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Fascination Issue 203
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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 20, NUMBER 12 December 2020 ISSUE #203
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Welcome to the latest edition of Fascination, the Unofficial
Cirque du Soleil Newsletter.
* * * CIRQUE PERMANENTLY CLOSES ZUMANITY * * *
Cirque du Soleil informed the cast and crew of Zumanity about its
permanent closure on November 16, 2020.
"Zumanity was a groundbreaking departure for Cirque du Soleil when it
opened in September of 2003," said Daniel Lamarre, President and CEO
of Cirque du Soleil Entertainment Group. "We are forever grateful to
the extraordinarily talented cast, crew and staff who helped make
Zumanity an unforgettable experience for more than 7.25 million
guests."
After wowing audiences with more than 7,700 shows, the last
performance of Zumanity took place on March 14, 2020 before it was
shut down due to the COVID-19 pandemic. Guests holding tickets for any
future performances will be refunded at the original point of
purchase. George Kliavkoff, President of Entertainment & Sports for
MGM Resorts International, said, "Zumanity at New York-New York had a
terrific run over the last 17 years and our partnership with Cirque du
Soleil remains strong moving forward. We're grateful to the cast, crew
and team at Cirque for having created something very special. We look
forward to sharing plans for new entertainment programming at the New
York-New York Theater in the months ahead."
Cirque du Soleil and MGM Resorts International have solidified their
commitment to the partnership and the four shows remaining in the
Cirque du Soleil portfolio. Contract extensions for "O" at Bellagio,
The Beatles LOVE at The Mirage, KÀ at MGM Grand and Michael Jackson
ONE at Mandalay Bay have been signed. Additionally, Treasure Island
and Cirque du Soleil have recommitted to Mystère with a contract
extension. With these extensions, Cirque du Soleil shows are
guaranteed to entertain audiences well into the future. The timing of
the shows' reopening will be dictated first by the safety of guests
and employees in compliance with the guidelines set forth by the
Governor and other government agencies; and second, by the ability to
operate the shows profitably. More than 70 million visitors have
experienced Cirque du Soleil shows in Las Vegas since Mystère opened
in 1993 and Cirque du Soleil looks forward to continuing that legacy
when the shows return safely to their theaters.
* * * CIRQUE EMERGES FROM PROTECTION * * *
Cirque du Soleil Entertainment Group announced on November 24, 2020
the successful closing of a sale transaction with its secured lenders
and its emergence from creditor protection under the Companies'
Creditors Arrangement Act in Canada and Chapter 15 in the United
States. The closing of this recapitalization marks a significant
milestone for Cirque du Soleil, as it provides the Company with a
solid foundation for a successful relaunch, which includes driving the
business through enhanced fan experiences, a concerted drive into new
key markets, backed by roll-out plans for cutting-edge new products
and licensing opportunities. Additionally, Cirque du Soleil is pleased
to confirm that Daniel Lamarre will remain in position as President
and Chief Executive Officer of Cirque du Soleil Entertainment Group,
as well as continue to sit on the Company's Board of Directors. The
new owners also agreed to maintain the Company's headquarters in
Montreal. "I am grateful for the trust our new owners have placed in
our management team. I am prepared to contribute, along with the new
stakeholders, to build upon the successes of the past, apply
discipline to our operations and growth and fulfill our mission to
bring Cirque's extraordinary artistic vision to audiences around the
world. Together, we have already begun laying the groundwork for the
relaunch of Cirque du Soleil and are excited to enter the next chapter
of Cirque's history," said Daniel Lamarre, President and CEO of Cirque
du Soleil Entertainment Group. Read more from this announcement
within.
* * * UNDER THE SAME SKY DELAYED UNTIL SPRING 2022 * * *
For the second year in a row, the Cirque du Soleil is delaying its
show under the big top at the Old Port. The world premiere of Under
the Same Sky, originally scheduled for April 23, 2020, then pushed to
April 2021 by the COVID-19 pandemic, has been postponed until spring
2022.
"Dear Cirque du Soleil fan, it is with deep regret that we announce
today the postponement of UNDER THE SAME SKY due to the uncertainties
brought by the current situation and the sanitary measures in place to
face the pandemic. Our new show will not be presented under the Big
Top in the Old Port of Montreal starting April 22nd of 2021 as
originally planned. The circumstances not allowing the repatriation of
our employees and artists to resume training make it impossible for us
to perform UNDER THE SAME SKY. The show was still in creation process
when we had to interrupt all our operations back in March. Since we do
not have the possibility to confirm new dates immediately given the
uncertainty of the situation, we are pleased to offer an account
credit equivalent to 130% of your current tickets value. This credit
can be redeemed for the purchase of new tickets to a Cirque du Soleil
show of your choice that will presented under the Big Top in Canada."
Cirque plans to be present in the Old Port in some form next summer.
"Different scenarios are being explored and we hope to be able to
announce details very soon."
And theres more within... so lets get into it!
/----------------------------------------------------\
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\----------------------------------------------------/
- Ricky "Richasi" Russo
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CONTENTS
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o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* "What Ifs and If Onlys, Part 4 of 7"
By: Ricky Russo - Atlanta, Georgia (USA)
* "Montreal as an International Culture Metropolis"
By: Guy Laliberté - Montreal, Quebec (CAN)
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
***************************************************************
LA PRESSE -- General News & Highlights
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Cirque Confirms Sale and Emergence from Protection
{Nov.24.2020}
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Cirque du Soleil Entertainment Group ("Cirque du Soleil," "Cirque," or
the "Company"), the world's leading producer of high-quality live
entertainment, announces today the successful closing of a sale
transaction with its secured lenders (the "Lenders") and its emergence
from creditor protection under the Companies' Creditors Arrangement
Act ("CCAA") in Canada and Chapter 15 in the United States.
The closing of this recapitalization marks a significant milestone for
Cirque du Soleil, as it provides the Company with a solid foundation
for a successful relaunch, which includes driving the business through
enhanced fan experiences, a concerted drive into new key markets,
backed by roll-out plans for cutting-edge new products and licensing
opportunities.
Additionally, Cirque du Soleil is pleased to confirm that Daniel
Lamarre will remain in position as President and Chief Executive
Officer of Cirque du Soleil Entertainment Group, as well as continue
to sit on the Company's Board of Directors. The new owners also agreed
to maintain the Company's headquarters in Montreal.
"I am grateful for the trust our new owners have placed in our
management team. I am prepared to contribute, along with the new
stakeholders, to build upon the successes of the past, apply
discipline to our operations and growth and fulfill our mission to
bring Cirque's extraordinary artistic vision to audiences around the
world. Together, we have already begun laying the groundwork for the
relaunch of Cirque du Soleil and are excited to enter the next chapter
of Cirque's history," said Daniel Lamarre, President and CEO of Cirque
du Soleil Entertainment Group.
Board of Directors
As part of this transaction, effective on the date hereof, Cirque du
Soleil Entertainment Group announces the appointments of Jim Murren
and Gabriel de Alba as Co-Chairmen of the Board.
Jim Murren was appointed to lead the Nevada COVID-19 Response, Relief
and Recovery Task Force by Governor Steve Sisolak. He served on the
National Infrastructure Advisory Council and was a member of the Board
of Trustees for Howard University. Mr. Murren first joined MGM Resorts
International in 1998 as the Chief Financial Officer and served as the
former Chairman and CEO of MGM Resorts International until retiring in
2020. He also served as Chairman of the American Gaming Association
and was on the Board of Trustees of the Brookings Institution. Mr.
Murren co-founded the Nevada Cancer Institute, which was the official
cancer institute for the state of Nevada until 2013. He was also a
founding contributor to Nevada's first Fisher House which provides
housing for military and Veterans' families. In addition, he has
served as a member of the Business Roundtable, an association of CEOs
of leading U.S. companies. Mr. Murren received his Bachelor of Arts
from Trinity College. His understanding of the business operations and
entertainment landscape will help fuel the company's trajectory of
growth and expansion.
"As a company with global opportunities and the ability to grow
quickly, it is critical to Cirque's successful expansion and to its
customers and partners that we continuously execute on the right
strategies. I've had the great honor of knowing Daniel Lamarre for
many years and I have the utmost confidence in his ability to
successfully grow this franchise. I very much look forward to working
with the Cirque team and fellow directors to take this truly unique
organization to the next level and pave the way to capture further
growth opportunities," declared Jim Murren.
Gabriel de Alba is Managing Director and Partner of the Catalyst
Capital Group. He has more than 25 years investing, restructuring and
building businesses in the US, Canada, Europe and Emerging Markets.
Mr. de Alba acts and has acted as Chairman, Board Member and CEO of
multiple Catalyst portfolio companies including Executive Chairman of
Gateway Casinos & Entertainment, Chairman and CEO of Cabovisao/ Cable
Satisfaction, Chairman of Therapure Biopharma, Chairman of Evolve
Biologics, Chairman of GENEBA Properties, Chairman of Frontera Energy
and Board Member of Worldcolor. On behalf of Catalyst he has led
stakeholder groups in unlocking value including at Hudson Bay/ Saks
Fifth Avenue, IMAX Corporation and SFX Entertainment. He brings to the
Cirque Board a stellar reputation in the financial and business world.
"Cirque du Soleil is a tremendous company built on artistry, vision
and extraordinary entertainment experiences to audiences. The
organization has a global opportunity and can achieve great heights,
guided by this great management team and the skills and experience of
this new Board of Directors," added Gabriel de Alba. "I am very
pleased to co-chair the Board with Jim Murren, whose leadership and
knowledge of the industry is unparalleled. I also look forward to
working with this energized team on building Cirque du Soleil's next
stage of evolution together with our partners at Soundpoint Capital,
CBAM Partners and Benefit Street Partners and the other creditors that
are committed to the company."
"We are honored to have Jim Murren and Gabriel de Alba Co-Chairmen of
the Board and look forward to leveraging their deep business knowledge
to take the Company to new horizons," said Cirque's President and CEO,
Daniel Lamarre. "For the past 20 years, Jim has been a true partner
and has tremendously contributed to the success of the Company.
Likewise, Gabriel, as a skilled investor with significant turnaround
experience, will bring to the Company a deep understanding of the
Canadian and international business worlds, and his leadership and
experience will be invaluable for Cirque's relaunch."
Here is the complete list of members who will compose the new Board of
Directors:
Jim Murren Co-Chairman of the Board
Chairman, Acies Acquisition Corp.
Former Chairman & CEO for MGM Resorts International
Gabriel de Alba Co-Chairman of the Board
Managing Director & Partner, Catalyst Capital Group
Steven Justman Member
Operating Partner, Abry Partners
Stephen Ketchum Member
Managing Partner & Chief Investment Officer, Soundpoint Capital
George Kliavkoff Member
President, Entertainment & Sports, MGM Resorts International
Daniel Lamarre Member
President & CEO, Cirque du Soleil Entertainment Group
Anna Martini Member
Executive Vice President & Chief Financial Officer, CH Group
Aaron Meyerson Member
Principal, Qualia Legacy Advisors
Charles "Chip" Rini Member
Managing Director, CBAM Partners, an Eldridge business
Additional Information
On June 30, 2020, Cirque filed for protection from its creditors under
the Companies' Creditors Arrangement Act ("CCAA") in Canada and
Chapter 15 in the United States, to restructure its capital. The
Superior Court of Québec (Commercial Division) (the "Court") granted
Cirque's application. Interested parties had until August 18, 2020, to
submit their counteroffer for an auction of the Company under the
Court's supervision, pursuant to the Purchase Agreement and the sale
and investment solicitation process, designed to achieve the highest
offer for the Company and its stakeholders.
An initial order to extend the stay period was requested on July 14,
2020 and granted by the Court. On October 8, a final request of
extension was sought and approved by the Court, extending the stay
period until November 13, 2020. A Court hearing took place on October
20, 2020, during which the Court was asked to approve the asset
purchase agreement.
Transaction Website
For more information about this transaction, please visit
www.ey.com/Cirque.
Throughout this process, Cirque du Soleil is being represented by
Stikeman Elliott LLP, Kirkland & Ellis LLP, National Bank Financial
Inc. and Greenhill & Co.
{ SOURCE: PR Newswire }
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Cirque Revival Includes Return of U.S. Shows Next Year
{Nov.24.2020}
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Cirque du Soleil Entertainment Group emerged from court protection
with new owners, a focus on the world's biggest cities and a plan to
open U.S. shows as early as next summer.
Cirque's Las Vegas-based shows and a new production at Walt Disney
Co.'s Florida resort are likely to resume first, according to Chief
Executive Officer Daniel Lamarre, who kept his job after the
restructuring. While some touring shows may get back on the road next
year, the Montreal-based company targets 2022 to return to levels seen
before the Covid-19 pandemic.
"We need to have the vaccine distributed on a scale that people will
feel good to come in our places," Lamarre said in an interview
Tuesday. "We have to be back to a certain normalcy."
Cirque, which is now owned by former creditors including Catalyst
Capital Group Inc., also wants touring shows to devote more time to
large markets like New York, Toronto or Tokyo, and less to smaller
destinations, according to Lamarre. The company hasn't decided yet if
the number of productions will be scaled back.
The live performance company filed for creditor protection in June
after the pandemic forced it to shut down all of its 44 shows. The
restructuring saw first-lien creditors wind up with virtually all of
the equity, while shareholders including TPG and Quebec's pension fund
had their equity wiped out. The new owners are injecting $375 million
into the relaunch.
Two shows, in China and Mexico, have so far resumed operations. Cirque
signed extensions for five of its Vegas shows, including four at MGM
Resorts International properties, for a combined 19 years, which
Lamarre called "a way to bring a lot of confidence for our new
owners."
Besides Catalyst, prominent owners include Sound Point Capital
Management LP, CBAM Partners and Benefit Street Partners, according to
Lamarre. The four "are here to take the time it takes to really bring
value to the company," he said.
There are no plans to sell any of the assets Cirque has added in
recent years, he said.
Separately, the company on Tuesday named its board of directors, led
by co-chairmen Gabriel de Alba, who's a managing director at Catalyst,
and Jim Murren, a former chairman and CEO of MGM Resorts until
retiring this year. MGM Resorts has been home for several of Cirque's
Vegas shows. George Kliavkoff, another MGM executive, also sits on the
board.
{ SOURCE: Bloomberg News Wire }
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Cirque Expects to be Back Flying High by 2022
{Nov.25.2020}
----------------------------------------------------------
With the sale of Cirque du Soleil successfully concluded, president
and CEO Daniel Lamarre believes shows will gradually begin reopening
in 2021, but that the Montreal-based circus will only be fully back in
operation in 2022. In a phone interview Tuesday afternoon, Lamarre
said he's optimistic but admitted it all depends on when a COVID-19
vaccine becomes widely available.
"We are not going to go back to normalcy until a majority of people
have had the vaccine," Lamarre said. "I feel strongly that when that
situation goes back to normal and I like to think it will be late
summer or early fall (2021), it's my belief that people are going to
rush back to live shows because they've been confined so they'll want
to go out and enjoy themselves."
The Cirque boss said the Cirque will only be back in a real way when
"the vaccine is highly distributed and that we don't have to have
social distancing in our theatres and in our big tops
in an ideal
world, I would love to open a show in the Old Port next summer and
would love to open a couple of shows in Vegas in the meantime."
But it takes a long time to get the Cirque machine fully up and
running and no one can predict how the pandemic will play out in the
coming year, which is why Lamarre is cautious as to when he thinks the
company will be at or near its old capacity.
"We think that we will start to open shows late summer, early fall,
but the reality is that we think we can be up and running in 2022,"
Lamarre said. "So the real target for us is 2022, which means that
between now and then we will have a lot to do."
On Tuesday, it was announced that the transaction to sell the Cirque
du Soleil Entertainment Group to its secure lenders has officially
closed and that allows the Montreal-based circus company to emerge
from bankruptcy protection. The main companies that make up the group
of lenders taking over are Catalyst Capital Group, Sound Point Capital
and CBAM Partners and Benefit Street Partners. The previous
shareholders U.S. equity firm TPG Capital, China's Fosun
International, and the Caisse de dépôt et du placement du Québec
lost control of the company.
It was also confirmed that Lamarre will stay on as president and CEO,
as well as sitting on the board of directors. The new co-chairs of the
board are Jim Murren, chair of Acies Acquisition Corp. and former
chair and CEO of MGM Resorts International, and Gabriel de Alba,
managing director of Catalyst. The board will also include, among
others, George Kliavkoff, president of entertainment and sports at MGM
Resorts International, and Anna Martini, executive vice-president and
chief financial officer of CH Group, which owns the Montreal
Canadiens. Mitch Garber, the previous chair of the Cirque board,
stepped down in September.
When the pandemic forced the circus to cancel all 45 of its shows
around the world in March, the Cirque fired 4,700 employees, which is
95 per cent of its staff. Lamarre says he believes most of those
staffers will be back but only once the Cirque is fully operational
again. Right now the company is operating with just under 200
staffers.
"We have a lot of our artists on standby, we're talking about 500
artists in Vegas who're waiting for us to open the shows," Lamarre
said. "I hope we're going to get close to where we were (staffing-
wise) in the next two years.
There are currently three Cirque shows back on, Joyà in Playa del
Carmen in Mexico, The Land of Fantasy in Hangzhou, China, and Cirque
Dreams in Orlando, Fla. Lamarre said he hopes the Las Vegas shows are
the first major shows to come back "because it's very important to the
Cirque revenue stream."
It was recently announced that Zumanity has been cancelled, but the
five other shows in Vegas have just had their contracts extended,
according to Lamarre. Those shows are O, Kà, The Beatles LOVE, Michael
Jackson ONE, and Mystère, the latter which has been running at the
Treasure Island resort since 1993. Lamarre said he expects to announce
one and perhaps even two new Vegas shows in the next year.
The Cirque is also set to open a new residency show in Orlando, Drawn
to Life, which will be performed at the Walt Disney World Resort. It
was set to launch just before the pandemic but had to be postponed.
{ SOURCE: Brendan Kelly, The Montreal Gazette }
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LVRJ: Cirque enlists Murren, looks to 2021 return
{Nov.26.2020}
----------------------------------------------------------
Cirque du Soleil has made plenty of news away from the stage in 2020,
the numbing reality of shutting down all of its shows as COVID took
hold in March.
But Las Vegas' predominant production company is now talking about
when it can come back to the stage. Cirque's sale to new investors was
finalized Tuesday. The company has thus emerged from bankruptcy
protection and is surveying its future. Daniel Lamarre remains in his
post as Cirque's president and CEO.
Two significant Las Vegas officials are also formally joining the new
Cirque management lineup: former MGM Resorts Entertainment Chairman
and current Nevada COVID Task Force head Jim Murren, and MGM Resorts
President of Entertainment and Sports George Kliavkoff.
In the afternoon of his company's sweeping announcement, Lamarre was
asked, simply: Are we going to be able to sit together at a Cirque
show on the Las Vegas Strip one year from now?
"Yeah, oh yes, yes," Lamarre said in a phone chat from Cirque's
Montreal headquarters. "If you'd asked me the same question a few
weeks ago, I would have been very pessimistic, but not today."
Lamarre says the three new vaccines on the horizon would allow Cirque
to perform in theaters at full capacity when the company does start
its relaunch in 2021 and into 2022. The general blueprint would be the
distribution of vaccines in the U.S. beginning in December, followed
by a loosening of restrictions into 2021 (first quarter would be the
dream scenario), then the start of reopening Cirque theaters on the
Strip.
The pandemic renders a specific reopening timeline impossible at this
point. But Lamarre said the re-launch of shows would likely begin
first with "O" at Bellagio and "Mystere." The plan for which order the
shows would continue to resume is not set, but Lamarre listed "Love"
at Mirage, "MJ One" at Mandalay Bay and "Ka" at MGM Grand. Blue Man
Group at Luxor, also a Cirque holding, would be among the earliest to
return.
Shows would reopen every two weeks or so, ideally. Each production
would require two months of rehearsal time, and cost several million
dollars to return to the stage.
"We will have to lose some money, at first, to be able to make money,"
Lamarre said.
Positive news can't come soon enough for sidelined Cirque artists and
workers in Las Vegas, fighting to access unemployment insurance and
hoping new stimulus money is released by Christmas. The company has
laid off a total of 3,500 employees over 44 international shows. That
includes some 1,370 artists, technicians and support staffers in its
Las Vegas productions.
That number of Strip shows was cut from six to five Nov. 16, when the
company announced it would permanently close "Zumanity" after a 17-
year run at New York-New York.
Even with those staggering losses, Cirque has actually reinforced its
long-term position in Las Vegas and its partnership with MGM Resorts.
In his two years with MGM Resorts, Kliavkoff has been working
continually with the company in its Strip production shows. He will
continue to serve as a key official when Cirque decides a plan for the
Zumanity theater (and we do expect another Cirque title in that
venue).
Murren was named Cirque's new co-chairman along with Gabriel de Alba
of lead investor Catalyst Capital Group. The ex-resorts official is
well familiar with the production company from his years with MGM
Resorts, running from 2008 through last February.
"We have known Jim Murren for a long time, and the new owners knew him
very well," Lamarre said. "It was very apparent after a few
conversations we could convince him to join Cirque. It was really a
matter of us chasing him. You can imagine, a guy of that stature has
many people running after him to be on different boards.
"I think he joined because he loved Cirque, and believed in the future
of our organization and can take us to the next level."
Lamarre said Cirque sees an opportunity to actually expand its reach
across the U.S., as MGM Resorts operates a half-dozen resorts across
the country outside of its Strip hotels. MGM is also developing a
resort in Japan. All of those properties would be available for Cirque
production shows.
"The most important thing right now is we have hope at the end of the
tunnel," Lamarre said. "If we can start distributing vaccines as early
as next month, that gives me a lot of optimism for Las Vegas. To be
able to reopen with the same number of seats in our theaters would be
an amazing bonus for us."
Cirque is financially buttressed for the future, with a $375 million
investment from a new collection of lenders seizing control of the
company.
The names might be impersonal, but they are crucial to Cirque's long-
term viability.
The major players are led by Capital Catalyst Group, a prominent
investment firm out of Toronto; Benefit Street Partners real-estate
investment trust of New York; Sound Point Capital management firm of
New York; and CBAM Partners, which is part of the Eldridge Industries
empire founded by CEO Todd Boehly, who also owns 20 percent of the
L.A. Dodgers and a piece of the L.A. Sparks WNBA franchise.
That group forced out the company's previous investment team of U.S.
equity firm TPG Capital, Fosun International of China, and Canadian
lender Caisse de dépôt et du placement du Québec. Those investors
bought out co-founder Guy Laliberte for $1.5 billion in 2015.
Cirque has not been totally silent through pandemic restrictions. The
company continues to run "Joya" in Cancun and "X: The Land of Fantasy"
in Hangzhou, the capital city of east China's Zhejiang province. The
"Cirque Dreams Unwrapped" Christmas show opened Nov. 15 at the Gaylord
Hotel in Orlando, Fla.
But Las Vegas continues to serve as Cirque's artistic center.
"Most of our artists live in Las Vegas. It's easier for us to foresee
when we will reopen a show in Las Vegas than anywhere else," Lamarre
said. "Las Vegas is our No. 1 priority."
{ SOURCE: John Katsilometes, Las Vegas Review-Journal }
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Las Vegas Weekly Reflects on Zumanity
{Nov.27.2020}
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If you make the right choices, one night in Las Vegas can change your
life.
"People say the craziest things to me. One woman from somewhere in the
Midwest sent me a message years ago, saying our show completely
changed her sexually," says Christopher Kenney, who created the emcee
drag character of Edie and portrayed the "Mistress of Sensuality" in
Cirque du Soleil's Zumanity for more than 12 years. "She always felt
like she had to be a certain kind of woman, or no man would find her
attractive. She was incredibly insecure, and something about Zumanity
made her feel sexy.
She said she was having more sex and was happier
than she'd ever been in her life. And that's so wonderful."
That's not the kind of change you expect from a Las Vegas show. But
it's not an uncommon reaction to Zumanity, which opened in 2003 at the
New York-New York Hotel & Casino. Its last performance was on March
14.
Cirque announced last week that Zumanity will not return, informing
the cast and crew of about 120 of the permanent closure on the same
day. Few things are truly shocking these days, and a big show ending
during a pandemic that has absolutely crushed Las Vegas can't come as
a complete surprise. (Zumanity is the second big show to close; Le
Rêve did so in August).
But for Kenney and other artists, it still came as a shock. "I was
just not prepared at all. I just never thought Zumanity was in a
position to close or that it was even a thought. It wasn't like we had
a weak show."
A statement from a Cirque du Soleil spokesperson said the decision to
end Zumanity was a mutual one between Cirque and MGM Resorts, the
result of many factors including the impacts of the pandemic on the
entertainment landscape and market in Las Vegas: "We have reviewed our
portfolio of shows and how we move forward. MGM Resorts has expressed
their intent to explore other programming in that theater space, which
they will announce in the coming months."
Just days later, MGM announced ventriloquist and singer Terry Fator
whose headlining gig at the Mirage ended earlier this yearwill
perform a limited engagement in the New York-New York theater through
the end of the year, though that show's opening was pushed from
November 26 to December 17 after allowed showroom capacities were
reduced this week.
Originally intended to be Cirque's exploration of sensuality, romance
and eroticism, Zumanity was groundbreaking and somewhat controversial
when it officially opened on September 20, 2003. Like any production
that achieves longevity, significant changes were made in its early
stages and over the course of its long run, but it has always been
provocative. "You have to go too far before you know what too far is,"
director of creation Andrew Watson told the Las Vegas Sun in April
2003.
After its initial breakthrough, and as audiences became accustomed to
the sexy side of Cirque, the show grew into something more celebratory
and inspirational. "When you come to see the show, I'm inviting you
into my world, and my world is very different from your world," Kenney
says. "I want you to meet what I think is the most fabulous group of
creatures in the world."
One of its best-known original acts featured two men engaged in an
intense, almost balletlike battle. The climactic ending finds the
warriors locked in a kiss. In Zumanity's earliest days, a few guests
would often react by walking out of the show, offended, sometimes
muttering homophobic slurs.
"I was told that happened a lot more before I got there," Kenney says.
"But all of that slowly stopped over the years. It was amazing. I'm
sure people still think it, but they didn't say it anymore, which was
nice. It felt like the world may be growing and changing, becoming
more loving and accepting."
It's rare when a Las Vegas show can serve as a barometer of societal
change, but that's just one reason why Zumanity was special. Cirque
productions are known for fitting uniquely brilliant artists into
anonymous roles. Zumanity put the cast's personalities on full
display. Before Edie, New York City drag performer and cabaret singer
Joey Arias emceed. Different acts were introduced by their names
sometimes character names and other times real namesand there was
direct interaction with the audience.
That personal recognition also strengthened the family feel for
performers and crew members. Wassa Coulibaly, a dancer from Senegal,
was part of the original cast and performed with Zumanity for 10
years. She spent that time learning from her peers and growing as an
artist.
"It was the first time I had seen such a wide variety of people from
all over the world coming together and working so beautifully
together, and also just sitting together doing our makeup and laughing
and having conversation," Coulibaly says. "I can't describe the
feeling of uncovering this world, and after it was over, I realize
this was the most amazing time of my life. It's not like this
everywhere else."
Zumanity's creative collaboration inspired her to reach beyond. "It
made my whole career, my decision to stay in Vegas, to open a theater
and keep being an artist," says Coulibaly, who operates the Baobab
Stage theater and café and its adjacent Wassa Boutique at Town Square.
Over the course of 17 years, Zumanity has affected many more people
than those sitting in a theater on the Strip for one night. It has
impacted the local community and the greater, globe-spanning idea of
Las Vegas, and its message was undeniably one of love and acceptance.
Maybe other shows have done that, but Zumanity will always be special.
"A lot of us really gave part of our lives to the show," Coulibaly
says. "They brought together different people from all around the
world with different experiences and allowed them to be creative in
their own ways, and then you're given this platform to let out all
this creativity. That's what made it so unique."
{ SOURCE: Brock Radke, Las Vegas Weekly }
----------------------------------------------------------
Cirque Remains Committed to Entertainment in Las Vegas
{Dec.07.2020}
----------------------------------------------------------
About a year ago, Cirque du Soleil's aquatic landmark "O" shifted to a
seven-night schedule, a first for the dream-like epic that originally
opened with Bellagio in October of 1998. After passing the 10,000-show
mark last September, the production hired new artists and increased
the cast to 117 from 77 in preparation for what should have been its
biggest year yet.
Last week, Cirque du Soleil President and CEO Daniel Lamarre said "O"
will likely be the first Cirque show to reopen on the Las Vegas Strip
in 2021.
"People in Las Vegas and even we ourselves sometimes forget that O'
is the most successful show in the world. There is no other single
show that is selling that many tickets year after year for over 20
years now," he said. "This signature show is a symbol for us and
that's why it will be more than natural to open O' first. It will
send a clear signal worldwide that Cirque du Soleil is back."
Just before Thanksgiving, the Montreal-based live entertainment group
announced the closure of a purchase agreement with its secured lenders
and that the company has emerged from the creditor protection period
for which it filed in June in Canada and the United States. The new
investment group is led by Toronto firm Capital Catalyst Group and the
co-chairs of the new Cirque du Soleil board of directors are former
MGM Resorts International CEO Jim Murren and Catalyst Managing
Director Gabriel de Alba.
The presence of Murren and another new board member, current MGM
President of Entertainment and Sports George Kliavkoff, is
confirmation of the strong relationship between Cirque and Las Vegas,
which began when the company's first Strip residency "Mystére" opened
at Treasure Island in 1993.
"Having [Murren and Kliavkoff] is not only good for Las Vegas, which
is key to the development of this company, but it's also [about] the
opportunity to develop with [MGM] in their other casinos around the
world," Lamarre said.
Cirque has relaunched three productions in recent months: "X: The Land
of Fantasy" in Hangzhou, China; "Joya" in Riviera Maya, Mexico; and a
smaller holiday show at the Gaylord Palms hotel in Kissimmee, Florida.
The company also launched a new online content hub called
CirqueConnect during the pandemic shutdown, where a new behind-the-
scenes special on "O" premiered last week.
But Lamarre said the real re-start for Cirque du Soleil will happen on
the Las Vegas Strip.
"It is the same company, the same bunch of artists and creators that
are still very passionate about doing new shows. What the new
[ownership] really means for our people is that now I can say the
future of the company is guaranteed," he said. "When the market is
back to normalcy, it means we can bring back our shows, bring the
company back to profitability and it also means we have the financial
strength that it takes to go through the process we're in right now
where it's not likely the market will be back to normal until have a
vaccine. After that we will be able to invest the millions of dollars
it takes to relaunch all of our existing shows."
Cirque announced the permanent closure of the 17-year production
"Zumanity" at New York-New York last month and simultaneously
announced contract extensions for its other Las Vegas Strip shows
"O" at Bellagio, "The Beatles LOVE" at the Mirage, "KÁ" at MGM Grand,
"Michael Jackson ONE" at Mandalay Bay and "Mystére" at Treasure
Island. The Cirque group also owns the long-running Blue Man Group
show at Luxor, which has yet to return to performances since the March
shutdown of the Strip.
With the recent closure at New York-New York and the pre-pandemic
closure of "R.U.N," at Luxor, there are two Strip theaters previously
occupied by Cirque shows without long-term residency plans and Lamarre
said he's hoping to make some announcements regarding those venues
soon.
"We are on the lookout for new types of shows we could bring and
hopefully they will be able to come to fruition in the next few
months," he said.
{ SOURCE: Brad Radke, Las Vegas Sun }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Alegria, Bazzar, Koozå, Kurios, Luzia, Totem, Under the
Same Sky, and Volta}
o) ARENA - In Stadium-like venues
{OVO, Crystal, Corteo, AXEL, Messi10}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", KÀ, LOVE, MJ ONE, JOYA, X: The Land
of Fantasy, Drawn to Life, and NYSA}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Alegría-In a New Light:
Portland, OR -- Jun 4, 2021 to Jul 18, 2021
Denver, CO -- Aug 6, 2021 to Sep 12, 2021
Bazzar:
Not Currently Scheduled
Koozå:
Washington, DC -- Jul 21, 2021 to Sep 19, 2021
Zurich, CH -- TBA
Brussels, BE -- TBA
Kurios:
Melbourne, AU -- TBA
Adelaide, AU -- TBA
Luzia:
Madrid, ES -- TBA
Barcelona, ES -- TBA
Totem:
Rome, IT -- Mar 17 2021 to Apr 25, 2021
Milan, IT -- May 5, 2021 to Jun 20, 2021
Under the Same Sky:
Montreal, QC -- Spring 2022
VOLTA:
Not Currently Scheduled
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
OVO:
Not Currently Scheduled
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Hanover, DE -- Sep 22, 2021 - Sep 26, 2021
Leipzip, DE -- Sep 29, 2021 - Oct 3, 2021
Nuremberg, DE -- Oct 6, 2021 - Oct 10, 2021
Cologne, DE -- Oct 13, 2021 - Oct 17, 2021
Oberhausen, DE -- Oct 27, 2021 - Oct 31, 2021
Munich, DE -- Nov 4, 2021 - Nov 7, 2021
Frankfurt, DE -- Nov 10, 2021 - Nov 14, 2021
Stuttgart, DE -- Dec 1, 2021 - Dec 5, 2021
CORTEO:
Moscow, RU -- Mar 26, 2021 to Apr 25, 2021
St. Petersburg, RU -- May 19, 2021 to May 23, 2021
Lille, FR -- Jun 10, 2021 to Jun 13, 2021
Antwerp, BE -- Jun 17, 2021 to Jun 27, 2021
London, UK -- Jun 30, 2021 to Jul 11, 2021
Dublin, IE -- Jul 14, 2021 to Jul 25, 2021
Palma de Mallorca, ES -- Aug 6, 2021 to Aug 15, 2021
Nice, FR -- Aug 19, 2021 to Aug 22, 2021
Vienna, AU -- Sep 1, 2021 to Sep 5, 2021
Aix-en-Provence, FR -- Oct 27, 2021 to Oct 31, 2021
Monpellier, FR -- Nov 4, 2021 to Nov 7, 2021
Copenhagen, DE -- Jan 13, 2022 to Jan 16, 2022
Trondheim, NO -- Feb 18, 2022 to Feb 20, 2022
Oslo, NO -- Feb 24, 2022 to Feb 27, 2022
Vilnius, LT -- Mar 17, 2022 to Mar 20, 2022
Leeds, UK -- Oct 27, 2022 to Oct 30, 2022
AXEL:
Not Currently Scheduled
Messi10:
Buenos Aires, AR -- TBA
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Shows restarted on July 3, 2020
X: THE LAND OF FANTASY
Location: Hangzhou, China
Performances of "X: The Land of Fantasy" staged on
Fridays, Saturdays, and Sundays starting June 3, 2020
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) CIRQUECONNECT SPECIALS
Enjoy a front-row seat to awe-inspiring moments of the larger-
than-life shows, with never-before seen angles that can only be
experienced on your screen.
- SPECIAL #31: VAREKAI, ALEGRIA, QUIDAM {Nov.06}
https://www.youtube.com/watch?v=nN-gNUq0utA
- SPECIAL #32: SPOTLIGHT ON ALEGRIA {Nov.13}
https://www.youtube.com/watch?v=5y5_VyEwZhc
- SPECIAL #33: SPOTLIGHT ON KURIOS {Nov.20}
https://www.youtube.com/watch?v=osUnlybI_bE
- SPECIAL #34: SPOTLIGHT ON BAZZAR {Nov.27}
https://www.youtube.com/watch?v=ffaNc8ejeN0
- SPECIAL #35: SPOTLIGHT ON "O" {Dec.04}
https://www.youtube.com/watch?v=Ju37Y1F4ylc
- SPECIAL #36: SPOTLIGHT ON AXEL {Dec.11}
https://www.youtube.com/watch?v=ZF5j7CtiNzc
o) CIRQUECLASS: DREAMING IS NOT ENOUGH!
Learn about Lydia Bouchard's passion for performing, directing
and combining different art forms. With 22 years of onstage
experience with renowned companies such as Ex Machina and Opéra
de Montréal, the multidisciplinary artist Lydia Bouchard has
danced on stages around the world. She then diversified her
experience towards television where she has become a strong voice
for Quebecs dance community. Performing both as an artist and
as a creator, she brought to life several choreographies and
acted as show director on many projects for Cirque du Soleil.
https://www.youtube.com/watch?v=kPC0Ua0Lm_o
o) CIRQUE ME OUT
- EPISODE 4: (RITMOS 4) CAPOEIRA WORKOUT {Nov.04}
https://www.youtube.com/watch?v=xMCXTMA-oL4
- EPISODE 5: (YOGA 1) OPENING UP YOUR FRONT BODY {Nov.18}
https://www.youtube.com/watch?v=AXqNk_QmO2Q
- EPISODE 6: (YOGA 2) IT'S ALL ABOUT BALANCE {Nov.25}
https://www.youtube.com/watch?v=K3RBL9P-VF0
- EPISODE 7: (YOGA 3) FOCUS ON YOUR HIPS {Dec.02}
https://www.youtube.com/watch?v=vlsCiaTIyXs
- EPISODE 8: (YOGA 4) YOGA WITH A TWIST {Dec.09}
https://www.youtube.com/watch?v=lu2FttPTRTA
o) BIG TOP ACADEMY - SCHOOL'S OUT EDITION
Over the break, the students of Big Top Academy are staying in
touch through The Big Top Bulletin!
- EPISODE 7: https://www.youtube.com/watch?v=ZQKVH2aZT-U {Nov.13}
A code name and a mystery meet in a virtual secret room.
- EPISODE 8: https://www.youtube.com/watch?v=X8Pk4-GjuH0
When babysitting equals double trouble, its Girls Rocking
The Circus to the rescue.
- EPISODE 9: https://www.youtube.com/watch?v=eM1IHP6dbes {Nov.19}
An out-of-control bug is tunneling towards BTA on a mission
of doom.
- EPISODE 10: https://www.youtube.com/watch?v=WxEUrwLBuX4 {Nov.19}
A "pets edish" featuring everyone's favourite animals -
real and make-believe - provides a perfect counterpoint to
gloom and doom.
- EPISODE 11: https://www.youtube.com/watch?v=5Elv4Mrh__c {Nov.26}
This top-secret edition of the Bulletin is in code.
- EPISODE 12: https://www.youtube.com/watch?v=dVpg56YszxY {Nov.26}
With the very future of BTA in question, the Bulletin
plunges into dark mode.
- EPISODE 13: https://www.youtube.com/watch?v=Royi6w67kns {Dec.03}
A joyous circus performance is the best, except when it's
the worst.
- EPISODE 14: https://www.youtube.com/watch?v=8gaXIpQRlsk {Dec.03}
Is the future of Big Top Academy in jeopardy?
- EPISODE 15: https://www.youtube.com/watch?v=7NuBrGzHy48 {Dec.10}
Could this really be the final edition of The Big Top Bulletin?
- EPISODE 16: https://www.youtube.com/watch?v=dlWYpbFdGNk {Dec.10}
Its up to the Bulletin to prove to the world that Big Top
Academy is a normal circus school.
o) OTHER FINDS
- David Piché, violinist on Varekai, shared some videos of his
time with the tour.
CANES ACT: https://www.youtube.com/watch?v=9EXeWTVZSyY
"VOCEA": https://www.youtube.com/watch?v=227sK8ICy3E
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "What Ifs and If Onlys, Part 4 of 7"
By: Ricky Russo - Atlanta, Georgia (USA)
o) "Montreal as an International Culture Metropolis"
By: Guy Laliberté - Montreal, Quebec (CAN)
------------------------------------------------------------
"What Ifs and If Onlys, Part 4 of 7"
By: Ricky Russo - Atlanta, Georgia (USA)
------------------------------------------------------------
In 1984, propelled by the audacity of youth, Cirque du Soleil dreamed
that it could infuse the traditional circus with an innovative spirit
through the theatrical blending of circus arts and street
entertainment, wrapped up in original costumes, fantastical sets,
original music, and magical lighting. Once you've defied the odds and
proven you can take a bunch of street artists and place them under a
big top and put on a show, brought that big top to every continent
playing for sold out audiences worldwide, conquered Las Vegas with not
one but two highly successful resident shows (with the announcement of
at least two more on the way), and opened a resident show at the Walt
Disney World Resort... what's the next adventure? How about tackling
the real estate market? Yes! And "Complexes Cirque" was born.
COMPLEXES CIRQUE
----------------
On December 11, 2000, Cirque du Soleil announced via a press release
that, after staging seven original shows in four touring big tops and
three permanent theaters on four continents around the world, it had a
new dream. The company announced it would develop entertainment
complexes in major entertainment capitals of the world, an idea
envisioned by Cirque du Soleil's Founding President, Guy Laliberté.
"Over the years, we have collaborated with creative people from
around the world to conceive, devise and realize our shows. With
the Cirque du Soleil Complexes, we intend to expand our platform
by bringing together an ensemble of innovative ideas and talent
under one roof and applying them to a physical location. We
envision our Complexes as international meeting places where
patrons will be inspired and entertained in the spirit of
celebration and festivity. We want to surround our public with
artful living," announced Laliberté.
The complexes would be a unique fusion of drama and design, of
architecture and the arts. They would be a place where technology,
tourism, arts and leisure converge, and would provide a year-round
base for Cirque du Soleil in the form of a permanent theater in the
host city. Laliberté added, "We want to situate our patrons in the
moment by creating an environment, a microcosm, where no detail is
expendable in the profound belief that every detail is part of the big
here and now. We believe this to be a natural extension of our mission
statement: invoke the imagination, provoke the senses and evoke the
emotions of people around the world."
Planning was underway to develop four to six of these complexes within
the next ten years in places like New York, Paris, Barcelona, Tokyo,
Singapore, and Hong Kong, the release said, with the first being
planned for The Battersea Power Station site in London (which we've
previously discussed). "For the past 16 years, we've used the live
stage and the circus format as our canvas," Mr. Mario D'Amico said
during a February 2001 interview with the National Post. "We'll never
abandon our roots in live entertainment, but it's time to find a way
to reinvent ourselves and see where else we can stamp our brand of
creativity, whether it's a hotel, a museum, a restaurant or an art
gallery." To head this new ventures business unit, Cirque du Soleil
hired Daniel Lamarre, formerly chief executive of TVA Group Inc. He
would be responsible for seeking out financing partnerships for six
entertainment complexes over the next decade.
Mr. D'Amico also said prime candidates for locating Cirque's complexes
would include cities where there's not only a large population and
high tourist traffic but an "entertainment culture" that lends itself
to Cirque. Becoming more involved in the development of multi-purpose
entertainment complexes is a natural extension of the path Cirque du
Soleil has taken in growing into a troupe recognized around the world.
"We've identified some partners who we think we can work with on these
ventures. If they are willing to contribute to the financing of these
complexes, we can fill it with the Cirque du Soleil experience in all
its forms."
But why do this you might ask? While Cirque du Soleil has had control
over the creative content of Mystère, "O" and La Nouba - resident
shows in Las Vegas and Orlando respectively, beyond the theaters'
doors it was someone else's stage. "So we figured, if we're part of
someone else's entertainment concept, the next logical step is to be
more involved in the entire process," said Mr. D'Amico. He added
Cirque du Soleil is blessed with a "brand identity" that hits people
at a "very emotional, visceral level. "People come to our shows and
seem to be very profoundly affected by what they see," he said. "It
brings people back to their childhood, when all seemed possible."
The prototype of said complexes was planned for Montreal. Preliminary
estimates suggested it would cost about $100 million CDN ($63.5
million USD) and would include a 1,200 seat theater, a 300-room hotel,
a spa, and restaurants, said Daniel Lamarre, president and chief
operating officer of the New Ventures and Shows Divisions. "We hope to
reveal the investors within three months," Lamarre said.
"Realistically, we hope to break ground next fall and open in a year
and a half from then." What will make the Cirque complex different?
"First of all, we are a content provider," Lamarre said. "We see those
venues from that content perspective. The key element to us is a
Cirque du Soleil show That's the basic element of the complex."
"Why after having successful shows do we want to go further and create
a complex?" Lamarre asked himself rhetorically in an interview with
Amusement Business. "We want to create an environment in which we will
expand the experience of the Cirque du Soleil brand. Right now you go
a Cirque du Soleil show you are inspired about the experience, then
you walk away from the big top and you are back to reality. "Our dream
is to have someone walk from the show and go to a Cirque du Soleil
hotel, or a Cirque nightclub or a Cirque restaurant or to an art
gallery designed by Cirque du Soleil. If you think of 'O,' for
instance, we have developed a very specific trademark of a water show
The brand of 'O' and all the equipment we have there is owned by us.
We have the intellectual property. Can we take this water show and
tailor that to a spa? That's the creative thinking behind this
project."
In an article in the Wall Street Journal, Guy Laliberte, Cirque's
founder and president, said he envisioned interactive museums,
nightclubs where customers danced in water and hotels that added a
touch of surreality to five-star service. Lamarre was not as specific,
but did say Cirque saw the hotel as "a new stage. This hotel is a
theater; our employees will not let us build a normal hotel. When one
of our employees walks into the lobby of the building, they will say
'Hey, this is us.' If we cannot achieve that, the hotel will be called
something else." Lamarre said investors, developers and hoteliers were
interested in this concept. But rather than embark on a full-scale
complex, which would cost more like $500 million to $2 billion by some
estimates, though Lamarre shies away from such numbers, Cirque decided
on the laboratory approach.
"For our live shows, we have developed our own incubator in Montreal.
We have our own studio here; we train our artists here; and we have
this international training facility for our shows," Lamarre explained
the thinking. Complex Cirque in Montreal would be done in conjunction
with Montreal University. "We have an option with Montreal University
to make it happen," Lamarre said. Cirque is also in negotiation with
local investors. "We want to keep all our intellectual rights. We want
to keep all our options open."
It is conceived as an international training center for future
complexes. Besides the elements mentioned, it would also include a
multimedia production and broadcast center. The theater would house a
Cirque show for three months of the year. "We're working with other
Montreal entertainment companies to have this place used 12 months a
year," Lamarre said. For Montreal, the hotel and spa would be the main
money makers. "Ticket sales will be our bonus," Lamarre said. "But
it's certainly a statement for our brand. The reason so many people in
Montreal are interested in having our prototype here is we think we
can create in Montreal what is lacking - a destination. Because of
Cirque's brand recognition abroad, having this Cirque prototype here
in Montreal will be very intriguing to people and it will become our
window our showroom, for people who want to have a full-fledged
complex in other cities." A business model was being written and a
city to house the first complex, after Montreal opens, is being
sought. "London is on the radar screen, and Vegas and we're also
talking to people in Hong Kong, and Tokyo and New York," Lamarre said.
By April 2002, Guy Laliberté unveiled the company had "designs on a
vacant lot at the corner of St. Urbain and Sherbrooke Sts., where it
hoped to build the $100-million hotel and spa - and incubator for new
Cirque concepts, projects and talent," The Montreal Gazette reported.
"It's all part of Cirque du Soleil co-founder Guy Laliberte's dream of
turning Montreal into an international cultural centre."
Laliberte might have a dream, but he was sketchy on the details.
He said the Cirque has already developed a partnership with the
Universite du Quebec a Montreal, which owns the land, and with
the Societe Generale de Financement du Quebec, which has
underwritten preliminary studies. "We're looking for other
partners, but what we want is more thanjust money," Laliberte
told reporters after the speech. "It's about a shared vision and
a desire to create something new." Montreal is not big enough to
sustain the kind of four-season tourist destination he has in
mind. "That bothers me, because all our creative content is
developed here in Montreal. We've spent a lot of research and
development money here over the last two years. So why not
establish a laboratory?" he asked rhetorically. "Why not become
a think-tank for developing our new creative platforms?"
The Cirque and the SGF had teamed up to do market analysis,
feasibility studies and other research. "We have not agreed to
financial backing of the project. We're open to the idea, but we'll
look at it when all the studies are completed in a month to six
weeks," said Jean-Yves Duthel, the SGF's vice-president (public
relations). Laliberté pushed all the right buttons in his speech to
the influential business crowd. He warmed them up by coaxing his pin-
striped audience to don the red rubber noses that were tucked into the
elaborate floral centerpieces on each table. Then he recalled the
particular interest former premier Rene Levesque took in a nascent
group of street performers back in 1984.
Laliberté expressed little patience for those who would tie up the
creative process in five-year plans and such, saying: "Montreal has an
opportunity to become a cultural centre. The elements are in place.
Let's go for it without compromise, with audacity and courage." His
speech drew a standing ovation, but would it be enough?
Ultimately no. On December 3, 2002, the Canadian News Wire reported
that Cirque's executive board had decided not to follow through with
the "Complexes Cirque" projects. And thus the prototype under
development in Montreal would not be constructed.
Over the last two years, Cirque du Soleil has explored the
possibility of creating Complexes Cirque around the world
through research and development work. The "Laboratoire
Montréal" project was born of this effort: its purpose was to
develop the concepts that would subsequently be exported
internationally. After completing its financial analysis of the
Laboratoire Montréal project, Cirque du Soleil concluded that it
would not be prudent to follow through with Complexes Cirque.
Considering the uncertainty of the present global situation,
Cirque considers that the risks of investing in a new field of
activity are too great at this time. Entertainment, the heart of
Cirque du Soleil's activities, remains much less risky and more
profitable.
Last December, Cirque du Soleil had announced that it was
conducting a feasability study and looking for the necessary
financing with a view to developing a first "Complexe Cirque" in
Montreal. The year that followed allowed the company to assess
the risks and the potential compromises that realizing such a
project would involve. As a specialist in the development of
creative content, Cirque du Soleil will instead focus its energy
on the creation and production of new works in the fields of
live entertainment and multimedia. As always, these projects
will be targeted for the international market.
Cirque du Soleil continued to pursue the development of other
projects, such as the Cité des arts du Cirque, which brought together
Cirque du Soleil, the École Nationale de Cirque (National Circus
School), and En Piste (National Circus Arts Network) to create "The
City of Circus Arts" where all three are now based, with TOHU - a
place for dissemination, creation, experimentation and convergence of
culture, environment and community involvement - sits at its center.
So, in a way, Cirque du Soleil did achieve its complex ambitions, just
in a totally different way. Additionally, the discontinuation of the
Complexes Cirque project did not in any way discourage Cirque du
Soleil from continuing to pursue residences around the globe. In fact,
by 2005, we would see a plethora of attempts to set up in New York
City, Miami, and back in Montreal.
THE PEEL PROJECT
----------------
On June 22, 2005, Cirque du Soleil and Loto-Quebec unveiled a proposal
for the establishment of a world-class entertainment complex to be
located on the site of the Peel Basin in the du Havre sector of
Montréal. The announcement re-ignited the years-old plans of Cirque
involving itself in venues that would offer a wide range of
entertainment options branded with Cirque du Soleil's flair. And they
hoped the new project would provide Montréal and Québec with a
powerful lever to spur development of the local economy, tourism and
the cultural sector.
The project would also have translated into the creation of 6,450
direct and indirect jobs. Loto-Québec would be serving as project
manager (investing an estimated at $997 million), contribution from
private partners was estimated to be in the order of $178 million),
while the Cirque du Soleil would look after design, creative and
artistic direction of the project.
"This project is what we are recommending to the Québec
Government as being the best solution for the future of
the Casino de Montréal," explained Mr. Alain Cousineau,
Chairman, President and Chief Executive Officer of Loto-Québec.
"The recommendation is based on the rigorous studies we have
conducted, as well as on the creative genius of the Cirque du
Soleil. In addition to being a modern reflection of Québec's
cultural dynamism and Montréal's exceptional vitality, the
complex will offer visitors an unparalleled entertainment
experience while showcasing the historical character of the
site."
According to the President and founder of the Cirque du Soleil,
"the Cirque du Soleil is investing all of its creativity and
global expertise in this project in order to ensure that
Montréal can fully benefit from the international spin-offs to
be generated. Indeed, we are envisioning a concept whose
outstanding components will make for a truly world-class
entertainment complex. We sincerely hope to be able to invite
the millions of people we meet in the four corners of the planet
to come and enjoy the new complex, which we are convinced will
more than meet their expectations."
The complex would encompass a 300-room hotel and 2,500-seat
performance hall able to accommodate international touring
productions. The Casino de Montréal would also be relocated to the
site, offering more spacious facilities than the existing
establishment on Île Notre-Dame. As outlined in Loto-Québec's
Development Plan, however, game offerings will not be increased. In
addition, the complex would include a boldly designed spa, an Artists'
Wharf, where artistic creators of all kinds will benefit from an
extraordinary window on the world, as well as a park that could play
host to the Cirque du Soleil's Big Top. The entire complex would bear
the signature of the Cirque du Soleil.
Furthermore, Loto-Québec negotiated an agreement, pending the
government's approval, to acquire a parcel of land to the west of the
entertainment complex on which a commercial exhibition center could be
established for business and tradeshows. The Corporation has received
a show of interest from world leaders in the sector in associating
with the project as investors and operators. Assuming that all of the
conditions were met, Loto-Québec was inviting the economic community,
particularly the tourism sector, to mobilize and assume an active role
in realizing the exhibition center project.
The project made public would also see the construction of a monorail
to interconnect the entertainment complex, exhibition center, and the
future soccer stadium whose planned construction in the Technoparc had
been recently announced. As such, the entire sector would enjoy the
benefits of a light transportation system allowing for efficient
circulation between the principal activities/centers of attraction in
the du Havre area. The Peel Basin was proposed as the site for the
complex because it is an enclaved area surrounded by physical barriers
separating it from residential zones, and because it is located near
downtown hotels and Old Montréal, both major tourist attractions.
And according to a study of economic spin-offs conducted by Université
du Québec à Montréal professor Yves Rabeau, the project would create
14,200 jobs per year during the planning and construction period. The
operation of the complex and exhibition center would create another
3,150 direct and indirect jobs, and an additional 3,300 direct and
indirect jobs would be generated by the tourist drawing power of the
complex and exhibition center, for a grand total of 6,450 new jobs
over and above the Casino de Montréal's existing workforce.
It would be completed and operating by 2010 or 2011, bankrolled by
$997 million of Loto cash and $178 million of investments from private
sources, said Alain Cousineau, Loto's chairperson, president and chief
executive. "We are firm in our commitment today to approach each phase
of this process with total transparency and openness. We sincerely
hope that this project inspires a spirit of enthusiasm and unity on a
par with our creative capacity and sense of innovation," underlined
Mr. Cousineau. "This partnership between Loto-Québec and the Cirque du
Soleil is made possible by the fact that the two parties share the
same values of integrity, social responsibility, innovation,
uncompromising customer service and respect for employees," concluded
Mr. Cousineau. "If the Government gives its approval to this proposal,
we are convinced that Montréal and Québec as a whole will gain a
powerful engine for the development of the economy, and the tourism
and cultural sectors, while opening an exceptional window on the
artistic talents of Québecers and the outstanding quality of life in
Montréal."
The project faced multiple hurdles and wouldn't even get the green
light before 2007. However, City of Montreal officials hedged their
bets. Tourism Montreal pledged its "unconditional support," while the
Conseil regional de l'environnement de Montreal said it "rejoiced" at
the prospect of the casino leaving Ile Notre Dame.
So, let's take a deeper look at the project as proposed. Loto-Québec
and the Cirque du Soleil proposed the creation of a major
entertainment complex encompassing a hotel, performance hall, garden
space, casino, and other areas for artistic creation and expression.
Showcasing Québec's cultural dynamism and Montréal's flair for living,
the complex would be designed by Cirque du Soleil creative personnel,
who would who'd endow it with astyle and character unique in the
world. The project would also reflect and promote the rich heritage of
the Peel Basin area, which played a key role in the history of
Montréal. And thanks to the numerous green spaces and promenades along
the Peel and Wellington Basins, it would allow Montréalers to reclaim
a large part of the city's du Havre sector for their enjoyment.
1. OUTDOOR STAGE & PERFORMANCE HALL -- An open-air stage, to be
equipped with the most advanced technical installations, would be
able to play host to shows for up to 8,000-10,000 spectators. The
performance hall would accommodate audiences of up to 2,500,
allowing it to stage major productions like the great musicals that
tour the world.
2. HOTEL -- The project called for the construction of a 300-room
hotel to be financed and operated by a private partner. This would
be a superior-class establishment which could attract the high-
limits players interested in integrated offers. The building would
feature some 20 floors and seduce guests with its exceptional views
of the Saint Lawrence River and the downtown skyline.
3. CASINO -- The casino would occupy a surface area of 53,000 square-
meters, or 16% more space than the existing building, bringing it
in line with today's industry norms in terms of the density of
machines and tables per square meter. For their part, the casino's
restaurants and bars will be able to accommodate close to 1,500
patrons at a time, or about double the number the current building
can. The new gaming house would be particularly noteworthy for its
green roof and its natural lighting thanks to its many skylights.
4. SHOPPING AREA AND SPA -- Boutiques and a 2,000 square-meter spa
would be submerged under a cascading waterfall, thus creating a
spectacular effect. The commercial area will occupy a total space
of 4,500 square-meters.
5. GARDEN SPACE -- A park for all seasons, the "Espace Jardins"
becomes a nexus for culture and creativity where Cirque will
premiere its traveling shows in its Grand Chapiteau.
6. THE PEEL BASIN -- The Peel Basin will be restored to its former
status as a Montreal landmark, becoming a unique and animated site
dedicated to the arts and festivity; a joyful venue that will
enhance Montreal's renown and reputation as a tourist destination;
a historic international crossroads reclaimed from neglect and
rededicated to exchanges between Montreal and the world; a clean,
green site in harmony with the environment; a dynamic meeting place
for the public and the creative community.
7. MARINA & WHARF -- The project also proposed the development of a
marina in the Wellington Basin, which could accommodate boats in
transit. This facility would serve as a permanent testament to the
island character of Montréal, while linking the complex to the
Saint Lawrence via the Lachine Canal. Located on the edge of the
Wellington Basin, the Artists' Wharf would allow artists to create
and share their works with the public. These spaces would serve as
a vibrant window on Québec culture and enable local artists to show
off their talents to millions of people each year.
As previously mentioned, a monorail system to span five separate
stations would be operated across the complex. The first would be
intermodal and provide a link to Montréal's public transportation
system; the second station would be located at the entrance to the
entertainment complex; the third at the parking facility across from
the complex; the fourth would serve the future exhibition center; and
the last station would be at the soccer stadium to be built in the
Technoparc.
With every large project comes controversy and such did not escape
this new project. To us it looked like a great match; the Montréal
Casino had suffered as "high roller" customers took their business to
other more exciting cities and Loto-Québec obviously felt they had to
modernize or risk falling further behind. But there were other
concerns than just gaming. Placing this new project in the Peel
Basin/Point St-Charles area (which, on our map is marked as an
industrial area) had activists concerned that any move would mean more
crime and traffic in what some considered a residential area. But
Loto-Québec officials insisted the area was selected because it was
out of the way of most residential areas of the city, yet close to the
big hotels and Old Montréal.
It would take time for this proposal to move its way through the
planning and approval process, but neither party expected the push-
back they had received. Ultimately, Cirque du Soleil announced it was
withdrawing from the Peel Basin project as of March 10, 2006. The
reason: given the context of uncertainty associated with this project,
it had become impossible for Cirque du Soleil to pursue its
involvement. Daniel Lamarre explained: "We cannot live with
uncertainty for almost two years, not knowing if there will be a
project at all down the road. We must protect the interests of our
company and employees, as well as carry on with our development
strategy".
In view of the Cirque du Soleil's decision to withdrawal from the Peel
Basin recreational and tourist complex project Loto-Québec also
announced that it would not be pursuing its plans for the relocation
of the Casino de Montréal. The announcement came after the
Corporation's Board of Directors confirmed the decision. "The very
essence of our project was bound to the dynamic presence of the Cirque
du Soleil, to its distinctive signature, its unique style and
character which was to permeate all the components of the complex, to
its remarkable creativity, and to the Cirque's capacity to attract
private partners," underlined Loto-Québec President, Mr. Alain
Cousineau. "In the absence of these characteristics, the project is no
longer able to distinguish itself definitively within the casino
industry of today's new competitive landscape and to maximize its
ability to draw visitors from outside Québec."
"I would like to thank Guy Laliberté, Daniel Lamarre and the entire
Cirque du Soleil team, whose decision I understand," concluded Mr.
Cousineau. "We greatly appreciate their collaboration and the fruitful
exchange of ideas and expertise in planning this project, which had
the potential of enriching Montréal, particularly the South-West
Borough, with a formidable development tool."
The fallout from the project's collapse was as spectacular as it was
discouraging. Tongues were wagging. Guy Laliberté was so disappointed
and so dissatisfied with his own hometown, in an interview with Radio-
Canada about the project, out came fire: "It [systematic protest] is
becoming a trend, the 'brand' of our society. . . . It's unfortunate
because Montreal is recognized internationally -- for its joie de
vivre, as a destination -- and instead of building on those assets, we
continue to fight within the family. Meanwhile, while other cities in
the world continue to grow, we continue to lose ground [culturally],
sort of like we have to Toronto from an economic and business point of
view."
Ouch. The redevelopment project certainly looked interesting, but
would it have been a success? We'll never know.
To be Continued...
------------------------------------------------------------
"Montreal as an International Culture Metropolis"
By: Guy Laliberté - Montreal, Quebec (CAN)
------------------------------------------------------------
The following is an English-language translation of the speech Guy
Laliberté gave the city of Montreal regarding his Complexes Cirque
project. It it presented as it was translated on April 9, 2002.
DISTINGUISHED GUESTS OF HONOR, LADIES, GENTLEMEN
TODAY IS A HISTORIC MOMENT FOR THE CITY OF MONTREAL. IN FACT, AFTER A
PLANETARY CONSULTATION, THE UNITED NATIONS HAS JUST OFFICIALLY DECREED
TODAY THAT MONTREAL WOULD NOT BE PART OF QUEBEC OR CANADA. THIS
DECISION FOLLOWS SECRET STEPS TAKEN FOR SEVERAL YEARS BY PUBLIC
ENTERTAINERS, ARTISTS, ARTISANS AND CREATORS FROM EVERY CORNER OF THE
WORLD.
AS OF TODAY, MONTREAL WILL BE PART OF THE REPUBLIC OF CIRCASSIA. AS
THE CAPITAL OF CIRCASSIE, MONTREAL WILL HAVE TO REVIEW ITS WAYS OF
WORKING AND ITS CITIZENS WILL HAVE TO ADAPT TO A NEW LIFE PHILOSOPHY.
THE FIRST INSTRUCTION THAT I WILL GIVE YOU, TO ADAPT YOU TO THIS NEW
REALITY,
TO BETTER UNDERSTAND ALL THE MEANING AND THE SHADES OF MY
PRESENTATION, YOU MUST WEAR THE CLOWN NOSE. LAID DOWN IN THE CENTER OF
THE TABLE, WE HAVE PLANNED CLOWN NOSES FOR EACH OF YOU. BY WEARING
THIS DEVICE, YOU WILL UNDERSTAND THE LANGUAGE OF CIRCASSIA BETTER. YOU
CAN GET TO KNOW YOUR PASSION, EMOTION, MADNESS AND ALL THE BENEFITS OF
CREATIVITY.
AS YOU CAN IMAGINE, THIS CHANGE OF STATUS WILL MAKE MAJOR CHANGES IN
OUR CITY. LET ME SHOW YOU CERTAIN TRANSFORMATIONS THAT WILL BE CARRIED
OUT IN THE NEXT DAYS.
FIRST, WE WILL FILL THE CONCRETE RIVER SO THAT WE WILL NO LONGER HAVE
TO CROSS BRIDGES. WE WILL SO MAKE GREAT SAVINGS. FOLLOWING THIS
CHANGE, WE WILL USE THE EXISTING BRIDGES TO CONNECT DORVAL TO MIRABEL.
WE WILL ALSO RAISE MONT-ROYAL IN ORDER TO HAVE AN OLYMPIC CALIBER SKI
MOUNTAIN IN THE CENTER OF MONTREAL. WE WILL COVER THE CITY OF MONTREAL
WITH A DOME TO CONTROL THE TEMPERATURE WELL AT OUR GUIDE.
AFTER YOU HAVE BUILT THE UNDERGROUND CITY, WE WILL MAKE AN AIR
MONTREAL TO MOVE BETWEEN THE GREAT TOURS OF THE CITY CENTER.
TO ADDRESS THE ROOF PROBLEMS OF THE OLYMPIC STADIUM, WE WILL TIP THE
STADIUM TO HAVE A SAUCER AT THE END OF A MAST THAT WILL OVERLOOK THE
GROUND.
LADIES AND GENTLEMEN, PARDON ME. I'VE MISTAKEN THE TEXT. THE TEXT I
JUST DELIVERED TO YOU WAS PREPARED FOR MY SPEECH AT THE RHINOCEROS
PARTY.
EXCUSE ME, WE START AGAIN.
* * *
DISTINGUISHED GUESTS OF HONOR, LADIES, GENTLEMEN.
FOR A FORMER FIRE BREATHER, A STREET ARTIST, IT'S FUNNY TO MEET AS A
SPEAKER AT THE CHAMBER OF COMMERCE. IT IS FOR THIS REASON THAT I ASKED
THE WORLD CIRCUS ARTISTS TO COME TO SET A LITTLE ATMOSPHERE TODAY.
THE STREET IS OUR PLACE OF ORIGIN AND WE ARE PROUD OF IT. WITH THE
CIRQUE DU MONDE PROGRAM, WE ARE ATTEMPTING TO HELP YOUNG PEOPLE IN
DIFFICULTY AND TO OFFER THEM A WAY OF EXPRESSING THEIR CIRCUS ARTS.
THIS PROGRAM, WHICH WE HAVE IMPLEMENTED A LITTLE THROUGHOUT THE WORLD,
ALLOWS US TO GIVE PART OF OUR RESOURCES TO THE COMMUNITY. IT IS THIS
COMBINATION OF STRENGTH, PASSION, EMOTION THAT LEADS TO DEVELOP A
COMMON VISION AND, ESPECIALLY, TO DEVELOP NEW DREAMS. TO STOP DREAMING
IS TO STOP LIVING.
THIS IS WHAT TAKES ME HERE TODAY. I WANT IT TO TAKE A FEW MINUTES TO
REMEMBER THE IMPORTANCE OF DREAMING AND BEING CREATIVE IN OUR APPROACH
TO LIFE. DAILY AFFAIRS, ESTABLISHED AND RECOGNIZED FINANCIAL MODELS,
DOMINANT THINKING CURRENTS SUIT US A ROUTINE. WE LET US EMBARK IN
FASHIONABLE APPROACHES AND WE GIVE IN TO THE PRESSURE OF THE
OBLIGATIONS OF THE MOMENT. IT IS THE WORST DANGER THAT LOOKS FOR US.
I HAVE BEEN LUCKY, IN LIFE, TO ALWAYS FIND PEOPLE WHO BELIEVED IN MY
DREAMS AND WHO GIVEN ME THE LITTLE IMPROVEMENT ALLOWING ME TO ACHIEVE
MY PLANS. THIS FORMULA ALLOWED ME TO GO TO THE END OF MY MADNESSES AND
TO ESTABLISH, IN MONTREAL, ONE OF THE BIGGEST CREATIVE LABORATORIES IN
THE WORLD. AT THE ORIGIN OF THIS PROJECT, THERE WAS A BAND OF YOUNG
DREAMERS WHO WANTED TO EXPRESS FROM A VERY SMALL MARKET: QUEBEC. A MAN
BELIEVED IN OUR VISION TOWARDS AND AGAINST ALL: RENÉ LÉVESQUE.
IT HAS MADE ALL KINDS OF MINIATORS TO BEAT THE SYSTEM AND PLAY OUT THE
RIGID STANDARDS IN ORDER TO GIVE FREE RATE TO OUR CREATIVITY. IT TAKEN
SOMEONE WHO BELIEVED IN US. WE DON'T WANT ONLY MONEY. WE WANT TO
SUPPORT IT. IT WAS IMPORTANT FOR US TO FEEL THAT WE COULD REACH NEW
SUMMITS. YOU CAN IMAGINE THEY WERE MANY PROPHETS OF MISLEADING AT THE
TIME. MANY PEOPLE BELIEVED THAT MONSIEUR LÉVESQUE WAS IN BAD DEAL.
I WOULD LIKE TO TAKE ADVANTAGE OF THE GALLERY TODAY TO MAKE A LITTLE
ASSESSMENT OF OUR FORMER PRIME MINISTER'S INVESTMENT. THE PARTNERSHIP
BETWEEN THE GOVERNMENT OF QUÉBEC AND CIRQUE DU SOLEIL HAS BEEN VERY
PROFITABLE FOR QUEBECERS. OVER THE YEARS, WE HAVE RECEIVED A
GOVERNMENT PARTICIPATION IN THE ORDER OF $ 20 MILLION. IN OUR 17 YEARS
OF EXISTENCE, WE HAVE GENERATED BENEFITS OF OVER $ 200 MILLION. THIS
AMOUNT CONSTITUTES A RETURN OF MORE THAN 1000% ON THE INVESTMENT. IT
IS OBVIOUSLY ADDED TO THIS NUMBER THE JOB CREATION AND THE MANY
DROPPED OF INTERNATIONAL VISIBILITY.
THIS KIND OF BENEFITS, GENERATED BY CULTURAL COMPANIES, MAY ALLOW
MONTREAL TO GIVE A UNIQUE DEVELOPMENT AXIS.
TODAY, I DO NOT REALLY WISH TO REVEAL YOU GREAT SECRETS. I DO NOT WISH
TO INTERVIEW YOU ON THE HISTORY OF THE CIRQUE DU SOLEIL OR CONFIDE YOU
ON SUCCESS RECIPES. I DO NOT WISH TO TELL YOU THAT IT IS EASY TO
IMAGINE THE FUTURE OF MONTREAL AND THAT I HAVE THE SECRET OF ITS
INTERNATIONAL DEVELOPMENT THROUGH CULTURE.
HOWEVER I WOULD LIKE TO SHARE WITH YOU SOME CONVICTIONS. MY FIRST
BELIEF IS THAT MONTREAL HAS NEVER BENEFITED FROM A CONTEXT SO FRIENDLY
TO GET A UNIQUE INTERNATIONAL POSITION.
WE ARE PROBABLY THE MOST CREATIVE PEOPLE IN THE WORLD. IN FACT, TAKE
THE NUMBER OF GLOBAL SUCCESSES COMING FROM HERE, IN COMPARISON WITH
OUR POPULATION AND YOU WILL SEE THAT IN RATIO, OUR CRUDE NATIONAL
PRODUCT IN CREATIVITY IS SURELY UNPARALLELED. I REMAIN CONVINCED THAT
OUR BASIN OF CREATORS REMAINS OUR GREATEST NATURAL WEALTH.
ADD CÉLINE DION, LUC PLAMONDON, LA GANG TO GILBERT ROZON, THE TEAM OF
ALAIN SIMARD, ROBERT LEPAGE, ÉDOUARD LOCK. LOOK AT THE DYNAMISM OF THE
CINEMATOGRAPHIC INDUSTRY, YOU WILL SEE THAT WE ARE BECOMING HOLLYWOOD
NORTH. TO TOP IT ALL, WE HAVE A MULTIMEDIA AND NEW TECHNOLOGIES
INDUSTRY THAT IS AN INCREDIBLE INCUBATOR FOR NEW DESIGNERS.
IN THE CROWN OF DANIEL LANGLOIS AND SOFTIMAGE, THERE ARE YOUNG PEOPLE
WHO ARE READY TO TAKE THE LIGHT. THEY ASK ONLY ONE THING: GIVE ME A
CHANCE!
IT IS NOW OUR TURN TO ALLOW YOUNG PEOPLE TO IMPLEMENT THEIR IDEAS. FOR
US, THE "BABY BOOMERS", EVERYTHING WAS ALLOWED. WE CAN DEVELOP THE
MOST AMBITIOUS PROJECTS AND WE WERE ENCOURAGED. HOPE FEEDED OUR DAILY.
A WAVE OF ENTREPRENEURSHIP HAS CHARACTERIZED FOR THE LAST 25 YEARS. IT
WAS THE BIRTH OF QUÉBEC INC.
BUT TODAY, WHERE ARE WE AT? WILL THE PENSION PLAN BE THE ONLY
GATHERING ELEMENT IN OUR COMPANY?
I HOPE NOT! THE ENTREPRENEURIAL SPIRIT, WHICH HAS BEEN SUCCESSFULLY
SUCCESSFUL, MUST BE DELEGATED TO THE YOUNGEST. THEY NEED TO
COMMUNICATE A FUTURE VISION THAT ENABLES THEM TO TRUST. WE HAVE TO
CREATE AN OPEN ENVIRONMENT FOR YOUNG PEOPLE. THEY MUST HAVE THE RIGHT,
ALSO, TO PARTICIPATE IN THE ESTABLISHMENT OF TOMORROW'S MONTREAL.
LET'S MAKE A PLACE. LET'S PASS THE FLAME AND STOP SELLING OUR
COMPANIES. TO GIVE A TRUE CHANCE TO OUR YOUNG PEOPLE, WE NEED TO
ESTABLISH SUCCESSION PLANS WHICH WILL ALLOW THEM TO TAKE THE QUEENS OF
OUR COMPANIES AND OUR INSTITUTIONS. THIS PASSAGE OF POWER TO THE NEW
GENERATION IS DETERMINING TO ENSURE THE FULFILLMENT OF OUR CITY.
I THINK THERE IS A HISTORICAL MEETING FOR MONTREAL. IT'S OUR KNOWLEDGE
TO BENEFIT FROM THE FAVORABLE CLIMATE. TO DO THIS, WE NEED TO HAVE AN
OVERALL VISION THAT WILL MAKE EVERY INITIATIVE EVEN STRONGER. THIS
CITY, WHICH BENEFITS FROM A UNIQUE CULTURAL WEALTH, MUST GIVE AN
ENVIRONMENT THAT REFLECTS THIS SOUL. WHEN I SEE THE VERY WANTED
DEVELOPMENT PHILOSOPHY OF A CITY LIKE BARCELONA, I CAN'T HELP ME DREAM
FOR MONTREAL.
THE FORMULA SEEMS SIMPLE, LET US GIVE US A CLEAR OBJECTIVE. ALLOW ME
TO SUGGEST ONE: "BECOME A CULTURAL DESTINATION OF INTERNATIONAL
CLASS." »IF WE WANT TO BECOME A DESTINATION, EACH DEVELOPMENT PROJECT
MUST MEET THE OBJECTIVE. WE ALREADY HAVE A LOT OF INGREDIENTS IN PLACE
WHICH SHOULD ALLOW US TO SUCCEED. WE HAVE CREATORS OF INTERNATIONAL
REPUTATION. NOW WE NEED TO PROVIDE US WITH PLACES THAT WILL REFLECT
THE SOUL OF THE CREATORS THROUGH THEIR ARTISTIC CONCERN, THEIR
ARCHITECTURAL QUALITY AND INNOVATIVE ACTIVITY.
LET THE CREATORS EXPRESS THEIR MADNESS. THIS IS THE BEST WAY TO GIVE
BIRTH TO EXCEPTIONAL PROJECTS.
ARCHITECTURAL DEPLOYMENT AND CIVIL ENGINEERING OF A CITY ARE
ORGANIZED, PLANNED AND LONG-TERM. I DREAM OF THE DAY ON WHICH WE CAN
SUBMIT A PLAN FOR MY CITY THAT WILL NOT DEPEND ON TIME, THAT WILL NOT
BE ANY FIVE-YEAR PLAN AND THAT WILL NOT BE OBLIGED TO FOLLOW A
POLITICAL CURRENT, A POLITICAL DIRECTION, OR SAME, THE? WORK ON A
POLITICAL CAREER. THE CULTURAL URBAN PLANNING PLAN MUST DEVELOP FOR
SEVERAL GENERATIONS OF MONTREAL AND MUST BEGIN WITH SOLID BASES
INSTALLED BY THE ALREADY EXISTING CREATIVE FORCE.
I THINK THAT THIS MOVEMENT HAS RETURNED TO VIGOR WITH THE ARRIVAL OF
EX-CENTRIS, THE PROJECT OF THE OSM HALL AND THE PLACE OF FESTIVALS. IT
IS WITH THIS TYPE OF PLACE THAT WE WILL ATTRACT THE PUBLIC AND THE
CREATORS OF THE WORLD. I WANT TO TELL YOU, TODAY, THAT WE ARE READY,
AT THE CIRQUE DU SOLEIL, TO PARTICIPATE IN A SOCIETY PROJECT WHICH IS
GOING TO MAKE MONTREAL AN INTERNATIONAL DESTINATION. I BELIEVE MUCH IN
THE STRENGTH OF A COMMUNITY THAT MOBILIZES TO GIVE A STIMULATING
LIVING ENVIRONMENT.
WE ALSO LIVE, AT THE CIRQUE DU SOLEIL, A VERY CONCLUDING EXPERIENCE
WHEN WE DECIDED TO ESTABLISH OUR HEAD OFFICE IN THE QUARTIER ST-
MICHEL. WE HAVE ESTABLISHED OUR PREMISES ON THE SITE OF A DUMP AND
PARTICIPATED IN THE REVITALIZATION OF A DISTRICT. THIS PRESENCE WILL
TAKE EVEN MORE IMPORTANCE IN THE NEXT MONTHS WHEN THE NATIONAL CIRCUS
SCHOOL COMES TO ESTABLISH IN OUR NEIGHBORHOOD. WITH THE OTHER
STAKEHOLDERS OF THE CIRCUS, WE WILL ESTABLISH A PLACE THAT WILL BE
RECOGNIZED WORLDWIDE AS A PLACE OF TRAINING FOR ARTISTS FROM ALL
CORNERS OF THE WORLD.
AGAIN, MONTREAL WILL BENEFIT FROM AN INTERNATIONAL ATTRACTION CENTER
FOR CIRCUS ARTS. THIS PROJECT IS ENTERING ITS IMPLEMENTATION PHASE AND
WILL ADD A LOT FOR MONTREAL.
WE ARE AT A NEW STAGE IN OUR GROWTH, THAT OF SUSTAINABILITY. HOW TO
ENSURE A SUSTAINABLE FUTURE FOR CULTURE? HOW TO INTEGRATE CULTURE IN
EVERYDAY PEOPLE? HOW CAN WE ENSURE THAT WE'RE NOT TOWING THE JACKS,
MODES AND WILL OF SOMEONE TO ENSURE GROWTH?
FOR ME, CULTURE IS TRANSPOSED THROUGH 3 SEPARATE POLES. ARTS AND
ENTERTAINMENT, MULTICULTURALISM AND SOCIAL COMMITMENT. THESE THREE
POLES ARE ALREADY PRESENT IN MONTREAL BUT NOT ENOUGH CULTIVATED. THIS
IS OUR NEW CHALLENGE. THE CHALLENGE OF A NEW FORM OF COLLABORATION.
HOW TO GROW OUR WEALTHS TO MAKE IT A NEW SOCIETY PROJECT?
WE MUST TARGET TO BE "ON" 365 DAYS AND A QUARTER A YEAR. WE MUST NO
LONGER BE SEASONAL. MONTREAL MUST NO LONGER BE A CULTURAL DESTINATION
ONLY FOR SUMMER. WHAT ARE WE DOING TO ATTRACT WINTER SPORTS FANS,
HOCKEY IN PARTICULAR? WHAT ARE WE DOING TO CREATE A CULTURALLY
INTERESTING NIGHT LIFE? WE ONLY NEED TO GET INFRASTRUCTURE, BUT ALSO,
AND ESPECIALLY, HAVE IDEAS.
WE ARE A PEOPLE OF "PATENTOUS". WE HAVE FULL OF CRAZY IDEAS. NOW WE
NEED TO FIND WAYS OF EXCHANGING BETWEEN US FOR OUR IDEAS TO ADD. WE
WILL DISCOVER THAT THE IDEAS OF THE ONE AND OF THE OTHERS ARE OFTEN
COMPLEMENTARY. RATHER THAN DIVIDING, AS WE OFTEN HAVE THE UNSUITABLE
TO DO IN QUEBEC, WE HAVE TO LEARN TO GROUP.
FOR THAT, IT TAKES A COMMITMENT. YOU MUST COMMIT AND, ESPECIALLY, TAKE
ACTION. I HAVE NO TIME FOR PROCESSES, STUDIES AND RESEARCHES THAT
NEVER END? LET MAKE MAJOR COMMITTEES AND BIG DOCUMENTS. FIND PLACES OF
INFORMAL EXCHANGE WHERE WE CAN QUICKLY IMPLEMENT OUR PLANS.
LET US ALSO MAKE SURE TO SAVE OUR MAJOR POOLS OF ATTRACTION. WHEN I
TRAVEL ALL OVER THE WORLD, I TALK ABOUT THE MONTREAL CANADIAN. OUR
HOCKEY TEAM IS PART OF OUR CULTURAL HERITAGE. HOCKEY WITH US HAS AN
INCREDIBLE TRADITION. IT'S MUCH MORE THAN A SPORT. IT IS AN OBJECT OF
PASSION.
HOCKEY CAUSES GREAT EMOTIONS IN AMATEURS. IT IS NECESSARY TO STOP
COMING AND GIVE OUR HOCKEY TEAM THE WAYS TO REMAIN AMONG THE ELITE. IT
IS NECESSARY TO RETURN TO THE WORLD CAPITAL OF HOCKEY. YOU MUST BUILD
AROUND OUR SPORT, FULL OF RELATED ACTIVITIES TO ATTRACT TOURISM DURING
WINTER. HOCKEY MUST ALSO BE A PLACE OF DESTINATION FOR MONTREAL.
MONTREAL, INTERNATIONAL DESTINATION. I AM OFTEN ASKING THE QUESTION:
WHAT CAN WE DO TO CREATE A PLACE OF DESTINATION?
I HAVE THEREFORE CHALLENGED OUR CREATIVE TEAMS IN ORDER TO DEVELOP
ELEMENTS OF CONTENT THAT WOULD CONSTITUTE A CIRQUE DU SOLEIL COMPLEX.
WHY A CIRQUE DU SOLEIL COMPLEX? FIRST, ON THE CREATIVE PLAN, I WOULD
LIKE THE CIRQUE DU SOLEIL EXPERIENCE CONTINUE WHEN PEOPLE LEAVE THE
TENT.
I WOULD LIKE THEY FIND IN A MORE "FLYED", MORE SURPRISING, MORE
ARTISTIC PLACE. THIS PROJECT WILL ALLOW OUR CREATORS TO LEAVE OPEN
THEIR IMAGINATION IN OTHER SECTORS OF ACTIVITY.
WHAT SHOULD YOU FIND ON THE SITE OF A CIRCUS COMPLEX? OBVOUSLY, THE
SHOW WILL REMAIN THE CENTERPIECE OF THE SITE. YOU WILL FIND A HOTEL, A
SPA, AN ART GALLERY, RESTAURANTS AND OTHER ELEMENTS OF ENTERTAINMENT
AND ENTERTAINMENT. WE ARE PRESENTLY COURTED BY SEVERAL DEVELOPERS AND
LARGE COMPANIES IN SEVERAL CITIES TO REALIZE OUR FIRST COMPLEX.
WE ARE IN DISCUSSION WITH DIFFERENT GROUPS IN LONDON, NEW YORK, TOKYO
AND HONG KONG. UNFORTUNATELY, MONTREAL CANNOT PROVIDE A PERMANENT SHOW
OF THE CIRQUE DU SOLEIL 12 MONTHS A YEAR, WE CANNOT ESTABLISH A
COMPLEX AS I HAVE DESCRIBED TO YOU. THIS SITUATION DISRUPTED ME,
BECAUSE ALL THE CREATIVE CONTENT IS DEVELOPED HERE IN MONTREAL. WE
HAVE ALSO INVESTED MUCH MONEY IN RESEARCH AND DEVELOPMENT HERE IN THE
LAST 2 YEARS.
IT IS FROM THERE THAT THE IDEA OF OUR COMING TO ESTABLISHED OUR CIRCUS
COMPLEX PROTOTYPE IN MONTREAL. WHY NOT ESTABLISH OUR LABORATORY WITH
US AND DEVELOP THE EXPERTISE WITH US?
AS WE DID FOR THE ORIGINAL CIRCUS, WE WILL BECOME A CENTER OF
EXPERTISE FOR OUR NEW CREATION PLATFORMS. WE ARE THEREFORE COMPLETING
OUR FEASIBILITY ANALYSIS, IN COLLABORATION WITH SOCIETE GENERALE DE
FINANCEMENT, TO CONDUCT OUR CIRQUE COMPLEX PROTOTYPE IN MONTREAL. I
TAKE ADVANTAGE OF THESE OTHER THANKS TO CLAUDE BLANCHET AND THE SGF
TEAM FOR THEIR PARTNERSHIP IN THIS PROJECT. LET ME DESCRIBE YOUR
DREAM.
FIRSTLY, OUR PROJECT WILL BE MADE AT THE CORNER OF ST-URBAIN AND
SHERBROOKE STREETS, ON THE UQAM GROUND. WHEN WE PUT THE ACADEMIC
PROGRAMS OF UQAM IN PARALLEL WITH THE COMPONENTS OF OUR PROJECT, IT
WAS CLEAR THAT THERE WAS A GREAT SYNERGY. THE CORE PIECE OF THIS
PROTOTYPE WOULD BE A MULTIMEDIA PRODUCTION AND BROADCASTING CENTER
WHERE WE CAN EXPERIENCE SEVERAL NEW SHOW FORMULAS WITH CREATORS FROM
EVERY CORNER OF THE WORLD.
AROUND THIS CREATION LABORATORY, WE WANT TO BUILD A VERY PARTICULAR
HOTEL SPECIMEN, A SPA FROM THE TECHNOLOGY OF THE SHOW WHERE, A GALLERY
OF ART, A NEW FORMAT OF RESTAURANT AND SOME NEW CONCEPTS OF ANIMATION.
THE FIRST DRAWINGS OF THIS PROJECT LET ME BELIEVE THAT WE CAN CREATE,
IN MONTREAL, A PLACE OF DESTINATION.
TO MAKE THIS NEW CONCEPT COME, WE HAVE TO ESTABLISH A NEW PUBLIC AND
PRIVATE PARTNERSHIP TO JOIN THE DEVELOPMENT OBJECTIVES OF ALL THE
STAKEHOLDERS. FOR US, SOMETHING IS CERTAIN. WE WISH TO ESTABLISH THIS
NEW LAUNCH RAMP IN MONTREAL. AT THE SAME TIME I SHARE THIS THOUGHT
WITH YOU, THERE ARE FOREIGN FINANCIAL PARTNERS WHO ARE ASKING WHY I
WANT TO COMPLETE THIS PROTOTYPE IN MONTREAL WHEN THERE ARE MUCH MORE
LUCRATIVE MARKETS ELSEWHERE.
I SINCERELY THINK THAT IF WE TAKE ON SUCH A CHALLENGE IN MONTREAL,
THE SPRINGBOARD WILL BE MUCH LARGER FOR MUCH MORE PEOPLE FROM HERE.
WE ARE CURRENTLY SPENDING A LOT OF TIME WITH A LOT OF STAKEHOLDERS AS
DIVERSIFIED AS MULTIMEDIA, ARCHITECTURE, FURNITURE DESIGN, BODY CARE,
SCENOGRAPHY, ANIMATION, GASTRONOMY. AT THE CENTER OF ALL THESE
DISCUSSIONS, ONLY ONE SUBJECT: THE DREAM. THE DREAM: REINVENTING.
OUR PROJECT IS ONLY A SMALL EXAMPLE OF THE KIND OF ACTIVITIES THAT CAN
BE DONE TO INCREASE THE RADIATION OF MONTREAL THROUGHOUT THE WORLD.
WHAT IS IMPORTANT, IT IS NOT THE SIZE OF EACH OF OUR PROJECTS. WHAT IS
IMPORTANT IS THE OVERALL EFFECT. IT IS THE GLOBAL VISION THAT WILL
GIVE MORE EVERYTHING TO OUR GESTURES.
AS I HOPE TO HAVE COMMUNICATED TO YOU, I HAVE THE TASTE OF MONTREAL. I
TASTE TO DO THINGS IN A UNIQUE LIVING ENVIRONMENT WHERE
MULTICULTURALISM TAKES ALL ITS MEANING. IN A BEAUTIFUL PERIOD LIKE THE
CURRENT ONE WE ARE THROUGHOUT THE WORLD, IT IS NECESSARY TO RETURN TO
BASIC VALUES.
PEOPLE ARE LOOKING FOR A PLACE WHERE THEY CAN LAUGH, HAVE EMOTIONS,
EXPRESS A PASSION. FOR ME, THIS PLACE IS A PLACE OF UNIQUE CREATION IN
THE WORLD.
FOR ME, THIS PLACE IS MONTREAL!
THANK YOU!
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 20, Number 12 (Issue #203) December 2020
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2020 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination! Newsletter." By
sending us correspondence, you give us permission (unless otherwise
noted) to use the submission as we see fit, without remuneration. All
submissions become the property of the "Fascination! Newsletter."
"Fascination! Newsletter" is not affiliated in any way with Cirque du
Soleil. Cirque du Soleil and all its creations are Copyright (C) and
are registered trademarks (TM) of Cirque du Soleil, Inc., All Rights
Reserved. No copyright infringement intended.
{ Dec.13.2020 }
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