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Fascination Issue 223
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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 23, NUMBER 8 November/December ISSUE #223
=======================================================================
Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
* * * YEE HAW! CIRQUE IS GOIN' COUNTRY * * *
Cirque du Soleil will bring audiences of all ages a new theatrical
touring show starting in Nashville in July 2024 in collaboration with
Universal Music Group Nashville. While introducing the perfect harmony
of captivating acrobatics and soulful melodies of beloved country
legends and contemporary stars, this ode to country music’s rich
heritage promises an unforgettable experience. With deep roots in
storytelling, heartfelt emotions, and the ability to resonate with
audiences from all walks of life, both country music and Cirque du
Soleil embody themes of love and resilience – as well as a passion for
breathtaking, powerful performances.
“Our collaboration with Universal Music Group Nashville presents an
exciting opportunity for us to expand our creative horizons and reach
new audiences, as we delve into the vibrant world of country music
entertainment.” Stéphane Lefebvre, President, and CEO of Cirque du
Soleil.
“We are thrilled at the idea of joining forces with Cirque du Soleil
to offer a one-of-a-kind show celebrating classic and modern country
music. Cirque du Soleil is a shining example of making the impossible,
possible through creativity, collaboration, and emotion. The
opportunity to highlight our incredible catalog and bring the history
of country music to life in a live theatrical setting, will allow our
music to live on with a new generation of audiences and country music
fans,” said Cindy Mabe, Chair and CEO of Universal Music Group
Nashville.
The general public on-sale began on December 6, 2023. So, hold onto
your cowboy hat as you two-step into a mesmerizing world of
breathtakin’ guitar grooves & aerial moves with a boot stompin’
journey into the heart & soul of country.
* * * 2023 Série Hommage is... RBO * * *
This new opus is a festive exploration of the eccentric world of Rock
et Belles Oreilles, an unconventional journey into the explosive,
deliciously slobbery world of the famous Quebec comedy group.
Gleefully controversial and masters of the art of the ridiculous, RBO
have redefined the boundaries of humor with their colorful characters,
burlesque parodies, memorable sketches and the ever-popular “The
Tounes”. Come and enjoy an evening inspired by Rock et Belles
Oreilles-style delirium-performance. This new edition will perform
from July 17, 2023 to August 17, 2023 at the Amphithéâtre Cogeco in
Trois-Rivieres, QC.
And more...
So, let's get into it!
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
| |
| Realy Simple Syndication (RSS) Feed (News Only): |
| < http://www.cirquefascination.com/?feed=rss2 > |
| |
\----------------------------------------------------/
- Ricky "Richasi" Russo
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CONTENTS
===========
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) CirqueConnect -- Updates from Cirque's Social Widgets
* Life is a Circus (Posts from the Official Blog)
* Other Outreach (Official Peeks & Noted Fan Finds)
o) Fascination! Features
* "How Cirque du Soleil helped build modern Las Vegas"
By: Jessica Gelt, The LA Times
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
***************************************************************
LA PRESSE -- General News & Highlights
***************************************************************
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Corpay to Become Global Foreign Exchange Partner
{Oct.26.2023}
----------------------------------------------------------
Corpay1, a FLEETCOR brand and global leader in business payments, is
pleased to announce that Corpay’s Cross-Border business has entered
into an agreement with Cirque du Soleil to become their Official
Foreign Exchange (FX) Partner. Through this global sponsorship, Cirque
du Soleil will gain access to Corpay’s innovative solutions to help
mitigate its foreign exchange exposure.
“As a Canadian founded company with a presence in Quebec for over 20
years, Corpay is thrilled to become the Official FX Partner of Cirque
du Soleil. This is a significant milestone for Corpay’s global
partnership program evolution, as it marks our entrée into the world
of arts and live entertainment” said Brad Loder, Vice President,
Cross-Border Marketing, Corpay Cross-Border Solutions.” With our
strong focus on growing the Corpay brand, as well as our corporate
payments and currency risk management business in Canada and across
the globe, we are elated to partner with Cirque du Soleil, a Canadian
icon and world-renowned leader in live entertainment.”
“This new sponsorship is an ideal fit for a global organization such
as ours, whose touring shows perform in over 30 countries each year
and therefore need to manage our foreign exchange risk exposure across
multiple currencies. We look forward to more broadly telling the story
of how Corpay’s solutions provide added value for our organization’s
foreign exchange risk management” said Lauren Hart, Head of
Partnership Strategy, Cirque du Soleil Entertainment Group
About Corpay
Corpay is a global leader in business payments, helping companies of
all sizes better track, manage and pay their expenses. Corpay provides
customers with a comprehensive suite of online payment solutions
including Bill Payment, AP Automation, Cross-Border Payments, Currency
Risk Management, and Commercial Card Programs. Corpay is part of the
FLEETCOR (NYSE: FLT) portfolio of brands. To learn more visit
www.corpay.com.
{ SOURCE: Business Wire }
----------------------------------------------------------
LEGO Masters, Cirque du Soleil Night?
{Oct.27.2023}
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Tonight on “LEGO Masters“! Get your tickets ready for a one-of-a-kind
event as the captivating worlds of LEGO and Cirque du Soleil come
together in a thrilling showdown. The duos will divide into two big
teams to construct a mesmerizing show consisting of four breathtaking
acts that are sure to leave you spellbound. Collaboration and
cooperation are key to successfully bringing the show to life as the
curtain rises in the all-new “Cirque du Soleil” episode of “LEGO
Masters” airing Thursday, October 26 (9:02-10:00 PM ET/PT) on FOX.
With an infinite amount of LEGO bricks, the realm of possibilities is
endless. These ambitious teams of two will battle it out for the
chance to win a $100,000 cash prize, the ultimate LEGO trophy, the
title of LEGO MASTERS and for the first time ever, the winning build
will be turned into an actual LEGO set. Actor and executive producer
Will Arnett hosts with Brickmasters Amy Corbett and Jamie Berard back
as judges.
‘LEGO Masters’: Brickmasters Amy Corbett and Jamie Berard say season 4
is ‘so beyond what I was expecting was even possible’
These are the teams still in the running for this year’s title:
Allyson & Melanie (friends), Aubree & Ryan (married), Christopher &
Robert (tech bros), David (Poppy) & Ben (grandfather/grandson), Emilee
& Kelly (competitive moms), Luis & Alex (teachers), Neena & Sam
(mother/son) and Paul & Nealita (siblings). See all this season’s
contestants in the gallery above.
9:00 p.m. — Previously on “LEGO Masters”! In episode 4, contestants
had to harmonize the abstract idea of sound into bricks. In the end,
mother/son duo Neena & Sam took the top spot and got their golden
brick back. The Brickmasters sent friends Tim & Tim home for “The
Great Willroni,” which failed to impress and lacked “some sort of
reveal” in their magic trick. Who will be eliminated tonight? “LEGO
Masters” starts now!
9:05 p.m. — The contestants enter the build room to see an exciting
group of Cirque du Soleil performers flipping around the floor and
spinning from the rafters. Will explains in this week’s challenge the
builders must create high-flying, gravity-defying stunt performances
of their very own. Teamwork is essential. There will be four pairs on
one team and four on the other in this challenge. Each team will have
to put on the most incredible show consisting of four acts: A
contortionist act, a balancing act, a flying act and a high wire act.
When time is up, their Cirque du Soleil show will go head-to-head with
their rival team. Teams are selected at random by choosing a closed
envelope. Here is how it broke down:
Team Cirque: Aubree & Ryan (contortion), Emilee & Kelly (flying),
Allyson & Melanie (balancing) and Paul & Nealita (high wire)
Team Soleil: Christopher & Robert (flying), Neena & Sam (contortion),
Luis & Alex (high wire) and Poppy & Ben (balancing)
9:10 p.m. — The teams disburse to plan out their builds. Team Soleil
has settled on a love story between the moon and the sun. They feel a
space theme would be a “cool” way to go for this challenge. Team
Cirque is going under water for their theme, focused on a human who is
gradually transforming into a mermaid. It should be fun watching these
builds play out!
9:20 p.m. — Rather than completely separate each build, Team Soleil is
really unifying as a team and having people build a little something
on each apparatus. For instance, Neena & Sam are building the
backdrops for all four acts. Should this team land in the bottom, it
may make it more difficult for the Brickmasters to choose who gets
eliminated. It seems as though nobody is fully responsible for
anything. Team Cirque is going the opposite direction, each focusing
on their own elements. They soon realize their backdrops aren’t
completely matching, which causes some tension in the group. Jamie
says he wants to see “fantastic performances where their power
functions really bring their model to life.” Amy adds, “We want to see
one coherent and aligned build.” They notice both teams have taken
completely different approaches and are curious to see which works
better.
9:30 p.m. — Aubree & Ryan admit they’re nervous this week and trying
to redeem themselves after struggling with power functions in the
past. They’re working on the final act of their show, the contortion
portion. It shows the mermaid showing off her full transformation into
a mermaid. When they tell Amy they’re planning to have the fish and
seaweed move, she pushes them to have some movement in their main
character as well. This extra task really amplifies their stress.
9:45 p.m. — With just over three hours remaining in the challenge,
Will stops the clock to make things more interesting. He says the team
that puts together the top solo act will win a trip to Las Vegas and
tickets to the Cirque du Soleil show of their choice. Meanwhile, Sam
begins to get frantic as he realizes the gears of his build aren’t
turning like he wants them to. He may have spent too much time on the
collective build for the whole team at the expense of the individual
portion he and Neena must complete. To make things worse, since this a
group challenge, they won’t be able to use their golden brick. As time
winds down, teams add their finishing touches and place their four-act
Cirque du Soleil shows up for judgement.
9:55 p.m. — First up is Team Soleil. Jamie exclaims, “Wow! Have you
delivered!” He’s impressed with the unifying features and clear
framing. Amy loves Neena & Sam’s contortionists and calls it a
“spectacular show.” Jamie says Luis & Alex elevated their high wire
act to a “true performance.” Next is Team Cirque. Amy calls this “a
spectacular show” and gives high marks for the color, movement and
emotional story. Jamie thinks Paul & Nealita’s power function adds
drama. Amy loves how much movement Aubree & Ryan brought to their
build. It gives life and energy to the scene.
10:00 p.m. — After a tough deliberation, the Brickmasters declare the
first ever tie in “LEGO Masters” history. They can’t decide on a
winning team after these incredible builds. This means NOBODY is going
home! There is one pair that outshined everyone though, winning
tickets to a Cirque du Soleil show in Las Vegas. That winning duo is
Aubree & Ryan!
{ SOURCE: GoldDerby }
CDS Hawai’i has a Name! (Unofficially)
{Nov.22.2023}
----------------------------------------------------------
Okay, so it hasn’t officially been released yet, but the trademark for
it has been filed already.
For those who don't wish to know, don't read any further.
[‘Auana]
The word seems to mean “to wander, drift, go from place to place” and
it also used to describe contemporary hula dance, which, of course,
makes sense as this show is based on Hawaiian culture.
Cirque du Sound: Meet Salima Ikram
{Nov.26.2023}
----------------------------------------------------------
Q. Could you please introduce yourself in a few words?
My name is Salima Ikram and I am an Egyptologist. I excavate, teach,
work in museums, publish for scholars and enthusiasts, adults, and
children, and sometimes appear in the media.
Q. If you had to pick your favorite Cirque du Soleil show, which one
would it be? (And why?)
This is hard to choose. There are so many amazing shows. I think I
like the beauty and talent of the performers as well as the
exquisitely crafted and choreographed events. Saltimbanco, one of the
older creations was amazing, wedding the old and the new. And Mystère
is, of course, amazingly beautiful and subtle.
Q. Can you tell us a bit about what sparked your interest in
archeology and Egyptology and what motivated you to pursue a career
in this field?
On my 8th birthday I got the Time Life book on ancient Egypt, and when
I was 9 and half, I visited Cairo with my family, and fell in love
with the Grand Gallery of the Great Pyramid. Then, we visited the
Cairo Museum, where I saw Rahotep and Nofret's statue, turned around
and thought they were real, and decided that I had found 'my' people
and decided to become an Egyptologist. In school I studied history,
French, and visited museums and sites. In College, I double majored in
history and classical and near eastern archaeology at Bryn Mawr
College, and took classes in Egyptology and Indus Valley archaeology
at the University of Pennsylvania. I did a year abroad at the American
University in Cairo, volunteered in the Egyptian Museum, worked on an
excavation, and then went on to do a M.Phil and PhD at Cambridge (UK).
After that, we moved to Egypt, where I was fortunate enough to obtain
a position at the American University in Cairo, first a part-time
position, and later a full-time one.
Q. The public perception of archaeology is often influenced by
creative portrayals in media and literature. How do you balance the
need for accurate representation with the creative aspects of
storytelling when communicating your archaeological findings to the
public?
Archaeology is inherently fun and interesting, and about people, so it
is relatively easy to communicate this to the public, but one has to
be careful about sensationalizing finds and also explaining the kind
of detailed work that archaeology entails.
Q. Archaeology often involves filling gaps in the historical narrative
with informed speculation. How do you navigate the balance between
evidence-based conclusions and the creative imagination required to
reconstruct aspects of ancient life that may not be fully
understood?
I think that archaeologists have potential as fiction writers—we have
to create different scenarios to fit the different pieces of evidence
that will explain what we have excavated. We often become enamored
with a particular idea or theory, and then when evidence to the
contrary emerges, we have a hard time letting go.
Q. Community-based archaeology projects are getting more and more
frequent. How can involving local communities in archaeological
research contribute to a more holistic understanding of the past?
Sometimes people who have not been mired in academia have fresh and
intuitive ways of interpreting the evidence and this is very helpful
all around. It also connects people to the past, but also to one
another and builds communities through time and space. I also like to
ask people who are professionals in different aspects of technology
(carpenters, stone masons, potters, goldsmiths, etc.) to look at
objects and images to see what they have to say about them as their
understanding of technologies is profound.
Q. Which archaeological projects or discoveries have you been part of
that you believe have had the most significant impact on our
understanding of ancient civilizations, and what do you hope they
contribute to the legacy of archaeological knowledge?
That is a very hard question to answer! I think one such find is the
embalming deposit in the Valley of the Kings tomb 63. It contained the
materials for the mummification of at least one if not more royals,
and by examining the contents of the deposit carefully, we are coming
up with a deeper understanding of the science of mummification.
Working in Egypt’s Western Desert has been extraordinary as the
discoveries of rock art as well as sites dating from Prehistory to c.
AD 700 allows us to explore climate change in the Eastern Sahara and
how the Nile Valley might have been settled. The events of the future
definitely have very direct and powerful roots in the past!
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Alegría INAL, Kooza, Kurios, Luzia, Bazzar, ECHO, and
'TWAS THE NIGHT}
o) ARENA - In Stadium-like venues
{Crystal, Corteo, Messi10, OVO}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", LOVE, MJ ONE, JOYA, Drawn to Life,
and Mad Apple}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Alegría-In a New Light:
London, UK -- January 11, 2024 to March 3, 2024
Barcelona, ES -- March 20, 2024 to May 5, 2024
Malaga, ES -- May 31, 2024 to June 23, 2024
Alicante, ES -- July 16, 2024 to August 4, 2024
Seville, ES -- September 28, 2024 to October 27, 2024
Madrid, ES -- December 4, 2024 to January 6, 2025
Kooza:
Vancouver, BC -- October 21, 2023 to December 31, 2023
San Francisco, CA -- January 17, 2024 to March 10, 2024
San Jose, CA -- April 18, 2024 to May 26, 2024
Kurios:
Paris, FR -- November 16, 2023 to January 14, 2024
Munich, DE -- January 26, 2024 to February 25, 2024
Dusseldorf, DE -- March 8, 2024 to April 7, 2024
Montreal, QC -- May 23, 2024 to July 14, 2024
Luzia:
Seoul, SKR -- October 25, 2023 to December 31, 2023
Busan, SKR -- January 13, 2024 to February 4, 2024
Melbourne, AU -- March 24, 2024 to May 19, 2024
Adelaide, AU -- June 9, 2024 to June 30, 2024
Perth, AU -- July 25, 2024 to August 18, 2024
Brisbane, AU -- September 25, 2024 to October 27, 2024
Sydney, AU -- November 24, 2024 to January 15, 2025
Bazzar:
San Antonio, TX -- November 5, 2023 to December 3, 2023
Charlotte, NC -- December 16, 2023 to January 14, 2024
St. Petersburg, FL -- February 22, 2024 to March 24, 2024
Hartford, CT -- April 6, 2024 to May 5, 2024
Minneapolis, MN -- May 18, 2024 to June 16, 2024
ECHO:
Atlanta, GA -- November 5, 2023 to January 21, 2024
Miami, FL -- February 22, 2024 to April 7, 2024
Toronto, ON -- May 8, 2024 to July 21, 2024
TWAS THE NIGHT:
Minneapolis, MN -- November 24, 2023 to December 3, 2023
St. Louis, MO -- November 29, 2023 to December 10, 2023
Phoenix, AZ -- December 15, 2023 to December 24, 2023
Baltimore, MD -- November 24, 2023 to December 3, 2023
Chicago, IL -- December 7, 2023 to December 28, 2023
Milwaukee, WI -- November 24, 2023 to November 26, 2023
New York, NY -- December 7, 2023 to December 28 2023
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
Windsor, ON -- Nov 30, 2023 to Dec 3, 2023
Oshawa, ON -- Dec 7, 2023 to Dec 10, 2023
Hamilton, ON -- Dec 14, 2023 to Dec 17, 2023
Montreal, QC -- Dec 21, 2023 to Dec 31, 2023
Detroit, MI -- Jan 4, 2024 to Jan 7, 2024
Hershey, PA -- Jan 11, 2024 to Jan 14, 2024
Pittsburg, PA -- Jan 18, 2024 to Jan 21, 2024
Frisco, TX -- Feb 7, 2024 to Feb 11, 2024
Fort Worth, TX -- Feb 15, 2024 to Feb 18, 2024
Cedar Park, TX -- Feb 21, 2024 to Feb 25, 2024
Tucson, AZ -- Feb 29, 2024 to Mar 3, 2024
Rio Rancho, NM -- Mar 7, 2024 to Mar 10, 2024
Denver, CO -- Mar 13, 2024 to Mar 17, 2024
Milwaukee, WI -- Mar 28, 2024 to Mar 31, 2024
Columbus, OH -- Apr 4, 2024 to Apr 7, 2024
CORTEO:
Omaha, NE -- Nov 30, 2023 to Dec 3, 2023
Winnipeg, MB -- Dec 7, 2023 to Dec 10, 2023
Regina, SK -- Dec 14, 2023 to Dec 17, 2023
Saskatoon, SK -- Dec 21, 2023 to Dec 24, 2023
Edmonton, AB -- Dec 27, 2023 to Dec 31, 2023
Penticon, BC -- Jan 4, 2024 to Jan 7, 2024
Victoria, BC -- Jan 11, 2024 to Jan 14, 2024
Seattle, WA -- Jan 17, 2024 to Jan 20, 2024
Loveland, CO -- Jan 25, 2024 to Jan 28, 2024
Beaumont, TX -- Feb 16, 2024 to Feb 18, 2024
Baton Rouge, LA -- Feb 22, 2024 to Feb 25, 2024
Houston, TX -- Feb 29, 2024 to Mar 3, 2024
Jacksonville, FL -- Mar 7, 2024 to Mar 10, 2024
Greensboro, NC -- Mar 14, 2024 to Mar 17, 2024
Greenville, SC -- Mar 21, 2024 to Mar 24, 2024
Allentown, PA -- Mar 28, 2024 to Mar 31, 2024
Syracuse, NY -- Apr 4, 2024 to Apr 7, 2024
Bridgeport, CT -- Apr 11, 2024 to Apr 14, 2024
Albany, NY -- Apr 19, 2024 to Apr 21, 2024
Cincinnati, OH -- May 9, 2024 to May 12, 2024
Fairfax, VA -- May 17, 2024 to May 25, 2024
Philadelphia, PA -- May 30, 2024 to Jun 2, 2024
Halifax, NS -- Jun 6, 2024 to Jun 9, 2024
Moncton, NB -- Jun 13, 2024 to Jun 16, 2024
Portland, ME -- Jun 20, 2024 to Jun 23, 2024
Bordeaux, FR -- Sep 19, 2024 to Sep 22, 2024
Prague, CZ -- Sep 25, 2024 to Sep 29, 2024
Leipzig, DE -- Oct 2, 2024 to Oct 6, 2024
Mannheim, DE -- Oct 10, 2024 to Oct 13, 2024
Zurich, CH -- Oct 17, 2024 to Oct 20, 2024
Hamburg, DE -- Oct 23, 2024 to Oct 27, 2024
Stuttgart, DE -- Oct 30, 2024 to Nov 3, 2024
Bremen, DE -- Nov 21, 2024 to Nov 24, 2024
MESSI10:
Caracas, VE -- Feb 21, 2024 to Feb 25, 2024
OVO:
Toulouse, FR -- Dec 7, 2023 to Dec 10, 2023
Granada, ES -- Dec 13, 2023 to Dec 17, 2023
Lisbon, PT -- Dec 20, 2023 to Dec 30, 2023
Santiago, ES -- Jan 3, 2024 to Jan 7, 2024
Zaragoza, ES -- Jan 10, 2024 to Jan 14, 2024
Lausanne, CH -- Jan 18, 2024 to Jan 21, 2024
Zagreb, HR -- Jan 25, 2024 to Jan 28, 2024
Vienna, AT -- Feb 1, 2024 to Feb 4, 2024
Budapest, HU -- Feb 8, 2024 to Feb 11, 2024
Bucharest, RO -- Feb 15, 2024 to Feb 18, 2024
Lille, FR -- Mar 7, 2024 to Mar 10, 2024
Antwerp, BE -- Mar 13, 2024 to Mar 17, 2024
Glasgow, UK -- Mar 21, 2024 to Mar 24, 2024
Manchester, UK -- Mar 27, 2024 to Mar 31, 2024
Leeds, UK -- Apr 4, 2024 to Apr 7, 2024
Liverpool, UK -- Apr 11, 2024 to Apr 14, 2024
Dublin, IE -- Apr 18, 2024 to Apr 21, 2024
Birmingham, UK -- Apr 25, 2024 to Apr 28 2024
Youngstown, OH -- Jun 7, 2024 to Jun 9, 2024
Norfolk, VA -- Jun 13, 2024 to Jun 16, 2024
Boston, MA -- Jul 20, 2024 to Jul 28, 2024
Providence, RI -- Aug 1, 2024 to Aug 4, 2024
Manchester, NH -- Aug 8, 2024 to Aug 11, 2024
Elmont, NY -- Aug 15, 2024 to Aug 18, 2024
Indianapolis, IN -- Aug 22, 2024 to Aug 25, 2024
CIRQUE DU COUNTRY:
Nashville, TN -- July 2, 2024 to July 28, 2024
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystere:
Location: Treasure Island, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Variable Nightly - 7:00pm and 9:30pm
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Friday, Dark Monday/Tuesday
Two Shows Nightly - 7:00pm and 9:30pm
2023 Dark Days:
o) December 1-3, 2023
o) December 6-10, 2023
KA:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
2023 Dark Days:
o) December 13, 2023
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
Age Requirements:
- Children under 5 not permitted.
2023 Dark Days:
o) December 25, 2023
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Thursday through Monday - Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
JOYA:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
DRAWN TO LIFE:
Location: Walt Disney World Resort, Orlando, Florida (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 5:30pm and 8:00pm
MAD APPLE:
Location: New York-New York, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
Age Requirements:
- Children under 16 not permitted.
- Children under 18 must be accompanied by an adult
2023 Dark Days:
o) December 18 - 19, 2023
=======================================================================
CIRQUECONNECT - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
---------------------------------------------------
LIFE IS A CIRCUS: Posts from the Official Blog
---------------------------------------------------
o) LEGO MASTERS USA: THE CIRCUS IS IN TOWN
BY: Maxin Potvin, Blog Editor | October 26, 2023
Brick by brick, kids and adults alike have been building with
LEGO everything their playful imagination can muster. But could
they match Cirque du Soleil’s imaginative prowess?
That’s the challenge FOX’s LEGO Masters are tackling this week.
To celebrate Cirque du Soleil’s 30th year in Las Vegas, we
brought the circus to the small screen and dared participants to
create builds as impressive as our performers’ acts!
Two trapeze artists from "O" and two Icarian Games performers
from KÀ were present to mesmerize Brickmasters Amy & Jamie and
inspire the Builders for their high-flying creations. Host Will
Arnett might even learn an entertainment trick or two from them!
Joining forces with their competitors, the Builders are tasked
to produce a Cirque show of their very own.
Divided in four acts, they are challenged to create from scratch
a Contortionist Act that bends and twists in amazing ways, a
Balancing Act that defies gravity, a Flying Act that gives the
illusion of flying up above, and a Highwire Act, featuring a
performer that can successfully move from one side of a
tightwire to the other.
Will Builders be able to stick the landing or are they headed
towards a clownish disaster? The all-new “Cirque du Soleil”
episode of LEGO Masters airs Thursday, October 26 at 9/8c on FOX
and at 9 p.m. ET/PT on CTV, CTV.ca, and the CTV App!
Too busy building your dream LEGO castle to watch the show live?
Watch full episodes on Hulu, Fox.com, Tubi, and On Demand*.
*On Demand episodes are available for customers of Cox Contour
TV, DIRECTV, DISH, fuboTV, Hulu + Live TV, Optimum, Spectrum,
Verizon FiOS, XFINITY, YouTube TV and many more.
o) HEIDI KLUM & CIRQUE: CRAFTING HALLOWEEN MAGIC
BY: Maxin Potvin, Blog Editor | October 30, 2023
What a ginormous task to tackle! Heidi Klum, the indisputable
queen of Halloween, has set the bar oh so high in the past
years. Surprising fans with costumes each more elaborate than
the previous one, keeping everybody on the edge of their seats
before her grand reveal and hosting a myriad of celebrities at a
very anticipated party where attendees are expected to show off
their best spooktastic looks. How could the German supermodel
maintain momentum and up the ante on 2022’s unexpected (and a
bit gross) worm costume or the many show-stopping accoutrements
she’s came up with over the past two decades? The answer is
simple: bring a squad of expert costume-makers and makeup
artists in the fold.
The Conceptualization -- Heidi Klum came to us with her vision:
she wished to mesmerize and astonish the audience walking down
the trademark orange carpet at the party. What better way to
capture the crowd's attention than take on the peacock's
fascinating appearance? Her stroke of genius was an inspiring
way to jumpstart the partnership between her team and Cirque.
Enlisting renowned costume designer Marie Chantale Vaillancourt,
who created costumes for KÀ and KOOZA, to work alongside Cirque
du Soleil’s Creative Guide Michel Laprise and Marie-Helene
Delage, lead creative director for this special project, was the
ticket to success. They led a team of no less than 29 Cirque du
Soleil experts from the costume workshops. They joined forces
with Oscar-winning makeup artist Bill Corso, who’s a long-time
associate of Heidi’s Halloween costumes, creating prosthetics
for her looks amongst other things.
The Execution -- Cirque du Soleil is renowned for creating out-
of-the-box, handmade garments for the performer to wear on
stage. The Ateliers team works tirelessly all year round to
tailor unique and memorable costumes to bring their characters
to life. Channeling this precious expertise was no small feat –
especially knowing that all eyes would be pointed on Heidi Klum,
come Halloween. A total of 11 costumes were conceived for the
evening; 10 for the Cirque du Soleil acrobats and one for Heidi.
Many, many, many Swarovski crystals and over 657 feet (200
meters) of sublimated fabric, printed in-house at the
International Headquarters in Montréal, Canada, were used in the
creation of the costumes. The complexity of the costume required
almost 2,000 hours of work, with around 200 of those dedicated
to creating the various textures, colors, and designs for fabric
printing. The costume was conceived in a way that allowed it to
piece together like a puzzle.
o) CIRQUE RAW: LIKE YOU'VE NEVER SEEN IT BEFORE
BY: Maxin Potvin, Blog Editor | November 26, 2023
Cirque RAW offers a poignant and cinematographic exploration of
circus arts through minimalistic storytelling and a surrealist
lens.
Yuri Berger, Senior Creative Producer, has many feathers in his
cap after almost a decade at Cirque du Soleil. One he is
especially proud of is the recent work he and his team first
presented at FIFA in March 2023.
Crossing borders to capture stunning images across Costa Rica
and other regions of the world was a dream come true for the
Cirque team. Fascinating landscapes and mystifying backgrounds
were key in creating a dreamy series showcasing RAW talent and
conveying feelings of awe in these videos.
As he puts it, “the series aimed to delve deeper into the
essence of an artist’s work to reveal their individuality and
artistry in a profoundly authentic manner”. Given that this is
Cirque du Soleil, he was compelled to add a layer of intrigue by
infusing the performances themselves with an atmosphere of
surrealism. For example, in the KOOZA episode, this manifests as
an intimidating mountain of chairs inhabiting an empty room, an
homage to the artist’s act on the show.
All this work amounts to mesmerizing episodes merging amazing
human performances, unique settings, a hint of dreamlike moments
and an experience that’s both acrobatic and cinematic.
Watch the full series right now!
https://blog.cirquedusoleil.com/cirque-raw
PURA VIDA – Aerial Straps
In this mesmerizing episode of Cirque RAW, we immerse ourselves
in the enchanting realms of Costa Rica with aerial artists Zoe
Schubert and Marceau Bidal. Against the breathtaking canvas of
Costa Rica's natural wonders, from La Fortuna to Montezuma
Beach, including views of the iconic Arbolito Solitario, their
exceptional talents shine in a silent poem, inspired by nature
itself. Extending an alluring invitation to experience this
artistic celebration of Costa Rica's beauty for yourself, let
the incredible sights speak volumes without uttering a word,
beckoning you to explore this tropical paradise.
KOOZA – Chair Act
Balance is key for this Cirque du Soleil artist. This Cirque RAW
episode offers a unique exploration of the circus arts through a
simple approach, a nuanced narrative, and a surrealistic
viewpoint, allowing the artist’s talent to be the sole focus.
The Beatles LOVE – Dance and Contortion
Be prepared to be amazed by the physical prowess of a performer
who has worked tirelessly to perfect their craft. Through
masterful movements and unbelievable contortions, watch Cirque
du Soleil dancer and artist fill their space with a personal
choreography, unbarred by makeup, costume or decor.
Mystère – Hand to Hand
Let yourself be transported to Nevada’s dreamy desert for an
intimate hand-to-hand performance from Vegas-based Cirque du
Soleil artists and sisters. A stunning showcase of their pure
talent for a poignant and surrealist exploration of the circus
arts.
ECHO – Human Cradle
11 close-knit Cirque du Soleil artists are coming together to
perform a physical feat like no other. Years of training led
this Ethiopian group of athletes to master the demanding act of
Human Cradle featured in Cirque’s latest creation, ECHO.
---------------------------------------------------
OTHER OUTREACH: Official Peeks & Noted Fan Finds
---------------------------------------------------
o) CIRQUE DU SOUND
A great creative idea can come from anywhere, at any time. The
trick is – knowing how to spot it. Cirque du Soleil is widely known
as a beacon of creative thinking. For decades, they've thrilled
audiences with imaginative, interdisciplinary live experiences
drawing creative inspiration from art, science, nature, philosophy,
and the magic of everyday life. Cirque du Sound is a brand-new
podcast from the creative minds at Cirque du Soleil. It's an
immersive sonic trip exploring the creative ideas at the root of
some of Cirque du Soleil's most beloved shows. Do you want to bring
more creativity into your work, or your life? Join host Michel
Laprise, renowned director, and Creative Guide at Cirque du Soleil,
for deep-dive conversations with modern visionaries from all over
the globe. Conversations bent on widening the definition of
creativity, all while looking through the unique ‘cirque-oscopic'
lens of Cirque du Soleil.
* EPISODE 1: Sympathy for the Devil, with Screenwriter John August.
https://blog.cirquedusoleil.com/cirque-du-sound-episode-1
* EPISODE 2: The Magic of the Every-day, author Luis Alberto Urrea.
https://blog.cirquedusoleil.com/cirque-du-sound-episode-2
* EPISODE 3: Creative Rites, with anthropologist Wade Davis
https://blog.cirquedusoleil.com/cirque-du-sound-episode-3
* EPISODE 4: Full Immersion, with director Félix Lajeunesse
{Oct.26} https://blog.cirquedusoleil.com/cirque-du-sound-episode-4
In a world that feels like it's evolving faster than we can
comprehend, what does it mean to be “present” and “immersed”?
Félix Lajeunesse's journey into the world of immersive
storytelling began when he and collaborator Paul Raphael founded
Felix & Paul Studios, a Montreal-based creative studio. The duo
embarked on a mission to harness technology to create emotionally
resonant narratives that would transport audiences into new
dimensions of storytelling. Listen in as Félix joins Michel
Laprise for a fascinating conversation about the evolution of
Virtual Reality Cinema, the elegance and surrealism of the Cirque
du Soleil show "O", and Félix's philosophy on presence,
immersion, and creativity.
* EPISODE 5: Circle of Empathy, with Microsoft Futurist Jaron Lanier
{Nov.09} https://blog.cirquedusoleil.com/cirque-du-sound-episode-5
How do we continue fueling creativity while holding ourselves
accountable for how the future unfolds? In this episode, Michel
Laprise interviews Microsoft’s "Prime Unifying Scientist",
futurist, musician, and VR pioneer, Jaron Lanier. Inspired by the
music and core concepts of ECHO, the two discuss our changing
perception of reality, why we must not lose touch with nature,
and the future of technology. Listen in as the two delve into the
future, the power of invention, and the importance of empathy.
* EPISODE 6: Reaching Back in Time, with Archeologist Salima Ikram.
{Nov.23} https://blog.cirquedusoleil.com/cirque-du-sound-episode-6
If you want true creative inspiration, look to the past. So says
the highly distinguished Professor of Egyptology at The American
University in Cairo, Salima Ikram. Ikram has worked as an
archaeologist in Turkey, Sudan, Greece, and the United States,
and now she joins Michel Laprise for a deep conversation inspired
by the history and mythology of the original must-see Cirque du
Soleil show, Mystère. Listen in as the two examine how ancient
stories can inspire modern-day creativity.
* EPISODE 7: Get Kurios, with NASA Astrophysicist Dr. John Mather.
{Dec.07} https://blog.cirquedusoleil.com/cirque-du-sound-episode-7
What happens when you have a lifelong mindset of curiosity?
Nobel-laureate astrophysicist Dr. John Mather is the big
scientific brain behind the James Webb deep space telescope, a
massive leap forward in humanity’s quest to understand the
universe and its origins. Dr. Mather sits down with Cirque du
Soleil creative guide, Michel Laprise, to discuss how a never-
ending quest for knowledge has led to wildly creative
collaborations that redefine our understanding of time, space,
and what it means to be human. Listen in as these two luminaries
explore concepts inspired by the music and themes of KURIOS –
Cabinet of Curiosities.
With each episode linking back to a central theme found in popular
Cirque du Soleil shows, Cirque du Sound broadens your definition of
creativity through a unique 'cirque-oscopic' point of view. Listen
in and open your mind for 12 utterly unique episodes of the Cirque
du Sound podcast. Check out this new and exciting podcast on the
platform of your choice:
-) Spotify: https://open.spotify.com/show/
1g1xGigNbUbHg6LeIzjBKy?si=22c56a189dd244d3
-) Apple Podcasts: https://podcasts.apple.com/us/podcast/
cirque-du-sound/id1707221236
-) Google Podcasts: https://podcasts.google.com/feed/
aHR0cHM6Ly9mZWVkcy5jb2hvc3Rwb2RjYXN0aW5nLmNvbS9hamJpYm9HeA
-) YouTube: https://www.youtube.com/@CirqueduSoleil/podcasts
-) Cirque Blog: https://link.chtbl.com/cirque-du-sound-blog
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FASCINATION! FEATURES
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o) “How Cirque du Soleil helped build modern Las Vegas”
By: Jessica Gelt, The LA Times
----------------------------------------------------------
“How Cirque du Soleil helped build modern Las Vegas”
By: Jessica Gelt, The LA Times
----------------------------------------------------------
The water is its own world. One and a half million gallons rest behind
11 panes of 4-inch-thick glass in a warren below the stage where
Cirque du Soleil’s “O” plays at the Bellagio. This is the lighting
tunnel — and when the 25th anniversary show begins in a few hours,
spotlights will flood the water through these windows, highlighting
the breathtaking acrobatics taking place above and below its surface.
It’s a warm afternoon, but the theater is chilly as Russian swing
performer and strongman John Maxson explains the complex mechanics of
the pool, which remains a revolutionary build to this day.
Four mainstage hydraulic lifts can move the stage from 17 feet below
the surface of the water to 18 inches above it. Instead of regular
hydraulic fluid, food-grade vegetable oil fills the hydraulic
cylinders powering the “O” lifts — so they don’t contaminate the water
in case of a leak. The pool itself is 25 feet deep, but pits for the
cylinders extend another 25 feet below that. The pool is drained into
the massive lake in front of the Bellagio Hotel and Casino once a year
for maintenance, causing the water around the iconic dancing fountains
to rise a full inch.
Maxson — his face and bald head elaborately painted, his muscled body
sturdy and poised, his posture still impeccable — was among the
original 85 performers who opened “O” in 1998.
He said the performers had no idea what they were getting into when
they first signed up for the show. They were sent to train at Cirque
headquarters in Montreal and lived in apartments together, an
arrangement that fostered the kind of intimacy that still defines the
human interactions in the show.
“When we first opened, the reception, it was …,” Maxson paused,
searching for the right words. “There was a three-month waiting list
to get in, which was mind-boggling.”
Vegas has grown exponentially since then; its population has swelled
to more than 650,000 from around 400,000. Dirt roads where performers
used to park to gaze at the city lights are now fully developed
neighborhoods. Casinos have been torn down, built back up, bought and
sold. And crucially, what happens in Vegas no longer stays in Vegas.
(Woe betide the hapless conventioneer who gets hopelessly drunk at a
strip club in the age of TikTok.)
Slogans, technology and trends have changed, but one facet of Sin City
has remained the same over the last 30 years: the dominance of Cirque
du Soleil.
The French-Canadian company, founded in the 1980s by street performers
as a humble yet ambitious circus without animals, opened its first
permanent show, “Mystère,” at Treasure Island three decades ago. “I
was a little bewildered when Steve [Wynn] told me it was a circus with
no animals,” said Bobby Baldwin, the former CEO of Mirage Resorts.
Cirque has since grown into a billion-dollar entertainment juggernaut
with six shows running twice a night up and down the 4.2-mile Strip,
not to mention its worldwide tours.
Cirque in Vegas has performed more than 60,000 shows for 80 million
guests. It has 1,790 employees, including 465 artists.
“O” — its most profitable show — has remained practically unchanged
across 25 years, 11,000 performances and an audience of 18 million-
plus. Its run in a single venue is rivaled only by “The Phantom of the
Opera” on Broadway, which recently closed after 35 years and nearly
14,000 shows.
“‘O’ was the most successful stage show in the history of
entertainment,” said MGM Resorts International CEO Bill Hornbuckle,
who was with Mirage Resorts when it first brought Cirque to Vegas.
“It’s gonna gross close to $2.5 billion and it runs 90%-plus occupancy
the whole time.”
The allure of Cirque shows rests in the unbelievable physical
abilities of international performers who are athletes of the highest
order — often arriving at Cirque as a second act after competing in
the Olympics or playing professional sports. The high-stakes bending,
lifting, flying, flipping, rolling, diving, dancing and swimming
unravel bit by bit over the course of each show like a surrealist
painting come to life.
As in many of its productions, fate has been key to the story of
Cirque’s rise. The fledgling company happened to be in the right place
at the right time, said Alan Feldman, distinguished fellow in
responsible gaming for University of Nevada, Las Vegas’ International
Gaming Institute.
When Cirque first hit, Wall Street financing flowed to Vegas along
with a growth in tourism and conventions, making the city ripe for a
new kind of non-gaming entertainment. In the 30 years since, Cirque
paved the path to the city becoming a global destination — as much for
its top-notch shows, five-star chefs and tony boutiques as it is for
its cards, dice and slots.
Ironically, the tigers of Siegfried & Roy cleared the way for the
animal-less circus.
Real estate magnate Steve Wynn made a huge gamble on the future of the
recession-battered city in 1989 when he built the Mirage for a then-
unimaginable sum of $617 million, making it the world’s most expensive
resort. Jay Sarno’s Caesars Palace, which opened in 1966, cost $22
million by comparison.
With the Mirage, Wynn created Vegas’ first fully integrated resort,
said Feldman. Under the same sprawling roof, it contained the
hallmarks of every modern casino: gaming, dining, meeting and
convention spaces, destination entertainment and high-end retail.
The Mirage’s success spurred a building boom that resulted in 11 new
mega resorts during the 1990s, including New York-New York, Paris,
Bellagio, Luxor, Excalibur, MGM Grand, Stratosphere and Mandalay Bay.
“The capital investment in that 10-year period was like no other
destination has ever seen, and maybe ever will see in terms of value
of the dollar in that time frame,” Hornbuckle said. “It’s very
difficult today to build something at this scale, and make it all
pencil out. Back then you could do it.”
Meanwhile, Siegfried & Roy raised the bar for the kind of
entertainment expected in Las Vegas. With Wynn’s financial largesse,
the German magicians brought in a director and set designer from the
Royal Shakespeare Company, and a lighting designer who had won a Tony
for her work on Broadway with “Phantom,” said Feldman.
“It was just this incredible deluge of imagery, of symbolism, of art,”
said Feldman of Siegfried & Roy’s show, adding that it was the first
time anyone had thought to take a Las Vegas show and imbue it with
some of the same artistic objectives found in opera, ballet and
theater.
It was in this fertile atmosphere — in a tent in a parking lot behind
the Mirage — that Cirque du Soleil debuted “Nouvelle Expérience.” The
run lasted about a year and a half, and by the end, Wynn had committed
to building a theater exclusively for Cirque in his newest casino,
Treasure Island. This would become Cirque’s first permanent home.
Baldwin, who crafted all the deals with Cirque beginning with
“Mystère,” recalled the initial arrangement.
“I was always of the belief that if we could break even from a
business point of view in a tent behind Mirage, going head-to-head
with Siegfried & Roy who sold out 1,600 seats a night every night, it
would probably do very well in Treasure Island,” Baldwin said. “It not
only broke even, it made money back under very difficult
circumstances.”
The business plan for the show that would become “Mystère” was fairly
simple: Wynn would pay for the 1,700-seat theater, which cost $36
million, and Cirque would cover the show’s costs, which totaled $12
million that first year.
“We’d share the expenses and share in the profits, if there were any —
and there were,” said Baldwin. “And we’d also set some money aside to
replace the show in seven years because we thought that in Las Vegas
people are looking for variety, and not many shows lasted over four or
five years. Anyway, we never needed to replace the show.”
Having a permanent theater rather than a roving big top immediately
upped Cirque’s game, Baldwin said. Rather than constantly touring, the
show lived in a place that was home to 40 million visitors a year — a
massive blessing for performers used to life on the road. They could
now put down roots and raise families. Days are long for these
artists, who often rise at 6 a.m. to get kids off to school before
grabbing a nap and heading to the gym for a training session, then
working 6 to 11 p.m. on show nights.
“There’s no blanket way that anybody does it,” said Maxson, who met
his wife, a wardrobe supervisor, on the set of “O.” “Outside of here,
it really is a more normal life.”
Wynn’s bet on Cirque paid off. “Mystère” was a hit, and the other
casino owners took notice. They all came to see it, Baldwin said, but
they couldn’t duplicate it. Cirque’s contract with Wynn, meanwhile,
was exclusive, and soon the collaborators began to embark on what
Cirque co-founder Guy Laliberté still refers to as Cirque’s
“masterpiece”: the water-fueled phantasmagoria that is “O” at the Lake
Como-inspired Bellagio.
The 1,800-seat theater housing “O” — designed to resemble an early
Renaissance-era European opera house — cost $168 million to build in
the late ‘90s.
“There was a larger market for Cirque in Las Vegas than any of us
suspected,” Baldwin said.
Beginning in 1989, gaming revenue in Vegas began to drop in inverse
proportion to non-gaming revenue, which included money spent on
entertainment, shopping and dining, said UNLV’s Feldman.
When “O” and Bellagio opened in 1998, the two types of revenue had
become almost even. By 2018, non-gaming revenue stood at 60%, Feldman
said.
The success of Cirque ultimately encouraged new competitors. Big-name
acts such as Lady Gaga and Adele are playing sold-out residencies.
Celine Dion set a high bar for success; her two residencies at Caesars
Palace raked in nearly $700 million cumulatively between 2003 to 2007,
and 2011 to 2019. Britney Spears’ residency at Planet Hollywood from
2013 to 2017 netted $138 million and Usher’s 20 shows earned nearly
$19 million at Caesars from 2021 to 2022. Vegas is again a hot
commodity, with headlining acts growing by more than 200% in the last
decade, said Eric Grilly, president of the resident and affiliate
shows divisions of Cirque du Soleil, who oversees all shows in Vegas
and Orlando, Fla.
Cirque is attempting to change with the times, said Grilly and
Hornbuckle, making note of “Mad Apple” at New York-New York, which is
a leaner, shorter, more portable show that caters to distractible
modern attention spans and turns the showroom into an interactive bar
and club.
The short-lived experimental show “R.U.N,” which featured a script by
filmmaker Robert Rodriguez alongside rock ’n’ roll-driven motorcycle
chases and film stunts, ran only four months before closing in 2020.
Still, “it incorporated new technology and storytelling in ways that
helped us grow as a company,” Grilly said. “Risk and failure are
inherent in the creative process and we embrace both.”
An end of an era came last year when Hard Rock International bought
the Mirage for $1.1 billion. That casino houses one of Cirque’s most
beloved shows — the Beatles-themed rock extravaganza “Love.” Since
Cirque’s contract is still exclusive with MGM Resorts (which acquired
Mirage Resorts in 2000), the future of “Love” is up in the air. What
Hard Rock will do with the show’s theater is not yet known, nor is it
certain that the show will reopen elsewhere. For the time being, it is
set to run through 2024.
Grilly rattles off Cirque’s modern competition in a swiftly morphing
Vegas: four professional sports teams, with a fifth coming; the $2.3
billion, 18,000-seat Sphere just opened, hosting music acts including
U2; the massive 4,300-room hotel-casino Resorts World launched two
years ago, alongside a 4,703-seat theater, home to acts like Carrie
Underwood and Tiesto; and Miami transplant Fontainebleau debuts in
December, featuring the 3,800-capacity, three-level BleauLive Theater,
which will welcome rapper Post Malone for a New Year’s Eve
extravaganza.
Cirque’s reliance on live audiences made the company particularly
vulnerable to the COVID-19 pandemic and forced it to declare
bankruptcy in June 2020. It emerged from bankruptcy in November of
that year, at which point its lenders took control of the company,
exchanged their debt for equity and infused capital to allow Cirque to
rebuild, Grilly said.
“In Las Vegas, after all of our shows were closed for nearly 16 months
because of the pandemic, we reopened all of our productions in one
six-month span and the audience response has been tremendous ever
since,” Grilly said, claiming that Cirque sells more tickets than any
other producer in the market. “This has been an unprecedented
rebuilding effort that all of us are extremely proud to be a part of.”
Cirque co-founder Gilles Ste-Croix recalled an expression that Wynn
was fond of repeating after “Mystère” first opened.
“He said, ‘I really like it when all the other casinos are just
sleeping areas for customers because they come to see the show and
they stay to gamble in my place,’” Ste-Croix said, laughing.
Hornbuckle said Cirque cracked the code of Las Vegas audiences: “They
wanted to be entertained without having to think too much about it.
They wanted to be excited, they wanted to be on the edge of their
seat, they wanted to see something that they couldn’t see anywhere
else.”
For Cirque co-founder Laliberté, the omnipresence of Cirque in Vegas
is a far cry from the days when the fire-eating stilt walker performed
with Ste-Croix on the streets of Quebec in the early ‘80s.
“At that moment of time there were two capitals of entertainment. One
was London and the other one was New York,” Laliberté recalled. “And
for me, I clearly saw that potentially Vegas could become another
capital of entertainment.”
The scrappy upstart circus had a flair for drama and a deep
understanding of the power of human connection. Laliberté discussed
the troupe’s 1987 show in Los Angeles in a 1989 story in The Times.
Laliberté said the future of the troupe rode on that single show —
held in a big top in Little Tokyo for opening night of the Los Angeles
Festival.
“If the critics didn’t like us, we wouldn’t have had the money to put
gas in the trucks and get home,” Laliberte told The Times. “We were
gambling our whole circus on a one-night deal.”
The critics, however, loved it.
“One hesitates to call it ‘poetry,’ but that’s what it is,” wrote
then-Times theater critic Dan Sullivan. “Not only do we see the
traditional performing skills, executed in a particularly upfront way.
… We also see the wonder of possessing such skills. The show has a
theatrical frame that’s not just a gimmick.”
{ SOURCE: Jessica Gelt, The LA Times}
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 23, Number 8 (Issue #223) - November/December2023
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2023 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination! Newsletter." By
sending us correspondence, you give us permission (unless otherwise
noted) to use the submission as we see fit, without remuneration. All
submissions become the property of the "Fascination! Newsletter."
"Fascination! Newsletter" is not affiliated in any way with Cirque du
Soleil. Cirque du Soleil and all its creations are Copyright (C) and
are registered trademarks (TM) of Cirque du Soleil, Inc., All Rights
Reserved. No copyright infringement intended.
{ Dec.15.2023 }
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