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Fascination Issue 211
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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 22, NUMBER 1 January 2022 ISSUE #211
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Bonne Année, Happy New Year, and welcome to the latest edition of
Fascination, the Unofficial Cirque du Soleil Newsletter.
Sigh...
For a moment there it looked like Cirque du Soleil (and the rest of
the performing arts world) would be able to get back to doing what
they loved to do... performing... alas, Omicron, the latest variant
of the gift that keeps on giving (a.k.a. COVID-19), washed over the
globe instead, causing a number of shutdowns once again. Remaining
of performances of 'Twas the Night in New York City were canceled,
the last few performances of Alegria-In a New Light in Houston were
canceled, and so far, some performances of LOVE have been canceled.
There will be more to come I'm sure. Although this variant appears
more contagious than previous versions, it also seems less virulent
than those that came before, so here's hoping that Omicron is but a
brief roadblock to "back to normal"... whatever that is.
COVID has touched us all in myriad ways. So far myself, my wife and
son, have escaped relatively unscathed, but the same can't be said of
other members of my family. One of which recently paid the ultimate
price. So, no, I don't know what normal looks like anymore, but I do
know what will help us get back there: Regardless of your faith or
political leanings, I implore you to get the COVID vaccine and/or
its booster if you haven't already done so - there's really no
excuse anymore. Be part of the solution, not a hindrance.
Okay, so let me stop talking about that...
There've been a number of happenings at Cirque du Soleil since we
last spoke - from announcements of shows in Toronto (Kurios) and
partnerships in Los Angeles (OVO) to the opening of DRAWN TO LIFE
at Walt Disney World and a new CEO for the company - all of which
you'll find a bit about within. And as long as we can get a
handle on Omicron, it looks like the VIP Experiences at the Las
Vegas shows are slated to return (to be announced) as well as a
nice 3D Collector Ticket (to be shipped to you 7 days prior to your
show date) for "O"... but only if you're good boys and girls!
So, shall we 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
* SPECIAL /// "Nothing Less Than Actual Magic" - A
Collection of Articles Celebrating Drawn to Life's
Premiere
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
***************************************************************
LA PRESSE -- General News & Highlights
***************************************************************
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Cirque to celebrate its return to Toronto with KURIOS!
{Nov.08.2021}
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Cirque du Soleil is proud to announce its return to Toronto in 2022
with its most critically acclaimed touring show KURIOS Cabinet of
Curiosities, presented by Sun Life Global Investments. Toronto will
mark the official return of KURIOS following its hiatus caused by the
global pandemic. Hailed as an "enthralling, over-the-top magical
show", KURIOS will open under the iconic Big Top at Ontario Place on
April 14, 2022, for a limited series of performances.
"Toronto has always been a special place for us and we're ready to be
reunited with Cirque du Soleil fans in Ontario," said Daniel Lamarre,
President and CEO of Cirque du Soleil Entertainment Group. "More than
ever, we need the shared connection that live entertainment brings.
Traveling to invoke the imagination, provoke the senses and evoke the
emotions of people around the world has always been the core mission
of Cirque du Soleil; to be able to do it all over again with KURIOS
sparks an indescribable feeling of pride in all our artists and
employees."
"When the COVID-19 outbreak began, Ontario's heritage, sport, tourism
and culture industries were among the first and hardest hit, which
included live performances," said Lisa MacLeod, Minister of Heritage,
Sport, Tourism and Culture Industries. "I couldn't be more pleased to
welcome the return of Cirque du Soleil to Ontario Place next spring
and am looking forward to seeing their exciting show KURIOS
Cabinet of Curiosities. The return of performances like this will go
far to bring joy back to our province, as well as provide a much-
needed boost to the tourism sector."
Since June, Cirque du Soleil has been delighting audiences again in
Las Vegas with the reopening of its resident productions Mystère, "O",
The Beatles LOVE and Michael Jackson ONE. The return of KURIOS will
mark the relaunch of Big Top touring operations for the company,
following Alegría in Houston (November 2021), LUZIA in London (January
2022) and KOOZA in Punta Cana (January 2022).
A "KURIOS" EXPERIENCE LIKE NO OTHER
Critically acclaimed the world over, KURIOSCabinet of curiosities
astonishingly revisits the signature Cirque du Soleil style of
performance by weaving jaw-dropping acrobatics with a refreshing touch
of poetry, artistry and humour. A mind-boggling escape from reality,
KURIOS unveils a festive, steampunk-inspired universe where the
unexpected lies at every corner.
"KURIOS is the most joyous piece of theatre I've seen in years, and it
will lift your spirits to the stars." Toronto Star
"KURIOS is the most enthralling, consistently over-the-top magical
show Cirque du Soleil has sent our way in a long time." San
Francisco Chronicle
In an alternate yet familiar past, KURIOS steps inside the mechanical
lab of an inventor convinced that there exists a hidden, invisible
worlda place where the craziest ideas and the grandest dreams await.
Once the inventor succeeds to unlock the door to this world of
wonders, time comes to a complete stop and an uplifted cast of
otherworldly characters invades his curio cabinet, bringing his
makeshift creations to life one by one. As the visible becomes
invisible and perspectives transform, KURIOS bursts into a celebration
of the power of the imagination.
Premiered in Montreal in 2014, and debuted in Toronto the same year,
KURIOS has mesmerized over 4.5 million spectators in 30 cities
worldwide with over 2,000 performances brought to life by its cast of
45 world-class artists. Tickets are now on sale at
cirquedusoleil.com/kurios.
{ SOURCE: Cirque du Soleil }
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Cirque and Microsoft Theater Announce 5 Year Partnership
{Nov.11.2021}
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Cirque du Soleil Entertainment Group ("Cirque du Soleil") and
Microsoft Theater are proud to announce their new exciting partnership
for presenting a Cirque du Soleil touring production within L.A. LIVE
each spring for the next five years. OVO a high-energy and high-
acrobatic spectacular, will mark the launch of this new collaboration
with a series of over 50 performances from March 16 to May 1, 2022 at
the Microsoft Theater.
"We are excited to have found a new home for our touring shows at the
heart of Downtown L.A," said Daniel Lamarre, President and CEO of
Cirque du Soleil Entertainment Group. "Microsoft Theater is an iconic
venue perfectly located within L.A. LIVE; to add Cirque du Soleil to
the impressive list of talent who have performed on its stage is truly
an honor."
"Microsoft Theater is incredibly excited and we look forward to
welcoming Cirque du Soleil and their world renowned shows and
entertainment to L.A. LIVE starting in March 2022 and continuing are
partnership through 2027," Lee Zeidman, President, STAPLES Center,
Microsoft Theater and L.A. LIVE.
Since June, Cirque du Soleil has been delighting audiences again in
Las Vegas with the reopening of its resident shows Mystère, "O", The
Beatles LOVE and Michael Jackson ONE. KÀ is scheduled to reopen on
Nov. 24, 2021. The return of OVO marks the relaunch of global touring
operations for the company, following Alegría in Houston (November
2021), LUZIA in London (January 2022) and KOOZA in Punta Cana (January
2022).
"Intermission is over," added Mike Newquist, Senior Vice President
Touring Shows at Cirque du Soleil Entertainment Group. "Travelling to
invoke the imagination, provoke the senses and evoke the emotions of
people around the world has always been the core mission of Cirque du
Soleil; to be able to do it all over again at Microsoft Theater with
OVO sparks an indescribable feeling of pride in all our artists and
employees."
THE BUZZING WORLD OF OVO
An exciting Cirque du Soleil experience for the whole family, OVO is a
colorful intrusion into a new day in the life of insects, a non-stop
riot of energy and movement. Highlighting the unique personalities and
abilities of selected insect species through show-stopping acrobatics,
OVO explores the beauty of biodiversity in all its contrasts and
vibrancy.
From mighty crickets bouncing off trampolines to a hypnotic spider
contorting inside her web, OVO exudes extraordinary showmanship to
tickle the imagination. Funny and chaotic, yet adorable and wonderful,
OVO charms our inner child with its sweet exuberance.
Comprised of 52 performers from over 15 countries, the cast of OVO
("egg" in Portuguese) brings to the stage 10 high-level acrobatic acts
redefining the limits of the human body. Since its opening in Montreal
in 2009, OVO has thrilled more than 7 million people in 155 cities in
26 different countries. Tickets are now on-sale at
cirquedusoleil.com/ovo
MICROSOFT THEATER
Microsoft Theater hosts over 120 music, family, dance and comedy acts,
award shows, televised productions, conventions and product launches
with over 500,000 guests passing through the doors annually. The
7,100-seat theater offers guests mid-sized intimacy, with no seat
further from the stage than 220 feet. Microsoft Theater offers 12,000
square feet of VIP & hospitality areas, 10 dressing rooms and state of
the art technology making it is a favorite indoor venue for performers
and fans alike. Since opening in October 2007 with six sold out shows
featuring the Eagles and Dixie Chicks, Microsoft Theater has hosted
concerts starring the most popular artists including Alan Jackson,
Katy Perry, Charlie Wilson, Juan Gabriel, Aretha Franklin, Ed Sheeran,
John Fogerty, Gabriel Iglesias, Kanye West, Marc Anthony, Sesame
Street Live, John Legend, The Avett Brothers, Neil Young, Steely Dan,
Trey Songz, Kelly Clarkson, Rush, Yanni, Nicki Minaj, Juanes, Cat
Stevens, The American Idol Finale shows, Michael Jackson's This is It,
Straight Outta Compton, The Hunger Games and Twilight Movie Premieres
and many more. Microsoft Theater is home to the American Music Awards,
ESPYs, Primetime Emmy Awards and BET Awards, and has previously hosted
the People's Choice Awards, Radio Disney Music Awards, the 2010, 2011
& 2015 MTV Video Music Awards, the 2014 & 2015 MTV Movie Awards and
the 2013 Rock N' Roll Hall of Fame.
{ SOURCE: Cirque du Soleil }
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Drawn to Life opens at Walt Disney World Resort!
{Nov.19.2021}
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The highly anticipated new collaboration from Cirque du Soleil and
Disney, Drawn to Life, premiered Thursday night at Disney Springs at
Walt Disney World Resort to a full house of enthusiastic fans who
demonstrated their appreciation with a lengthy standing ovation.
The show is a love letter to Disney Animation interpreted through
Cirque du Soleil's acrobatic performances, dazzling choreography,
innovative design and eclectic costuming alongside all-new characters
created by Disney Animation artists and an original score inspired by
timeless Disney music. It marks the first ever theatrical
collaboration of three creative icons: Cirque du Soleil, Walt Disney
Animation Studios and Walt Disney Imagineering.
"This show has been in the works for years and to finally share it
with the world is a dream come true," said Daniel Lamarre, President
and CEO of Cirque du Soleil Entertainment Group. "This collaboration
has been unlike anything we've done before. We hope it will mean as
much to our fans as it has to us it's not just our show now, it's
theirs too."
"Seeing a Cirque du Soleil show at Disney Springs has long been a
cherished experience for our guests," said Jeff Vahle, President of
Walt Disney World Resort. "Combining the rich legacy of Disney
Animation with the incredible artistry of Cirque du Soleil, Drawn to
Life is pure magic."
Drawn to Life, written and directed by Michel Laprise with Fabrice
Becker as Director of Creation, is a live acrobatic journey telling
the story of Julie, a determined girl who discovers an unexpected gift
left by her Disney animator father: an unfinished animation. As she
dives into the inner world of animation guided by a surprising pencil,
Julie embarks on an inspiring quest filled with childhood Disney
memories. Developed along with Michael Jung, Executive Theatrical
Development, Walt Disney Imagineering, the story is driven by 10
unique acrobatic acts alongside animation from beloved Disney films as
well as all-new animation created by Disney Animation artists led by
Animation Director Eric Goldberg, best known for characters such as
the Genie in the animated classic, "Aladdin."
Cirque du Soleil acrobatics and characters from classic Disney
animation films blend throughout Julie's journey. Along the way she
encounters rhythmic gymnasts interpreting pages of drawings in
continuous sequence, a pair of human trapeze artists moving as
paintbrushes to create a kaleidoscope of colors, teeterboard artists
displaying the squash and stretch principle of animation and beloved
Disney Animation characters from across eras.
Years in the making, the show was researched through extensive visits
Cirque du Soleil teams made to Disney theme parks, Walt Disney
Animation Studios, Walt Disney Animation Research Library, Walt Disney
Archives, and The Walt Disney Family Museum in San Francisco. As a
result, the show pays homage to classic Disney Animation techniques
and many trailblazing Disney Animation artists including Mary Blair,
Ollie Johnston and Frank Thomas.
The show is an immersive production featuring an all-original score of
new music pixie-dusted with playful snippets of melodies from Disney's
classic animated feature films; makeup that reflects animation
principles like exaggerated lines, highlights and shadows; larger-
than-life costumes and props that are more than meets the eye; and a
set that envelops the audience in sketch pages and an animator's
drawing table.
Originally slated for a March 2020 opening, but delayed due to the
pandemic, the show played to an electric theater of excited guests.
Among those in attendance were Lamarre, Vahle, Goldberg as well as
other top Cirque du Soleil and Walt Disney World executives.
"It means so much to finally be raising the curtain on Drawn to Life,"
said Laprise. "Every step of this journey has been emotional, from
researching and viewing original Disney Animation, to writing this
beautiful story, to meeting our cast and becoming a family supporting
each other through our unexpected intermission' together. I'm
overwhelmed at the magic we have the opportunity to create for
families."
Drawn to Life is the 50th production created by Cirque du Soleil and
its premiere coincides with the 50th anniversary of the Walt Disney
World Resort. With an international cast of 62 artists, Drawn to Life
will perform Tuesday through Saturday at Disney Springs at Walt Disney
World Resort.
Drawn to Life presented by Cirque do Soleil and Disney Fun Facts:
o) Cast is comprised of 62 artists from 15 countries around the globe
including Japan, Russia, Togo, Colombia and Peru
o) There are 10 unique acrobatic acts in Drawn to Life
o) The show features many references to the history of Disney
Animation, a few of which are:
o) The four animators who befriend Julie on her journey are
Cirque du Soleil's bow to Walt Disney's Nine Old Men, icons
of Disney Animation.
o) Throughout the show there are references to the 12 principles
of animation outlined in the book Disney Animation: The
Illusion of Life by iconic Disney animators and Disney
Legends Ollie Johnston and Frank Thomas.
o) In the Dreams of Colors act the kaleidoscope of colors pays
homage to the genius of Disney Animation artist Mary Blair.
Tribute is also paid to the Women of Ink and Paint, unsung
heroes whose brushstrokes gave life to early animation
celluloids.
o) The Old Mill act is inspired by Walt Disney's groundbreaking
1937 animated short of the same name.
o) The Squash & Stretch act was inspired by the rubber band
fights Disney Animators were known to have during their
breaks.
For more information on show tickets, dates and pricing, visit
cirquedusoleil.com/drawntolife.
{ SOURCE: Cirque du Soleil }
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Cirque is Back in Town With Twas the Night Before
{Nov.29.2021}
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After a long dark night in circus and indeed performing arts history,
Santa is back on stage, and his elves and reindeer are there too, full
of hype for the coming holidays. At the Chicago Theatre until December
5, you and the family can catch the Cirque du Soleil show Twas the
Night Before
They last played to Chicago in 2019, selling out the house for 17
holiday shows, and this year will be just as lively as theater- and
circus-starved audiences jostle for top-notch entertainment. I spoke
to director James Hadley just before the show and asked him what it
meant to the performers to return to the stage again in Chicago. He
explained that when the original show launched at Chicago Theatre in
November 2019, it was part of Cirque du Soleil's efforts to engage
family audiences (and to provide an introduction for youth into the
world of circus). Hadley said, "It was really emotional and I think it
was even more than people expected first of all because people hadn't
performed in quite a long time and they had been going through what
all of us had been going through for this past year and a half. We had
a run-through of the show at the head office for employees just before
we left
it was a really beautiful but emotional return to the stage."
In the new, revitalized Twas the Night Before
Cirque du Soleil show,
world-class circus acts parade across the stage embodying all that is
beautiful about the holiday as Isabella, a slightly preoccupied
teenage protagonist, and her father, who is yearning for the
connection the holiday used to bring them, are wooed by the magic.
Enfolded in this highly entertaining performance are selected sections
of the classic poem The Night Before Christmas (aka A Visit from St.
Nicholas) by Clement Clarke Moore, circa 1837. The result is a classic
yet tweened up Christmas special that will appeal to every age.
Children will be drawn to the lights, the color, the Christmas theme,
and especially to the curiously au currant elf-like dancers (Jenna
Beltran, Kalila Hermant, Samuel Moore, Carlo Darang, Shannon Kelly,
and Bianca Vallar from the Kinjaz dance crew) cranking out TikTokish
dance memes, and the adults will be charmed by the classic Christmas
carols and breathtaking circus.
The international cast really brings the sparkle, from a candyland-
inspired acrobatic table slide (starring Quentin Greco, Jean-Marc
Giese, Roberto Alvarez, Sekou Camara, Lucas Gabriel Morales Bravo), to
a rollerskating power couple (Holler Zavatta Bogino, Kimberly Zavatta
Bogino) straight out of the disco era and a juggling St. Nick figure
(the versatile ball juggler Miguel Gigosos Ronda), they kept the
ground action moving along to a soundtrack of classic carols. The
protagonist Isabella is played by the talented Alicia Beaudoin herself
on acro bike.
Meanwhile, the aerial acts mesmerized with the poignancy every fan has
come to expect from Cirque du Soleil performancesand also captured
attention with the uniqueness of each performer's act. Starting the
show with an aerial straps act were Karyna Konchakivska and Suren
Bozyan resembling nordic icicle elves in a whirl of snow. There was a
hair-hanging act performed by Danila Vieira Bim that inspires sighs,
as well as an equally moving aerial lamp act that can chase away
winter blues by Alexis Vigneault. Another interesting aerial device is
the hotel valet trapeze that was masterfully navigated by Masha
Terentievaa starlet who helps the protagonist understand what
gratitude feels like by her own ungrateful behavior.
In the end, the story wraps up with a little extra Christmas poetry,
some good vibes and a rollicking good time provided by a golden troupe
of hoop-diving reindeer (Quentin Greco, Jean-Marc Giese, Roberto
Alvarez, Sekou Camara, Lucas Gabriel Morales Bravo, and Evan Tomlinson
Weintraub).
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Stéphane Lefebvre named Cirque du Soleil CEO
{Dec.01.2021}
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A soft-spoken bookkeeper with a low-key profile will now take the
spotlight at Cirque du Soleil Entertainment Group as the circus giant
tries to reconstruct a business shattered by the coronavirus pandemic.
The famed troupe said Tuesday it is naming Stéphane Lefebvre, a
chartered accountant who has been Cirque's operations chief for the
past year, as its chief executive officer, effective Dec. 1. He
replaces communications specialist Daniel Lamarre, who is taking a
step back into an executive vice-chairman role after two decades at
the helm.
"The two of us went to war together" to pull Cirque out of the COVID-
19 crisis, Mr. Lamarre said in an interview ahead of the official
announcement. "And now we're looking for Stéphane to bring the company
to the next level."
Montreal-based Cirque du Soleil is slowly rebuilding its business,
which was pulverized nearly overnight in the spring of 2020 after it
was forced to shut down 44 productions and lay off about 4,600
employees to comply with government-mandated bans on public
gatherings. The company filed for bankruptcy protection three months
later and is now controlled by its creditors, which bought Cirque in a
transaction valued at about US$1.2-billion.
Mr. Lefebvre and Mr. Lamarre worked closely together during that time,
meeting every morning to plot a trajectory toward revival. They'll
maintain that teamwork now, with Mr. Lefebvre, 54, in charge of daily
management while Mr. Lamarre focuses on business development and
relationships with key partners such as casino operator MGM Resorts
and Disney.
"While there was no specific timeframe for me passing the baton after
20 years building this amazing organization, I feel privileged to have
contributed to the rebirth of Cirque du Soleil and feel now is the
right time," Lamarre said in a statement. "There is no doubt in my
mind that Stephane Lefebvre, after being instrumental in the relaunch
of our operations, is the ideal next leader to take Cirque du Soleil
forward to the next stage in its evolution as a company founded on the
conviction that the arts and business, together, can contribute to
making a better world," he added.
Recapturing revenues and clawing back profitability remain colossal
challenges for Cirque. The company has reopened several of its
permanent shows in Las Vegas and just premiered a show called Drawn to
Life at Walt Disney World Resort in Florida, which was delayed by the
pandemic. Openings have been staggered until now but the company plans
a more aggressive schedule of touring show relaunches starting next
year.
Ticket sales have been stronger than expected, with pent-up demand
fuelling an initial surge, the two senior Cirque executives said.
Still, they acknowledged the fragility of the global health situation
and said they are pushing cautiously, going only into countries and
cities with high vaccination rates and rigorous sanitary measures.
"Financially, we're in really good shape right now," Mr. Lefebvre
said. He said Cirque started the year with about US$180-million in
cash for operations and also has access to untapped credit. The
owners, led by controlling shareholder Catalyst Capital Group Inc.,
are supportive and would likely inject emergency capital if it was
ever needed, he said.
Credit ratings agencies such as Moody's have expressed concern about
the extent to which Cirque's business is centred on Las Vegas, where
its partnership with MGM counted for an estimated 35 per cent of its
US$950-million in annual pre-pandemic revenue. But Mr. Lefebvre sees
it as a steady source of cash flow, a financial anchor of sorts that
the company can build out from as it relaunches shows in other cities
in the months ahead.
WHO IS STEPHANE LEFEBVRE?
Mr. Lefebvre joined Cirque du Soleil from aircraft simulator maker CAE
Inc. in 2016 in the wake of a change in ownership as Cirque founder
Guy Laliberté sold control of the company to private equity firm TPG
Capital and China's Fosun International Ltd. He was finance chief for
four years at Cirque, leading three acquisitions as well as its post-
bankruptcy recapitalization.
The soon-to-be-CEO is a known quantity at Cirque and liked by its
creative teams because he has an appreciation for the value of their
work, Mr. Lamarre said. Other colleagues describe him as a sweet and
easygoing person with a sharp mind. Lefebvre insists he's not just a
money guy.
"My background has more than just the financial aspects of
management," said Lefebvre. "I've been working in different
businesses. Since I joined Cirque du Soleil six years ago, I've been
involved in different parts of the business, not only the financial
part
including the strategy of the company and including its
operations. "And I've done that in my previous career as well. I
worked for an amazing company called CAE and I was highly involved in
operations. I am a (chartered professional accountant) by trade but
I've got more than just finance in my background. I have a lot of
interest in arts and what the creative team's capabilities are.
One
of my favourite meetings was when we reviewed creative content for
upcoming shows and I have the pleasure and benefit of having an
amazing creative team."
Lefebvre has promised a seamless transition at the top of the company
as its stable of live shows worldwide continue to reopen. "It is an
honor for me to take the lead of this Quebec flagship company, one of
the largest contemporary live entertainment producers of the world,"
said Lefebvre in his own statement.
The decision to keep Mr. Lamarre as executive chairman is a reassuring
one given he's been at the heart of Cirque's international expansion,
said Louis Patrick Leroux, an English professor at Concordia
University who co-edited a book on Quebec's circus companies. Mr.
Lefebvre's appointment, meanwhile, also sends a signal.
"That, in itself, indicates the direction one expects Cirque du Soleil
to follow: Financial responsibility, stability and growth as we tippy
toe out of the COVID pandemic," Mr. Leroux said. "Cirque du Soleil
needs to rebuild, refinance and relaunch its otherwise successful
brand."
LESS SHOWS THAN BEFORE
Going forward the Cirque will be doing less shows than before.
"The reality now is, and we made it very clear with our new owners,
maybe it's better to have fewer shows and focus on having a stronger
presence in strong markets," said Lamarre.
He cited as an example of this that they will now have a new show in
Montreal every year, rather than every two years, which was the case
in the past. The first show in Montreal since the pandemic will be
Kooza!, which will begin performances in the Old Port April 28. The
Cirque just signed a new 10-year deal with the Old Port to have a new
show every year. The Cirque also plans to do the same thing in
Toronto, Los Angeles and London.
"So the 10 super markets we have, we can go there every year," said
Lamarre. "Only that will change the financial model of Cirque. You
have Vegas that gives you a lot of stability. Then if you add 10 super
markets that adds another layer of sustainability."
And, of course, Las Vegas
"I have spent quite a bit of time in Las Vegas in the last month, and
it is my intention to continue to work with our team there," Lefebvre
said. "I plan on being very present with our team in Las Vegas."
Lefebvre has been conferring with Cirque Senior Vice President Eric
Grilly and Vice President of Operations Matt Nickel in Vegas. The
company's next planned production is a New York-themed show at New
York-New York, in the former "Zumanity" theater.
Aside from that production, there are no formal plans for a new Cirque
show on the Strip in 2022. As Lefebvre said, "In the near term, we'll
continue working on certain front-end marketing initiatives that we
have launched in this year, together with MGM, to help support our
growth in the box office." By the time the NY-NY show launches, Cirque
will present five shows in MGM Resorts International hotels.
"Mystere," at Phil Ruffin's Treasure Island, is the lone exception.
"I will be continuing to nurture the relationships with our great
partners MGM Resorts, AEG, Disney, Vidanta (the entertainment and
hospitality company out of Mexico that co-produces the show "Joya"),"
Lamarre said of his new role, which is a full-time position. "I will
also be involved in new business development."
LAMARRE NOT PRESSURED
Asked if realigning the company's executive structure was a condition
of the purchase, Lamarre said, "Not at all, and by the way, this was
my recommendation. If I would have decided to remain as a CEO, I
would. But my decision was to make sure that we ensured the stability
of the company for the next 10 years. As a matter of fact, the board
has insisted that I remain as executive vice chairman."
"First of all, I'm not getting younger," said Lamarre, 67. "That was
not only my decision, it was my recommendation. I really pushed for
that transition plan to be in place because I'm not looking short-
term. I'm looking mid-term. There's only one way to learn to be a CEO,
it's to be a CEO and that's why I thought Stéphane moving in as a CEO,
and counting on my presence full-time for a while, I think is the best
scenario.
"And what I like about what's happening right now, and I don't want to
make it a personal thing, but the book that I'm writing and publishing
on creativity, is exactly in the line of what you were asking about
Stéphane. The role of a guy like Stéphane or myself is to put in place
the right conditions to nurture creativity. And here you are in the
building of a creative centre. That's where we are.
We have to
preserve that at any cost because the day that we lose our creative
edge, we're done."
Lamarre said he's most proud of his role in stabilizing the company
through the shutdown of all of its operations in March 2020. He has a
book coming out in January, "Balancing Acts," chronicling his time
with the company. And his hand-picked successor is a prominent, new
power player on the Las Vegas entertainment scene.
"I've taken up this challenge with a dose of humility, because this
company has been through such a rough period," Lefebrve said. "We've
been in the trenches these last 18 months. Thank God, we can count on
the amazing team in Vegas that supported the relaunch of the
operations. I certainly feel privileged now, just having seen people's
reaction to coming back into theaters and seeing our shows.
"That makes me feel extremely excited about the future."
{ SOURCES: The Globe and Mail, The Hollywood Reporter, The Montreal
Gazette, and The Las Vegas Review-Journal }
----------------------------------------------------------
Meet Vincent Lavoie, a Tumbler in Alegria
{Dec.06.2021}
----------------------------------------------------------
Under the Big Top at Sam Houston Race Park, Cirque du Soleil's Alegría
continues to wow audiences during its return engagement following
their canceled shows in March 2020. It's Cirque du Soleil's first
touring show to relaunch since the world's largest circus producer had
to shut down during the pandemic. (Yes, intermission is officially
over.)
This Alegría is a reimagined version of the 1994 production, with
music, acrobatics, set designs, and costumes more dazzling than ever.
The popular and high-energy Powertrack act features gymnasts tumbling
and flying over each other off of two long trampolines that create an
X on the stage.
Vincent Lavoie has been a part of this act since 2017. "It's great to
be back," says the 29-year-old Canadian. "Everyone is super-excited to
be back, and the audiences love seeing live performances again, so
their energy just feeds us."
Lavoie was destined to be part of Alegría. A native of Drummondville,
Quebec, he took a tumbling summer camp at age 8 and was hooked. At 11,
he saw a video of Alegría, Cirque du Soleil's most popular show that
has been seen in 255 countries by more than 14 million people. The
show's Grammy Award-winning theme song is the most popular Cirque du
Soleil video on YouTube. Right away, he knew he wanted to join the
Powertrack act and make the circus his home.
As a teen, Lavoie began competing in tumbling, and in 2014 he became
the first Canadian in 16 years to compete in the Tumbling World
Championship. During his competition years, he would run into Cirque
du Soleil scouts and talk to them. They encouraged him to take dance
lessons, which he did for three years in college. The call finally
came when he was 22, and he joined the Powertrack act in the resident
show La Nouba that Cirque du Soleil performed at Walt Disney World
Resort. Although that show closed in December 2017, Lavoie has now
rejoined the act of his dreams in the Houston revival of Alegría.
Despite his high-flying antics, he's never had a serious injury. But
he has had a case of the twistiesthat feeling of being lost in midair
while trying to change direction. The world learned about that
dangerous condition after it took hometown legend Simone Biles out of
competition during the 2021 Tokyo Olympics.
"I experienced it once in training when I was about 12," Lavoie
recalls. "It's very common. I haven't [experienced it during] a show,
but I did when I was competing. You have to stop and go back to basics
and work it out."
During the pandemic, he returned to his home in Quebec. "I was lucky
to have a friend there who has a gymnastics school where I could work
out almost every day to keep in shape and stay mentally grounded."
The Alegría team went back to training earlier this year, and arrived
in Houston four and a half weeks before opening in November to
rehearse under the Big Top, which accommodates 2,600 people. While
audience members are encouraged to wear masks, they are not required
to.
"We all wear masks backstage," he says, "and we used to run through
the audience to get to the stage, but we don't do that now. Plus, we
get tested every week."
Lavoie, who is gay and single, is hoping to find a few dates who will
take him around to see the sights in Houston this month. His parents
visited here from Canada for a weekend, and they visited the Hines
Waterwall Park and some of the great graffiti walls and parks in town.
Lavoie's dream job with Cirque du Soleil is one that he doesn't see
ending anytime soon, even as he ages. "I hope someday to move into a
character that does more acting and less gymnasticsmaybe doing
artistic work backstage, or coaching."
He is definitely that little boy who ran off to find a home in the
circus.
{ SOURCE: Out-Smart Magazine }
----------------------------------------------------------
An Excerpt from Daniel Lamarre's Book: How Creativity
Turned Cirque du Soleil Into an International Success
{Dec.06.2021}
----------------------------------------------------------
In an excerpt from his new book Balancing Acts, the circus's longtime
leader reveals the source of the business magic.
People began bursting into my Montreal office, one after another, with
bad newsanother city locked down, another show canceled, another
border closed. We held emergency meetings, but every decision was
outdated by the time the meeting was over. Soon came word that the big
casino resorts hosting our long-running Las Vegas shows"O,"
"Mystere," "The Beatles Love," "KÀ," "Michael Jackson One"were
closing indefinitely. With the NBA and Broadway shows already dark,
the entire live entertainment industry was being felled by a virus.
In less than a week, our company had to cancel all 44 shows around the
world, and revenue plunged from $1 billion a year to zero. The global
pandemic of March 2020 had left us, quite literally, without a
business. Bankruptcy protection seemed inevitable. As chief executive
officer, I knew I had to stay calm. At this terrifying moment, I would
need every ounce of tenacity I could muster to save our beloved
company.
Today, the sun rises. Cirque du Soleil's spectacular productions have
returned to stages in the U.S. and abroad. Our creditorsseeing the
enormous value in our creative outputacquired us in November 2020 by
absorbing our debt and investing an additional $375 million.
When the pandemic struck, I was writing a book about creativity in
business that made me think long and hard about why our company became
so successful after its humble beginnings in 1984 as a ragtag group of
local street performers and what companies in other industries might
learn from our experience.
During my 21 years at the company, we have expanded by leaps and
bounds, with our touring shows reaching 450 cities in over 90
countries. Overall, more than 365 million spectators have seen our
productions, and our 15 million tickets sold in 2019 were more than
all Broadway shows combined.
How did we achieve such astounding growth? I kept coming back to one
word: creativity. By that, I mean the standard dictionary definition
of "making or bringing into existence something new." Which raises the
question: How can a company reach the cutting edge and stay there?
First, forget the traditional pyramid structure. That tends to stifle
experimentation. We found that employees need smaller, more intimate
groups, which we call "innovation cells," to express themselves openly
and play around with new ideas. That's why we were able to grow so
large without compromising quality. We don't act like a big company.
To maintain our creative edge, we have several cells devoted
exclusively to research and development. Our trends group has three
full-time employees who search the world for new ideas and talent in
music, fashion, architecture, theater, film, games, and more. A larger
research department, called Nextasy, selects a few major projects per
year to focus on, including new stage technologies and biomechanical
breakthroughs that reduce performer injuries. One exciting innovation,
developed with Microsoft Corp., is a pair of augmented-reality
smartglasses, called HoloLens, that allows our directors to visualize
the entire stage before it's even built.
In establishing a creative culture, how you choose your projects and
partners is crucial. Informally, we call our guidelines the Four
Criteria, which can apply to any company or industry:
1. Is it a creative challenge? This is the most important question.
Ask if your team can get truly excited about a new project. Employee
engagement is a huge problemespecially now that workers are quitting
their jobs in historic numbersbecause managers don't give them enough
reasons to get excited about what they do. A creatively challenged
staff is far more productive and works longer hours because they're
deeply engaged.
2. Does our partner share our values? Our greatest partner has been
MGM Resorts International, which understands the creative process and
has always supported our Las Vegas shows no matter how far-out our
ideas or how expensive the theater construction. We've mistakenly
worked with other resorts that had no interest in the artistic content
of our shows. With our values out of alignment, we clashed constantly.
3. Can it make a profit? Although making money is obviously required,
we don't consider it until the first two conditions are met. When we
broke this ruleforming partnerships with a casino resort that
guaranteed us a profit in exchange for the prestige we conferredit
was a disaster. Almost empty theaters damaged our morale and brand. We
should have rejected this deal for the very practical reason that our
company has never been driven by a lust for money.
4. Are our partners socially engaged? If the answer is no, we
introduce them to causes such as Cirque du Monde, our nonprofit arm
that helps at-risk youth. Once our new partners get involved, they are
always glad they did.
When Covid-19 hit, we had to quickly repatriate 1,500 cast and crew
members stranded in 13 cities before national borders slammed shut.
Then we had to find warehouses for almost 500 trucks full of stage
equipment. But all that was nothing compared to the trauma of March
19, 2020, when we had to lay off 95% of our 5,000 employees without
any idea of when we could rehire them.
During those bleak days, as we went through bankruptcy protection, I
was astonished to get a series of calls from blue-chip investors.
Despite our crippled state, they were attracted by the tremendous
power of our brand and the value of our intellectual property. The
winning bid by our creditors put our market value at a stunning $1.28
billion.
That improbable sequence of events illustrates, better than anything
else I could say, why creativity is so crucial in business. Now that
I've moved on from CEO to executive vice chairman of the board, I plan
to travel widely to spread my message: Whether you are an executive,
an entrepreneur, or a professional, if you aren't placing a high
premium on creativity, you're wasting your time. No company deserves
to exist unless it's constantly discovering ways to make its
customers' lives better. Simply put, without creativity, there is no
business.
Taken from Balancing Acts by Daniel Lamarre Copyright 2022 by Daniel
Lamarre.
{ SOURCE: Bloomberg }
----------------------------------------------------------
31 Days Of Plots: R.U.N. By Cirque du Soleil
{Dec.17.2021}
----------------------------------------------------------
Live Design's fourth annual 31 Days Of Plots features one production
per day during the month of December 2021, highlighting a different
lighting design, from across theatre, concert tours, corporate events,
live for broadcast, and more, as we wind down 2021 and head toward the
new year. Day 17 of 31 Days Of Plots 2021 kicks into high gear with
the extreme action show, R.U.N. by Cirque du Soleil.
At the Luxor in Las Vegas, R.U.N. opened in October 2019 and closed in
March 2020, due to Covid-19, as did all resident Cirque shows. The ace
design team included set designer Bruce Rodgers, projection designers
Olivier Goulet and Johnny Ranger, sound designer Jonathan Deans, and
lighting designer David Finn.
"When preparing for R.U.N. there were a lot of unknowns," explains
Finn. "What we did know, however, is that we would have to meld the
lighting aesthetically with a massive video installation, we knew that
we had to cover a lot of square footage, and we knew that there would
be the demand for a lot of varying visual effects. Think Cirque meets
rock show meets video Installation meets theater meets stunt show
meets Cirque again! In other words, be ready for anything. With that
in mind we chose systems that would give us all of the above and
incorporate fixtures which provided a lot of options when it came to
effects and finesse."
In terms of the fixtures used, Finn points out:
The Miro Cubes, Braq Cubes and Spiiders were chosen to put into the
large side towers where a lot of ancillary action would take place
over 4 stories, staircases, ladders, breakaway floors, a DJ booth,
etc. and where quarters were tight, throws were short and heat would
not be friendly. We worked with Set Designer Bruce Rogers and Director
Michael Schwandt to optimize positioning in these massive, complex
towers and then with Video Designers Olivier Goulet and Johnny Ranger
to blend our world behind the giant scrim panels which fronted the
towers into their world which projected onto these same panels. We had
a small DJ booth which was rimmed with GLP Impression Bars and had a
background of Titan Astera Tubes for color and effects when we wanted
to draw attention there.
The Ayrton MagicPanel FX and Astera Titan Tubes were used inside a
custom set of truss rigs (6 total) designed by ATD Joshua Hind. I felt
that we needed one additional strong visual element overhead in this
show that could fill and shape space. We put six units in each rig and
they were able to use their full pan/tilt functions in combination
with the rig tilting forward so it could either play vertically or
horizontally or anywhere in between. We positioned them in a forced
perspective downstage to upstage. Then we let programmer Benny Kirkham
perform his magic and they, ultimately, became a key visual element
that could highlight and support throughout. They could look "Rock 'n
Roll" or "Street" or just be a beautiful array of color and
patterning.
We had a lot of action FOH and the Proscenium arch and forestage were
a key position for connecting the action onstage with that in the
house. We rimmed the arch with Megapointes (powerful and with a lot of
attributes) and also the JDC1 strobes. The forestage had a line up of
the strobes and also MagicDots which were able to act as movable
footlights. The JDC1 strobes are so much more than a strobe and,
again, gave us a lot of visual language.
The remainder of the rig was laid out so that we would have ultimate
flexibility. MegaPointes did the heavy lifting and we chose them
because of the myriad of visual effects in their engines and because
we knew we would have to produce a lot of tight beam work. We put them
everywhere so that we could repeat the language from all positions.
The Sharpys were laid out in arrays for visual effects. The BMFLs were
scattered, mostly FOH, but also overhead for finesse workshaping, key
light for performers, and softer looks. The Wash did just that
provide backlight for the stage area, and the VLX Profiles were there
for additional shaping work onstage. With a lot of help from Robe, we
used the Robospots a few times with multiple sources controlled from a
single rig.
"We were very happy with the way R.U.N. turned out," admits Finn. "We
had a long list of varying equipment but, ultimately, it worked to our
advantage in a production that had so many visual requirements. The
integration of lighting and video was extremely successful and that
came down to the constant exchange of ideas between the two teams. Our
lighting team was exceptional ATD Joshua Hind (who guided us into the
theater), associate Tim Reed, lead programmer Benny Kirkham,
additional programming by Joshua Koffman, intern Brittney Price,
operations chief Brad Seymour, crew chief Chris Kortum and his hard-
working crew."
R.U.N. Lighting Gear List
o) 72 Rosco Miro Cube 4C
o) 44 Rosco Iraq Cube 4C
o) 30 Robe Spiider 30
o) 36 Ayrton MagicPanel FX
o) 12 Ayrton MagicDot XT
o) 12 GLP JDC1 Strobes
o) 60 Astera Titan Tubes
o) 6 GLP Impression x4 Bar 20
o) 16 Vari-Lite VLX Profile
o) 44 Claypaky Sharpy
o) 9 Martin MAC Viper Wash DX
o) 55 Robe MegaPointe
o) 16 Robe BMFL
o) 4 Robe Robospot & Basestation
{ SOURCE: LiveDesign }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Alegria INAL, Koozå, Kurios, Luzia}
o) ARENA - In Stadium-like venues
{Crystal, Corteo}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", LOVE, MJ ONE, JOYA, X: The Land of Fantasy}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Alegría-In a New Light:
Seattle, WA -- Jan 18, 2022 to Mar 13, 2022
Vancouver, BC -- Mar 25, 2022 to May 1, 2022
Koozå:
Punta Cana, DR -- Jan 7, 2022 to Apr 10, 2022 [RESTART]
Montreal, QC -- Apr 28, 2022 to Jun 19, 2022
Kurios:
Toronto, ON -- Apr 14, 2022 to May 23, 2022 [RESTART]
Rome, IT -- Mar 22, 2023 to Apr 30, 2023
Milan, IT -- May 10, 2023 to June 25, 2023
Luzia:
London, UK -- Jan 12, 2022 to Feb 12, 2022 [RESTART]
Barcelona, ES -- Mar 17, 2022 to Apr 10, 2022
Geneva, CH -- May 28, 2022 to Jun 12, 2022
Alicante, ES -- Jul 14, 2022 to Aug 21, 2022
Madrid, ES -- Nov 5, 2022 to Nov 27, 2022
Bazzar:
Sao Paulo, BR -- Sep 8, 2022 to Oct 16, 2022 [RESTART]
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Leipzig, DE -- Sep 30, 2022 to Oct 9, 2022
Nuremberg, DE -- Oct 12, 2021 to Oct 16, 2022
Cologne, DE -- Oct 19, 2022 to Oct 23, 2022
Hanover, DE -- Oct 26, 2022 - Oct 30, 2022
Munich, DE -- Nov 3, 2022 to Nov 6, 2022
Frankfurt, DE -- Nov 9, 2022 to Nov 13, 2022
Oberhausen, DE -- Nov 16, 2022 to Nov 20, 2022
Malaga, ES -- Dec 11, 2022 to Dec 18, 2022
Lisbon, PT -- Dec 22, 2022 to Jan 1, 2023
Pamplona, ES -- Jan 4, 2023 to Jan 8, 2023
Lausanne, CH -- Jan 25, 2023 to Jan 29, 2023
Stuttgart, DE -- Feb 22, 2023 to Feb 26, 2023
CORTEO:
Vilnius, LT -- May 26, 2022 to May 29, 2022
Helsinki, FI -- Jun 2, 2022 to Jun 5, 2022
Antwerp, BE -- Jun 23 2022 to Jul 2, 2022
Dublin, IR -- Jul 6, 2022 to Jul 10, 2022
London, UK -- Jul 13, 2022 to Jul 17, 2022
Nice, FR -- Jul 21, 2022 to Jul 24, 2022
Aix-en-Provence, FR -- Jul 27, 2022 to Jul 31, 2022
Palma de Mallorca, ES -- Aug 5, 2022 to Aug 14, 2022
Krakow, PL -- Sep 1, 2022 to Sep 4, 2022
Gdansk, PL -- Sep 8, 2022 to Sep 11, 2022
Bratislava, SK -- Sep 15, 2022 to Sep 18, 2022
Vienna, AT -- Sep 21, 2022 to Sep 25, 2022
Manchester, UK -- Oct 5, 2022 to Oct 9, 2022
Glasgow, UK -- Oct 12, 2022 to Oct 16, 2022
Birmingham, UK -- Oct 19, 2022 to Oct 23, 2022
Berlin, DE -- Oct 27, 2022 to Oct 30, 2022
Copenhagen, DE -- Nov 3, 2022 to Nov 6, 2022
Trondheim, NO -- Nov 11, 2022 to Nov 13, 2022
Oslo, NO -- Nov 17, 2022 to Nov 20, 2022
Moscow, RU -- TBA
St. Petersburg, RU -- TBA
MESSI10:
Buenos Aires, AR -- Mar 9, 2023 to Mar 26, 2023 [RESTART]
OVO:
Bossier City, LA -- Feb 11, 2022 to Feb 13, 2022 [RESTART]
Frisco, TX -- Feb 16, 2022 to Feb 20, 2022
Cedar Park, TX -- Feb 23, 2022 to Feb 27, 2022
Rio Rancho, NM -- Mar 3, 2022 to Mar 6, 2022
Los Angeles, CA -- Mar 16, 2022 to May 1, 2022
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Variable Nightly - 7:00pm and/or 9:30pm
2022 Dark Days:
o) January 7 thru 18, 2022
o) February 13, 2022
o) March 18, 2022
o) May 13 thru 17, 2022
o) July 22, 2022
o) September 9 thru 13, 2022
o) November 8 & 11, 2022
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Friday, Dark Monday/Tuesday
Two Shows Nightly - 7:00pm and 9:30pm
2022 Dark Days:
o) February 13, 2022
o) April 18 - 26, 2022
o) June 19 - 22, 2022
o) August 21, 2022
o) October 9 - 12, 2022
o) November 30, 2022
o) December 1 - 13, 2022
KA:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
2022 Dark Days:
o) January 3 - 7, 26, 2022
o) February 9 - 25, 2022
o) March 23, 2022
o) May 5 - 13, 2022
o) June 8, 2022
o) August 10, 24, 31, 2022
o) October 6 - 14, 26, 2022
o) December 14, 2022
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday to Monday, Dark: Tuesday/Wednesday (throgh 10/2)
Tuesday to Saturday, Dark: Sunday/Monday (from 10/5)
Two Shows Nightly - 7:00pm and 9:30pm
2022 Dark Days:
o) January 4-8, 2022
o) February 1, 2022
o) March 22, 2022
o) May 3-7, 2022
o) June 21, 2022
o) July 5, 2022
o) November 1, 2022
o) December 31, 2022
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Thursday through Monday - Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
X: THE LAND OF FANTASY
Location: Hangzhou, China
DRAWN TO LIFE
Location: Walt Disney World Resort, Orlando, Florida (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 5:30pm and 8:30pm
8:30pm shows begin on Dec 10, 2021
8:00pm shows beginning Jan 18, 2022
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) ONCE UPON A TIME AT CIRQUE: THE MAKING OF DRAWN TO LIFE
- TRAILER: https://www.youtube.com/watch?v=RoUZYPs5QLs
- EPISODE 1: https://www.youtube.com/watch?v=Ur_gQVinmpk
- EPISODE 2: https://www.youtube.com/watch?v=qGa7PcXN8RQ
- EPISODE 3: https://www.youtube.com/watch?v=YU4_LOFEUNo
- EPISODE 4: https://www.youtube.com/watch?v=pG2EeajNklc
- EPISODE 5: https://www.youtube.com/watch?v=gtUzEy6G-zI
- EPISODE 6: https://www.youtube.com/watch?v=tcy8JcqVifo
- EPISODE 7: https://www.youtube.com/watch?v=UUycgwJbMA0
- EPISODE 8: https://www.youtube.com/watch?v=muECs72GSWg {Nov.13}
As Disney Animators add color to bring their characters to life,
Cirque du Soleil uses costumes and makeup to tell the story of
their artists! In this episode, meet the Drawn To Life costume
and makeup designers!
- EPISODE 9: https://www.youtube.com/watch?v=LONj2KYykoU {Nov.30}
Music is an integral part of both Cirque du Soleil and Disney
storytelling. This week, meet the composer and some musicians
of Drawn To Life, who explain how the score and music of the
show come to life!
- EPISODE 10: https://www.youtube.com/watch?v=eZwcHP7U1-Y {Dec.04}
When Cirque du Soleil and Disney came together to create Drawn
To Life, it was bound to lead to some magical moments! In this
final episode we unveil a world premiere technique seen in the
show that uses Magie Nouvelle or 'New magic'!
o) CIRQUE DU SOLEIL TOUR STORIES
Intermission Is Over and we can tour again! In our newest series
This Starts Today: Cirque du Soleil Tour Stories, we will take
you along as our shows train in Montreal and then head off to
their first touringlocation! The first three episodes covered
Alegria's relaunch in Houston. Episode 4 begins anew with KOOZA!
01: https://www.youtube.com/watch?v=Zr00yRRHIDw {Oct.29}
02: https://www.youtube.com/watch?v=B8oiOTQF1Q4 {Nov.15}
03: https://www.youtube.com/watch?v=cyZW-h9sy24 {Dec.08}
04: https://www.youtube.com/watch?v=41fWciwXbFY {Dec.24}
o) FIERI: FRAGMENTS OF TIME
Follow FIERI's cast and crew as they arrive in Valletta,
explore the surroundings, and get ready to take the stage.
You'll learn about the artists, the music, and the concept
of this show by Cirque du Soleil Events and Experiences group.
01: https://www.youtube.com/watch?v=33eYCw3NaVQ {Nov.20}
02: https://www.youtube.com/watch?v=yweT2OhDC8s {Dec.01}
03: https://www.youtube.com/watch?v=OI5Hs7nCtKk {Dec.01}
04: https://www.youtube.com/watch?v=pKDCJziZNQM {Dec.04}
05: https://www.youtube.com/watch?v=j170BxND3M0 {Dec.09}
06: https://www.youtube.com/watch?v=IDOUqTkKP2w {Dec.16}
o) IN SEARCH OF THE RED BIRD
Who is the Red Bird of Mystere? In this series, we look deeper
at the role and work with teams in Montreal and Las Vegas to
send out the official casting call. Then, meet some of the
incredible artists who are auditioning for the role of a
lifetime as the Red Bird in Mystère, and learn about the
Cirque du Soleil selection process! The Red Bird of Mystère
requires an artist who can do it all, and the 3rd episode,
Cirque has found the perfect person for the role! And finally,
introducing Mysteres new Red Bird, Jared Khalifa!
01: https://www.youtube.com/watch?v=xtrk059zLHY {Dec.12}
02: https://www.youtube.com/watch?v=QeIQfBXqo7Q {Dec.12}
03: https://www.youtube.com/watch?v=Op95sQcOU8k {Dec.14}
04: https://www.youtube.com/watch?v=798Ph8E4-aU {Dec.21}
o) OTHER VIDEOS
- LUZIA | 25 Years of Cirque du Soleil and the Royal Albert Hall
https://www.youtube.com/watch?v=L7xhRLoOYuc {Nov.18}
- Hoop Diving Training | 60-Second Compilation
https://www.youtube.com/watch?v=L7xhRLoOYuc {Dec.02}
- I AM Cirque | Episode 6 - JOYA Mexico
https://www.youtube.com/watch?v=whdQfuoPI-8 {Dec.02}
- The 12 Days of Cirquemas | Family Singalong
https://www.youtube.com/watch?v=NOXRir5bQro {Dec.22}
- Flips and Tricks Compilation
https://www.youtube.com/watch?v=sve9tkPp9bA {Dec.28}
- Here's to You, Here's to 2022
https://www.youtube.com/watch?v=2uVyp9N64S8 {Dec.29}
- CirqueConnect Special: Best of Trapeze
https://www.youtube.com/watch?v=SigcAoksTNI {Dec.31}
- Happy New Year from Cirque in Las Vegas
https://fb.watch/an3qe2oxt5/ {Jan.01}
- I AM Cirque | Episode 7
https://www.youtube.com/watch?v=BaQ2f34OYdM {Jan.05}
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FASCINATION! FEATURES
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SPECIAL /// "Nothing Less Than Actual Magic" - A Collection
of Articles Celebrating Drawn to Life's Premiere
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"Drawn to Life" Has its Thrills
BY: THE ORLANDO SENTINEL, NOV 19, 2021
The arts are soaring again at Disney Springs.
The first show developed jointly by Cirque du Soleil and Disney,
"Drawn to Life" opened there Thursday the first public show in the
shopping and dining complex's distinctive white tent since "La Nouba"
bowed out on Dec. 31, 2017, after a run of nearly 20 years.
Champagne was poured, speeches were made and even self-proclaimed
"biggest Disney geek in the world" John Stamos showed up to celebrate.
Disney and Cirque aren't perfect partners, but Drawn to Life' has
thrills aplenty.
A few rough edges peek through in this unique collaboration between
two storytelling companies with vastly different styles, but Cirque du
Soleil fans will find thrills in the company's artistically acrobatic
traditions.
Among the gasp-producing acts: A man flies over the stage on an aerial
pencil-like rod, using sheer strength to beautifully position his
body; later, on an apparatus I can only describe as "quadruple hamster
wheels of fright," four performers must stay in motion running,
leaping, twisting and balance their timing or risk being dumped off
the giant rotating wheels, suspended high over the stage.
Thrilling stuff.
A charismatic juggling act surprises with unusual projectiles, while a
whimsical troupe of tiny trashmen nearly steal the show in an
unexpected group number. Are they cute? Creepy? Whatever they are,
they're an off-kilter delight.
Beauty is found in Philippe Guillotel's inventive costumes. Lighting
designer Martin Labrecque, whose work not only sets the mood but helps
preserve secret "magic," could deservedly be billed as the star the
show.
Whimsy and elegance merge neatly in another gorgeous surprise: A
unicycle troupe of skirt-wearing women who create eye-catching
tableaux with synchronicity and can spin their wheels like nobody's
business.
There's an epic feeling to much of "Drawn to Life," grander than the
more playful "La Nouba" that preceded it. It's there in scenic
designer's Stephane Roy's towering animated backdrops that glide on
and off the stage, and the grandeur comes through in Benoit Jutras'
cinematic score.
But things occasionally founder in the storytelling, when it's
noticeable two disparate forces are at work. Unlike other thematic
Cirque shows that leave room for individual interpretation, "Drawn to
Life" has a very specific story line, written by Michel Laprise, who
also directed. At the top of the show, young budding artist Julie
reads a letter from her deceased father, a Disney animator, and then
sets out on a quest that takes her into the world of animation and
imagination.
This creates a push and pull between Disney's literal storytelling and
Cirque's evocative storytelling that doesn't always gel. And while
Disney wrote the book on mining emotion from parental death who
wasn't traumatized by "Bambi" as a child? here Disney references
creep in where they don't always need to be.
A sequence in which Julie's mother magically dances with her late
husband is powerful and moving so it's particularly jarring to see a
cartoon mermaid appear as part of this display of adult love and loss.
And the Disney musical cues in the score, appealing in short nostalgic
bursts, have moments where they're too prominent, pulling focus from
the current story being told.
The "Drawn to Life" clowns, who support Julie, have less personality
than many of their brethren though depicting self-doubt as a living
pile of discarded drawings is clever and effective imagery.
The pacing strangely slackens instead of building as the show
approaches its climax, and the final number, featuring a team of
acrobatic women who leap between two moving plank swings, delivers a
female-empowerment message but lacks the pizazz of a larger-than-life,
stage-filling showstopper.
Ultimately, "Drawn to Life" is probably exactly the show Disney and
Cirque wanted with its family-friendly and life-affirming vibe and
a show neither totally wanted, with the disparate storytelling ideas.
That's the nature of compromise and collaboration. But even with
imperfections, "Drawn to Life" is a vibrant, ultimately uplifting
salute to creativity, and that's always worth celebrating.
* * *
"Drawn to Life" Is the Best Show at WDW
BY: FROMMERS, Nov 22, 2021
At the end of 2017, French-Canadian entertainment juggernaut Cirque du
Soleil closed La Nouba, the family-friendly acrobatics spectacular
that played on Walt Disney World resort property for nearly two
decades. When the lights went out, Cirque promised that a replacement
show was in the works.
That was nearly four years ago. Cirque's custom-made arena on the West
Side of Disney Springs fell eerily silent as plans for the new
production stretched, stalled, and fizzled. In 2019, Disney announced
that the Cirque troupe was deep in development for a show that, unlike
the generic La Nouba, would have permission to use the catalog of
Disney animation as inspiration.
The first preview performance was announced for March 20, 2020.
A lot has happened since then. Disney World closed down, and so did
Cirque, shuttering 44 shows around the world, gutting its employee
roster, filing for bankruptcy, and ultimately surviving through a sale
to its creditors.
Rebirth is painful, but one often returns the richer for it. On
November 18, 2021, Drawn to Life finally debuted at Walt Disney
World's Disney Springs.
I don't know how much of the show was sharpened over the pandemic, but
the result isn't only something that was worth the long wait. It's
also a beautiful statement on loss, on healing through the creation of
art, on perseverance, and on the power of emotional support. I've
never been touched by a Cirque show before, but this one choked me up.
All Cirque productions are essentially modernist vaudeville revues. We
see a series of acrobatic acts that are linked by vignettes of
European-style clowning. But Drawn to Life adds a unifying concepta
little girl loses her father but finds self-discovery and consolation
in the hard work that animation requires. "
In Drawn to Life, each feat of physical derring-do serves to fortify,
sometimes in a symbolic sense, the basic tenets that animators use to
make their work feel more authentic.
On the walls of the lobby of the newly renovated theatre (in which
there's not a bad seat in the house, only more distant ones),
audiences can find "Principles of Animation," a glossary of some of
the technical terms that Walt and Roy Disney first learned to master a
century ago in their quest to make cartoons seem lifelike. For
example, well-animated objects don't simply travel unchanged; they
"squash and stretch" as they encounter things. Characters don't have
emotions by themselves; their onscreen friends mirror the core emotion
with "secondary action." And so on.
The union of Cirque du Soleil and Disney animation might sound at
first like a forced marriage, but in practice, the deft elegance of
the athletics and the semi-mystical symbolism of Cirque clowning pair
beautifully with the laborious but ultimately inspiring process of
hand-drawn animation.
So when a fleet of floor tumblers pours onstage and each member
strikes a slightly different pose in imitation of a Donald Duck
projection that moves behind them, the audience can see, through
heart-racing kinesthetics and without any dialogue, how the illusion
of movement through stop-motion animation works.
Like a lot of Cirque, what sounds odd on paper is in fact stirring in
actionthe villain, Miss Hesitation, is a giant wadded-up piece of
paper with an eraser for a purse, and she represents self-doubt. In
one of the show's most exciting acts, her minions of self-censorship
ride a massive windmill-like apparatus with huge blades dominating the
stage.
It's weird, as Cirque often is, but there's also an unspoken
intelligence in it, and when you deal in allegory, the resonance has
the space to become profoundly richer for each individual viewer.
Each acrobatic act strums a different aspect of human yearning,
mirrored in the little girl's gradual discovery of how animation
works. A Spanish aerialist learns how to ride and tame a giant
"pencil." Evoking a sense of joy and play, a Japanese unicyclist
dressed like Pinocchio's Blue Fairy merrily jumps rope on one wheel. A
team of Russian swing gymnasts stands in for the little girl's
yearning to illustrate herself flying into the arms of her missing
daddy.
This is a kid-friendly show (the puppetry in particular is surprising
and fantastical) so while there is some aggressive swinging from the
rafters, in general the choice of physical feats goes easy on the
testosterone. And given the personal theme, that works.
One of Drawn to Life's highlights, an ethereal and heartbreaking pas
de deux between a woman made weightless by the love of her husband, is
a beautiful encapsulation of romance and mutual support. Seen in the
light of the pandemic, during which so many of us have lost lovers,
friends, and parents, even this less showy moment becomes as haunting
as the now-classic wordless montage from Pixar's Up retelling the
story of Carl and his deceased wife.
Over time, Walt Disney World executives have authorized the removal of
nearly every attraction that dwells on the decades of risky labors
that form the foundations of the Disney empire. Modern Disney would
much prefer for guests to spend money on the current marketing push,
so, over time, animation exhibitions were closed, museum spotlights
were whittled to nothing, and even bookstores containing the company's
history were converted into dull souvenir stalls.
It's telling that it took a partnership with outsiders to revive a
deep respect for the meticulous animation processand to do so in a
way that doesn't clobber you over the head.
When Disney tells its own story, it's always "magic, dreams, imagine."
But Drawn to Life is more delicate than that. It's no jukebox of worn
Disney tropes and song snippets without emotional connection, as the
resort's other nighttime spectacularsMagic Kingdom's Enchantment and
Epcot's Harmonioushave become. In fact, as a further sign of its
self-confidence, this production has a score by Benoît Jutras, who
dares to be original, only occasionally quoting Disney tunes as brief
motifs.
The result makes Drawn to Life human, original, and metaphoric in a
way Disney's parks rarely trust themselves to be anymore.
It took a long road to get here, but this is a show Disney should have
had on its stages all along. In fact, it's a show that Disney itself
used to be capable of producing.
Cirque du Soleil's fresh and perceptive exploration of what originally
made Disney so groundbreaking is now the best show at Walt Disney
World.
* * *
"Drawn to Life" Is Nothing Less Than Actual Magic
BY: BROADWAY WORLD, NOV 23, 2021
"The intermission is over."
With that bold pronouncement Thursday night from Daniel Lamarre, CEO
at Cirque du Soleil, Walt Disney World welcomed its circus-in-
residency back to Disney Springs, the resort's shop-and-dine district,
with an all-new show the first since Cirque's La Nouba wrapped a
two-decade run there in 2017.
By intermission, Lamarre means more than just the pause in their own
production. The debut of DRAWN TO LIFE, which finds Cirque partnering
with The Walt Disney Company in a creative capacity for the very first
time, heralds the return of live entertainment to the Florida-based
theme park empire in a major way.
The big white tent that houses the newly refurbished Soleil stage was
packed to the gills on opening night, with guests including "Full
House" star John Stamos, Disney Parks Chair Josh D'Amaro, top Cirque
creatives, and bookoos of bigwigs from the Mouse House all with nary
a hint of pandemic, save for the mandatory face masks on audience
members.
DRAWN TO LIFE is not modified, adapted, socially distanced,
"reimagined for unprecedent times," or performed behind masks. It is a
lavish, full-fledged, uncompromising spectacle of big-budget
entertainment with an expansive cast. That's one way you know it's a
Disney production. The other is that it opens with a dead dad.
Whereas I understood La Nouba to have been fairly abstract in
substance (never having seen it myself), DRAWN TO LIFE has a story to
tell: a young girl named Julie is grieving the loss of her father, an
animator, when she discovers a magical adventure he left behind just
for her. The portal for his parting gift awaits her at the drawing
desk in their basement, where ink and paint come to life.
There is no dialogue or narration here, just good old-fashioned
circusry executed in state-of-the-art fashion. Deciphering each
scene's intended meaning isn't always easy, and some come close to an
overstayed welcome. But new acts always arrive in time to wow, giving
this 90-minute, intermission-less production just the clip it needs to
get by.
Little Julie's dad must have either worked for Disney or wanted to,
because he apparently only drew their intellectual property. A Disney
fan myself, I don't mind that, and I even applaud his penchant for
Walt-era storytelling (and his foresight to include Encanto, scheduled
for release long after his death). But it does raise a critical
eyebrow toward how effectively fused these two disparate brands
Disney and Cirque du Soleil can be.
I don't know if "subtle" is how I'd describe the Disney of it all. But
the show's interaction with intellectual property is exquisitely
artful and ever so slightly less "COPYRIGHT THE WALT DISNEY COMPANY!"
than might be expected. The familiar melodies of animation are sampled
more than covered, all elegantly interwoven in Benoît Jutras's
enchanting score. When Disney characters appear, it's often in
silhouette, or otherwise in roughed-out drawing-board sketches. DRAWN
TO LIFE is as much an homage to the art of animation as to its
particular manifestations in the works of Walt Disney. It is a show
that, in its own inexplicit way, contemplates the self-doubt and
failure that are the inevitable backbone of any creative victory.
The one Disney-like character who does appear in physical form on
stage is an Ursula-ish entity unique to this show. Though she cackles
like a sea witch and saunters like a squid, she is in fact a giant wad
of crumpled-up papers, the embodiment of all those ideas we throw away
when we don't believe in ourselves. In one inspired sequence, she
studies the great Disney villains of yore but lands in a heap of doubt
all her own.
DRAWN TO LIFE's stagecraft and special effects are second to none.
People and objects move about the stage and through the air in
ways they shouldn't be able to. Skillful lighting, clever theatrics,
and expertly rehearsed acrobatics conspire to hide any hint of the
"how." To the naked eye, these effects are indistinguishable from what
we might call real magic.
Gasps are widespread, audible, and involuntary. It's a level of
amazement you just won't find at the theme parks' Beauty and the
Beast: Live on Stage.
Until now, Walt Disney World audiences have not had access to a full-
length, Disney-branded theatrical production during their resort stay.
Compare that to Shanghai Disneyland Resort, where Broadway shows like
The Lion King are staged in Mandarin, or California's Disneyland
Resort, where a Frozen production in the California Adventure theme
park aspires to be a miniature Broadway show. It's a shame that Disney
Springs doesn't have something like a year-round production of
Broadway's Newsies on offer for Florida. But with DRAWN TO LIFE,
parkgoers and local Disney fans alike now have a full-fledged
theatrical experience to call their own.
There is so much to see in DRAWN TO LIFE that it's easy to imagine
patrons returning for an encore in short order. I'd go back just to
marvel at the talent, astounded that there are enough of them to
sustain eight to ten shows a week.
Performances are generally offered once or twice nightly, Tuesday
through Saturday only, with various exceptions. Intended as a new
semi-permanent offering, DRAWN TO LIFE has no end date in sight, and
ticket sales are currently available through the end of 2022. More
information can be found through the official Walt Disney World Resort
website, while tickets are available directly from Cirque du Soleil.
* * *
"Drawn to Life" is Charming
BY: THE ORLANDO WEEKLY, DEC 1, 2021
Cirque du Soleil's Drawn to Life at Disney Springs, originally slated
to debut days before the pandemic struck, follows a young girl who
finds her late father's enchanted animator's desk and falls into a
dreamscape inspired by Disney classics.
The international circus acts Cirque has assembled are once again
breathtaking, but this time they've been cleverly themed around
vintage cartoons and the basic principles of hand-drawn animation. A
troupe of bouncing acrobats demonstrate "squash and stretch"; a
trapeze-like swing swirls with projected brushstrokes plucked straight
from Mary Blair's vibrant paintings; and the terrifying spinning
"double wheel" is transformed into the windmill from 1937's The Old
Mill. At times, the flawless blend of athletic artistry and cutting-
edge stagecraft nearly brought me to tears, such as during a romantic
zero-gravity dance duet. Other moments made me laugh out loud, like
when a drawing desk came to life and galloped away like a pony.
Almost all of Drawn to Life's direct references to Disney are
integrated delicately, including original "pencil test" animations
supervised by veteran director Eric Goldberg and subtle nods to
familiar films woven into the costumes and musical scores.
Unfortunately, it seems someone behind the scenes lost confidence in
Orlando audiences' ability to appreciate a nonverbal narrative,
leading Cirque's cast to break their cardinal rule and speak English
(instead of their usual charming gibberish) during several
unnecessarily verbose sequences. Worse, there are a couple of
egregious transitions filled with shameless mugging and self-
referential quotes that feel like the work of someone from the theme
parks' entertainment department, instead of writer-director Michel
Laprise.
Drawn to Life's tonally jarring missteps which could easily be
edited out briefly broke the magic spell that Cirque du Soleil's
best shows (such as Love and Mystere in Las Vegas) always cast over
me, but a B-plus production by Cirque is still miles ahead of almost
everyone else's best efforts.
My critiques aside, La Nouba's successor is worth the price of
admission, as long as you don't pay extra for the seats down front.
Like so many things at Disney, this show looks best with a little
distance.
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 22, Number 1 (Issue #211) January 2022
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2022 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination! Newsletter." By
sending us correspondence, you give us permission (unless otherwise
noted) to use the submission as we see fit, without remuneration. All
submissions become the property of the "Fascination! Newsletter."
"Fascination! Newsletter" is not affiliated in any way with Cirque du
Soleil. Cirque du Soleil and all its creations are Copyright (C) and
are registered trademarks (TM) of Cirque du Soleil, Inc., All Rights
Reserved. No copyright infringement intended.
{ Jan.06.2022 }
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