FUZION, which played in Jeddah last year. Next, there's "GUY!
GUY! GUY!", the seventh in the company's HOMAGE SERIES that pays
tribute to Quebec artists. This new creation is a joyful and colorful
celebration of hockey legend Guy Lafleur, who "infused his imagination
on the ice to create an electrifying game." It will make its debut at
the Amphithéâtre Cogeco in Trois-Rivieres, Quebec on July 19, 2023. And
Cirque du Soleil invites you to check into extraordinary at FESTA, a
make-believe hotel in the heart of the Andorran mountains where wonder
and imagination come to play. With celebratory storytelling, colourful
characters and epic acrobatics, FESTA will draw you into a world with
no limits and leave you feeling uplifted like never before while
paying tribute to the vibrant beauty and culture of Andorra. Shows
begin July 1st! More exciting news, however, might be Cirque's recent
announcement of a partnership with Outrigger Waikiki Beachcomber Hotel
to bring a new multi-year resident show to Honolulu, Hawai'i.
Anticipated to open in late 20204, the show will "fuse the world-
renowned acrobatics and innovation that Cirque du Soleil is known for
with the natural beauty and unique culture of the islands."
* * * WAIT, THERE'S MORE! * * *
And in addition to all the other latest news and finds about Cirque
du Soleil online, we're pleased to present the first part of an
exclusive interview with with David Wallace, head of PLANS (that's
Projections, Lighting, Audio, Networking & Special Effects) at Cirque
du Soleil's "Drawn to Life" at the Walt Disney World Resort in
Orlando, Florida!
So, let's 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
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o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Fascination! Features
* "THERE'S NOTHING LIKE MIXING A CIRQUE SHOW" - an
Exclusive Interview with David Wallace, head of
PLANS at Cirque du Soleil's "Drawn to Life" [Part 1 of 3]
By: Keith Johnson - Seattle, Washington (USA)
* "Under the Same Sky" - a Collection of Articles
Celebrating ECHO's PREMIERE
* "ECHO: The World is Yours to Create!"
Texts from the Press Kit
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
***************************************************************
LA PRESSE -- General News & Highlights
***************************************************************
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CDS Announces Refinancing of Corporate Debt
{Mar.08.2023}
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Cirque du Soleil Entertainment Group ("Cirque du Soleil" or "the
Company"), a global leader in live entertainment, announced today that
it has successfully closed a US$550 million term loan B issuance to
refinance its existing debt, and issued a new US$100 million revolving
credit facility. With this transaction, the Company reduced its total
debt by over US$100M and further deleveraged its balance sheet. The
refinancing will result in significant interest cost savings, which
will enhance the Company's financial position and increase cash flow.
"We are delighted to have successfully completed this refinancing and
established a new credit facility that will provide us with the
flexibility to continue to innovate, pursue strategic initiatives, and
invest in growth opportunities," said Emmanuelle Leclerc-Granger,
Chief Financial Officer of Cirque du Soleil Entertainment Group. "We
are grateful for the support of our lenders and investors, who share
our vision for the future of the Company, and we are confident in our
ability to continue to deliver exceptional experiences to our audience
around the world."
In conjunction with the refinancing, Standard & Poor's and Moody's
have increased their corporate credit rating on Cirque du Soleil
Entertainment Group to B+/B2 (stable outlook) from B/B3 (stable
outlook), marking the third/second consecutive upgrades received from
the agencies in the last year.
"We are thrilled to have received these rating upgrades from Standard
& Poor's and Moody's, which recognize our ongoing efforts to
strengthen our financial position and drive sustainable growth," added
Emmanuelle Leclerc-Granger. "This transaction reflects our commitment
to maintaining a strong balance sheet and liquidity position, while
also investing in our business to ensure a bright future for our
audience and partners."
{ SOURCE: Cision News Wire }
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CDS and the Aléo Foundation announce a new partnership
{Mar.16.2023}
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Cirque du Soleil Entertainment Group and the Aléo Foundation joined
forces today to announce the creation of eight honorary grants to
support high-level Quebec student-athletes in their academic and
athletic careers. Cirque du Soleil Entertainment Group will provide an
annual financial contribution of $40,000 for two years to support the
creation of these grants. This means that a potential total of sixteen
athletes will share a sum of $80,000 in 2023 and 2024. The initiative
is aligned with Cirque du Soleil Entertainment Group's desire to
support the athletic excellence of student-athletes who perform in a
discipline related to the shows, such as artistic or rhythmic
gymnastics, synchronized swimming, diving and trampoline.
"We are very proud to support Quebec's sporting excellence and the
development of local athletes. We hope that this bursary program will
enable the recipients to achieve their sporting goals and showcase
their discipline and talent on the highest podiums," said Caroline
Couillard, Global Head of Public Relations, Public Affairs and
Corporate Social Responsibility at Cirque du Soleil Entertainment
Group.
This alliance is also intended to be a bridge for the professional
transitions of the Aléo Foundation's grant recipients. "Cirque du
Soleil has been recruiting high-level athletes at the end of their
careers since its creation. There are many similarities between the
work of a competitive athlete and the various circus professions,
including discipline, rigor, perfectionism, and the search for the
perfect moment. From this perspective, it was only natural for us to
join forces with the Fondation Aléo to create these grants," adds
Richard Lepage, Senior Director of human performance design and
management at Cirque du Soleil Entertainment Group.
"Cirque du Soleil Entertainment Group is an unparalleled partner for
the Aléo Foundation. The Quebec flagship is certainly an employer of
choice for our scholarship recipients, not only for the direct link to
the circus professions, but also for all other functions in the
company. The skills and competencies acquired as athletes are tools
that can be applied in the workplace, an extraordinary asset
recognized by the company," adds Patricia Demers, Executive Director
of the Fondation Aléo.
About Aléo Foundation
Created in 1985, the Foundation for Athletic Excellence (FAEQ) has
awarded more than 20 million dollars in bursaries to nearly 4000
student-athletes from all over Québec. With the objective of
solidifying its mission of elevating athletes beyond sports, the FAEQ
changed its name and likeness in 2022, becoming the Aléo Foundation.
In addition to continuing to provide financial support through its
various bursary programs and services, Aléo aspires to provide a
personalized approach to helping student-athletes flourish in a safe
environment and in every aspect of their lives.
{ SOURCE: Cirque du Soleil }
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Seventh Edition of CDS' Tribute Series: GUY! GUY! GUY!
{Mar.21.2023}
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(Translated from the original French via Google Translate)
Cirque du Soleil Entertainment Group (" Cirque du Soleil ") has made
the Cogeco Amphitheater in Trois-Rivières its summer home for seven
years now. The arrival of spring heralds the announcements for the
tribute show to the mythical number 10 with the presentation of part
of the creative team working on this new production as well as the
unveiling of the title and the poster. Entitled "GUY! GUY! GUY!", as a
nod to the victorious slogan chanted by the supporters, this seventh
edition of the Tribute Series promises a highly acrobatic, joyful and
generous celebration in the image of the blond demon.
This project is of particular importance for Cirque du Soleil with the
mobilization of more than a hundred collaborators. Indeed, paying
tribute to a popular figure as legendary as Guy Lafleur is a great
responsibility and an incredible opportunity for the creative
director, Daniel Ross, and the director, Fernand Rainville. "With
"GUY! GUY! GUY! », we wish to touch the hearts of Quebecers who sang,
chanted, applauded with one voice and the same unifying momentum, the
exploits and highlights of this genius hockey player. "says Daniel
Ross. "Don't expect a biographical work or a hockey show. We are
inspired by the career of Guy Lafleur to bring back the joy, the
feeling of pride and the pleasure of the game that he gave us, all
this through the circus arts. adds Daniel Ross.
What struck Fernand Rainville, director, was the very close proximity
that the public maintained with Guy Lafleur. As soon as he began his
research work, testimonies poured in. "His accessibility, his
authenticity and his resilience coupled with an extraordinary physical
nature and an undeniable talent are a great source of inspiration for
me as a director, but also for the people of Quebec. reveals Fernand
Rainville. "That's why we invite the public to open their memory box
and share their story with Guy Lafleur. ". A platform, accessible here
, has been launched to collect these valuable testimonies.
As with each Tribute Series, the Quebec musical repertoire is honored
and this year will be no exception. The musical direction and the
arrangements have been entrusted to Philippe Brault, who has worked
for more than twenty years as a producer and accompanying musician for
many local singers. The soundtrack of the show will draw mainly from
Quebec talents of the 70s such as Gilles Valiquette, Boule Noire,
Gerry Boulet or Loco Locass. Finally, some musical novelties will
seduce the audience: an original musical creation, a multi-
instrumentalist musician on stage and sound work based on audio
archives.
This 75-minute show, created exclusively for the Cogeco Amphitheater,
will bring together 29 artists in a staging orchestrated by Fernand
Rainville, assisted by Vincent Côté, under the musical direction of
Philippe Brault.
{ SOURCE: Cirque du Soleil }
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Cirque du Soleil X Outrigger
{Apr.11.2023}
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Outrigger Waikiki Beachcomber Hotel and Cirque du Soleil Entertainment
Group broke the news last night that they have teamed up to bring
Honolulu residents and visitors a bespoke new multi-year resident
show, exclusive to Hawaii. Executives from both organizations were
joined by Honolulu Mayor Rick Blangiardi to make the exciting
announcement.
Anticipated to open in late 2024, the show will fuse the world-
renowned acrobatics and innovation that Cirque du Soleil is known for
with the natural beauty and unique culture of the islands. Native
Hawaiian Aaron J. Sal?, PhD has been retained as the creative cultural
producer to assist in creating this show's storyline along with other
prominent Hawaiian artists, musicians and dancers.
A joint venture is being made by both parties to create this
opportunity and transform the 20,000 sq. ft. showroom venue at
Outrigger Waikiki Beachcomber Hotel, previously used by Magic of
Polynesia. The necessary permits for renovation work to commence and
create the nearly 800-seat theater with state-of-the-art audio-visual
system are now in the process of being submitted. The venue architect
is Hawaii-based G70 with project estimating done by RLB in Honolulu.
"Cirque du Soleil is an iconic company at the apex of entertainment;
we are confident that the show created for Outrigger Waikiki
Beachcomber Hotel will delight and astound our guests and residents.
This collaboration with Cirque was years in the making and perfectly
aligns with Outrigger's brand elevation strategy, which includes a
promise to provide authentic live music and signature experiences in
renowned beach locations," said Jeff Wagoner, president and CEO of
Outrigger Hospitality Group.
"We are thrilled to partner with a company as prominent as Outrigger
to bring a brand new world-class immersive experience to life in
Honolulu," said Eric Grilly, Cirque du Soleil president of resident
and affiliate shows. "We look forward to having a new home in Hawai'i
and drawing on the rich culture of the islands as inspiration for the
show."
"In addition to bringing new vibrancy to Waik?k?, this project will
produce significant economic impact through job creations in
redeveloping the theater space and ongoing show operations; I'm
honored and excited to welcome Cirque du Soleil as the newest Honolulu
resident," said Mayor Rick Blangiardi.
Cirque du Soleil now has 4,000 employees from 80 nationalities that
contribute to 32 shows presented around the world and 9.5 million
tickets are sold annually.
More details will be shared in the coming months regarding the
partnership, the show's name and creative concept as well as on-sale
dates, with a target of December 2024 for the show's debut.
{ SOURCE: Outrigger }
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Shock and Outrage that CDS flies Russian Flag in Toronto
{Apr.11.2023}
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Cirque du Soleil returned to Toronto this week with the April 7
arrival of its KOOZA show.
For the first time, the Canadian entertainment company is hosting its
big top on the site of the former Mr. Christie's Factory in Etobicoke,
but some neighbourhood residents are alarmed by one aspect of the
production.
The big top standing on the former factory site features a collection
of flags at its entrance, including the flag of the Russian Federation
a symbol that has triggered many in the community, an area home to a
concentration of Ukrainian diaspora.
An area resident, Maria Vasserman, tells blogTO, "I live in Mimico
(Humber Bay Shores) a very Ukrainian community. Recently, Cirque du
Soleil put up its tents and displayed a Russian flag on top of it."
"This triggers many community members, including those who had to flee
from war just recently. They feared waking up and seeing the Russian
flag above their heads. Now they see it, only in Canada."
Similar comments have been posted to other social media platforms,
calling out Cirque du Soleil for its inclusion of the Russian flag, a
move the entertainment company vigorously defends.
Vasserman says that, along with other community members, she
"contacted Cirque du Soleil to explain the situation," but explains
that she was frustrated by the defensive response.
She provided a statement issued by Cirque du Soleil in response to
community concerns, which reads, "Cirque du Soleil Entertainment Group
is a global entertainment company that performs in over 90 countries
in front of diverse audiences and employs an international cast of
artists from over 70 countries."
"As a creative company, we are non-political, and we deeply believe in
open-mindedness, diversity, inclusion and respect. These values guide
us in our interactions with our artists, employees, partners and fans,
and are reflected in all our productions. Art has no geographical
boundaries. Through our shows, our goal is always to inspire the local
population where we perform."
"We are very sorry if you have seen this as anything other than a
celebration to highlight the unique and inclusive atmosphere the
organization is known for."
The statement goes on to say that "the Russian-born artists whom we
employ are not officials of their government."
"Therefore, in the vision of our mission to invoke the imagination,
provoke the senses and evoke the emotions of people around the world,
including all artists which is the very core of our existence
Russian-born artists are a part of our family and will always be
allowed and welcomed to perform on our shows."
"They keep claiming that they're not siding with the enemy and are
staying away from politics," says Vasserman.
"Unfortunately, this represents siding with Russia," she continued,
adding, "I think something needs to be done."
{ SOURCE: BlogTO }
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How CDS Evaluates and Deploys New Technology
{Apr.25.2023}
----------------------------------------------------------
In this Acceleration Economy Digital CIO Summit Moment, Cirque du
Soleil VP of IT Philippe Lalumiere tells Bob Evans how the live
entertainment company evaluates and deploys new technology.
CHECK OUT THE VIDEO HERE:
https://accelerationeconomy.com/ai/how-cirque-du-soleil-evaluates-and-
deploys-new-technology/
Highlights
00:05 Philippe says that, as an IT leader, his challenge is to
"steer the organization with the technology choices." Virtual reality
is still a nascent technology, but he and his organization cannot wait
for it to mature. For now, Philippe is taking a use case-based
approach and deploying technology in a proof of concept or proof of
value before expanding to other business units within the company.
00:52 Artificial intelligence is something that Philippe wants to
use internally. The first use case would be for end-user services as a
front to Cirque du Soleil's ticketing system. A specific use case is
password resets.
01:21 A chatbot could fix most password reset issues, which would
improve customer service and relieve pressure on Philippe's team. His
analysts and technicians could concentrate on more interesting
problems, and their jobs would improve. "It's a win-win," he says.
{ SOURCE: Acceleration Economy }
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One Skater's Journey from Learn to Skate to CDS and Back
{Apr.25.2023}
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As a toddler, Madeline Stammen was on the front page of her local
newspaper, photographed as a participant in one of the first Learn to
Skate USA® programs offered by a brand-new rink in her suburban
Chicago hometown.
After a lengthy competitive career, she skated in professional shows
around the world including with Cirque du Soleil. Now, she's
experiencing a full-circle moment teaching Learn to Skate classes at a
brand-new rink in Savannah, Georgia, where she's a first-year student
at the Savannah College of Art and Design.
Growing up, Stammen described herself as a nervous skater, someone
whose early career in skating didn't earn her spots at advanced levels
of competition. But her coach was familiar with show skating, and
thought she may be a good fit.
At 18, she signed her first professional skating contract, deferring
college. She skated for Royal Caribbean on four ships over four years,
which took her around the world, before performing in overseas shows
in other troupes.
"Sometimes skaters retire from competing and then they do shows for
fun," she said in a recent interview.
But she took the opposite approach.
"I took shows really seriously and that was my Olympics," she said,
noting that skating in shows improved her skating immensely. "I
flourished as a skater in my 20s. I've always been a really good
performer, really artistic. I finally started skating consistently.
That really helped me on ships."
After a six-year professional career, Stammen began to consider her
next steps, such as returning to school. But a buzz was circulating in
the show skating world: Cirque du Soleil was creating a new type of
show, based around the ice.
Those in Stammen's circle suggested that she audition, but she had not
planned to apply. A friend called her from his own audition, urging
one final time. After sending in a demo tape, she heard back from the
team, who requested that she skate to a piece of music from the movie
"Moonlight." They only wanted to see something artistic, nothing
technical, she recalled.
"That was perfect for me; it was right up my alley," Stammen said.
She was hired.
On the first day she arrived, she saw all the skaters' headshots on
the wall, but not her own. She kept walking down the hall, and under
"main character" she was surprised to see her own face.
"I guess I am leading this show!" she remembered thinking. "It was one
of those meant-to-be moments because the role I was hired to do was
both technical and artistic, and also heavy in acting. Those were all
my strengths."
Unlike her other professional experiences, where she was hired for a
role that already existed, one of the most rewarding parts of being
part of the Cirque process, she said, was being able to participate in
the show's creation.
A mix of about 40 artists made up the cast, including about 10
skaters. The goal of the show was to mix disciplines and try and do
something different.
"We taught the acrobats how to skate and they taught us how to do
aerial," she said. "In the show, I was skating, acting and flying."
CRYSTAL was created in Montreal, where Cirque is headquartered, in
about four months their fastest show creation ever. The skating
sequences were created with input from Kurt Browning, Ben Agosto and
Alissa Czisny, familiar names to those who follow skating at the
national and Olympic levels.
"[Those three] were the three skating people that were helping us,"
Stammen said. "They did some of the choreography, but most of my track
was self-made. That was so rewarding because I got to perform it on
stage every night. It was something I made. That was incredible. I
never was given that creative freedom in other shows."
After the pandemic hit and Cirque was unable to tour, Stammen moved
home to Chicago and was recruited to coach alongside Rockne Brubaker
and Stefania Burton at the rink she grew up in.
Two years later, school beckoned. She selected the Savannah College of
Art and Design for their major in production design for themed
entertainment, because she wants to create and produce ice shows. But
moving to Georgia was scary because she thought the closest ice was a
two-hour trek to Jacksonville, Florida or to Charleston.
When she got to Georgia, though, she noticed that a semi pro hockey
team had formed. Where there is hockey, there must be ice, she
figured. She eventually connected with the Ghost Pirates and reached
out to the skating director. The Learn to Skate program launched that
same week, and Stammen has taught those classes.
All types of new skaters have arrived at the rink, Stammen said. Some
even saw CRYSTAL when it toured through Savannah. Without Stammen
knowing, the cast performed in Savannah the same week she was visiting
to evaluate how she liked the campus.
"A lot of the skaters that come in say, Oh yeah, we saw the show. Did
we see you skate?' or, We saw the Cirque show in April! It came
here!'" she said. "Then they get really excited when they find out I
helped create it. That's been pretty cool."
One of Stammen's goals while she is in Savannah is to continue to
build the skating culture at the Ghost Pirates and throughout the
city. At Savannah College of Art and Design, she's working towards
creating a figure skating club.
But her experience, her degree and her time in Savannah are leading
towards one thing getting the message out that there are many types
of skating careers, including show skating.
"The world of ice shows is an amazing career path to pursue," she
said. "I traveled the world for 10 years and got paid to skate. I felt
like when I was training competitively, I didn't know about those
opportunities, so I never thought that was an option for me."
For Stammen, it's about "spreading the word that ice shows are still
alive and well, and they provide an amazing quality of life. They can
also be a goal for a skater to work toward."
{ SOURCE: US Figure Skating }
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Cirque du Soleil to perform at Jeddah events (VIZION)
{Apr.26.2023}
----------------------------------------------------------
Jeddah Calendar has announced the start of its first events for 2023,
with the return of the world-renowned circus, Cirque du Soleil, as
part of its Fusion shows.
The circus, which opens on Thursday, April 27 and runs until Friday,
May 26 at King Abdullah Sports City, will present performances by some
of the world's most skillful performers and acrobats, featuring
stunning performances suitable for the entire family.
Cirque du Soleil is a contemporary circus, which means they are
limited to human performers and do not involve the use of animals.
Each show is a combination of designs from different parts of the
world, presented in one frame, accompanied by music. Curtains are not
used and performers enter and exit with each new segment.
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CDS President says AI a Low Risk to Company
{May.02.2023}
----------------------------------------------------------
The head of Cirque du Soleil says artificial intelligence poses a low
risk to the renowned Quebec company, even as debate is emerging about
intellectual property protection for artists.
"We don't have all the answers yet, but I would be lying if I said I'm
very worried, given the strength of the brand," president Stéphane
Lefebvre said in an interview Tuesday.
"There are a lot of people in the past who wanted to do things that
looked like Cirque du Soleil, even without artificial intelligence,"
he said. "There may be a lot of people who want to create similar
circus shows, but without having the Cirque brand, the Cirque's seal
of quality, it would become more complicated for people."
Artificial intelligence has raised hackles throughout the art and
entertainment world, with AI platform users now able to create images,
text and music inspired by and sometimes nearly indistinguishable
from the pros.
Recently, a fake duet imitating the voices of Drake and The Weeknd
went viral on social media, causing a stir in the recording community.
On the sidelines of a speech delivered to the Canadian Club in
Montreal, Lefebvre acknowledged he's enjoyed experimenting with AI
chatbots to tell a story or two to his kids.
He also said Cirque du Soleil would not completely close the door on
the technology, but that he views it more as an administrative aid
than an artistic one, pointing to potential legal pitfalls.
"We're trying try to see how we can use artificial intelligence to
help us outside of the creative sphere," he said.
In his speech, Lefebvre discussed Cirque du Soleil's recovery and
current strategy. The 39-year-old circus troupe scrapped performances
around the globe and cut nearly 3,500 employees after the COVID-19
pandemic struck, but began to add shows again in the summer of 2021.
The Montreal-based company aims to see its brand on other platforms
beyond live entertainment, including video distribution and video
games, he said, teasing an announcement in the latter industry for
later this month.
MGM Studios has produced a documentary about Cirque du Soleil's return
to the stage. Other video projects are in the pipeline, Lefebvre said,
but he declined to offer specifics.
After the pandemic-induced shutdown, Cirque exceeded "all our
expectations," Lefebvre said in his address, which was capped by a
short acrobatic performance by Cirque artists.
In late 2020, Cirque was sold to a group of its creditors led by
Catalyst Capital Group after the Montreal-based outfit was forced to
file for creditor protection, having racked up a debt of US$1 billion.
The company now finds itself on more stable financial footing. In
March, it managed to reduce its debt by US$100 million and to
refinance it at lower rates, despite monetary tightening by central
banks. Cirque du Soleil's total debt stood at US$550 million as of
last month.
Lefebvre said demand remains strong for Cirque shows, despite the
ongoing economic uncertainty. He attributed the interest to an
entrenched desire for spectacle in the flesh, rather than to a post-
confinement pendulum swing.
"People want to live experiences, to live them and to show everyone
that they have had this experience. I think it's a strong trend and
we're not going to go back."
{ SOURCE: The Toronto Star }
----------------------------------------------------------
This Summer Cirque is Back in Andorra!
{May.12.2023}
----------------------------------------------------------
Cirque du Soleil celebrates ten years of collaboration with Andorra
with the creation of the new show FESTA, a show of impossible
acrobatics, music and great staging, which you can only see in
Andorra.
Cirque du Soleil invites you to check into extraordinary at FESTA,
a make-believe hotel in the heart of the Pyrenees mountains where
wonder and imagination come to play. With celebratory storytelling,
colourful characters and epic acrobatics, FESTA will draw you into
a world with no limits and leave you feeling uplifted like never
before while paying tribute to the vibrant beauty and culture of
Andorra. The festive story opens with the concierge, an endearingly
eccentric character who is taking a nap on his lunch break and
dreaming of love. With their boss distracted, the hotel staff get
busy planning a surprise party to mark the hotel's 10-year
anniversary. The arrival of the vacationers kicks off a colourful
and chaotic adventure, with the hotel team and guests coming
together in a feel-good celebration of friendship, life and love.
A great celebration where you'll relive some of the best acrobatics
that you've enjoyed over the past ten years awaits.
Cirque du Soleil's tent, which is fully covered, will be pitched in
the Prada Casadet communal car park in front of the government
building in the centre of Andorra la Vella, with several car parks
nearby. It will take place from Tuesday to Sunday, with a special
performance on Sunday, July 30. As usual, it lasts 1 hour and starts
at 10pm with animations scheduled before the start time. Take note
that since last year it has changed its location and is now located
in the Prada Casadet car park (in front of the administrative
building of the Government of Andorra).
{ SOURCE: Cirque du Soleil, Visit Andorra }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Alegria INAL, Koozå, Kurios, Luzia, Bazzar}
o) ARENA - In Stadium-like venues
{Crystal, Corteo, Messi10, OVO}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", LOVE, MJ ONE, JOYA, X: The Land of Fantasy,
and Mad Apple}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Alegría-In a New Light:
Tokyo, JP -- February 8, 2023 to June 25, 2023
Osaka, JP -- July 14, 2023 to October 10, 2023
Madrid, ES -- November 16, 2023 to December 17, 2023
Barcelona, ES -- February 9, 2024 to March 3, 2024
Koozå:
Toronto, ON -- April 7, 2023 to June 18, 2023
Denver, CO -- July 5, 2023 to August 13, 2023
Calgary, AB -- August 25, 2023 to October 8, 2023
Vancouver, BC -- October 21, 2023 to December 31, 2023
Kurios:
Milan, IT -- May 10, 2023 to June 25, 2023
Knokke, BE -- July 27, 2023 to August 27, 2023
Brussels, BE -- September 7, 2023 to October 8, 2023
Paris, FR -- November 16, 2023 to December 17, 2023
Luzia:
Vienna, AT -- April 12, 2023 to May 29, 2023
Frankfurt, DE -- June 13, 2023 to July 16, 2023
Bazzar:
Buenos Aires, AR -- June 24, 2023 to July 9, 2023
Oaks, PA -- September 26, 2023 to October 22, 2023
San Antonio, TX -- November 5, 2023 to December 3, 2023
Charlotte, NC -- December 16, 2023 to January 14, 2024
ECHO:
Montreal, QC -- April 20, 2023 to August 20, 2023
Washington, DC -- September 6, 2023 to October 22, 2023
Atlanta, GA -- November 5, 2023 to January 21, 2024
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Christchurch, NZ -- Jun 16, 2023 to Jun 25, 2023
Auckland, NZ -- Jul 4, 2023 to Jul 9, 2023
Brisbane, AU -- Jul 21, 2023 to Jul 30, 2023
Sydney, AU -- Aug 3, 2023 to Aug 13, 2023
Melbourne, AU -- Aug 17, 2023 to Aug 27, 2023
Adelaide, AU -- Aug 31, 2023 to Sep 3, 2023
Perth, AU -- Sep 15, 2023 to Sep 24, 2023
Windsor, ON -- Nov 30, 2023 to Dec 3, 2023
Oshawa, ON -- Dec 7, 2023 to Dec 10, 2023
Hamilton, ON -- Dec 14, 2023 to Dec 17, 2023
Montreal, QC -- Dec 22, 2023 to Dec 31, 2023
CORTEO:
Los Angeles, CA -- Mar 23, 2023 to Apr 30, 2023
Frisco, TX -- May 17, 2023 to May 21, 2023
Kansas City, MO -- May 25, 2023 to May 28, 2023
Hoffman Estates, IL -- Jun 1, 2023 to Jun 4, 2023
Boston, MA -- Jun 8, 2023 to Jun 11, 2023
Newark, NJ -- Jun 15, 2023 to Jun 18, 2023
Columbus, OH -- Jun 22, 2023 to Jun 25, 2023
Ottawa, ON -- Jun 28, 2023 to Jul 2, 2023
Kingston, ON -- Jul 6, 2023 to Jul 9, 2023
Saint Paul, MN -- Jul 13, 2023 to Jul 16, 2023
Sacramento, CA -- Aug 3, 2023 to Aug 6, 2023
San Jose, CA -- Aug 9, 2023 to Aug 13, 2023
Oakland, CA -- Aug 17, 2023 to Aug 20, 2023
San Francisco, CA -- Aug 23, 2023 to Aug 27, 2023
Palm Springs, CA -- Aug 31, 2023 to Sep 3, 2023
San Diego, CA -- Sep 6, 2023 to Sep 10, 2023
Phoenix, AZ -- Sep 13, 2023 to Sep 17, 2023
Wichita, KS -- Nov 9, 2023 to Nov 12, 2023
Dayton, OH -- Nov 16, 2023 to Nov 19, 2023
Cleveland, OH -- Nov 22, 2023 to Nov 26, 2023
Omaha, NE -- Nov 30, 2023 to Dec 3, 2023
Winnipeg, MB -- Dec 7, 2023 to Dec 10, 2023
Regina, SK -- Dec 14, 2023 to Dec 17, 2023
Saskatoon, SK -- Dec 21, 2023 to Dec 24, 2023
Edmonton, AB -- Dec 27, 2023 to Dec 31, 2023
MESSI10:
Salta, AR -- Jul 14, 2023 to Jul 29, 2023
Buenos Aires, AR -- Oct 5, 2023 to Nov 5, 2023
OVO:
Prague, CZ -- May 3, 2023 to May 7, 2023
Malmo, SE -- May 11, 2023 to May 14, 2023
Stockholm, SE -- May 18, 2023 to May 21, 2023
Gothenburg, SE -- May 25, 2023 to May 28, 2023
Tallinn, EE -- Jun 1, 2023 to Jun 4, 2023
Vilnius, LT -- Jun 8, 2023 to Jun 11, 2023
Riga, LV -- Jun 15, 2023 to Jun 18, 2023
San Sebastian, ES -- Jul 19, 2023 to Jul 23, 2023
Gijon, ES -- Jul 26, 2023 to Aug 6, 2023
Gran Canaria, ES -- Aug 12, 2023 to Aug 20, 2023
Amsterdam, NL -- Sep 7, 2023 to Sep 10, 2023
Rotterdam, NL -- Sep 14, 2023 to Sep 17, 2023
Bordeaux, FR -- Sep 21, 2023 to Sep 24, 2023
Turin, IT -- Sep 28, 2023 to Oct 1, 2023
Berlin, DE -- Oct 5, 2023 to Oct 8, 2023
Zurich, CH -- Oct 11, 2023 to Oct 15, 2023
Bratislava, SK -- Oct 19, 2023 to Oct 22, 2023
Pesaro, IT -- Oct 26, 2023 to Oct 29, 2023
Bologna, IT -- Nov 2, 2023 to Nov 5, 2023
Florence, IT -- Nov 8, 2023 to Nov 12, 2023
Lyon, FR -- Nov 15, 2023 to Nov 19, 2023
Toulouse, FR -- Dec 7, 2023 to Dec 10, 2023
Granada, ES -- Dec 13, 2023 to Dec 17, 2023
Lisbon, PT -- Dec 20, 2023 to Dec 30, 2023
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Variable Nightly - 7:00pm and 9:30pm
2023 Dark Days:
o) May 12 thru 16, 2023
o) July 21, 2023
o) September 8 thru 12, 2023
o) November 10, 2023
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Friday, Dark Monday/Tuesday
Two Shows Nightly - 7:00pm and 9:30pm
2023 Dark Days:
o) June 18, 2023
o) August 16-20, 2023
o) October 22, 2023
o) November 29-30, 2023
o) December 1-3, 2023
o) December 6-10, 2023
KA:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
2023 Dark Days:
o) May 6 - 10, 2023
o) June 14, 2023
o) August 16, 2023
o) October 21 - 25, 2023
o) November 18, 2023
o) December 13, 2023
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
Age Requirements:
- Children under 5 not permitted.
2023 Dark Days:
o) May 2-6, 2023
o) July 4 & 11, 2023
o) September 5-9, 2023
o) September 12-16, 2023
o) November 18, 2023
o) December 25, 2023
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Thursday through Monday - Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
2023 Dark Days:
o) May 18 22, 2023
o) June 5, 2023
o) August 10 - 14, 2023
o) October 16, 2023
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
DRAWN TO LIFE:
Location: Walt Disney World Resort, Orlando, Florida (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 5:30pm and 8:00pm
MAD APPLE:
Location: New York-New York, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
Age Requirements:
- Children under 16 not permitted.
- Children under 18 must be accompanied by an adult
2023 Dark Days:
o) June 9 - 13, 2023
o) August 21 22, 2023
o) October 27 31, 2023
o) November 3 7, 2023
o) December 18 19, 2023
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "THERE'S NOTHING LIKE MIXING A CIRQUE SHOW" - an
Exclusive Interview with David Wallace, head of
PLANS at Cirque du Soleil's "Drawn to Life" [Part 1 of 3]
By: Keith Johnson - Seattle, Washington (USA)
o) "Under the Same Sky" - a Collection of Articles
Celebrating ECHO's PREMIERE"
o) "ECHO: The World is Yours to Create!"
Texts from the Press Kit
----------------------------------------------------------
"THERE'S NOTHING LIKE MIXING A CIRQUE SHOW" - an
Exclusive Interview with David Wallace, head of PLANS
at Cirque du Soleil's "Drawn to Life" [Part 1 of 3]
By: Keith Johnson - Seattle, Washington (USA)
----------------------------------------------------------
All art forms are in the service of the greatest of all
arts: the art of living. Bertolt Brecht
A life lived in service to the arts facilitating
creativity is a life well lived. Me
The process of artful creation is an easy concept to grasp, though it
may be impossibly difficult to define. Where does inspiration come
from, and how do you interpret that inspiration and make it whole?
We know the "stars" of creativity, be they musicians, actors,
painters, sculptors, or even circus artists. We recognize them and
their works and accomplishments easily. But there are always those
behind the scenes that assist in the creation of art. The artist may
get the credit, but they never do it alone. Who are these people?
They are the people you don't see. The producers, engineers,
cinematographers, costumers, gaffers, set constructors, even spouses,
agents and personal assistants. Those that support the act of
creating. They may not be in the spotlight's glow, but they are the
ones lighting and focusing it.
One of those crafts is sound. They control what you hear, which is
just as important as what you see. And in a Cirque du Soleil show, as
we've said in this space several times before, it is the music (or the
SOUND) that prepares the mind for the wonders about to unfold before
the eyes. For Cirque du Soleil's Drawn to Life, playing now at their
custom-built theater in Disney Springs in Walt Disney World in
Orlando, Florida, there are more than 100 people who nightly support
those who appear onstage. They don't appear onstage, by and large,
you don't see them, but without them, the show wouldn't go on.
SOMETHING FUNDAMENTALLY MAGICAL
-------------------------------
Monitoring the sound of the show, as he has for almost a quarter-
century and more than 5,000 performances covering La Nouba as well as
Drawn to Life, is Mr. David Wallace (https://www.linkedin.com/in/
davidwallace411/). Mr. Wallace hails from Winnipeg, Canada and began
his career in theater there. He started with Cirque as Assistant Head
of Sound for La Nouba during its creation and has been with the
company, and the Disney Springs Cirque Theater, ever since.
In early May 2022, we first asked the 54-year-old Davenport, Florida
resident about his educational background. His LinkedIn profile says
in part: "A strong Theatre Arts and Design professional with a Master
of Business Administration and extensive experience in production,
management, and operations."
He got an MBA? "I did," Mr. Wallace explained. "Part of that was, of
all things, for my father, [who] wanted to see his kids do well. My
brother got a bachelor's degree in political science, did really well
and just retired from 30 years working for the Canadian federal
government. My father had a master's in public administration, and he
wanted us to get master's degrees. He was always concerned about me
being in theater, he felt that I didn't have anything to fall back on,
as strange as that [seems], because I'd never worked outside of
theater since my teenage years."
"[At the time] La Nouba was in its maturity and I was functioning on a
really [stable] schedule, we weren't doing overtime anymore. I had a
little bit of time on my hands and I've always [been] interested in
developmental education. The week I graduated with my MBA I called
him up and said, "Dad, I've graduated! I've got my degree!" And his
[response] was [This 78-year old father talking to his 46-year-old
son], "David, now you don't have to worry if this theatre thing
doesn't work out." And I thought that was just lovely because, you
know, fathers never lose that concern for their children."
Another sentence on his LinkedIn profile states: "I can read, and
understand, the financial statements and run the show. Achieving the
client's vision while maintaining design intent within budget
guidelines is the goal." Having an MBA and working in a theatrical
technical function puts him in a rare position. "Yes, certainly for
budgeting purposes. And understanding that side of the business as
well as the business models of, not just Cirque, but most
entertainment companies. Moving forward it's so important to have a
really strict eye on costs. As the costs of systems grows, it's
becoming incredibly expensive to mount shows. So being financially
aware and conscious of the decisions you make is becoming increasingly
important."
His passion for sound began at an early age. "My father had an Akai
reel-to-reel recorder and played back a lot of his music on reel-to-
reel. Of course, I'm dating myself. It came with two microphones,
you could record stereo left and right, and it was quite an expensive
and fancy unit. The first thing I learned to do as a kid was record
using reel-to-reel [with] those microphones. Then somewhere along the
way in my youth I picked up guitar."
It was here the flame of his life's path was sparked. "Those first
moments when I realized that you could take acoustic sounds, turn them
into an electrical signal, and then capture them on a magnetic tape
and play them back. There was something fundamentally magical about
that! And I still haven't quite shaken the wonder that I have, even
though now it's all digital."
"When I was fairly young, I got a 4-track recorder, a Fostex X-15, a
4-track cassette. [See a picture at: http://www.muzines.co.uk/
articles/ fostex-x-15-multitracker/6000 ] and started recording with
that. I had local friends that were 13 or 14 years old at the time
that were in bands. I started recording them and eventually got an
eight-track reel-to-reel, a Fostex A-Series Model 80, (see a picture
at https://reel-reel.com/tape-recorder/fostex-model-80/ ) and expanded
my little home recording studio. We lived in an old house that was
three stories, and the third story was this open attic space and
that's where I would record. As long as I didn't go past a certain
time (in the evening) my parents were very supportive. If I went too
long my dad would throw the circuit breaker and the power would go
off, and that's how I knew I had crossed the line!"
"I tell that story because somewhere [around that time] it dawned on
me that [sound recording] was a necessary thing. Because people were
saying, "Hey, can you record this?" Or "I have a song I want to
record." So even as a kid I was just kind of playing, [which] was
just what I really liked to do. Along the way I realized what I
really loved was not necessarily playing guitar. (I can still trash
the guitar into submission, not that anyone would ever want to listen
to me.) But I realized I enjoyed the creative process, the
relationships, the direction as a team heads somewhere. Whoever the
songwriter was, their vision for that song, and helping them create
that, that journey. I think that was the key; where it was not so
much about being a professional in the monetary sense, but I could be
a "Professional"."
It was the social and teamwork aspect of sound work that inspired him,
more than the button-pushing and knob-twirling. "The skill set to
being a professional in this kind of work is communication,
relationships, trust and comprehension. That was really enticing to
me because I was someone who liked social engagement. I like
developing things as a team, I tend to not be a lone wolf. Later I
found theatre and it put the two together, the technical stuff [and
the teamwork]. At the time I came out of university theatrical sound
design was quite minimalist, if you had a theatre that had decent
stereo speakers you were doing pretty well. I thought there was a lot
of room for creative work and that's where I found my niche; I
realized that I could do this and get paid and begin to make a living
at it."
He first started his professional audio career in local theater. "As
the head of audio I did theatrical sound design for plays and musicals
that were being produced by the Royal Manitoba Theatre Centre [in
Winnipeg] (https://royalmtc.ca/ ) [in their John Hirsch Mainstage and
Tom Henry Warehouse Theatres]. But back when I was there it wasn't
"royal" yet, it was just the Manitoba Theatre Centre. And we would
often produce shows that would preview in Manitoba, get their legs,
and then we would send them off to Toronto. And during the summer, I
would mix musicals at the Rainbow Stage (www.rainbowstage.ca )"
"I was already involved with The Manitoba Theatre Centre during
college (The University of Winnipeg (https://www.uwinnipeg.ca/ ) where
he got a bachelor's degree in Technical Theatre/Theatre Design and
Technology from 1985-1989). I was working part time when I could as a
technician, but once I graduated that led to a full-time position in
technical direction. There was no sound position available, so my
first job was as assistant technical director."
OFF TO FLORIDA
--------------
After working with the theater company for almost 10 years, the
possibility of working for Cirque du Soleil would enter his life
around the latter part of 1997. "I was working in Canada at the time.
I was a much younger man and had applied to Cirque for assistant head
of audio. The person who was [going to be] head of audio, Cliff
Bonnell (https://www.linkedin.com/in/clifford-bonnell-0537698/ ) had
started on Quidam. We had two sound designers on La Nouba originally,
Jonathan Deans and Francois Bergeron who had worked with Cliff. I
received an interview and Cliff and I spoke on the phone. The
interview went well, and I got the job. That's what initially brought
me to La Nouba, and from there I went on to head up the department."
"My plan was to stay for two years, and there was an Asian tour that
was going out that I was looking at. But then I thought, "Do I really
want to uproot and go on the road?" And I decided I really liked this
show and was happy, the show schedule was five days a week and I'm
used to a six-day theatre schedule. And there were so many
opportunities here that I just decided to stay. The show evolved so
much, and over the years the music of the show evolved. That's one
thing I can count on with Cirque, we never stop developing, never stop
evolving. There was new music at times, adjustments to the
arrangements, adjustments to the mix. We upgraded our consoles,
upgraded our systems. Over the course of those years, I never found I
was lacking for projects, knowledge, or education; we just kept
training, evolving and learning."
La Nouba was a well-running juggernaut performing year after year, and
Mr. Wallace was there for all of it, beginning to end, over 5,000
shows where he was in the theater at the front of house or monitor
mixing position, running the boards for the show. "We seemed to be
running OK, we knew what we were doing. We knew the cycle, the ebb
and flow [in attendance] between March break and summer and we'd have
some ups and downs, but we always did quite well for ticket sales."
DRAWING THE SHOW TO LIFE
------------------------
La Nouba closed, but what to replace it with? It would be a natural
fit at Walt Disney World if Cirque could create a collaborative show
utilizing Disney animation. They've had extensive experience with
collaborations, especially musical ones, with The Beatles Love, Viva
Elvis, Michael Jackson Immortal and One, and Soda Stereo Sept7mo Dia.
But this would be a story of animation. And Mr. Wallace would be a
part of it all.
"When La Nouba closed I was the head of audio, and Cirque approached
me about staying on through the gap phase. I then took on the title
of Project Manager SVC for Sound Video and Communications, and my
scope was looking after the sound system and closed-circuit TV (what
we call CCTV, not the projections but the systems we use internally
for [show operations], and any technical communication systems). And
during [creation] I was at the sound console working with the sound
designer and his assistants on the development and mix of the show."
"By the time Drawn to Life opened I [was made] head of PLANS which
stands for Projections, Lighting, Audio, Networking and Special
Effects, that's my new role. I think it's an interesting model for
Cirque because certainly my expertise is in the audio realm. As a
manager I don't have a [deep] background in lighting [but] I can
certainly comprehend the equipment, the systems, the operations, and I
have a little bit of projections experience. But I have subject
matter experts that are leading those teams. I'm not managing the
day-to-day operations or the show systems I'm just the technical
manager for the department. I would describe it as sort of a
regimented, technical direction position, the overarching manager for
those teams. It's a new model that Cirque has been trying. We've
done a little bit of it in Vegas, but this is the first show on its
own that is trying this new model for management, and so far, it's
been working really, really well."
The show was originally planned to open in March of 2020, with several
months of rehearsal and the maelstrom of creation prior. "It was
interesting because we had gone into Creation. Jonathan's assistant,
Brian Hsieh, had shown up to tune the system in early December. We
started in earnest with everybody in the building right after
Christmas, on December 27th, 2019. So, we had been in Creation at
that point for all of January, all of February and three quarters of
March."
"And the show was ready to go, it was ready to open. Like a lot of
Cirque productions, of course, [before] it opened we were in a little
bit of "creative chaos," is how I would describe it. And that's
absolutely normal; we were no different than La Nouba at that same
point. We were trying to do some pretty tremendous things. And some
of them you only get a shot at a couple of times. You know you're
going to open a show but it's like, "Well, we've run it successfully a
couple of times, let's see how this goes." Because sometimes we fly
without a safety - not literally, but figuratively - and I think
that's where we were; we wereready to open the show we had. And it
was good, it was interesting, I think it had some great moments."
But, as it did throughout the world, COVID soon overshadowed
everything. "We were scheduled to open the show on March 20, 2020.
When we temporarily closed on March 17, we were three days from
opening, that day was our third preview. I remember friends had
texted me and said, "Hey, we're on our way." And I was at the theater
and my initial text was, "Great, see you tonight". And about an hour
later I had to text them back to say, "No, you might want to turn
around, we're not going to be doing a show tonight"."
"We were trying to be optimistic. Company management said we're going
to do it in two-week chunks, because at that point we didn't know, no
one knew. And when it was looking like it was going to be longer and
longer, they extended that. Eventually it was, okay, we know we're
not coming back for six months, or whatever it was. So, everybody
sort of found other things, or they hunkered down, and we all managed
to find ways to get through COVID. I was off [starting] March 17th,
2020 and I returned to the theater in June of 2021, so 15 months for
me. I think some of our employees were off for 18 months at the most.
So, between 15 and 18 months was the general timeline for people being
out."
As with so many businesses and industries when the world shut down,
what would happen and who would come back to work when the world woke
again was a big question. But in the end the draw of being part of a
resident Cirque du Soleil show was powerful. "It was such a unique,
unique situation. I don't have a percentage, but I [believe] we are
in the high ninety percent of people that returned to Drawn to Life.
It was just incredibly emotional, lovely to see. You hear stories of
people quitting their jobs and leaving companies, and our people
couldn't wait to get back. And we had the same thing with La Nouba,
the retention rate was incredible. I, for one, never thought I would
stay with a show for that long. My initial plan was to be here for
two years and then go off onto another project, and I ended up staying
for 25 years now."
"Along with me there are two other people that closed La Nouba that
are now part of the sound technical team. (They are David Medairos-
Sound Technician and David Porier, who was the Sound Technician for La
Nouba and came back as Audio Lead for Drawn to Life.) And one of our
original people on La Nouba, Robert Mele (who was the Audio Technician
from La Nouba), has come back to head up our entertainment network
department as Lead Networking person, he's a powerhouse of technical
and programming chops. With the retention of [talent] and having
those people here, there isn't a better team that I [could hope for].
That gave me great confidence, as well as excitement about getting
through all the technical challenges, to create a system & team that
can handle what Cirque dishes out. It's interesting because all of
those people and knowledge from La Nouba and other Cirque projects
just carried through to Drawn to Life."
"[During COVID] I was very fortunate to find some other work; I taught
film mixing at an institute in Florida, so I was able to use my time
to do that. Which was interesting, it was fun to do and it was nice
to work with students. That kept me busy and kept me mixing, kept
those creative juices flowing, which was most important." [We'll
discuss his film mixing experience, and experiences teaching, later
on.]
"But I couldn't wait to get back into the theater. When I came back
in June [2021] we heard that we were going back into Creation. We
started back at the end of September, had six weeks of Creation, and
opened on November 20th, 2021."
The extra down time allowed for reflection on the show and what it
meant, which would give Drawn to Life something rare for Cirque; a
reassessment and second creation period before the show debuted to
audiences.
* * *
Next time, we discover the opportunities the COVID break provided,
for the acts, music and tech.
To Be Continued!
----------------------------------------------------------
"Under the Same Sky" - a Collection of Articles
Celebrating ECHO's PREMIERE"
----------------------------------------------------------
CIRQUE DU SOLEIL PREVIEWS ECHO AT OLD PORT
BY: Christine Long | CTV Montreal | April 6, 2023
It has a spare, modern look and an emphasis on dance. The performance
explores the link between the animal and human worlds with
storytelling in fluid motion. Author and director of ECHO Mukhtar Omar
Sharif Mukhtar emphasizes his background in dance.
"The movement aspect of things, I think it's very important for me.
Also, with dance you get a lot of emotion, and I really want to put
that sense of emotion into the acrobats because I think that's what
brings them to become artists rather than just gymnasts."
Cirque du Soleil always wants to push the boundaries of circus in
their shows, and ECHO has with the first-time-ever "hair-hang duo".
Charlotte O'Sullivan is one-half of the act in which two aerial
acrobats are suspended by their hair.
"We always make sure our quality of movement stays smooth,
synchronized, elegant, sort of as if we're floating on air, and it's
important to us in the style that we do. We don't want to portray
something painful or freaky. We want to show something angelic and
elegant," said O'Sullivan.
The other acts are also bright and energetic, and so is the music.
"We have seven musicians live on stage, and all of them are singing,"
said ECHO creative director Chantal Tremblay. "That's the difference.
Also, a lot of vocals and strings, so we have a different sound and
everything to support the acrobatic performance."
The band is part of the show, not tucked away in the wings.
Local artist Pascale Brigitte Boilard makes her debut in ECHO. She
grew up being in the audiences for Cirque du Soleil shows, and now
she's part of the action.
"I'm from Longueuil! Just on the other side of the shore. I grew up
seeing the big top during the summer, I've been to many different
shows, and I was the kid in the bleachers saying, One day it's going
to be me.' And apparently it's today. Here I am!"
The show will take place at the Jacques-Cartier Pier in the Old Port
of Montreal. Performances of ECHO begin on April 20 and run through to
August 2023.
# # # # #
CDS LOOKS TOWARD A BEAUTIFUL FUTURE WITH NEW SHOW ECHO
BY: Brendan Kelly | The Montreal Gazette | April 24, 2023
As the show's author and director, Mukhtar Omar Sharif Mukhtar knows
all about the long and winding road that's been travelled to make it
to the première of Cirque du Soleil's Echo.
The world-renowned Montreal-based circus's first original production
since the pandemic began is set to officially open under the blue-and-
gold Cirque big top in the Old Port on Thursday. The show was
originally called Under the Same Sky and was meant to open in Montreal
in March 2020. We all know what happened next.
The COVID pandemic hit and everything shut down, including all live
entertainment. The original writer-director was British artist Es
Devlin, but even before the pandemic nixed the production, there were
behind-the-scenes creative issues. Mukhktar was called in from his Las
Vegas home in the spring of 2020, just before the show was cancelled.
In a phone interview last week from his apartment just a short walk
from the big top, Mukhtar went out of his way to say that Echo still
includes many of the creative elements Devlin brought to the table.
"The universe, the signature style of the show, had already been
started on when Es Devlin was on the show," said Mukhtar. "I wanted to
get a feel for what Es Devlin wanted to say to the audience, what was
her inspiring message. Then I took that and I built from that. There
were a lot of good things she did in the show and we just came in and
added extra layers to it, to where it is today."
Mukhtar knows the pressure is on the Cirque with this show. It's all
part of the post-pandemic comeback for the circus, which had to close
all of its shows around the world during the health crisis and was
forced to seek bankruptcy protection. But the Cirque was already
struggling to remain relevant nearly 40 years after it was founded by
Guy Laliberté, to find ways to connect with a 21st-century audience
with so many more entertainment choices.
"The Cirque is always looking for ways to connect with the audience
now," said Mukhtar. "What is the audience like now? What are audiences
looking for now? (The Cirque is) trying to see what's happening in the
world but also stay a few steps ahead of it. They're trying to set
trends like they did two decades ago. That's also why they worked with
Es Devlin at the beginning. Es Devlin is at the top of her game with
what she does visually. They want to push those boundaries."
Part of the visual design brought by Devlin is the giant two-storey
cube that plays a central role in the show. Performers do their stuff
on the surface of the cube and inside the cube, and it is also used
for video projections.
Longtime fans need not worry, though. It's not all newfangled
concepts. There's plenty of classic Cirque du Soleil entertainment,
too.
"We definitely have high-level acrobatic performances in the show,"
said Mukhtar. "We have to. It's the Cirque's DNA. You can't have a
Cirque show without having high-level acrobatics. But we had to
approach the performances and the acrobatics and make sure they fit
this universe that we're creating. We didn't want to bring in an act
just because it was cool."
No one goes to a Cirque show for the story, but there is always at
least a semblance of a narrative and a central theme, and Echo is no
exception.
"It's more of a concept in this show," said Mukhtar. "It's really
about coming together, rebuilding after the mistakes we've made, to
eventually create the world we all want to live in. The world we live
in right now is so fast, we all live at such a fast speed, and we roll
with it. And we forget about the beautiful things that are right in
front of us because of our commitment to our everyday life. And this
show really looks at life from the point of view of youth. The main
protagonist is Future and we see it through her eyes."
Mukhtar is excited that his wife and their eight-year-old twin girls
will be coming to town to see the show, and it means a lot to him that
his daughters will be there.
"I can't wait for them to see it, especially because the main
protagonist is a young female," he said. "It will be fun and
inspirational for them to see that."
# # # # #
ECHO REVIEW: CIRQUE DU SOLEIL RALLIES ITS TROUPS
BY: Victor Evlogiev | Wire News Fax | April 28, 2023
The first real creation under the marquee since Volta, in 2017, Echo,
officially launched on Thursday evening, is a response to the (forced)
silence of recent years. An ambitious, modern and unifying show, which
relies on the strength of the group.
Expectations were still high. The Cirque has been working on this
acrobatic piece for almost four years. If he had to miss his target...
First strangely baptized Under the same sky, the argument summed up by
creative director Chantal Tremblay in 2020 has nevertheless remained
the same: "The adventure of a show under a big top. A show where we
are all gathered under the same roof, in the same tent, connected to
each other."
Somali-born director Mukhtar Omar Sharif Mukhtar who took over from
English choreographer Es Devlin along the way added during a media
encounter: "It's a piece centered on this idea of connection, unity
and collaboration."
Here's what to remember about the "spirit" of this new Cirque du
Soleil production.
For the rest of the narrative explained to yours truly over the past
few months, our disconnection from the animal world, our threatened
survival, our reconnection with nature, etc., let's say that we are
more in the inner dialogue. You will tell your own story, no one will
judge you.
Echo therefore opens in a very pretty way with the appearance of a
huge cube, which will be the main scenographic element of the room
(designed by Es Devlin).
The four faces of the moving cube serve as projection surfaces while
acrobats (wearing white paper clothes and animal heads) perform an
acrodance number on it suspended by harnesses.
Note that about twenty minutes after the start of the show, a
technical problem led to a five-minute interruption.
A little later, another group of acrobats will steal the show
Ethiopian artists.
First with a breathtaking number of Icarian games a discipline very
little practiced here (and very difficult!) where a carrier lying on
his back launches a flyer in the air with his feet. This issue also
received a well-deserved ovation. Then, with a number eleven of
banquine, human frame and other ground-air acrobatics. With pastel-
colored costumes that exude happiness!
The enthusiasm, energy and smiles of these artists are undoubtedly
what brings us closest to the collaborative spirit of Echo, punctuated
by the sound of electroacoustic music by Jade Pybus and Andy
Theakstone, who also sing in chorus.
Flying mast number seven (wow!) is the same caliber, as is soft wire
number two inside the burning cube (beautiful!) or capillary
suspension number (ouch!).
Throughout the duration of the show, the cube will crack, open, empty,
fill, close
A bit like the world in which we live.
This theme of the collective did not prevent the Cirque from
presenting a few individual numbers such as a number of elastic straps
(nice), where the Brazilian artist Lucas Coelho was first surrounded
by the rest of the troupe (a simple idea, but effective).
Unfortunately, he found himself alone after a few minutes...
Same scenario during the Washington trapeze number (a motorized
trapeze on which the French artist Louana Seclet performs head-
balancing figures). When the troupe surrounds the trapeze artist,
there is a tremendous energy that emerges from the stage towards the
room.
Moreover, the contortion number (not necessary) appears to us as an
error. Just like the diabolo number, even if it is well executed.
These numbers are, in our humble opinion, derivatives of Echo. We'll
get over it.
A word about the comedy duo of the night: Double Trouble. The Franco-
Italian pair essentially have fun stacking cardboard boxes. They are
rather funny, and above all, their presence is well balanced.
The final number with (three!) seesaws even if it is performed by
nine artists is impressive, we are of course in the prowess, but the
disembodied prowess, which struggles to anchor itself to the narrative
of Echo. This number could have been presented in any Cirque show,
which is never a good observation.
Fortunately, there are still those small symbolic gestures that
reinforce the theme of unity and connection, such as that of the main
character, who climbs a giant at the end of the first part (we will
not say more for not spoil the surprise), and which will place a small
cube in the big one at the very end, revealing a thousand images of
this strained nature.
A great way to end this show under an abundant marquee, which is
certainly one of the most ambitious in recent years.
# # # # #
CIRQUE DU SOLEIL'S "ECHO" FINALLY PREMIERES AFTER PANDEMIC DELAY
BY: Web Desk | The International News | April 29, 2023
Cirque du Soleil's Echo premieres in Montreal under the big top in the
Old Port after a pandemic delay.
The original production, titled Under the Same Sky, was supposed to
open in March 2020 but was cancelled due to the COVID-19 pandemic.
Es Devlin was the original writer-director, but Mukhtar Omar Sharif
Mukhtar was brought in to take over creative direction just before the
show was cancelled.
Mukhtar however ensured fans of the show that Echo still includes many
of the creative elements Devlin brought to the table.
"The universe, the signature style of the show, had already been
started on when Es Devlin was on the show," said Mukhtar.
"I wanted to get a feel for what Es Devlin wanted to say to the
audience, what was her inspiring message. Then I took that and I built
from that. There were a lot of good things she did in the show and we
just came in and added extra layers to it, to where it is today."
"We definitely have high-level acrobatic performances in the show,"
said Mukhtar.
"We have to. It's the Cirque's DNA. You can't have a Cirque show
without having high-level acrobatics. But we had to approach the
performances and the acrobatics and make sure they fit this universe
that we're creating. We didn't want to bring in an act just because it
was cool."
Cirque du Soleil shows combine circus styles from various parts of the
world and are built around a central theme and narrative. The
productions feature live music throughout, and performers are
responsible for moving the props instead of stage crew.
END
----------------------------------------------------------
"ECHO: The World is Yours to Create!"
Texts from the Press Kit
----------------------------------------------------------
"ECHO is about connecting everybody together, and working together to
create the world we want to live in. It's not just a concept. It's
something I truly believe in."
- Mukhtar Omar Sharif Mukhtar, Author-Director
Cirque du Soleil brings surprising new twists under the Big Top with
ECHO, a story of connection, intention, and the symbiotic unions
between humans and the animal kingdom. Fueled by the power of change,
the hope of the youth, and the value of empathy, ECHO follows an
inquisitive young woman named FUTURE as she wanders into a fantasy
world that explores our sacred bond with animals and nature. When
FUTURE and her best friend the DOG encounter a mysterious CUBE, they
quickly learn how their actions have the power to shape this world,
and if we come together, we can rebuild our planet to create the world
we all want to live in. Cirque du Soleil's 20th Big Top show brings
bold new visuals and a unique aesthetic on tour. Packed with vibrant
characters, inspiring music, astounding lights and projections, and
never-before-seen acrobatic feats, ECHO invites audiences on a journey
through a universe of color, wonder, and infinite possibilities.
THE CONCEPT
-----------
The underlying theme of ECHO is the symbiotic connection between
humans and the natural world. The show explores how the actions of man
can ripple out to the animals and planet we treasure so much. "ECHO"
is a fitting title because the audience discovers this effect in
different metaphors throughout the show. We experience an echo through
humanity and the way our actions have a resounding impact on the
surrounding world. This concept is brought to life by how artists and
characters interact with the CUBE. As the massive structure is
extracted and rebuilt, we come to understand that empathy and
compassion can restore our relationship with animals and the natural
world, and ultimately lead us to a space of hope, love, and
connection. An echo is also expressed through choreography. Many of
the show's performances are inspired by the notion of repetition,
telling stories through continuous movement, and exploring the dynamic
between organic, free-moving animals and the structured uniformity of
scientific thinking. As Author-Director Mukhtar Omar Sharif Mukhtar
says, "I think it's important when people come to ECHO to be blown
away by the performances and acrobatics, and at the same time, I want
them to leave feeling empowered."
ECHO AT A GLANCE
----------------
o) ECHO is the 20th Big Top creation from Cirque du Soleil and its
51st overall, with a cast of 51 artists representing 19 different
nationalities.
o) Aesthetically, ECHO brings bold new visuals and an innovative
approach to the Big Top, weaving together high-level acrobatics in
a modern and contemporary visual universe.
o) ECHO performs up to 10 shows a week, and visits approximately 6
different cities per year.
o) Several of the cast and crew of ECHO have been involved in other
Cirque du Soleil productions, including Volta, MJ ONE, OVO, and
many more. Even the Author-Director was originally an artist in The
Beatles LOVE.
o) ECHO is the first ever Cirque du Soleil show to feature 6 live
vocalists, with most of the musicians also singing at some part in
the show.
o) A full performance of ECHO pushes the envelope with 5 acrobatic
winches and 3 double lines that can support 2 artists each.
o) ECHO uses an impressive 10 video projectors to cover the CUBE, the
stage, and the artists, which marks the most ever for a Cirque du
Soleil Big Top show.
o) The mysterious CUBE at the heart of the show is essentially the
size of a 2-story apartment building that rotates on the central
pivot, moving from upstage to downstage, and even floating above
stage.
CHARACTERS
----------
FUTURE --- FUTURE is the curious and caring protagonist of ECHO.
Representing the energy and awareness of today's youth, she sees the
world through the eyes of a new generation. Her natural curiosity
inspires her to seek out her place in the world, and with her playful
companion, the DOG, she wanders upon an enigmatic CUBE, setting in
motion a journey of life, discovery, hope, and connection.
EWAI THE DOG --- A symbol of unconditional love, the DOG is FUTURE's
selfless companion whose only wish in life is to make her happy.
Thanks to his playful and curious nature, the DOG helps FUTURE make
unique connections with the animal characters they encounter on their
journey. When he gets carried away chasing the hopeful light of the
FIREFLIES, he loses track of FUTURE, and searches urgently to get back
to her side.
THE CARTOGRAPHER --- The CARTOGRAPHER is a mysterious character with
an inventive mind. With his bright energy and vibrant colors, he flies
around the CUBE casting vivid light projections with every movement.
In constant pursuit of new ways to move forward and look at things the
CARTOGRAPHER introduces FUTURE to the concept of science. Like an
inquisitive scholar, he is there to offer FUTURE knowledge and
options, but will never tell her where to go or what to do, because he
knows that on a journey of discovery, it's up to everyone to decide
their own path.
DOUBLE TROUBLE --- Representing an era of industrialization, DOUBLE
TROUBLE pride themselves on productivity, but the more they try to
maintain order, the more they lose control. The comedic duo
consistently pushes to keep the work moving, recruiting the characters
of ECHO (and even members of the audience) to stack boxes, build
structures, and help them achieve their ambitious goals. Despite their
demands, something always seems to go awry, leaving DOUBLE TROUBLE
visibly annoyed. When they grow impatient with the pace of work, they
decide to take matters into their own hands.
THE FOSSORIAL --- The FOSSORIAL is an introverted creature who lives
alone underground. Once in a while he pops his head above the surface
to see what's going on, because any action taking place above ground
has a direct impact on his home and livelihood. Having to mold himself
to so many circumstances beyond his control has turned the FOSSORIAL
into a master of improvisation, but also makes him distrustful of
others, including a young girl named FUTURE and her friendly companion
the DOG.
THE FIREFLIES --- When the CUBE gets stripped away by the efforts of
DOUBLE TROUBLE, two beautiful FIREFLIES appear to return hope to the
world of ECHO. Suspended by their hair, they soar above the stage in a
spiritual performance of acrobatics and light projections.
THE ACTS
--------
ECHO beautifully blends story with a spectacular range of acrobatic
performances, all taking place on, in, around, or throughout the
mysterious CUBE. You'll witness performances like bungee straps,
banquine, icarian games, double hair suspension, slackwire, triple
teeterboards, and a never-before-seen chrysalid pole structures act.
SYMBIOSIS: ACRO-DANCE OF THE ANIMALS --- Animals hang in a vertical
position on the CUBE, performing an acro-dance routine where we see
them meeting each other as animals who share this world, discovering
life, and living in harmony.
THE CARTOGRAPHER'S BUNGEE STRAPS --- As the CARTOGRAPHER flies into
the story, light projections track his every movement, leaving behind
marks that influence the world. The animals move away from him, not
knowing his intentions, but his energy and presence demand the respect
of the stage.
INDUSTRIALIZATION AND ICARIAN GAMES --- Two performers come to the
stage in an act of flipping and rotation that spins the story forward.
Their motion acts as a machine to help DOUBLE TROUBLE extract boxes
from The CUBE, moving faster and faster to speed up the process of
extraction.
DOUBLE TROUBLE'S BOXES --- Discontent with the pace of work, DOUBLE
TROUBLE take matters into their own hands. Using all the boxes at
their disposal, they attempt to streamline their work, but quickly
find out that it's easier said than done, and the mess is bigger than
when they first started.
THE FIREFLIES DOUBLE HAIR SUSPENSION --- When some troubling questions
arise, the lights reveal two FIREFLIES, beautiful artists who soar
through the air suspended by their hair. Their grace and power inspire
FUTURE and the DOG, giving them hope that the world can be rebuilt.
BANQUINE AND HUMAN CRADLE TO RESIST AND EXPRESS --- The COLOR PAPER
PEOPLE come together in a thrilling mix of banquine and human cradle
acts. With the help of the CUBE and the encouragement of FUTURE, they
learn to collaborate and realize the importance of having fun in a
dizzying array of stunts.
DOUBLE SLACKWIRE OVER FLAMES --- Smoke billows from the floor, flames
break out within the CUBE, and a tense double slackline act ensues, as
two animals stand on a line between life and death. They will give
everything they can to survive as long as they both have each other.
REBUILDING ON CHRYSALID POLE STRUCTURES --- This flying poles act
features a first-of-its-kind pole apparatus named Chrysalid that is
semi-attached to the stage floor. This groundbreaking performance
requires exceptional strength, and signals the rebuilding of The CUBE.
THE DOG'S DIABOLO MANIPULATION --- In an act of love and gratitude,
the DOG breaks into a fascinating diabolo manipulation act that
catches the eye of an unseen character. The FOSSORIAL appears above
ground, approaching the DOG with caution and curiosity, and pushing
him to be more and more creative with his flicks and tricks.
DOUBLE TROUBLE'S HUMILITY --- Seeing the consequences of their
actions, Double Trouble want to help recreate the CUBE. They chase
after all their boxes in a comical manipulation act that leads them to
build an impossibly tall tower of boxes.
THE FOSSORIAL'S CONTORTION --- he FOSSORIAL puts his flexibility and
adaptability on full display in an act of contortion and dislocation
that will leave audiences stunned.
FUTURE AND THE WASHINGTON TRAPEZE --- When FUTURE looks up to see the
final missing box flying in the air, she realizes it's up to her to
place the missing piece back into the CUBE. The Washington trapeze
descends towards her in a poetic moment, as the animals return to
stage to orchestrate her flight.
CELEBRATING CONNECTION ON TRIPLE TEETERBOARDS --- In a high-flying
performance, the paper animals celebrate connection and coexistence
through an exhilarating triple teeterboard act. As the playful birds
take flight from their teeterboards, they inject a palpable energy
into the air, overjoyed by the feeling of togetherness.
SET DESIGN
----------
IN, ON, AND AROUND THE CUBE --- The imaginative set design of ECHO
revolves around the CUBE, a simple yet profound set piece that blends
a spectacular range of audio, visual, and tactile media. Measuring 23'
x 23' (7 m x 7 m), the CUBE sets the stage for a wide range of
acrobatics and theatrics. At different points, it may be dismantled,
stripped, and rebuilt, scaled by animals, swung from by artists, and
used as a mesmerizing projection surface. Surrounded by a stage that
resembles water in a lake, every interaction with the CUBE creates a
unique effect that ripples into the future. With so many elements
involved in a single set piece, ECHO Author-Director Mukhtar Omar
Sharif Mukhtar says the CUBE is up to interpretation. "It's not just
as literal as this is the world'," he says. "It could be anything: a
relationship, love, something you cherish
It could represent the
world, or the planet, but it's really a symbol. The more we take away
from it, the emptier it becomes, and the more we put into it, the
fuller it becomes. That's what I would love for people to see when
they see this."
ONE CUBE, SO MANY DIMENSIONS --- Designing the CUBE was a massive
undertaking. Not only does it need to support the acrobatics and
theatrical performances of the show, but it also has to meet the
technical requirements of a traveling Big Top show. Here are a few
highlights:
o) The CUBE measures 23 square feet and weighs roughly 12 tons.
o) It's built to track upstage to downstage on a single central pivot.
o) The roof of the CUBE contains a lightbox with 2.7 km of LED strips.
o) Lighting it from within instead enables the technical team to
highlight performers and characters with greater precision than
relying strictly on outside lighting.
o) It takes 10 projectors to project imagery on the rotating CUBE and
throughout the stagethe most ever for a traveling Cirque du Soleil
show.
o) Each video projector tracks a single zone of the stage, and
crossfades projections between zones as the CUBE moves and rotates.
o) These projectors can create 3D effects on the surface of the CUBE
to appear like it's deconstructing and constructing while never
moving an inch.
o) To ensure so many projectors could meet the mobility demands of a
Big Top show, Cirque technical teams had to design a special self-
standing infrastructure just for this equipment.
o) The primary structure of the CUBE is mostly made of steel with some
aluminum trussing.
o) There are 40 lightweight blocks that fill in the CUBE, which are
made of different materials based on their use.
o) There are soft blocks made of foam so they can be easily dropped
from various heights, while "acro blocks" are made of carbon fiber
or fiberglass to support the requirements of the performers.
o) At one of the most surprising points in the show, one of the CUBE's
walls supports 40 artists.
o) In a first-of-its kind performance, a dual slackwire act takes
place within the rotating CUBE.
o) Meanwhile beneath the slackwire performance, at the base of the
CUBE are real flames, which means everything had to be made
fireproof.
Yet despite so much built into one impressive structure, Production
Director, Serge Côté says the biggest challenge when designing the
CUBE was integrating it in a way that brings theatricality to the
performancenot attention to its technical feats. "We want people to
forget about the technicality
to come into the Big Top, which is kind
of a magical space, forget about everything that goes on [behind the
scenes], and step out with a smile."
COSTUMES & MAKEUP
-----------------
Conceptually, the costume and makeup design for ECHO are slick,
contemporary, and clean, with fewer flourishes than most Cirque du
Soleil productions. Costume Designer Nicolas Vaudelet uses color to
draw a contrast between animals and humans, with more than two dozen
animal heads fabricated in white, and 26 brightly colored outfits for
ECHO's human characters. While Makeup Designer Julio Cesar Da
Silveira's concepts incorporate a subtle yet powerful geometric touch
to create a connection point between the two groups. Together they
strike the perfect balance between fashion, circus, and story.
FUTURE & THE CARTOGRAPHER --- Each costume and makeup concept was
presented to ECHO'S Director for approval to ensure they connect to
the larger concept of the show. For the protagonist FUTURE, makeup
designers tested hundreds of shades of makeup before perfecting on the
cloud concept, which adds an emotional touch with sparkles that appear
like raindrops or tear drops. For the CARTOGRAPHER, there's a unique
pencil stroke that appears to be connecting the dots. The perfect
touch for a character who makes maps, draws connections, and
represents the possibilities of scientific discovery.
TWO FAMILIES CONNECTED BY CRUMPLES --- For the PAPER ANIMALS and COLOR
PAPER PEOPLE, Costume Designer, Nicolas Vaudelet has clad all
characters in white fabric made to resemble crumpled paper. The
wrinkles give the feel that these characters' lives are still being
crafted. While the PAPER ANIMALS wear white head to toe, the COLOR
PAPER PEOPLE wear white suits featuring a rainbow of different colors.
If you look closely though, you'll see that all of these artists are
wearing the same style of suit.
THE MUSIC OF ECHO
-----------------
Music and sound play a key role in driving the emotional arc of ECHO.
Featuring 14 eclectic show tracks inspired by a mix of pop,
electronic, vocal, and classical stylings, the music of ECHO defies
any single genre. It is uniquely layered with depth and textures
inspired by our relationship to the natural world. As Band Leader,
Michael Lieberman describes it, "Our most natural instrument is the
human voice, and so it makes sense conceptually to use vocals to
establish a symbiotic relationship between humanity and the
environment." This is followed closely by strings and percussion,
which represent the sounds, rhythms, and beating heart of nature.
A MUSICAL FIRST FOR CIRQUE DU SOLEIL --- Like many Cirque du Soleil
productions, ECHO features a live band incorporated into the
performance, but for the first time in Cirque history, the band
features 6 vocalists who also play instruments.
A SOUNDSCAPE THAT DRIVES EMOTION --- As one might expect from a show
titled "ECHO," each performance builds on a repetition of sound
effects, but with a slightly different intention depending on the
emotional curve in the show. Taken together, these unique sounds have
a huge effect on the storytelling and audio experience for the
audience.
THE CREATIVE TEAM
-----------------
"What really excites me most about this beautiful project is the
ability to push the boundaries of what can be achieved in a Big Top
setting and deliver a joyful experience, full of surprises, to
millions of people around the world."
AUTHOR-DIRECTOR MUKHTAR OMAR SHARIF MUKHTAR
Mukhtar O.S Mukhtar has been directing, choreographing and dancing for
over 20 years. Prior to directing ECHO, Mukhtar spent 8 years with
Cirque du Soleil (20052013) as a performer in The Beatles LOVE in Las
Vegas, later returning to the show as a creator/choreographer for the
successful 10th anniversary refresh in 2015. Mukhtar has also been in
writing and directing roles for "One Night for One Drop" (Las Vegas),
Messi10 (a touring show), and more recently FUZION (Saudi Arabia).
"The start of Cirque is the chapiteauthe Big Top... The smell, the
canvas, the leather, the sound of the bleachers, you can feel you're
on tour. You have a [close] proximity to the start of what the circus
was. To do a project under the chapiteau, it's always great to get
back and feel the connection."
CREATION DIRECTOR CHANTAL TREMBLAY
In the late 1980s, Chantal Tremblay joined Cirque du Soleil as a
performer after seeing one of the company's shows. Tremblay quickly
rose to become an assistant to choreographer Debra Brown during the
creation of Mystère. She became senior artistic director on Alegría,
La Nouba, and Mystère. In 2006, she was asked by the company to become
the director of creation for The Beatles LOVE, followed by OVO in
2009, Michael Jackson THE IMMORTAL World Tour in 2011, KURIOS: Cabinet
of Curiosities in 2014, and SEP7IMO DIA - No Decansaré in 2017. She's
now been acting as ECHO's Director of Creation since its inception.
o) PRODUCTION DIRECTOR Serge Côté
o) COSTUME DESIGNER Nicolas Vaudelet
o) CO-COMPOSERS Jade Pybus et Andy Theakstone
o) CO-COMPOSER AND MUSIC ARRANGEMENTS Hugo Montecristo
o) MUSIC CONSULTANT AND MUSIC ARRANGEMENTS Thierry
o) SOUND DESIGNER Jacques Boucher
o) LIGHTING DESIGNER Martin Labrecque
o) PROJECTION DESIGNER Jérôme Delapierre
o) HUMAN PERFORMANCE DESIGNER Daniel Cola
o) ACROBATIC EQUIPMENT AND RIGGING DESIGNER Jaque
o) ACROBATIC CHOREOGRAPHER John Cartin
o) MOVEMENT CHOREOGRAPHER Andrew Skeels
o) MAKE-UP DESIGNER Julio Cesar Da Silveira
o) PRODUCTION TECHNICAL DIRECTOR Christian Laflamme
CAST AND PERFORMERS
-------------------
o) FUTURE, CHARACTER Louana Seclet--Monchot (France)
o) THE DOG, CHARACTER & DIABLO Philippe Dupuis (Canada)
o) THE CARTOGRAPHER, CHARACTER Piotr Kopacz (Poland)
o) DOUBLE TROUBLE, MANIPULATION Clement Malin (France) &
Caio Sorana (Italy)
o) THE FOSSORIAL, CONTORTION & DISLOCATION Strauss Serpent (Congo)
o) SLACKWIRE Taras Hoi (Ukraine) & Antino Pansa (French Guiana)
o) HAIR SUSPENSION Charlotte O'Sullivan (Canada) & Penelope Elena
Scheidler (Austria)
o) ICARIAN Seife Desta Buser & Abiy Saleamlak Negash (Ethiopia)
o) BANQUINE/HUMAN CRADLE Taye Gebeyehu Yemam (Leader), Sammy Mededu
Mohammed, Yared Wolde Chraga, Asnake Shimelis Dinberu, Abel Matiyas
Disasa, Teka Bacha Debele, Abeselom Demeke Kebede, Bruktawit
Lijalem Wondiyfraw, Hayder Nuredin Badeg, Getaw Mamo Tekeda, Getnet
Feleke Ayele (Ethiopia)
o) FLYING POLES Lucas Coelho Costa (Brazil), Neal Courter (USA),
Ethan Lottman (USA), Ivan Tushnov (Russia), Iana Lebedeva (Russia),
Denis Degtyarev (Russia), Lucas Matias Suarez (Argentina)
o) TEETERBOARDS Aleksandr Zebrov (Russia), Thomas Leask (Australia),
Campbell Clarke (Australia), Joseph McAdam (UK), Cooper Ayton
(Australia), Luan De Souza Vieira Pretko (Brazil), Daniel Alejandro
Aguilar Briceno (Mexico), Maxim Laurin (Canada), Alexey Ozerov
(Kazakhstan), Sergey Ozerov (Kazakhstan)
o) BACKUP FUTURE, CHARACTER Evelyne Lamontagne (Canada)
o) DIABLO Peng Chan (Taiwan)
o) BAND LEADER Michael Lieberman (USA)
o) FEMALE VOICE Edyta Krzemien (Poland)
o) MALE VOICE + KEYBOARDS Jonathan Stombres (USA)
o) FEMALE VOICE + KEYBOARDS Pascale Brigitte Boilard (Canada)
o) CELLO + VOCALS Lizzy Munson (Canada)
o) VIOLIN + VOCALS Anna Follia Jordan (Spain)
o) PERCUSSION + VOCALS Agata Kruszewska (Poland)
And there you have it! ECHO is currently playing in Montreal until
August 20th!
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 23, Number 3 (Issue #218) April/May 2023
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2023 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.
{ May.15.2023 }
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