Copy Link
Add to Bookmark
Report
Fascination Issue 132
=======================================================================
______ _ __ _ __
/ ____/___ ___________(_)___ ____ _/ /_(_)___ ____ / /
/ /_ / __ `/ ___/ ___/ / __ \/ __ `/ __/ / __ \/ __ \/ /
/ __/ / /_/ (__ ) /__ / / / / /_/ / /_/ / /_/ / / / /_/
/_/ \__,_/____/\___/_/_/ /_/\__,_/\__/_/\____/_/ /_(_)
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
------------------------------------------------------------
http://www.CirqueFascination.com
------------------------------------------------------------
=======================================================================
VOLUME 15, NUMBER 1 January 2015 ISSUE #132
=======================================================================
Bonne année and welcome to the latest edition of Fascination, the
Unofficial Cirque du Soleil Newsletter.
A new year brings new challenges, excitement, and possibilities, but
it also brings the closure of one of Cirque du Soleil's most prolific
and highly-polarizing shows: Dralion. On January 18th, Dralion will
bid us adieu after touring for fifteen years throughout the world
under the Grand Chapiteau and in Arenas for the final time. It's
strange to think how far Dralion has come in those fifteen years. When
the show was first launched in Montreal in 1999, the internal reaction
to the creation was, as Cirque has put it before, "less than generous"
- this was their follow-up to Saltimbanco, Alegria, and Quidam? - But
despite the internal opposition, Dralion quickly found its audience
and became one of Cirque's top-grossing touring shows in many of its
markets. Even the filming of Dralion became the recipient of three
Primetime Emmy Awards! Of course, today's Dralion bears little
resemblance to the show we were first introduced to, but many fans
fell in love with its East meets West mentality - its fusion of
ancient Chinese acrobatic traditions with the avant-garde approach of
Cirque du Soleil, and it will be missed!
The new year also marks the closure of Zumanity as we knew it, or
rather this iteration of Zumanity as we've come to know it: "The
Sensual Side of Cirque du Soleil." Fans might remember the original
Zumanity, when it debuted in 2003, was not well received by fans and
press alike. In fact, the story of its conception (if you'll pardon
the pun) is quite the read with a number of direction changes
occurring even before the show was presented to the public. And after?
Well, it seemed at first Cirque would have its first bona-fide flop on
its hands, but of course we all know different. This "Other Side of
Cirque du Soleil" was re-tooled not long after its debut, which helped
bring Zumanity out of the shadows and into the spotlight. Artists
would come and go (we still mourn the loss of Joey Arias), and new
marketing campaigns would help bring new sensual visions to the show,
but it looks as if all that is about to end. We're not sure whether
Zumanity will keep its "Sensual Side" moniker or not after it re-
debuts on January 20th, nor do we know (at this time) what we're in
for once the show returns, but we can't wait to get a peek!
Next up for changes is THE BEATLES LOVE show at The Mirage, which we
have previously discussed could bring about a few new pieces of music
to the show. Current information on this suggests the new changes
won't be ready by the end of 2015, but everyone is working hard to
have a re-vamped version of LOVE to present for its 10th Anniversary,
which consequently is June 2016.
But while we mourn the passing of yet another Cirque du Soleil show,
let us also not forget about those who have achieved great heights in
not only longevity but also in performances. I'm talking about Mystere
of course, which on December 27th not only celebrated its 21st
birthday, but more importantly its 10,000th performance! That's
phenomenal! This is the first Cirque du Soleil show in history to
reach such a milestone and we here at Fascination! celebrate its
accomplishment whole-heartedly! (It doesn't hurt that Mystere is my
all-time favorite Cirque show...). What's even more amazing is that
Mystere's guitarist - Bruce Rickerd - is also celebrating a momentous
occasion: he's celebrating his 10,000th show with Mystere too. That's
right; he's never missed a show in all those years! (You can read a
bit more about him in our news section this month.) We hope both Bruce
and Mystere continue to delight us for many years and many more
performances to come!
For a little history, Mystere celebrated it's...
o) 2,000th performance on Sunday, March 15, 1998
o) 3,000th performance on Thursday, April 27, 2000
o) 4,000th performance on Friday, May 24, 2002
o) 4,500th performance on Monday, June 16, 2003
o) 5,000th performance on Sunday, June 27, 2004
o) 6,000th performance on Sunday, August 6, 2006
o) 7,000th performance on Monday, September 15, 2008
o) 8,000th performance on Monday, October 18, 2010
o) 9,000th performance on Tuesday, November 27, 2012
Much ado was made about the return of the Battle Scene in KA through-
out the month of December - and rightfully so; it's a welcome return
if bitter-sweet homecoming for the awe-inspiring finale to Cirque du
Soleil's spectacle KA at MGM Grand in Las Vegas. The scene was removed
following the accident which claimed Sarah Guillot-Guyards young life.
During the month, the press in Las Vegas spoke with Jerry Nadal and
Calum Pearson, senior Cirque officers in Las Vegas, with regards to
the re-addition of the epic scene, which you'll find within. You'll
also find links to a video the cast and crew of KA filmed as they
worked together to bring back the show's epic Battle scene, and other
conversations revolving around the return of the Battle Scene.
The press also spoke with Guy Laliberte, Cirque du Soleil's Creative
Guide and Founder on a couple of occasions as well, as he attempts to
right the Cirque Ship and, as the Wall Street Journal put it: to
"rebalance the business". In their interview (which can be found up
first within), Mr. Laliberte discusses Cirque's recent operational
issues, bleak financial outlook, what brought them to this moment, and
how - through partnering with new investors - the Cirque intends to
remain creative well into the future. Pat Donnelly of the Montreal
Gazette also spent a few mintues with Mr. Laliberte discussing Cirque
du Soleil's future fortunes, in which he felt quite optimisitc about
the creative company's future (even if the piece was a little wonky).
Indeed, coming on the heels of the THEME PARK announcements, Cirque du
Soleil and PortAventura signed a five-year partnership deal and the
company has been linked (if slightly) to a re-development deal at a
Meadowlands property in New Jersey. And Cirque has been actively
recruiting acrobats for its AVATAR-themed show (think blue aliens
rather than air-bending, although to be honest I would much rather see
that!), set to debut in arenas in December 2015.
If the business side of Cirque du Soleil is getting you down, there
are also a couple of great reviews of Cirque's latest endeavors: JOYA
at Riviera Maya and of the 30th Anniversary Concert in Montreal!
Neither of these come from any of us here at Fascination! (Sadly, we
couldn't make either journey), but the reviews seem very positive
indeed! (Next month we'll have a few thoughts about the concert's
television broadcast, which is stream-able to residents of Canada
online here: < http://goo.gl/3ACxQf >.
But probably the best and most exciting item from December is the
release of the KURIOS soundtrack (on December 9th). My wife and I
absolutely fell in love with this show at premiere and waited with
bated breath for this release, hoping the music heard on the CD would
closely-match that heard performed live at premiere. And it does!
KURIOS - CABINET DES CURIOSITES (CDSMC-10051, UPC: 8-43277-88465-5,
Composed by Raphael Beau and Bob & Bill) brings a whole new sound to
Cirque du Soleil with one of the most organic recordings the company
has ever made. Imagine 1930s jazz-era musicians hopping into a time
machine to jam out their songs with DJs eager to manipulate
traditional music. The result is a modern vintage vibe that blends
these two words into a balanced live "old school" feel free to present
jazz and swing in a whole new light!
01: "11h11"................. (4:37) - Opening
02: "Steampunk Telegram".... (6:53) - Opening / Aerial Bike
03: "Bella Donna Twist"..... (4:16) - Chaos Synchro
04: "Gravity Levitas"....... (4:44) - Russian Cradle
05: "Monde Inversé"......... (4:59) - Upside-Down World (Chairs)
06: "Hypnotique"............ (5:45) - Contortion
07: "Departure"............. (5:39) - Hand Puppetry
08: "Fearsome Flight"....... (4:29) - Rola Bola
09: "Clouds"................ (4:49) - Acro Net
10: "Créature De Siam"...... (4:35) - Aerial Straps
11: "Wat U No Wen".......... (6:57) - Banquine
12: "You Must Be Joking".... (4:54) - Finale
The CD runs for 62 minutes and 37 seconds, representing all the major
acts of the show, with one exception: Diabolo (or Yo-Yo). This act
wasn't presented at the time the album was conceived and recorded. But
that's okay! It's still a fantastic album. We love it! Of course,
since we couldn't get the physical CD through Cirque du Soleil's
Online Boutique (uhm, wasn't that supposed to come online by the time
the CD was released? Cirque? Hello?), we chose to digitally download
the soundtrack via Apple's iTunes. But you can also get it digitally
(and physically) via Amazon - so order your copy today... you won't
regret it! (Especially if you like the show!)
The CD wasn't the only Cirque du Soleil related item I found under
the Christmas tree this year (virtual or otherwise), two other items
helped me celebrate the holidays: first, the Cirque du Soleil 25th
Anniversary "Costumes" Book. Now I know what you're going to say...
didn't you already have that book? Can you believe I didn't? I always
intended to purchase the book when it came out in 2009, but, never
did... and then it disappeared for good, forever to be found on that
expensive, "obscure and out-of-print books" shelf. Five years later,
and a lot of patience (or not), a copy of the book finally floated
across eBay that was within my budget, so I jumped at the chance to
finally add it to my collection. And it's a great one! But perhaps
more interestingly, it's the second item that I was most curious
about: The KA "Oversized" Coloring Book. What's so over-sized about
it? It measures 18-inches wide and 24-inches tall, that's 1 and 1/2
feet by 2 feet! The coloring book is a promotional product published
by Really Big Coloring Books and was designed by Cirque du Soleil as
a give-away at one time. I've not seen very many of them around, or
many cross the pages of eBay, so I had to swoop in to buy it in order
to satisfy my curiosity. The pages are too big to scan, but, we'll
see about getting you an inside peek at this coloring book soon!
As for our features: In November, Keith had a fantastic conversation
with Fabrice Lemiere, Varekai's Artistic Director and the man in
charge of the show's conversion from Big Top to Areana, the first
half of which we ran in our December 2014 issue (last month). Our
intention was to run the second-half of the interview this month.
Since then we've received a number of corrections to Part 1 by Mr.
Lemire; therefore, you'll find the entire interview - both parts -
together inside! Also included are two text reprints from The Las
Vegas Sun - "Behind the Curtain: The Faces of Cirque du Soleil", a
wonderful interview series featuring nine Cirque du Soleil performers
in productions across Las Vegas (complete with artisically shot
photos, not included of course); and "Cirque Exec Discusses Re-
introduced Scene in KA" from Robin Leach's Luxe Life column. In it
he talks about the new scene with both Jerry Nadal and Calum Pearson,
Execs at Cirque du Soleil's Resident Show Division, at length.
As always we also have the posts made to Cirque's Facebook pages,
and updates to Cirque's touring schedule. Oh, and don't forget to
pick up Issue #3 of "The Chapiteau-Fascination! Magazine" here:
< http://goo.gl/SiwIvV >.
So, let's get started!
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
| |
| Realy Simple Syndication (RSS) Feed (News Only): |
| < http://www.cirquefascination.com/?feed=rss2 > |
| |
| The Chapiteau-Fascination! Magazine: |
| < http://www.cirquefanzine.com/ > |
| |
\----------------------------------------------------/
- Ricky "Richasi" Russo
===========
CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
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
* Club Cirque -- This Month at CirqueClub & Casting
* Networking -- Posts on Facebook, G+, & YouTube
o) Fascination! Features
*) "Evolution: The Transfer of Varekai from Big Top
to Arena (As explained by Fabrice Lemire, Varekai
Artistic Director)" - Parts 1 & 2
By: Keith Johnson - Seattle, Washington (USA)
*) "Behind the Curtain: The Faces of Cirque du Soleil"
By: The Las Vegas Sun Staff
Special Reprint from the Las Vegas Sun
*) "Cirque Exec Discusses Reintroduced Scene in KA"
By: Robin Leach, Luxe Life
Special Reprint from The Las Vegas Sun
o) Subscription Information
o) Copyright & Disclaimer
=======================================================================
CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
Cirques Next Act: Rebalancing the Business
{Dec.01.2014}
-----------------------------------------------------
The owner and managers of Cirque du Soleil, after seeing their
growth prospects wane in recent years, think they have the key
to renewed success: less Cirque.
For three decades, the circus giants business triumphs mirrored
its high-flying aerial stunts, and it became a case study for
business school journal articles on carving out unique markets.
But following a bleak outlook report from a consultant, a spate
of poorly received shows and a decline in profits, executives at
Cirque say they are now restructuring and refocusing their
businessshifting some of the attention away from clowns and
acrobats, towards other business ventures.
Cirque also recently suffered its first death during a
performance, when an acrobat tumbled 94 feet during a stunt in
Las Vegas performance of the show Ka in 2013. After a hiatus of
more than a year, Cirque is soon bringing a revamped version of
the stunt back to the show.
The recent struggles, said Chief Executive Daniel Lamarre,
certainly brought a lot of humility to the organization.
In recent interviews with The Wall Street Journal at Cirque du
Soleils sleek headquarters here, top executives including
founder and 90% owner Guy Laliberté revealed rare details of
their financial status and new business plans. The company is
seeking to position itself as an attractive bet as Mr. Laliberté
began last month looking for investors to buy a significant
portion. He plans to review proposals before the end of the
year, according to officials.
Cirque du Soleil grew out of Montreals street performer scene
in the 1980s, helped by early government funding as banks were
reluctant to support the band of fire eaters, stilt walkers and
clowns. The companys reinvention of the traditional North
American circuscreating theatrical spectacles drawing on
Russian and Chinese influences and commedia dellarteproved
popular on foreign tours. Revenues skyrocketed after a
particularly favorable Las Vegas casino deal.
By the end of 2011, Cirque had 22 showsseven of them in Las
Vegas. It had built a 388,000 square foot headquarters in
Montreal, much of the building taken up by the costume
department that outfits performers in fantastical hand-painted
clothes.
Near the peak of the companys revenues, in August 2008, Mr.
Laliberté agreed to sell 20% of the company to Dubai government-
owned real estate companies for $545 million, pocketing around
$275 million at the time, according to a person familiar with
the matter.
But the rapid expansion masked deeper troubles at Cirque. The
2008 transaction valued Cirque at $2.7 billion; five years
later, Mr. Laliberté took back a portion of Dubais stake at a
price that suggested Cirques value had declined around 20% to
$2.2 billion.
Cirque continued to expand even as the recession cut into
demand.
Cirque premiered 20 shows in the 23 years from 1984 through
2006, none of which closed during that time other than its first
few. Over the next six years it opened 14 more shows, five of
which flopped and closed early.
The reasons for the failures differed. One show, Zarkana,
couldnt make enough money to cover its production costs playing
in New York Citys 6,000-seat Radio City Music Hall. Iris, in
Los Angeles, played in Hollywood, a seedy neighborhood that
despite heavy tourist traffic is commercially marginal. Zaia, in
Macau, simply didnt appeal to local audiences.
Perhaps more troubling, the companys nearly perfect record of
producing artistic successes began to waver. Viva Elvis and
Banana Shpeel were among several Cirque shows that garnered
terrible reviews. Both shows closed quickly.
Shows like that diluted the brand, said Patrick Leroux, a
professor at Montreals Concordia University who has closely
studied Cirque du Soleil.
One problem, say Cirque executives, is that audiences didnt
understand the differences among various shows carrying the
Cirque brand. As a result many people would dismiss the
opportunity to see, for instance, the show Totem thinking they
had already seen something similar in the older Varekai. Another
problem was that some newer shows werent focused on the
acrobatic feats that fans had come to expect from Cirque.
Debate swirled over whether Cirque should return to its roots or
aim for constant reinvention.
At the end of 2011, Bain & Co., contracted by Cirque, reported
that its market had hit saturation and the company needed to be
careful with how many new Cirque shows it added. Bain suggested
Cirque seek growth through new products, such as movies,
according to a person familiar with the matter.
Guy [Laliberté] always said we are a raritybut the rarity was
gone, said Marc Gagnon, a former top executive in charge of
operations for Cirque du Soleil who left in 2012.
For the first time in its recent history, Cirque didnt turn a
profit in 2012.
By August 2012, Mr. Laliberté had become concerned and convened
a five-day summit for executives at his estate outside Montreal.
There, he and others drew up plans to lay off hundreds of
executives and performers and pare the number of big new touring
circus shows Cirque produced.
The cuts began soon after and continued through 2013 and
amounted to around $100 million of savings, according to Mr.
Laliberté. They included everything from giving out fewer suede
anniversary jackets for employees to cutting out child
performers and tutors.
Mr. Laliberté also reexamined core production costs. The payroll
for Cirques show O, in Las Vegas, for instance, had ballooned
thanks to a surge in contortionists.
I said, Why do we need six contortionists? Mr. Laliberté,
55, recalled while chain smoking inside his office.
In addition to the layoffs, Cirque also suffered a blow to
morale when acrobat Sarah Guyard-Guillot was killed last year
during a performance. The company overhauled the shows finale,
a battle staged on a vertical wall, with performers suspended
from motorized wire harnesses. Since the performers death,
Cirque has continued to stage the show, replacing the live
finale with a videotape of the scene from a past performance.
The new version, set to debut soon at the MGM Grand casino, will
involve fewer performers and additional safety measures
including a system to automatically slow performers as they rise
toward an overhead catwalk, which Ms. Guyard-Guillot is believed
to have slammed into before falling to her death.
That was a sad moment, Mr. Laliberté said of the accident.
Mr. Lalibertés executive team also came up with a business
restructuring plan to address the shortfalls that included the
creation of discrete business units under a central corporate
entity to try to beef up the non-circus side of the business.
New Cirque subsidiaries include a musical-theater production arm
based in New York City and a special-events producer that is
beginning to operate under the name 45Degrees Events. Executives
say that currently the companys biggest growth area isnt a
show at allits an expanding deal to provide ticketing services
to the arena company AEG.
Other new areas that Cirque is venturing into include small
cabaret shows at hotels, childrens television programs and
theme parks.
Revenues dropped to $850 million in 2013 from $1 billion in 2012
yet the company netted a profit again due to the cost controls,
Mr. Laliberté said. Mr. Lamarre said the company is aiming to
derive 60% of its revenue from Cirque-branded shows in five to
10 years, down from 85% now. Already the special events unit has
increased revenue to $37 million from $15 million, said Mr.
Laliberté.
Yet circus experts say Cirque is walking a fine line as it seeks
to expand into new ventures without damaging its central brand
as a creative entity.
Are they just a machine to print money? said Jan Rok Achard, a
circus consultant and former director of Montreals National
Circus School. If youre not capable to maintain and refresh
desire, why are you there?
For Mr. Laliberté, the stakes are high. He is seeking to sell
20% to 30% of the company to outside investors by emphasizing
the more disciplined company structure and growth plan.
He is hoping to find a strategic investor that will help Cirque
expand into new markets such as China and India, where it has
struggled so far, or provide other advantages. If that doesnt
work out, a public stock offering could be the next step.
He says he is hoping for an investment that would value the
company anywhere from $1.5 billion to $2.5 billion.
Well be more about intelligent analysis of each project, Mr.
Laliberté said. That is where we got confused.
{ SOURCE: The Wall Street Journal | http://goo.gl/pkwVTA }
PortAventura and Cirque Sign 5 Year Partnership Deal
{Dec.02.2014}
-----------------------------------------------------
PortAventura Resort and Cirque du Soleil have signed a five year
partnership deal to create a summer touring base Cirque du
Soleils big top in the resort.
PortAventura Resort was the first European resort to host a
Cirque du Soleil touring show with Kooza in July and August
2014 which was seen by over 100,000 visitors.
Commenting on the announcement, Charles Décarie, Chief Operating
Officer (COO) at Cirque du Soleil, said, Cirque du Soleil is
very pleased to confirm a 5 year agreement with Portaventura
Resort, and reinforces that Spain, its local public and Spanish
fans remain central for our companys future.
The first new Cirque du Soleil touring show will be Amaluna
which will debut in summer 2015 to be part of PortAventura
Resorts 20th Anniversary celebrations.
This new agreement is in line with PortAventura Resorts
internationalization strategy which has seen an investment of
over 125 million since 2010.
Fernando Aldecoa, General Manager of Operations and Finance at
PortAventura Resort, explains, This partnership represents
another step in our international strategy to position the
resort as the best family destination in Europe, a model like
Sentosa Island (Singapore) and Orlando (USA).
{ SOURCE: PortAventura }
VIDEO /// KÀ: Battle Reborn!
{Dec.03.2014}
-----------------------------------------------------
Witness the strength of family as the cast and crew of KÀ work
together to bring back the shows epic Battle scene.
LINK /// < http://goo.gl/Ppyrvq >
{ SOURCE: Cirque du Soleil }
Review: Inside Cirque & Grupo Vidantas JOYÀ
{Dec.04.2014}
-----------------------------------------------------
Cirque du Soleil has been astounding audiences around the world
for years with their larger than life theatrical productions.
Now for the first time, they have established a resident show in
Latin America. Its called JOYÀ, and Cirque has partnered with
luxury resort brand Grupo Vidanta to create a one-of-a-kind,
completely immersive experience in Mexicos Riviera Maya.
We had the opportunity to join Cirque for the world premiere of
JOYÀ just before Thanksgiving, and now we can give you the dish
both literally and figuratively on this combination of
entertainment, food, and culture that will leave you wanting
more.
Cirque du Soleils 36th production and its first permanent show
in Latin America, JOYÀ tells the story of its title character, a
spirited teenager who is pulled into the fantastic through her
grandfather, an aging naturalist who is eager to pass his wisdom
on to his granddaughter. The production contains everything a
young child or teenager would consider fantastic: theres a boat
full of pirates, characters who somewhat resemble ninjas, and at
one point, a rampaging Tyrannosaurus Rex.
All of this serves as the story against which the typical Cirque
elements are set: there are musicians, clowns, and of course
acrobats, with performers descending from the rafters, rising up
from beneath the stage, and occasionally making their way into
the audience.
JOYÀ may surprise theatregoers who are used to the massive
productions of the troupes shows in Las Vegas. It is one of
Cirques shorter productions at an hour and ten minutes long,
and much lighter in tone than the likes of anything youd find
on the Strip. The acrobatics, too, are considerably toned down.
This is a different Cirque du Soleil, one that is more playful
and scaled back.
While that might sound like a bad thing, in actuality its
perfectly tailored for the environment in which the production
is set. JOYÀ doesnt take place in a massive Las Vegas venue;
instead, it is housed in a much more intimate theater designed
specifically for Cirque du Soleil by Grupo Vidanta architect
Arturo Hernandez, which seats just 600 people.
This means that the stunts must therefore be smaller, but it
also makes for a much more intimate experience, where from any
vantage point in the house you can see just about all of the
action. For example, we were seated in the third tier and able
to see the full stage plus everything that was going on up in
the rafters. By having a smaller theater, Cirque and Vidanta
have ensured that the audience does not feel removed from the
show.
Its quite the opposite: aside from the showroom itself, going
to the theater is an experience. Its not simply one building,
but an entire mini-property that does the job of separating the
audience from the outside world and bringing them into the
Cirque experience. Guests dont just walk in and sit down; they
travel through an on-site restaurant and numerous long walkways
with picturesque views, culminating in their arrival at the
theater.
And JOYÀs tone is perfect for the expected clientele. The
theater is located just minutes from Vidantas massive Riviera
Maya resort property, which welcomes guests from all over the
world on their vacations. People who are coming to relax may not
be in the mood for a long, dark production; this is something
they can appreciate and then go on to enjoy everything else that
Vidanta has to offer.
The most major selling point for JOYÀ is that its not just a
new locale for Cirque, but its also a new creative direction.
The brainchild of a whopping eleven creative directors, the
production mixes in all kinds of references and tributes to
Mexican culture. And for the first time, Cirque is combining one
of their shows with a culinary experience. Grupo Vidantas
world-class culinary team has prepared a three-course menu that
perfectly complements the story that unfolds in JOYÀ.
Guests can still simply purchase a ticket to the show (starting
at $72), but there are now two additional options: a champagne
and show package which is just that, and then a dinner and
show tier (starting at $182) that invites audience members to
sit down an hour before showtime and take this culinary trip
into wonder. It may sound pricey, but if youre going to make
the trek to Riviera Maya, its worth the upgrade.
The dinner consists of an appetizer tray, one of two entree
options, and a dessert course. The quality of the food is such
that this would stand on its own as fine dining in any
restaurant; we had the short rib entree and it was the best
short rib weve ever experienced, while the desserts are so good
that youll want seconds and possibly thirds. Even the menu is
edible.
Yet the folks at Vidanta have clearly taken pains to make dining
as much of an experience as watching the show. The presentation
of the food is just a little different than what youd expect,
leading up to the fact that the dessert is contained in a box
made to look like a book right off the naturalists shelf,
including a faux periodic table printed on the inside. Both in
quality and presentation, the dinner is so good that one wishes
there was more time to savor it before the production begins.
Which leads us to the Vidanta portion of the JOYÀ experience. If
youre reading this review, chances are youre not simply going
to fly down to Cancun just for an hour-long show; youll make a
vacation out of it. And Cirque has picked the perfect partner in
Vidanta, because while they may not have pirates and dinosaurs
rampaging across their properties, staying at one of the Vidanta
resorts is as eye-opening as watching a performance by Cirque du
Soleil.
All of Vidantas properties are interconnected in one complex,
and the JOYÀ theater is located closest to their mid-level
resort, The Grand Mayan. It might be the third tier of the
Vidanta hierarchy, but it will probably make you never look at a
standard hotel room the same way again. Our hotel suite featured
an expansive bedroom, a separate living room with dining area, a
full kitchen, and a private balcony with its own individual
pool.
And because all the properties are connected, once you leave you
can easily walk to any of the nearby restaurants, multiple
pools, or golf courses but if you dont want to, theres a
shuttle service, too. Speaking of the food, the quality extends
past JOYÀ to all of the many options that Vidanta offers; its
better dining than weve had at some highly rated American
properties. You could spend a whole day here just eating, and
then you can walk it off after.
Yet the biggest reason to make Cirque and Vidanta part of your
next travel plans is that backbone of all travel experiences:
the people. The service we experienced at The Grand Mayan would
make Anthony Melchiorri from Hotel Impossible proud. The folks
at these hotels do the big things and the little things right,
and then some things you wouldnt even expect.
To name just a few: when we arrived, the bellman took the time
to show us our in-room property map and help us figure out how
to get to the restaurant we wanted to dine at. The room service
staff dont just deliver your food, but theyll bring it into
the room and set the whole table for you, and then ask how your
day was. And the one afternoon we spent simply relaxing in our
hotel suite, housekeeping actually called up to confirm that we
didnt need them to come by. At The Grand Mayan, there is a
tremendous attention to detail, and an obvious commitment to
making guests feel welcome.
That is ultimately what makes this partnership between Cirque du
Soleil and Grupo Vidanta a worthwhile adventure. These two major
brands have come together to create a unique fusion of
entertainment and food that you wont find anywhere else but
theyve also extended it beyond that to create an entire
experience, from a uniquely designed theater to a resort that
goes above and beyond expectations. Youre not simply seeing a
show; youre stepping into an entirely different world. And that
is what Cirque du Soleil is all about.
{ SOURCE: Star Pulse | http://goo.gl/eGMsvg }
Backstage 30th Anniversary Book Regular Version
{Dec.06.2014}
-----------------------------------------------------
As Cirque du Soleil celebrates its thirtieth anniversary, it
opens the doors to a world usually reserved for the initiated.
Backstage Cirque du Soleil is the fruit of a collaboration
between Cirque du Soleil and the photographer Véronique Vial,
who through her unique lens has examined the world behind the
curtains for more than twenty years. With touching humanity,
Vials photographs invite the reader into an intimate universe
distilled to its most essential element: Behind each character
there is an artist. This luxurious volume features a preface by
Cirque du Soleil founder Guy Laliberte. Preface by Guy
Laliberte, photography by Véronique Vial.
Hardcover: 232 pages
Publisher: Assouline Publishing (December 2, 2014)
Language: English
ISBN-10: 1614282978
ISBN-13: 978-1614282976
Product Dimensions: 9.8 x 1.4 x 12.7 inches
Get the general release of the book here from Amazon for only
$50.00 USD: < http://goo.gl/plsXqc >.
{ SOURCE: Assouline, Amazon }
Cirque at the Meadowlands?
{Dec.07.2014}
-----------------------------------------------------
FAO Schwarz will leave its iconic Manhattan location for the
Meadowlands, Saks Fifth Avenue and Lord & Taylor department
stores will anchor a collection of luxury boutiques, and Cirque
du Soleil will establish a permanent theater for Las Vegas-style
shows at the American Dream project, according to information
the developer of the long-delayed project is circulating as it
holds meetings this week to woo retail tenants.
Triple Five, the developer of the project, is telling
prospective tenants that more than 50 major retailers, including
such mall mainstays as Victorias Secret and Gap, have committed
to renting space at American Dream, which is scheduled to open
in the fall of 2016. More than a dozen restaurants and a
permanent Cirque du Soleil theater are also committed, according
to a 67-page leasing brochure and the projects monthly status
update for November.
While a developers promotional materials about prospective
tenants should be viewed skeptically until the projects opening
day, the list of tenants Triple Five has lined up shows that
parts of the American Dream will compete directly with North
Jerseys existing malls for tenants.
American Dream, with its planned indoor water and amusement
parks, aquarium and other entertainment components, will be
unlike any other North Jersey mall, but it is looking to fill
its retail wings with many of the retailers that already have
stores at North Jersey shopping centers. The project could
succeed in luring retailers entering the market for the first
time away from Westfield Garden State Plaza and other Paramus
malls.
{ SOURCE: North New Jersey.Com | http://goo.gl/y6lCbL }
Kurios DVD To Be Filmed Soon
{Dec.07.2014}
-----------------------------------------------------
After a recent interview with a KURIOS artist (to be released at
a later date), our friends over at The Chapiteau had the
opportunity to speak to Amelie Robitaille, KURIOSs publicist,
who was kind enough to answer one of our most pressing
questions: whether or not KURIOS would follow Amalunas steps
and see a DVD released in the near future?
We will, in the future. I cant guarantee when. All I know so
far is we are not filming the DVD in San Francisco as we are too
busy. So yes, there will be a DVD release eventually. Because we
are such a popular show right now, we are a victim of our
success, so we have 10 shows per week. We are so busy that we
dont have time to actually get involved in the filming of the
DVD, but it will be happening soon.
{ SOURCE: The Chapiteau }
Sarah Guillot-Guyards family has been taken care
of as Final Battle Scene returns to KÀ
{Dec.09.2014}
-----------------------------------------------------
The Final Battle Scene is the great, deceptive moment in Ka at
MGM Grand. The Cirque du Soleil artists appear to be fighting,
the Good Guys vs. the Bad Guys, in the productions epic, show-
closing conflict.
But the Final Battle, which returned to the stage last weekend,
is not really a battle. Not in the Cirque world. Everyone
onstage is working together, on the same side, to make sure the
act looks like a high-flying gang fight. They stab at one
another with spears, but behind every movement is a great
measure of teamwork.
This sort of communal caring for Cirque artists is evident away
from the stage, too. And in this insular, familiar circus
culture, the company for whom Sarah Guillot-Guyard worked did
not forget her family specifically her two beautiful children.
Guillot-Guyard was killed on June 29, 2013, after falling some
94 feet from the stage as it was positioned upright and facing
the audience. The tragedy unfolded during the climactic Final
Battle Scene.
Guillot-Guyard left behind two children, now ages 9 and 6. Soon
after her death, Cirque officials began meeting with her ex-
husband and father to the children, fellow Ka artist Mathieu
Guyard.
The family was taken care of, in all respects, and you know
that when everything has been said, the children will be fine
for their future, Cirque du Soleils Montreal-based spokeswoman
Renee-Claude Menard said after a preview of the new Final Battle
Scene at MGM Grands Ka Theater.
Everyone is conscious that it had to be done, and it was not
very difficult for us to say, What can we do to help? And make
sure we honored the children and honor the familys request that
the children be taken care of.
When asked if the Cirque family worked directly with the
artists family, Menard said, Yes. Exactly. The settlement was
reached eight to 10 months ago, she said.
Evidence of the tightly knit Cirque community is that Kelly
Tucker Guyard, the wife of Mathieu Guyard, also is a Ka artist
who performs on the Final Battle wall. She was among the
performers onstage for the media event re-introducing the show
last Wednesday.
After an 18-month hiatus, the act was brought back into the show
Friday night and again Saturday as part of its incremental
return. It will be installed permanently beginning this Friday
night. In its long hiatus, the Final Battle scene was first
replaced by a scene dubbed the Dressing Ritual, then returned in
video-projection form.
As the show regrouped, officials took measures to adjust how the
act would be performed upon its return.
Known for their almost inhuman levels of precision, the tragedy
shook the Cirque family. Mark-Antoine Picard, who is the act
captain of the Final Battle Scene, was onstage the night of the
tragedy. He plays the Counselors Son, the chief of the spearmen
(leader of the Bad Guys, in other words), and faces down and
toward the audience during much the act.
I was in shock. You dont expect something like that to happen,
ever. Ever, he said, adding that the Final Battle was Guillot-
Guyards favorite scene and also a favorite among many of the
artists, including himself. It just happened like that (snaps
fingers), and time stopped. It took about five minutes to put us
back on the ground, and it was just a blur, that time.
Al Light, the companys head artistic coach, said the first step
toward returning the act to the show was to open up
communication among the artists. That proved not so difficult in
the Cirque world.
If there were concerns, we needed to get those out and learn
how to express these concerns productively, Light said. What I
found thats great about this group in particular is they are
very open with people to begin with. They are performers, you
know, and when you are onstage especially in Cirque du Soleil
you have to open yourself up to the audience. These performers
were already used to being open and exposing their own
vulnerabilities as performers.
At the heart of Cirques artistry, in its shows all along the
Strip and around the world, is a high level of risk. One of its
acts is actually titled The Wheel of Death, and when you
invite such terms as death defying to a stage show, the
artists do willfully accept dangerous possibilities.
You could call it personal risk tolerance, and everyone has
their own personal risk tolerance, Light said. Most people in
this field are more tolerant of risks than the average person,
by nature.
Thats what makes all of this possible. These are
incredible people, but even though they do incredible things,
they are still people.
And sometimes, in the high-precision world of Cirque du Soleil,
that quality is sometimes lost. But in Ka, the people have
come together and are advancing in a new Final Battle that has
just begun.
{ SOURCE: John Katsilometes @ Las Vegas Sun | http://goo.gl/NJXvfg }
Cirque Launches Official KURIOS Album in SFO!
{Dec.11.2014}
-----------------------------------------------------
Last night marked the official album launch event for KURIOS-
Cabinet of Curiosities, the soundtrack to Cirque du Soleils
latest Big Top show, currently playing in San Francisco through
January 18, 2015. This soundtrack represents a thrilling new
sound for the company. In line with the shows theme of time
travel, the music of KURIOS-Cabinet Of Curiosities (composed by
Raphael Beau with Bob & Bill) compels you to imagine musicians
from jazzs peak era performing alongside contemporary DJs. The
blending of vintage and modern styles in the music (a theme that
extends to all facets of the show) serves to present jazz and
swing in a way that has universal appeal. The intriguing songs
complement the shows mission, which is to blur the lines of
fantasy and reality, immersing the viewer in a mysterious and
fascinating realm that disorients the senses and challenges
perceptions.
One key to the successful fusion of sounds on the KURIOS-Cabinet
Of Curiosities album is the unique chemistry between co-
producers Rob Heaney and Alain Vinet. Each co-producer brings a
different sound to the table; Vinet comes from the electronic/DJ
world, while Heaney comes from a more organic musical
environment. Together, they were able to seamlessly blend two
different eras of sound into one.
In keeping with the theme of juxtaposing modern and vintage
eras, a limited-edition vinyl version of KURIOS-Cabinet Of
Curiosities will be released, featuring completely original
artwork. This special vinyl version will be made available
exclusively at performances of KURIOS-Cabinet Of Curiosities.
Several members of the KURIOS band participated in tutorials
that spotlight their stellar musicianship in addition to giving
fans a taste of some of the selections they perform in the show.
Please share and post these videos.
The accordion player, Lidia, is truly a rock star and has
revived my faith in the magic of the squeezebox. Shes insanely
talented! Rob Heaney, KURIOS-Cabinet of Curiosities co-
producer
The 11:11 Clown Voodoo Band (the KURIOS band) gave us
unbelievable performances and showcased a high level of
professionalism and exemplary perseverance. Without them, this
result would not have existed. -Alain Vinet, KURIOS-Cabinet Of
Curiosities co-producer.
{ SOURCE: Broadway World | http://goo.gl/OlMtSZ }
Enthralling! Previews of Cirques 30th
Anniversary Concert
{Dec.12.2014}
-----------------------------------------------------
The final phase of Cirque du Soleils year-long 30th anniversary
celebrations began Thursday with a preview performance of a
series of spectacular concerts officially opening Saturday at
St-Jean-Baptiste Church.
This limited-run, only-in-Montreal event ends Dec. 28.
For once, Cirque fans from around the world will have to travel
to Montreal or miss out on a new creation.
Granted, this is a concert, not a circus.
The central problem with Cirques musical archives: they contain
only one genuine earworm song, Alegria, composed by René Dupéré
with lyrics by Franco Dragone, Claude Amesse and Manuel Tadros.
Understandably, this song was saved for the finale (with a bit
of Saltimbancos Kumbalawé to top it off).
Dupéré was the Cirques in-house composer during the early days
when Franco Dragone reigned as stage director. His flowing,
often melancholic music, which could be loosely classified as
new age (with a dash of jazz and world beat), was written to
enhance acrobatic performances. This was also true of the music
of Benoît Jutras, and other composers who followed, such as
Violane Corradi (Varekai) and the team of Bob and Bill (Totem,
Amaluna).
Adding a 70-voice choir and 30 musicians (split into orchestra
and house band) within a wonderfully ornate nouveau baroque
church certainly enhances the mystical side of the music.
Musical directors Gregory Charles and Alain Vinet brought the
rich voices of eight veteran Cirque soloists (Francine Poitras,
Roxanne Potvin, Paul Bisson, Audrey Brisson-Jutras, Dominic
Dagenais, Estelle Esse, Mathieu Lavoie and Anna Liani) to the
fore.
The staging of the concert (for which no single person is
credited) makes innovative use of the architectural features of
the church, including its magnificent organ.
The first 40 minutes of this 75-minute show had me completely
enthralled thanks to the special effects as much as the music.
It all begins like Quidam, with a waif-like young girl and her
big red balloon.
Layers of laser light beams, fog machines and projections are
brilliantly employed throughout. When the organ and choir are
suddenly bathed in scarlet light at the back of the church,
everyone turns to see. Then they swing back as images of
acrobatic bodies appear like apparitions on the ceiling.
At one point, flocks of ghostly white birds swarm above. Its
like the Sistine Chapel gone cinematic via technology beyond
Michaelangelos wildest dreams.
For the first 40 minutes, I was enthralled. After that it began
to feel like a concert. One that served as a reminder of the
limitations of invented-language lyrics.
Then conductor Frederic Chiasson began to lead the soloists in
an a cappella version of the Beatles song Because from the show
Love in Las Vegas. This is pure magic as well a reminder of
Cirques pop music stage when it teamed up with the Beatles,
then Elvis and finally Michael Jackson.
Later, Love Me Tender, sung by the duet of Anna Liani and
Dominic Dagenais (on acoustic guitar), served as a welcome break
from the stream of mellifluous music and wordless warbling.
Michael Jacksons Earth Song, however, slipped by, as did
several other lovely pieces, so soothing and similar.
This all served to increase anticipation for the big Alegria
number we all knew was coming. It did not disappoint. Costumed
acrobats from all of the shows mingled with the audience as
everyone sang along.
Cirque du Soleils amazing sound, light and music show makes a
most eloquent argument for the preservation of Montreals
architectural treasures as it celebrates the companys 30th
anniversary.
{ SOURCE: Montreal Gazette | http://goo.gl/gJwZLV }
Reinstatement of KA Battle a Somber Celebration
{Dec.14.2014}
-----------------------------------------------------
It sounded like it would be a celebration. A promotion.
Something to generate 30 seconds of footage for the evening
news. Look forward, not back and all that. If all followed plan,
the climactic battle scene of Ka would be back in the show
permanently on Friday, after being phased in last week. But
Cirque du Soleil wasnt finished looking back. When it
demonstrated the return of the Ka battle scene for reporters
on a recent afternoon, the mood was still somber. And company
officials were there to tell, not just show.
It was the first time Cirque executives had spoken in detail
about the accident that killed one of its performers. Sarah
Guyard-Guillot fell to her death after the battle scene in June
2013. Calum Pearson, vice president of Cirques resident shows
division, asked those gathered to forgive any emotion in his
voice. Its very hard to sit here and not be humbled by whats
happened in this room in the last year and a half, he said.
Its been an amazing feat.
He went on to explain the accident, and what had been done in
its aftermath, in such detail that a PowerPoint would have
helped. What had never been made clear was exactly what happened
that night, something that hadnt happened in nine years and
thousands of shows before it.
And they still dont know why.
They tried to replicate the accident, and couldnt repeat the
failure of pulleys and winches that allow performers to hang
from a vertical wall and steer themselves into different
positions in the mock battle. There was no one thing that
caused it, Pearson said.
Company officials were still sensitive about post-accident
reports that Guyard-Guillot might have been ascending too fast
during her exit. Something didnt work 100 percent with the
performer and her assisting technicians, Pearson acknowledged.
But he said it only allowed the next thing that changed to
occur.
When Guyard-Guillot came in high-speed contact with her landing
point, that sent a force up the cable and through two pulley
wheels. The final pulley wheel collapsed forward, allowing her
cable to jump out of the pulley wheel and find a sharp edge, a
pinch point (that) ultimately cut the cable and allowed Sarah to
free fall, Pearson said. The chances of that happening are a
million to one in and of itself.
But happen it did. What made the pulley wheel collapse? Perhaps,
he said, this particular winch sat in an area that saw more
pyro dust than the one next to it. But thats just a theory.
We still dont know, and its because we still dont know 100
percent that I just said Forget it,? and the system was
redesigned to eliminate the pulley wheel altogether. And the
human element is no longer the last line of defense, he said.
What if a performer or technician should have a medical event
during the battle scene down the road? The final flyout is now
fully automated. There were other questions to answer that day,
such as whether the battle should be reinstated at all.
Aesthetics have to fall in line behind safety. But the rest of
the show also has people doing dangerous things on the same
vertical wall. And if youve seen Ka since it reopened, its
obvious that it just wasnt the same without the climactic
battle. To try to do something other than the battle would have
been selling it short and its not what Cirque du Soleil is
about, Pearson said.
It helps to be reminded. As you approach the MGM Grand on
Tropicana Avenue, a billboard for Ka now proudly states the
show cost $165 million in 2004, something the company wasnt so
eager to own up to at the time (some said the real cost was
closer to $200 million).
Back then, it seemed Ka would be followed by even bigger, more
spectacular Las Vegas creations. Instead, it stands as the peak
of the decades optimism. And we now tend to take Cirques
nightly risks to thrill us for granted, until something bad
happens.
Its humbling sitting here, seeing the courage and tenacity of
what these guys have done, Pearson said of his artists. The
first day after the accident when they came back in the room and
got on the single-point lines, I will never be prouder in my
life than seeing this group come together and talk each other
through it and just come together as a family and say, Yes,
this is important for us and its also important for Sarah.?
{ SOURCE: Las Vegas Review-Journal | http://goo.gl/Il7dYp }
Cirque du Soleil aids Austrian vaulting pair
{Dec.16.2014}
-----------------------------------------------------
Local heroes Lisa Wild and Evelyn Freund with Stefanie Millinger
vaulted to individual female and pas-de-deux victory at the FEI
World Cup Vaulting third qualifier at the Salzburgarena in
Austria at the weekend.
Defending FEI World Cup vaulting champion and former world
number one Nicolas Andreani (FRA) also stormed to male
individual victory at the venue, where a total of 17 athletes
from seven countries battled it out.
Nineteen-year-old Lisa Wild, the youngest athlete in the series
and the first athlete to perform a full backflip on her horse
two years ago at the FEI Vaulting World Championships in Le Mans
(FRA), started the competition with a dream score of 8898 in the
first round on Robin, lunged by Nina Rossin.
Wild then performed a fascinating final round in front of a
packed arena, overwhelming spectators. Former German national
coach and FEI judge Helma Schwarzmann, who this time was
watching the competition from the stands, was nearly speechless:
Lisa really inspires me with her own style. She is extremely
fluent and very precise in her movements.
Unfortunately I was not able to compete in Salzburg for two
years due to several injuries, said Wild. Now I am finally
back and it was an amazing feeling to do my show here in
Salzburg. She credited her success to Robin, who received the
best horse score. The victory secured 15 World Cup points and
their spot at the FEI World Cup Vaulting Final, which will take
place in Graz, Austria, on February 19 to 22.
Simone Jäiser (SUI) on Luk, lunged by her mother Rita Blieske,
received the best technical and artistic score finishing second
(8,853) and Wild Card competitor Regina Burgmayr (GER) finished
third on Adlon lunged by Alexander Hartl (8393).
Defending champion Nicolas Andreani (FRA) repeated last years
success in Salzburg, winning the male individual competition 766
points clear of his nearest rival Julian Wilfling (GER).
Vaulting on a new horse, Ramazotti, whom he met at the Alltech
FEI World Equestrian Games 2014, he scored 9055 points in the
first round, finally finishing the two rounds with a combined
score of 8,973. It took a lot of emotion to be strong in
Salzburg, said Andreani. The end of my career is very close
and I had to make sure I got through to the Final at this
qualifier. When I heard the French national anthem at the end, I
was very, very happy!.
Salzburg-based Evelyn Freund and Stefanie Millinger, winners of
the FEI World Cup Vaulting opening qualifier in Munich (GER),
left nothing to chance in preparation for Salzburg. After their
Munich win, they travelled to Montreal (CAN) to train for two
weeks with the worlds best acrobats from the Cirque du Soleil,
the worlds largest theatrical producer.
This resulted in a breathtaking two-round duel between Freund
and Millinger with reigning World, European and FEI World Cup
Vaulting champions Jasmin Lindner and Lukas Wacha from Tyrol
(AUT).
Freund and Millinger with Robin and lunger Nina Rossin finally
managed to edge ahead in the second round, posting a phenomenal
score of 9,127, with Lindner and Wacha on Bram lunged by Klaus
Haidacher finishing on 9,057.
In Munich we thought that it was just luck, but now we know
that we can do it and that is a big surprise, said Freund. My
girls did a fantastic job and they really earned this big
triumph, added their coach Roswitha Haigermoser.
A total of 20 vaulters, including the reigning FEI World Cup
Vaulting champion Anna Cavallaro (ITA), will now head to the
fourth and last qualifier of this series in Leipzig (GER) at the
famous horse sport event Partner Pferd.
{ SOURCE: HorseTalk.com | http://goo.gl/Po5c30 }
Cirque: Battle Scene Had To Return To KA
{Dec.17.2014}
-----------------------------------------------------
New computer controls that werent available when Ka first
opened have allowed for the return of the final battle scene
that was removed from the show, following the death of a
performer in June, 2013.
JerryNadal, senior vice president of Cirque du Soleils
Resident Shows Division, told KNPRs State of Nevada that
company installed computers that control the performers ascent
and descent. He said that these and other measures have made the
scene in KA safer. It is an integral part of the show. That
is the climactic scene in the show. It is the high point. It is
like watching a massive video game playing out in front of you,
Nadal said.
The scene returned Dec. 12 after the death of Sarah Guillot-
Guyard, who fell 94 feet to her death in June 2013.
Nadal described going over Cirque du Soleil productions with a
fine tooth comb to ensure the safety of performers and crews.
At the Ka theater, they took a year and a half to rework all
aspects of the battle scene and install new equipment, like the
computer controls, to prevent another accident. According to
Nadal, some performers in Ka wanted to bring the scene back as
soon as the show reopened, but the team knew it had to be
reviewed for safety We worked towards reopening the show but we
took a long time to do it so we had it right before we brought
it back, Nadal said.
The company spent an estimated $500,000 on the new safety
equipment.
Nadal said that everyone felt the final battle scene should
return to the show because of its importance to the story in
Ka and because Guillot-Guyard loved that part of the show.
Everybody knows she loved doing it. She just loved, loved,
loved doing it, Nadal said.
{ SOURCE: KNPR News | http://goo.gl/bvwGTu }
KNPR: Cirques Setbacks And Success On The Strip
{Dec.18.2014}
-----------------------------------------------------
After more than two decades at the center of Las Vegas
entertainment, Cirque du Soleil has become synonymous with Las
Vegas entertainment. From the north end to the south end of the
Las Vegas Strip, visitors can see a Cirque show. Later this
month, the companys first resident show, Mystere, will see
its 10,000th [performance].
Jerry Nadal, senior vice president of Cirque du Soleils
Resident Shows Division, told KNPRs State of Nevada the company
is constantly re-evaluating acts and scenes that are part of
each show. However, with the demographics of Las Vegas visitors
trending younger, the company has to take that into
consideration. Youre always looking at how you have to change
things and appeal to the demographic of the people who are here
now, Nadal said.
In the intervening years, the company has had a few setbacks,
including the shuttering of Viva Elvis at the Aria Hotel and
Casino. Nadal said they overestimated the draw of Elvis for
younger audiences. He said they did not do enough market
research. We needed to do much more on our end for market
research. We just took it at face value Elvis and Vegas were
synonymous and lets do a show about Elvis, he said. The older
audience loved the show but there wasnt enough of them to
sustain the show, Nadal said.
According to Nadal, the companys Michael Jackson One at
Mandalay Bay is a success, and other long-standing shows,
including The Beatles Love at the Mirage and Mystere at
Treasure Island, continue to draw crowds.
But Nadal said the new frontier for the company may be smaller
shows like the one it opened in Riviera Maya, Mexico. The show
is in a timeshare resort and is a dinner show, which Nadal
described as a cabaret-type show with just 27 performers.
Youll probably see us cropping up in other resort areas that
are not necessarily with a mega-mega show, Nadal said.
Nadal said only Las Vegas can really sustain Las Vegas-style
Cirque du Soleil show.
LISTEN HERE:
http://cpa.ds.npr.org/knpr/audio/2014/12/141217_Cirque.mp3
{ SOURCE: KNPR News | http://goo.gl/NCLjJH | Listen! }
Cirque Dominates Las Vegas Ticket Market This Week
{Dec.18.2014}
-----------------------------------------------------
With the National Finals Rodeo coming to an end and Christmas
right around the corner, this is a slower time in Las Vegas than
usual. In fact, the week or two preceding New Years Day tend to
be among the slowest weeks in the year when it comes to visiting
Vegas. Naturally, major touring acts do not stop in Sin City
during these weeks, eschewing the week leading up to Christmas
in favor of the New Years parties during the following week. As
such, the resident Vegas acts are pretty much the only show in
town this week.
Of course, Vegas never stops ticking, and a slow week out on the
strip still hosts many tourists. Given that the resident shows
have a higher market share than usual this week, ticket prices
are actually up above where they usually are for many of them.
As is typically the case, Cirque du Soleil is dominating the
Vegas show ticket market.
The highest priced show of the week is none other than Cirque du
Soleils The Beatles: Love. Always one of the most sought after
Cirque du Soleil tickets and among the highest priced resident
shows of any given week, Saturday, December 20ths showing is
currently atop the secondary market at an average price of
$259.52. With the least expensive tickets on the market still
carrying a price tag of $184, it is also the most expensive show
of the week to get in to. The shows secondary market average
remains unchanged from last week, and there are currently 68
tickets available on the secondary market.
Also taking place on Saturday night, Cirque du Soleils Zarkana
is the second most expensive Vegas show ticket of the week. With
only 32 tickets available on the secondary market, the current
average price of $258.91 reflects an increase of 7% over last
week. Interestingly enough however, while Zarkana outpaces O by
a few cents when it comes to average price (O checks in at
$258.43), O actually holds a higher get-in price despite the
larger quantity of 118 available tickets on the secondary
market. Still, to get into either show it will cost no less than
$151.
Next up on the list of top Vegas tickets of the week is the only
non Cirque du Soleil show to crack the top five, and that would
be the Blue Man Groups resident show at the Monte Carlo
Theatre. There are currently only 24 tickets available on the
secondary market, making it the hardest ticket to come by on the
secondary market of any top show this week. These tickets are
currently listed at an average of $241, with a get-in price of
$182. While it is only the fourth most expensive ticket on
average, it is only $2 behind The Beatles: Love as far as the
most expensive shows to get into.
Rounding out the top events of the week in Vegas is Cirque du
Soleils Criss Angel Believe. A resident show of the Luxor
Theater at the Luxor Hotel since the fall of 2008, it has
undergone many improvements over the year to where it is now a
legitimate draw for the hotel. In this slower week where shows
are scarce, the 103 Criss Angel tickets currently available on
the secondary market are up 31% over last week. With an average
price of $223.58, Criss Angel Believe is the fourth most
expensive Cirque du Soleil ticket of the week, and fifth most
expensive Vegas show overall. Out of all the shows on our top
events of the week in Vegas list, it is the cheapest to get
into, with tickets currently listed as low as $115.
{ SOURCE: Forbes | http://goo.gl/pzpqcH }
Dralion wins IQs prestigious award: "Best in Show!"
{Dec.19.2014}
-----------------------------------------------------
Congratulations to Dralion for winning IQs prestigious Best in
Show award for 2014!
Read all about this honor in IQs Issue #57. IQ is the essential
magazine for the international live music business. A natural
extension of the ILMC, it presents news, features, information
and analysis to conference delegates and the wider industry at
large. While the ILMC provides an annual platform for vital
discussion and debate, IQ provides a year-round focus on
emerging trends and crucial business news.
Read the issue online at ISSUU:
< http://issuu.com/gregiq/docs/iq57 >
{ SOURCE: IQ }
Laliberté optimistic about Cirques Future
{Dec.19.2014}
-----------------------------------------------------
It was a novel experience: interviewing Cirque du Soleil co-
founder and owner Guy Laliberté, noted party animal and high-
stakes poker player, in a church.
The occasion was the Cirque du Soleils 30th-anniversary concert
at St-Jean-Baptiste Church in Montreal. After settling into a
pew for the show, I was offered a rare chance to chat with
Laliberté.
Having recently read a rather gloomy article on the fortunes of
Cirque in the Wall Street Journal, I blurted out something about
a funereal aspect to the concert. Laliberté took it in stride.
The burial of Cirque? he replied with irony, followed by
philosophy. Actually, true burial is always rebirth thats
not what I believe, but depending on what you believe
spiritually.
And then, an answer: No, that is absolutely not the case. This
is a moment of celebration. This is the last event of our 30th-
anniversary celebration. And for me its a special moment
because its the first time in 30 years that I didnt get at all
involved in the show. So this a birthday gift that I give to
myself.
Laliberté turned 55 on Sept. 2.
According to The Wall Street Journal story, following a bleak
outlook report from a consultant, a spate of poorly received
shows and a decline in profits, the Cirque was now in
restructuring mode, refocusing its business away from circus
shows toward other ventures.
It also said the companys net worth had apparently fallen from
$2.7 billion in 2008 to about $2.2 billion in 2013.
Last spring, the 2014 numbers, as reported by La Presse, had
dropped to between $1.5 billion and $2 billion.
I was among those summoned to Cirque headquarters in January
2013 for the announcement of 400 layoffs. According to Radio-
Canada, another 52 Cirque employees lost their jobs last month.
Obviously, these are not boom years.
Laliberté agreed that the tale told by the WSJ story was gloomy.
But he shrugged it off.
You know me, I dont pay attention to that. We know what were
doing. Life is full of adventure. Theres no such thing as a
clear pathway.
Yes, Laliberté is willing to sell a chunk of the business (up to
30 per cent). But this is nothing new. He once sold 20 per cent,
then bought half of it back.
We already announced this (sale) in the springtime, he said.
Its part of what I believe is good for the Cirque in the
future. I had made a decision that I will not put the pressure
on the shoulders of my kids to carry on with Cirque. So I have
to find people who will carry on.
Im 55 years old. I want to enjoy time with my family. I want
to enjoy time in life. I believe that a great partner will be
the best thing for the Cirque du Soleil in the future.
However, no decision has been made yet, he said. I still have
all my options open. Im just flirting and testing the market.
Flirting is something this sworn bachelor has practised for many
years. Two baby mamas notwithstanding (the first with three
children, the second with two), he remains legally single.
All my life Ive been flirting, he admitted, with a smile.
Im no different. I still carry on the same way.
And hes not giving up on his mania for company expansion
either. Theres the already announced Cirque theme park, to be
located in Nuevo Vallarta, Mexico.
Actually, weve been developing a lot of new projects, he
said. The creative brand of Cirque du Soleil is creativity.
Weve been talking about it (the theme park) for a year.
Finally, we found the right partner, the right opportunity.
That partner is Grupo Vidanta, a Mexican company that also
partnered with Cirque for its recently opened dinner theatre
show Joya in Riviera Maya.
Laliberté talked about trusting the creative forces of a new
generation.
You know were 30 years old, he said. We have to challenge
ourselves, to explore new fields.
When the Cirque began, he said, it had little competition. Now,
after years of nurturing new troupes, theyre no longer the only
fish in the circus sea. Plus theyve been hit by international
economic crises, and in the case of Zed, in Japan, by an actual
tsunami. (In fact, Cirque has had only one genuine artistic and
economic flop, Banana Shpeel, not a spate of them as per the
WSJ.)
So will the company continue to produce circuses?
Its the core business, he replied. You cant deviate from
that. And I dont see anyone, neither me nor anybody else, who
will take over Cirque, going in a direction other than that.
Asked if he had a deadline to decide on new partners, he stated
firmly: There is no emergency. This is just a process Im
looking into. I have so many things to think about, on the
Cirque side, and on my family side. I will try to make the best
decisions for both sides.
While speaking of family, I asked if Cirque was taking care of
the family of Ka acrobat Sarah Guyard-Guillot, who died in a
fall while performing in Las Vegas in July 2013.
Totally, he assured me, totally.
Her two children have remained in Las Vegas because the father
is still working for Cirque in Ka. Along with Cirque, MGM Grand
pays for things like the childrens education and travel
expenses for their grandmother. (Guyard-Guillot was from
France.)
An emotional time for the Cirque family
This event we went through was very emotional in the family of
Cirque, Laliberté said.
The battle scene act during which she was killed has just been
reinstated after a long hiatus. Everyone wanted to bring it
back, but it had to be done at the right time, in a very
methodical, very safe way, which cost about $500,000 for new
equipment.
Meanwhile, the next Cirque du Soleil arena show, based on the
film Avatar, is already in the works. Co-produced by the films
director, James Cameron, its slated to open at the Bell Centre
next December, to coincide with the release of the first of
three Avatar film sequels.
Montreal is our hometown, Laliberté said, comparing his team
to the Habs and adding, They didnt win the Stanley Cup every
year.
{ SOURCE: Pat Donnelly, Montreal Gazette | http://goo.gl/qhFTqr }
Cirque Hires Goldman Sachs to Look for Partner
{Dec.22.2014}
-----------------------------------------------------
Canadian performance company Cirque du Soleil has hired
investment bank Goldman Sachs Group Inc to help in its
previously disclosed effort to find a strategic partner, a
spokeswoman for the company said on Friday.
Sources familiar with the matter, who asked not to be identified
discussing private deliberations, said the company is exploring
all of its options, including the sale of a majority stake,
although it has not yet decided what path to take.
Founder Guy Laliberté owns 90 percent of the Montreal-based
company, which is known for its acrobatic spectacles.
Laliberté, 55, told the Wall Street Journal earlier this month
he was seeking to sell 20 percent to 30 percent of the company,
and was aiming for a deal that would value the whole company at
$1.5 billion to $2.5 billion. He said that Cirque du Soleils
revenue dropped to $850 million in 2013 from $1 billion year
earlier.
Cirque du Soleil will appeal to both private equity firms and
large media companies that are looking to increase their
exposure to live events, one of the fastest growing areas in
media and entertainment, the sources said.
Founded by street performers in Quebec in 1984, Cirque du Soleil
has become one of Canadas most famous exports. Its shows
featuring acrobats and whimsical plots tour all over the world
and its stage shows are performed nightly in Las Vegas and other
resorts. It has roughly 4,000 employees and it employs 1,300
performing artists in 50 countries, according to its website.
While the company generates the majority of its revenue from
ticket sales, it also organizes private events, sells retail
goods based on its shows and licenses its brand to the
hospitality and fashion industries. It has a joint venture with
BCE Incs Bell Media to create television programming, movies
and games.
{ SOURCE: Las Vegas Review-Journal | http://goo.gl/U3rzfv }
FORBES: The Secrets Behind How Cirque Makes
Their Strange Dreams A Reality
{Dec.23.2014}
-----------------------------------------------------
Its hard to visit a top-tier Cirque du Soleil show and not drop
your jaw just a little. A rare combination of surreal scenery,
technical muscle, and muscle of the human sort works to create
an experience that is, honestly, pretty awesomeif a bit strange
(not that theres anything wrong with that).
To find out how the company (yes, Cirque is a brand name) pulls
of their nightly feats across Las Vegas (where it has eight
shows in residency) and around the world, I spoke with two of
the brains behind the bizarre: Pierre Parisien, Cirque de
Soleils senior director of show quality; and Calum Pearson,
Cirques vice president of its resident show division.
Q. Were seeing new Cirque shows based off of existing IP, such
as the Beatles and Michael Jackson shows. For designers and
directors, how is the creative process for these projects
different from a whole-cloth original idea?
Parisien: The Beatles and Michael Jackson were extremely
creative artists who left huge legacies. We have always decided
and controlled the themes of a new show during creation, until
we were presented with the exciting challenge to imagine shows
around the work of these two great artists. When we started to
develop shows around the work of The Beatles and Michael Jackson
we entered worlds where we had access to a multitude of themes
very well defined. Acts, set, costumes, lighting, music and all
the different aspects of the new show will be developed around
that theme. The songs, the rhythms, the words, the characters
strongly established in their pieces opened us up to many
possibilities. As an example, in our shows the composers will
write the music inspired by the acts in development. With The
Beatles Love and Michael Jackson One we did the opposite. We
created the acts inspired by the rhythm and the images coming
from their music and universes.
Q. The performers seem to be in pretty incredible physical
condition. What sorts of background and training is typical
of a performer in Kà, or other such Cirque shows?
Parisien: Our performers are in incredible physical condition.
Being fit is second nature for them. A major part of their
lives. They must be in excellent shape and maintain their
physique due to the demanding acrobatic nature of the work they
accomplish nightly. To be able to safely perform and sustain the
high level expected they maintain their extraordinary
machines. All Cirque shows must recruit gymnasts and acrobats
with solid background and experience. Some of our performers are
former Olympians who come with strong experiences and who are
used to working hard. When new gymnasts or acrobats are hired
for the shows, before they begin performing they have to follow
a very specific regimen to prepare for the acts they will be in.
Preparation could last between one to six months before they are
fully integrated into their assigned acts. To maintain their
physical condition, the performers have regular weekly training
sessions. Those mandatory sessions are conducted by our expert
coaches to maintain the high level of acrobatic and artistic
components. Those sessions also allow the performers to explore
and try new acrobatic elements that could eventually be
integrated into the acts.
Q. Kà recently brought back the final Battle scene. Is there
anything different about it now? If so, tell me about what
changes were made and why?
Pearson: We implemented new technology into the Battle Scene
which created new safety protocols. For example, the final exit
of the spearman from the scene is now automated. This didnt
require any modification of the choreography for the scene as a
whole, except that we now make the final departure of those
characters subject to a speed limit built into the cue; as well
as overriding the artist control of the winch for that one exit.
We also doubled the computing capacity to allow a redundant
monitoring of the move. So when the cue enables, there is a
second part of the software whose sole function is to monitor
the main computer and ensure it is doing what we told it to do.
Q. What did Cirque use as a substitute for this scene? What was
the audience response to it?
Pearson: The immediate replacement act was a ceremonial dressing
scene that allowed the twins and their newly found loves to be
established as principals for their tribe following the escape
from the clutches of evil witnessed during the Wheel of Death
scene [Writers note: We are aware that readers who havent seen
the show may find the previous sentence to make little sense].
This was replaced by a hand-balancing act at the first
opportunity, and then ultimately replaced by a high-definition
video of the actual Battle scene that had been filmed earlier in
the shows residency. It was important for the story that the
final conflict between good and evil was witnessed by the
audience, and the video allowed us to present the original
artistic vision of the storyline.
The audience response was across the spectrum. We had some
people express disappointment that the final scene was not live,
while others expressed their support and sympathy as we moved
toward bringing the act back. Ultimately, it was imperative that
we took the time necessary to assess every finding from the
investigation, and walk through every aspect of the technical
changes that had happened with the show team. Also, as this is a
very demanding act that requires the body to be conditioned in a
certain way, it was also necessary to ensure we had adequate
time to reintegrate the artists into the physicality of the
scene, not just the choreography.
Q. Other than this notable scene, has the show evolved or
changed much since it debuted? Is this typical for a Cirque
residency?
Pearson: Our shows are always being reviewed by the artistic and
creative teams. They have a challenging mandate, in that they
need to preserve the integrity of the stage directors original
vision, while ensuring that we maintain a living art piece and
not a museum piece. This is not a small undertaking. It is
typical for a Cirque residency to maintain its original theme
for a long period, but at the same time certain changes will
come in for artistic relevancy or if a specific act decides to
move on in their career. Kà specifically had one major act
removed early in its run, which was the pillars scene. This
involved a parkour discipline where the fight scene was acted
out while jumping to and from different pillars that rose out of
the smoky depths. It was without a doubt a beautiful scene, but
the length of time it took to set up and strike the equipment
created large lags in and out of the scene. It was also
difficult to maintain the number of people we needed in that
discipline, so the decision was made to remove the act, and have
the fight scene take place on the downstage edge or
Passarelle.
Q. What is the most technically challenging part of KÀ to pull
off? What part seems to be the most challenging to viewers?
Pearson: The entire show is a technological challenge. Even 10
years on we are presenting live theatre in a way that is beyond
its time. The main Sandcliff Deck, our floating, rotating
behemoth will always appear as the most technically challenging
piece to the audience due to the sheer scale and unique nature
of what is being witnessed. The real technical challenge though
is in the backstage choreography that happens twice a night to
ensure that everyone and everything are in the right place at
the right time so we dont have to delay an entrance or scene
change. The coordination between stage management and technical
management on this show is the most beautiful ballet that no one
will ever see.
Q. I imagine there is a massive, highly specialized technical
staff that makes all the cogs move behind the scenes. Are
there any completely unexpected jobs that are necessary for a
show like this? For example: A guy whose job is just to do
one tiny task, that a spectator may not know even exists.
Pearson: Absolutely, our shows have many unique roles and
responsibilities; here are just a few at Kà. We have a very high
dependence on wireless communication for this show, and as such
we have to ensure that the airwaves are free of any
interference. This is true for all our shows, so we have people
whose job is to monitor the airwaves doing a spectral analysis
and ensure that no one else is operating on our frequencies.
This is crucial to ensure the communication between the stage
managers, technicians, and artists is clean and clear. We dont
want a situation where if a net is not at tension or an airbag
is not fully inflated, that we cant communicate with the artist
on stage to let them know. We also have a role for cleaning cork
and ensuring that it stays within a certain humidity percentage.
The beach scene is done with cork, and if we dont maintain the
correct humidity we have problems. Too dry, and it leaves dust
on the stage that can cause people to slip. Too humid, and the
cork could grow mold that causes air toxicity problems. All of
the Spearman shoes are hand crafted with the prosthetics that
create the look of open toes. These are individually glued and
then painted to ensure they can stand up to the scrutiny they
receive when the warriors are among the audience members. This
is also true of the costumers who ensure that each costume piece
matches the skin tone of the artist wearing it. The list goes
on, but needless to say, our technical teams are detail driven
and very passionate about their roles in presenting the best
show each night.
Q. If you could redesign and rebuild the stage today, with years
of shows under your belt, what would you change about it?
What was not obvious when the space was conceived?
Pearson: Huge leaps and bounds have occurred in projection, so
we would definitely make use of the changes in that medium. For
the engineering, we have made certain changes since the original
concept, such as changing the control software and the design of
the rollers that travel up and down the steel beams spreading
the weight. Other than that, the original design still remains
very robust and reliable.
Q. On the flip side, were there any aspects or features of the
stage that the show designers initially wanted to build in,
but were removed for any reason? Perhaps they didnt work
right or they proved too costly?
Pearson: For the main stage, we didnt remove anything. In fact,
we added when it came to the interactive projection. One night
the designers were in a bar looking at a projection table, and
decided that would look great on a bigger scale. There were,
however, several ideas that were discussed that never made it to
fruition due to the scale of the engineering. In the original
concept, the stage was also going to move from side to side and
have performance platforms that could be switched out. As the
laws of physics come in, some of those ideas have to be tempered
to fit a budget or maintenance schedule, but it will never stop
us from dreaming when we have a blank page.
Q. The audience can only see a small part of the multistory
stage apparatus. What are they missing?
Pearson: They are missing the Tetris game that is going on above
and below to ensure every entrance and exit happens. The harness
checks, the costume changes, the net pulls, the airbag
deployments, setting scenery, all the things that, honestly, we
dont want them to see. Because of what is happening on stage.
{ SOURCE: Forbes | http://goo.gl/F28h8e }
Cirque performer injured During Monday night's
Performance of The Beatles LOVE
{Dec.24.2014}
-----------------------------------------------------
Las Vegas, NV (KTNV) A performer with Cirque Du Soleils The
Beatles LOVE show at The Mirage was injured during a
performance on Monday night. The performer received minor
injuries and is expected to recover. An official statement about
the incident has not been released, however, Cirque spokeswoman
Kala Peterson confirmed the injury Tuesday.
Peterson says the performer was injured during Mondays show and
transported to a local hospital where the artist was later
released in good condition. Peterson offered no other
information about what happened or when the performer was
released from the hospital. She says the performer was taken to
the hospital as part of the entertainment companys protocol for
handling injuries.
{ SOURCE: KTNV | http://goo.gl/QapwJh }
How Cirques performers transform in pictures
{Dec.24.2014}
-----------------------------------------------------
Four faces transform under sponges and brushes in a swirl of
glitter and colour. Performers from Cirque du Soleils Totem
meticulously apply their make-up before a show to embody
different stages of human evolution.
Backstage, Yann Arnaud, a softly spoken Frenchman who is a
former competitive gymnast, turns into a macho beach boy
complete with green eyeshadow to perform a modern mating
ritual in the show, which is running under the big top at Fox
Studios. You do it every day just to give the audience some
magic to forget their lives for two hours, he says.
Shandien Larance, a native American from New Mexico, has gone
from performing the ancestral hoop dance for her family to
performing it globally. Representing indigenous people around
the world is an important part of why she performs. People
think were a dying tribe or a dying people and that we dont
exist anymore, so its nice to show that we still do exist,
she says.
Dipping her brush in glitter, Chinese unicyclist He Xuedi says
she ran away from her small village in the mountains to see the
world. Whenever she returns home, she is the star of the
village.
Born into a renowned circus family, Russian-American acrobat
Nikita Moiseev is no stranger to the stage. You have to be a
bit crazy to work in the circus, he says.
{ SOURCE: The Sydney Morning Herald | http://goo.gl/bWzA7h }
Montrealer Bruce Rickerd breaks Guinness World Record
{Dec.28.2014}
-----------------------------------------------------
Bruce Rickerd, a former Montrealer who was born in Ottawa, broke
the world record of most theatrical performances by a male
musician on Saturday in Las Vegas.
Its easy to miss Rickerd during Cirque du Soleils Mystère show
at the Treasure Island casino, especially when theres a man
balancing upside-down on the foot of another, or a giant
inflatable snail emerging from the massive moving stage or the
gasp-inducing drops from acrobats above.
But hes there up high on the right or rather, stage left
playing guitar in just about the same place hes been for every
one of the 10,000 shows come Saturday in the 21-year history of
Mystère as he and the rest of the band tie the music and sound
effects to action on stage.
Thats right. Hes never missed a day of work.
It never occurred to the 62-year-old musician to do otherwise.
This is not work for me, he said days before he would be feted
Saturday with confetti canons and an onstage finale bow where a
Guinness Book of World Records judge is expected to say Rickerd
has broken the record for most theatrical performances by a male
musician.
Granted, itll be for having performed in 9,958 shows, still the
most, as the record-keeping body continues to pore through
timesheets and employee records that might back up Rickerds
involvement in the remaining 42 shows.
Copious stage manager notes from each performance over the years
helped to confirm quite a bit, with Rickerds name never listed
on the out list.
The musician is down to earth about his accolade. A member of
the show joked that hes got Cal Ripken Jr., who played a record
2,632 consecutive baseball games for the Baltimore Orioles,
beat.
Rickerd said he knows being an athlete or an acrobat on stage
each night carries a higher risk of injury.
You show up
Anyone looking for a secret to Rickerds longevity, including
his ability to avoid catching a bug requiring a sick day, or a
routine that was a motivational key, wont get one.
Theres no secret, no routine. Unless you count his regularity
to arrive at work and attend the sound check, eat and get his
costume on before the show. And he didnt plan to do anything
differently in the days leading up to his record-breaking
appearance.
How does he do it then?
Its very simple. You show up, he said.
When he discovered he had a herniated disc a couple of weeks
before the production went dark in January one year, he showed
up.
There was that one time, though, when his usual 20-minute
commute turned into two-and-a-half hours, and he got to the
theatre with 10 minutes to spare, throwing on his costume
without buttoning the buttons.
Rickerds work ethic might be traced to his time spent as a band
leader in Canada. If he didnt show, the whole band wouldnt
work, he said.
The husband and father of two grown children got his start
playing guitar at the age of 13. Born in the Ottawa area,
Rickerd said he spent most of his Canadian life in Montreal.
While a band leader there, he hired a keyboardist, Benoit
Jutrus, who would go on to compose the music for some of
Cirques shows including Mystère. Jutrus called one day, several
years after leaving the band, to tell Rickerd that Cirque was
doing a permanent show in Las Vegas its first and asked if
he wanted to play. It would be a five-year gig, he said Jutras
told him.
As of Saturday, Mystère and Rickerd remain, 21 years later, to
celebrate 10,000 shows for both.
And then lights out, were out of there, he said, but just
until he returns for the next show.
{ SOURCE: Associated Press | http://goo.gl/hikVjt }
Backstage Documentary Quidam in Lisbon
{Dec.30.2014}
-----------------------------------------------------
Video documentary of Quidam by Cirque du Soleil in Portugal,
with the support of Everything is New and Cirque du Soleil.
Watch the video here: < http://youtu.be/aYoDWGr6Ik4 >
{ SOURCE: YouTube, CirqueSpotlight }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Corteo, Koozå, OVO, Totem & Kurios}
o) ARENA - In Stadium-like venues
{Quidam, Dralion & Varekai}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", La Nouba, Zumanity, KÀ, LOVE,
Believe, Zarkana, MJ ONE & JOYÀ}
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
------------------------------------
Amaluna:
Miami, FL -- Dec 11, 2014 to Jan 25, 2015
Houston, TX -- Feb 12, 2015 to Mar 22, 2015
Madrid, ES -- May 6, 2015 to Jun 21, 2015
Brussels, BE -- Sep 10, 2015 to Oct 25, 2015
Corteo:
San Jose, CR -- Jan 22, 2015 to Feb 15, 2015
Bogota, CO -- Mar 19, 2015 to Apr 12, 2015
Koozå:
London, UK -- Jan 7, 2015 to Feb 19, 2015
Bern, CH -- Mar 1, 2015 to Mar 29, 2015
Kurios:
San Francisco, CA -- Nov 14, 2014 to Jan 18, 2015
Seattle, WA -- Jan 29, 2015 to Mar 22, 2015
Denver, CO -- Apr 9, 2015 to May 3, 2015
Calgary, AB -- Jun 11, 2015 to Jul 5, 2015
Chicago, IL -- Aug 6, 2015 to Sep 20, 2015
Ovo:
Nagoya, JP -- Nov 20, 2014 to Feb 1, 2015
Fukuoka, JP -- Feb 21, 2015 to Apr 5, 2015
Sendai, JP -- Apr 23, 2015 to Jun 7, 2015
Totem:
Syndey, AU -- Oct 28, 2014 to Jan 11, 2015
Melbourne, AU -- Jan 21, 2015 to Mar 15, 2015
Brisbane, AU -- Apr 10, 2015 to May 17, 2015
Adelaide, AU -- Jun 11, 2015 to Jul 5, 2015
Perth, AU -- Jul 31, 2015 to Aug 16, 2015
-----------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
Quidam:
Santa Cruz de Tenerife, ES -- Jan 3, 2015 to Jan 11, 2015
Bucharest, RO -- Jan 29, 2015 to Feb 1, 2015
Bratislava, SK -- Feb 5, 2015 to Feb 8, 2015
Budapest, HU -- Feb 13, 2015 to Feb 15, 2015
Copenhagen, DK -- Feb 18, 2015 to Feb 22, 2015
Rotterdam, NL -- Feb 27, 2015 to Mar 1, 2015
Oslo, NO -- Mar 5, 2015 to Mar 7, 2015
Helsinki, FI -- Mar 11, 2015 to Mar 15, 2015
Vilnius, LT -- Mar 19, 2015 to Mar 21, 2015
Minsk, BY -- Mar 26, 2015 to Mar 29, 2015
Moscow, RU -- Apr 16, 2015 to Apr 26, 2015
St. Petersburg, RU -- Apr 29, 2015 to May 4, 2015
Tallinn, EE -- May 27, 2015 to May 30, 2015
Tel Aviv, IL -- Jul 2, 2015 to Jul 16, 2015
Dralion:
Prince George, BC -- Dec 31, 2014 to Jan 4, 2015
Fairbanks, AK -- Jan 8, 2015 to Jan 11, 2015
Anchorage, AK -- Jan 14, 2015 to Jan 18, 2015
** Closing, Anchorage, AK - Jan 18, 2015 **
Varekai:
Colorado Springs, CO -- Dec 31, 2014 to Jan 4, 2015
St. Louis, MO -- Jan 7, 2015 to Jan 11, 2015
Wichita, KS -- Jan 14, 2015 to Jan 18, 2015
Tulsa, OK -- Jan 21, 2015 to Jan 25, 2015
Oklahoma City, OK -- Jan 28, 2015 to Feb 1, 2015
San Antonio, TX -- Feb 4, 2015 to Feb 8, 2015
Rio Rancho, NM -- Feb 11, 2015 to Feb 15, 2015
Phoenix, AZ -- Feb 18, 2015 to Feb 22, 2015
San Diego, CA -- Feb 25, 2015 to Mar 1, 2015
El Paso, TX -- Mar 18, 2015 to Mar 22, 2015
Fresno, CA -- Mar 25, 2015 to Mar 29, 2015
Bakersfiled, CA -- Apr 1, 2015 to Apr 5, 2015
Sacramento, CA -- Apr 9, 2015 to Apr 12, 2015
Stockton, CA -- Apr 15, 2015 to Apr 19, 2015
West Valley City, UT -- Apr 22, 2015 to Apr 26, 2015
Spokane, WA -- Apr 29, 2015 to May 3, 2015
Berlin, DE -- Oct 8, 2015 to Oct 11, 2015
Leipzig, DE -- Oct 14, 2015 to Oct 18, 2015
Stuttgart, DE -- Oct 21, 2015 to Oct 25, 2015
Mannheim, DE -- Oct 28, 2015 to Nov 1, 2015
Vienna, AT -- Nov 4, 2015 to Nov 8, 2015
Dortmund, DE -- Nov 11, 2015 to Nov 15, 2015
Cologne, DE -- Nov 19, 2015 to Nov 22, 2015
Innsbruck, AT -- Nov 25, 2015 to Nov 29, 2015
Munich, DE -- Dec 2, 2015 to Dec 6, 2015
Hamburg, DE -- Feb 10, 2016 to Feb 14, 2016
Luxembourg, LU -- Feb 17, 2016 to Feb 21, 2016
Hanover, DE -- Feb 24, 2016 to Feb 28, 2016
---------------------------------
RESIDENT - en Le Théâtre
---------------------------------
Mystère:
Location: Treasure Island, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark: Thursday/Friday
Two shows Nightly - 7:00pm & 9:30pm
2015 Dark Dates:
o January 8 - 23
o February 1
o March 25 - 27
o May 14 - 22
o July 15
o September 10 - 18
o November 11
Added performances in 2015:
o April 2
o December 31 (only 7 pm performance)
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 10:00pm
2015 Dark Dates:
o February 1
o March 8 and 20
o April 13 - 21
o June 14
o August 3 - 11
o October 11
o November 30 - December 15
Added performances in 2015:
o March 17 and 31
o December 29
La Nouba:
Location: Walt Disney World, Orlando (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two shows Nightly - 6:00pm and 9:00pm
2014 Dark Dates:
o November 2 - 5
o December 7 - 9
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7:00pm on the following days in 2015: January 20,
May 8, May 15, May 19, May 20, and December 31)
2015 Dark Dates:
o January 4 - 19
o March 7 and 20
o April 12 - 20
o June 16
o August 16 - 31
o October 31
o December 6 - 14
Added performance in 2015:
o December 27
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7 pm performances on May 9, 16 and June 21)
2015 Dark Dates:
o January 5 and 8 - 23
o February 1
o March 7
o April 15 - 17
o May 30 - June 5
o August 5
o September17 - 25
o November 18
Added performances in 2015:
o January 1 - 2
o April 3
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Thursday through Monday, Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
(Only 7:00p.m. performances on May 15-16, June 19-21, December 31)
(Only 4:30p.m. & 7:00p.m. performances on July 4)
2015 Dark Dates:
o January 5
o February 1 - 2
o March 15 21
o May 28
o July 28 August 5
o September 15 17
o October 20 22
o December 1 16
Added performances in 2014:
o June 9
o December 30
CRISS ANGEL BELIEVE:
Location: Luxor, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two Shows Nightly - 7:00pm and 9:30pm
2015 Show Schedule:
o Wednesday: 7:00pm & 9:30pm (only 7:00pm on January 7,
February 4 - 25, September 30)
o Thursday: 7:00pm & 9:30pm (only 7:00pm on January 8-29,
December 31)
o Friday: 7:00pm & 9:30pm (only 7:00pm on January 930,
February 6, February 20 27, March 6 13,
May 1 22, June 5, June 19, September 1125,
October 29, October 2330, December 4 11,
December 25)
o Saturday: 7:00pm & 9:30pm (only 7:00pm on May 216,
June 20, July 4, October 31)
o Sunday: 7:00pm & 9:30pm (only 7:00pm on February 822,
March 115, April 26, May 24, June 7, June 21,
September 1327, October 425, November 18,
November 2229, December 613)
2015 Dark Dates:
o January 1
o January 12 27
o February 1- 3
o March 20
o April 13 21
o May 25 June 2
o June 22 30
o August 31 September 8
o November 9 17
o December 14 22
Added Performances in 2015:
o December 29
ZARKANA:
Location: Aria, Las Vegas (USA)
Performs: Friday through Tuesday, Dark: Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
2015 Dark Dates:
o January 6
o January 18 February 2
o March 7
o May 10 -18
o July 14
o September 6 - 14
o November 10
Added Performances in 2015:
o March 30
o December 28
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Two Shows Nightly - Dark: Wednesday/Thursday
Schedule: 7:00pm & 9:30pm on Friday, Saturday, Monday & Tuesday
4:30pm & 7:00pm on Sunday
(Only 7:00pm on January 12, 19, & 26, February 9, 16, & 23)
(Only 4:30pm & 7:00pm performances on July 4)
2015 Dark Dates:
o January 28 - February 5
o April 14 - 16
o June 3 18
o August 11
o October 14 22
o December 15
Added performances in 2015:
o January 1
o March 26
o August 19
o November 25
o December 30
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
Prices:
o) VIP Show Dinner & Champagne [RED] $MXN 2,970.00
o) Show Dinner and Champagne [BLUE] $MXN 2,178.00
o) Show and Champagne [GREEN] $MXN 1,452.00
o) Show Only [ORANGE] $MXN $1,056
o) High Stools (Show Only) [PURPLE] $MXN 858.000
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) Club Cirque -- This Month at CirqueClub & Casting
o) Networking -- Posts on Facebook, G+, & YouTube
---------------------------------------------------
CLUB CIRQUE: This Month at CirqueClub & Casting
---------------------------------------------------
Artist in training: Raphael Cruz
{Dec.24.2014}
-----------------------------------------------------
Cirque Club Interviewed Raphael Cruz, an artist who took up the role
of Romeo in Amaluna while he was training in Montreal. We wanted to
know a little bit more about him and how he got into his role.
Q. Can you tell us a bit about how you got this far in your career?
Im from Vallejo, California and started doing Chinese acrobatics when
I was 6 years old at a circus school in San Francisco. My parents
wanted my older brother and me to do something physical and something
musical as well. For about 9 years, I mostly practiced the Chinese
Pole, hoop diving, general acrobatics, and teeter board. I basically
spent my childhood skateboarding in San Francisco, going to piano
lessons, and attending circus school.
At 15, my brother, whos three years older than me, was wondering what
to do with his life. Thats when the Californian co-founders of the
circus company Les 7 doigts de la main, (7 Fingers) Gypsy Snider and
Shana Carrol, advised my brother to go to Circus School in Montreal.
We had never really thought about taking it seriously and thinking of
it as a career. I was really close to my brother we grew up doing
everything together so when he went for his audition, I didnt want
to stay behind in California by myself and decided to audition as
well. And we both got in!
So I entered Canadas National Circus School at 15 and did a hand-to-
hand act with my brother. After school finished, I joined 7 Fingers
right away as part of the resident cast in Traces and stayed with them
for four-and-a-half years. I was supposed to appear in IRIS in 2009
but it was postponed for eighteen months so I did a lot of other
things in the meantime: cabarets in Germany, a contemporary dance show
in Montreal
Q. Youve already worked with Cirque can you tell us more about it?
IRIS was my first Cirque du Soleil show. I was cast because when doing
Traces, we performed in Paris and Philippe Decouflé, director-
choreographer, came to see the show and we hit it off. We started
talking about me performing in IRIS and I came to Montreal to do some
workshops and research for the trampoline acts. He offered me the
title role and at first I was intimidated to play the main character.
But it was a huge opportunity for me, and I ended up playing Buster in
IRIS from 2011 to January 2013.
After IRIS, I went back to 7 Fingers and did some special events with
them. I then played in Murmure des coquelicots at Montreals TNM
theater. It was a mix of traditional theater and contemporary circus
which I found super interesting. It was a really ambitious project
written by Sébastien Soldevila (also from 7 Fingers) and it was
exciting for me to share the stage with professional actors and mix
both worlds.
More recently, I went to Sochi in Russia as assistant choreographer
(Sébastien Soldevila was the head choreographer) for part of the
opening ceremonies. This was my second time on the other side of the
stage (I did choreography for Traces when I was injured) but the first
time that I was really able to be involved in creating something. Then
lastly I played Marius in Intersection, a 7 Fingers show at Montreals
TOHU.
Q. What can you tell us about Amaluna and its themes?
I didnt know anything about it before they contacted me, in fact I
hadnt even seen it. Even now, Ive never watched the entire show on
DVD. I still dont know much about the show and I need to be more
involved as Im currently focusing on my acts and scenes rather than
the show as a whole. The goal right now is to learn what I myself need
to do then look at the big picture.
Q. Unlike IRIS, where you were involved in the process from day one,
youre taking over a pre-existing role in a show that has been
touring for over two years. How are you dealing with that and can
you bring your own personal touch to the part of Romeo?
Well, my philosophy on that subject is that I can never play it the
same way as another performer anyway. Its important that you express
yourself when youre on stage, so in reality you cant express the
same things as someone else. I do have the freedom to add my personal
touch. I have to respect the choreography, the blocking and things
like that but I think in terms of intention, energy, all of that, and
theres a lot of room for interpretation. Its a good thing, as the
way the character is currently being played is not really me (hes
very physical).
Q. What made you accept this role?
I had room in my schedule. When the Cirque du Soleil casting team
offered me the role in August, I was torn, as Im really interested in
being on the other side of the stage, in creating things. But this
role does pose certain challenges: for instance, Ive never had a
purely solo act before, as well as the fact that Im not a Chinese
Pole specialist.
Q. How have you prepared for playing Romeo? Did you need any special
training?
Ill be playing Romeo in both Atlanta and Miami until December 31, and
I arrived in Montreal in mid-August. The training started at the
beginning of September and is split into different parts:
o) 2 hours per day of act training with a technical coach and an
artistic coach to put together the acts.
o) 2 hours per day of trick training with the technical coach.
This is mainly focused on Chinese Pole techniques.
o) 1.5 hours per day of character training (watching the video,
working on the blocking, thinking about how I will approach
the role).
One other thing is that I have to learn how to apply the characters
makeup. That involves a session where a makeup artist puts it on me
first while I watch what theyre doing, and then they give me all the
stuff and I try to do it by myself while they watch me, and so on.
Q. Did this role pose any particular challenges?
The training period is very short because Im leaving for Atlanta on
September 26. Training periods are usually longer than that. The
Chinese Pole is a challenge for me too, but the rest is totally fine,
including the water bowl act.
Q. Have you ever been to Miami or Atlanta?
Miami, yes, a long time ago. As for Atlanta, I dont think so. Im
excited, because its really like visiting two new cities for me. Oh
yeah, and the other factor is that Miami in December is way nicer than
Montreal in December :).
Q. Have you ever performed under the big top? If so, how is it
different from other stage settings?
I did play big tops for Traces and in other circus festivals but it
will be my first time performing under the big top for Cirque du
Soleil. In a way, all stages are different, but a big top isnt
particularly different compared to traditional theaters. Arenas are
another matter, as they arent really as intimate as a big top, so Im
excited to perform there.
Q. You mentioned starting working in the circus at age six. Can you
share with us your view of what it takes to become a good circus
performer? Are there any special traits or skills you should have?
I think being a good circus artist is about being a good performer,
its not just about doing specific tricks. Its really linked to the
way you express yourself, the confidence to believe 100% in what
youre doing, no matter what it is. This is the exact situation with
me playing Romeo: the role itself isnt me at all but Im going to
believe in it 150%.
Q. Would you like to stay with the same show for the long term?
Where I am in my career right now, no. Because I want to have
different experiences, learn as much as I can. I love taking part in
the creation of shows, so my goal is not to stay with the same show
for two years.
Q. Youre also a musician. Can you tell us more?
Im composing some music for 7 Fingers for their new show in October
at TOHU. Im working on the piano pieces for that. Im also playing a
little bit of guitar, which is something fairly new for me. Again,
its good for me to develop different skills because they help me gain
an overall vision of a show, from the technical acts to the
choreography and music. I like every part of it and discovering more
about it.
Q. Youve been injured several times. How do you deal with that?
It really is the worst thing of all. I dont think there are many
acrobats who have not been injured though its just part of our job.
You basically have to make sure you handle it properly when youre
injured, be patient, and dont come back too quickly.
And Raphael had a special word for our members:
< https://www.youtube.com/watch?v=QZtwU7zSWGU >
* * *
The Cirque Club team has also gathered a few words from Michoue
Sylvain an Artist Trainer who helped Raphael get into his role. Here's
what she had to say about the process: When Cirque du Soleil welcomes
a new artist to train for a pre-existing part, its totally impossible
to do a cut-and-paste. We need to quickly pinpoint their artistic
and acrobatic strengths and accentuate them to add the touch of
originality that will help them shine and give them the feeling they
are bringing something new to the role theyve been cast to play.
For a role which involves more acting, we have to make them understand
the motivation behind each movement. And we do whatever it takes. I
often make them improvise scenarios that require the same emotions,
while distancing them as much as possible from the scene itself. This
is how an artist gets a feeling for and can perform the scenario
without feeling the constraints of needing to respect the real staging
or keeping time with the actual music. Once theyre able to channel
the scenarios emotional state, we refine the actions and gestures,
then begin to integrate the staging, with everything that implies:
supporting the acting and characterization, reacting to others (even
if in training the artist is alone in the studio!), navigating the
space, and keeping time with the music.
With each artist theres a new challenge. Every Cirque du Soleil
artist arrives with their own background. Some, like Raphael Cruz, are
multidisciplinary artists who already have a great deal of stage
experience. I call them hybrid artists they move well, their body
channels emotions fluidly, they know how to dance, they often play a
musical instrument and, of course, they are excellent acrobats. With
them, our job is basically to refine their abilities, like with any
professional artist. But other times, we receive candidates who have
almost no training or artistic experience; their profile is purely
acrobatic. We then need to start with the basics and get them to see
how the same movement can be expressed in a thousand different ways.
We have to make them understand that a gesture only touches the
audience when its linked to a particular emotional state. Its a tall
order, but theres always some kind of sensitivity in every individual
and a universal desire to express themselves. We just have to find the
key to unlock the door
{ SOURCE: CirqueClub | http://goo.gl/3JSIZF }
---------------------------------------------------
NETWORKING: Cirque on Facebook, YouTube & Twitter
---------------------------------------------------
{Compiled by Keith Johnson}
---[ AMALUNA ]---
{Dec.01}
MIAMI! Are you ready for us?! We're ready to be coming
to you!!
LINK /// < http://goo.gl/kMii8V >
{Dec.06}
How fast can our Miranda go?!
LINK /// < http://goo.gl/eLJrjP >
{Dec.12}
Getting ready for Dress Rehearsal! Can you guess in what
part of the site this was filmed?
LINK /// < http://goo.gl/naKzBl >
{Dec.18}
The kids at the Miami Children's Hospital absolutely stole
our hearts today as Amaluna celebrated with the Live Like
Bella foundation. Thank you for letting us share in your
holiday celebrations!
LINK /// < http://goo.gl/B7466g >
{Dec.24}
Happy Holidays, Miami!!!
LINK /// < http://goo.gl/z455dn >
---[ CASTING ]---
{Dec.01}
December is already there! Hurry up to get your wallpaper
LINK /// < http://cirk.me/1me4nRt >
{Dec.11}
Here's a sneak peek of the session with vocal coach Robert
Poliquin and our Talent Scout Severine Parent. Kailee Ann
Albitz is leaving tomorrow to sing in Mystère. We wish her
a great time in Las Vegas!
LINK /// < http://goo.gl/xMbV3P >
{Dec.13}
CASTING CALL: We're seeking a FEMALE SINGER to be part of
our new Arena-Touring Show. Applynow! (This would be the
AVATAR show)
LINK /// < http://cirk.me/1uxNMvb >
---[ CORTEO ]---
{Dec.03}
Saben cómo se traslada Corteo de un pais a otro ? Aca un
poco de nuestros traslados de from Buenos Aires, Argentina
a Santiago de Chile cruzando los Andes.
LINK /// < http://goo.gl/T9MipJ >
{Dec.05}
Sabías que despues de Lima todo el staff de Corteo estará
volando hacia las cuatro direcciones del globo, a los 7
continentes !! Partes de nuestro staff estará visitando un
total de 70 aeropuertos en 30 paises distintos !
LINK /// < http://goo.gl/o99QNT >
{Dec.10}
Sabías que hay mas de 2000 piezas de vestuario en el show!!?
LINK /// < http://goo.gl/Hpz3ZJ >
{Dec.13}
Tuvimos un hermoso momento dentro de la carpa de Corteo.
(A marriage proposal presented during curtain call.)
LINK /// < https://www.youtube.com/watch?v=Gmb7Y69pd2E >
{Dec.16}
Imagina la maravillosa habilidad que tiene esta artista de
leer el periódico mientras hace malabares con los pies !
LINK /// < http://goo.gl/ARSN59 >
{Dec.24}
Feliz navidad de Corteo con mucho amor!
LINK /// < http://goo.gl/v8moAx >
{Dec.27}
Si quieres conocer un poco de nuestro atras de escena puedes
chequear nuestro link! (Video is 26.5 min, but in Spanish)
LINK /// < https://www.youtube.com/watch?v=ewOnM1QzfEw >
---[ DRALION ]---
{Dec.03}
Michael Fougere, the Mayor of Regina, took a little time
of his schedule to learn how to juggle. Here's the result!
Do you think he should leave the juggling to us?
LINK /// < http://goo.gl/081YSV >
{Dec.04}
Throwback to our 4000th performance we celebrated on April
1st, 2011. We're getting very close to our 5000th show!
Will you join us for the celebration?
LINK /// < http://goo.gl/Z60yUu >
{Dec.07}
Meet Carl, General Stage Manager, on Dralion who joined
the crew in 2004. Here, he is sharing his memories of
working and traveling on the show during all these years.
LINK /// < http://goo.gl/yRIlRQ >
{Dec.09}
Stay tuned for a unique sneak peek of Dralion on CTV
at 5:00pm in Lethbridge. Will you watch?
LINK /// < http://goo.gl/U7znYz >
{Dec.12}
Cool photos of our Little Buddha character from Arena
and Big Top. Can you identify the alterations made to
the costume?
LINK /// < http://goo.gl/hlncor >
{Dec.16}
Have you seen the Dralion's Christmas tree at the Enmax
Centre in Lethbridge? We hear it had special offers.
Will you come see the show?
LINK /// < http://goo.gl/pBuvoi >
{Dec.18}
Here's how we celebrated its first Holidays in Arena
in 2010! What are your plans next week?
LINK /// < http://goo.gl/sa6jqO >
{Dec.18}
5,000 shows Dralion! We made it! Congratulations & Thank
you Crazy Cakes for the beautiful cake!
LINK /// < http://goo.gl/oLhGh1 >
{Dec.23}
Meet Agnès Sohier, Singer - Âme Force. Agnès has been
singing with and for us for the last 15 years. Here,
she shares some memories of the show.
LINK /// < http://goo.gl/D3sRqe >
{Dec.24}
Happy Holidays from ??Dralion?????!
LINK /// < http://goo.gl/HRLHIL >
---[ KOOZA ]---
{Dec.02}
Caught backstage - Contortionist Ninjin Altankhyag displays
perfect concentration during her warm up.
LINK /// < http://goo.gl/h13mWn >
{Dec.04}
DHL, a proud partner of Cirque du Soleil, presents this
incredible interview about the man behind the mask.
Otherwise known as Joey Arrigo, KOOZA's Trickster.
LINK /// < https://www.youtube.com/watch?v=qkIbBybyBqY >
{Dec.07}
Last week, KOOZA's Big Top became a wedding venue and it
was a beautiful site to see! Congratulations to our very
own Valerie Giguere on her wedding!
LINK /// < http://goo.gl/cE4RrV >
{Dec.14}
Hi-Viz safety wear mixed in with Act 2 costumes...
LINK /// < http://goo.gl/FTQltO >
{Dec.16}
Spotted on the streets of London!
LINK /// < http://goo.gl/DxkCFl >
{Dec.20}
KOOZA? is making its way to the Royal Albert Hall! Before
we arrive, take a look behind the scenes of Cirque du Soleil
with You Magazine's Liz Jones.
LINK /// < http://goo.gl/CtxTJn >
{Dec.22}
Happy Holidays from ??KOOZA??????!
LINK /// < http://goo.gl/zzgHv0 >
{Dec.29}
The UK's Metro shares its Top 10 Reasons to check out
?KOOZA?????! Do you agree? What are your top reasons?
LINK /// < http://goo.gl/QwnbMU >
---[ KURIOS ]---
{Dec.04}
Enjoy our last video from our tutorial series! Lidia
Kaminska, accordionist, is showing us how to play a part
of the single ''Fearsome Flight'' from the Rola Bola act.
LINK /// < https://www.youtube.com/watch?v=qz9hQtwsrOY >
{Dec.04}
Having fun today at the Facebook HQ and Instagram HQ with
some artists from KURIOS and Amaluna.
LINK /// < http://goo.gl/jf5HGQ >
LINK /// < http://goo.gl/0JHH4h >
LINK /// < http://goo.gl/E9i09E >
{Dec.10}
Not at the KURIOS Album Launch event tonight? We didn't
forget about you! Here's a special video from amazing
people who have worked hard on the production of the
KURIOS - Cabinet of Curiosities album!
LINK /// < https://www.youtube.com/watch?v=2BAYtGcEvfc >
{Dec.11}
Attention ticket-holders for tonights performance of
Kurios (Thursday, December 11). The show will be performed
tonight. The Big Top is very secure and we invite you to
get out of the weather and enjoy our performance of Kurios,
Cabinet of Curiosities! If for some reason we experience
conditions that are not suitable to put on the best
performance of our show, we will post an update at 5pm
today! (ED. San Francisco experienced massive thundershower
and wind activity, which prompted this message.)
{Dec.12}
KURIOS - Cabinet of Curiosities Album Launch (148 photos) -
It was a night to remember! Thanks to every single one of
you who came and celebrated with us for the KURIOS -
Cabinet of Curiosities Album Launch! (Now available on
CD and special limited edition vinyl)
LINK /// < http://goo.gl/KP6xfA >
{Dec.20}
Our Characters participated in an amazing fashion photo-shoot
under the Big Top. Here is how the SFGate crew captured
the moment.
LINK /// < http://goo.gl/Gmnuxj >
{Dec.23}
KURIOS has a special song for you for the Holidays!
LINK /// < https://www.youtube.com/watch?v=tpvFVPeZjKs >
---[ MYSTERE ]---
{Dec.27}
Tonight Mystère celebrated its 10,000th show!
LINK /// < http://goo.gl/L3bdnH >
{Dec.28}
Following last night's 10,000th performance of Mystère,
guitarist Bruce Rickerd -- who has never missed a single
show -- was awarded the Guinness World Record for "Most
Theatrical Performances by a Musician (Male)!
LINK /// < http://goo.gl/twQbRO >
{Dec.30}
An extravagant bow for a wonderful year with our amazing
fans! We hope to make next year just as memorable with
you as it was this year.
LINK /// < http://goo.gl/eGwO0J >
---[ "O" ]---
{Dec.23}
The holidays just got a bit more spectacular. Happy Holidays
from the cast and crew!
LINK /// < http://goo.gl/CDomB1 >
---[ OVO ]---
{Dec.01}
DID YOU KNOW? The Foreigner shoes are the longest shoes
ever made by Cirque. They measure 62cm long. You can see
how big they are compare to a regular Cricket shoe.
LINK /// < http://goo.gl/fcnlOl >
{Dec.07}
MEET THE FIREFLY!!! In a mix of high-speed diabolo and
seemingly impossible juggling a firefly sends one, two,
three and finally an astonishing four spinning spools
arcing very high in the Grand Chapiteau and back to earth
in perfect coordination.
LINK /// < http://goo.gl/l1zj9n >
{Dec.11}
Fukuoka! Get ready, OVO is coming! Yesterday, we had a
beautiful press conference to announce the upcoming season
of OVO in South West Japan. We premiere on February 20th.
Have you bought your tickets yet?
LINK /// < http://goo.gl/TnA5p2 >
{Dec.23}
Happy Holidays from the cast and crew of OVO!!!!
LINK /// < http://goo.gl/J9uKTc >
{Dec.31}
Happy New Year!!!! The cast and crew of OVO would like
to wish you all a Happy New Year and we hope that 2015
will be your best!
LINK /// < http://goo.gl/mV7A58 >
---[ QUIDAM ]---
{Dec.01}
Le calme Backstage Cirque avant la tempête
Quidam à Paris.
LINK /// < http://goo.gl/DSSE5Q >
{Dec.16}
Can't believe we're spending our day off here
playing with AllStars Benfica players in Lisbon!!!
LINK /// < http://goo.gl/dnhEZE >
{Dec.17}
So proud of our very own Quidam drummer "Dre" for
making this top 10 list ~ you are always #1 in ours!
LINK /// < http://goo.gl/mlTTlz >
{Dec.19}
So much fun skipping at Há Tarde ~ we even took a
Cirque Selfie on LIVE TV!
LINK /// < http://goo.gl/N0HPIq >
{Dec.21}
LIVE from ?Backstage Cirque???? Tis' the season! How do folks
spend the Holidays in YOUR country?
LINK /// < http://goo.gl/ZZLq7f >
{Dec.22}
More Holiday traditions from the Quidam ?Backstage Cirque????
with Francois ~ what is YOUR favorite tradition?
LINK /// < http://goo.gl/bDXK3z >
{Dec.23}
LIVE from the Quidam ?Backstage Cirque???? Anna tells us how
festive her family gets back in Russia, How will YOU
celebrate the Holidays?
LINK /// < http://goo.gl/Xp7Eeo >
{Dec.23}
It was ?Quidam????'s turn to invite the Sport Lisboa e Benfica
players to try a few acts ?Backstage Cirque???? ~ We challenged
them with Jump Rope, Spanish Web and Banquine. How do you
think they did? We were impressed!
LINK /// < http://goo.gl/81kc0c >
LINK /// < http://goo.gl/fu5qOr >
LINK /// < http://goo.gl/5wFIsW >
LINK /// < http://goo.gl/2F4LEN >
{Dec.24}
For some, it's all about the New Year ahead ~ what is the
most important to YOU during the Holiday season?
LINK /// < http://goo.gl/4VChNp >
{Dec.26}
Look at us go Did you know we had one of the best load-ins
EVER in our Arena life here in Lisbon? Can you guess why?
LINK /// < http://goo.gl/N5QpCl >
---[ TOTEM ]---
{Dec.03}
Our Green Frog Umi has started a movemen t of outdoor
make-up sessions, he is joined today by David, High Bars,
and Gael, Rings Trio. We gotta love spending December in
Sydney!
LINK /// < http://goo.gl/dXqNz4 >
{Dec.09}
The TOTEM Green Committee strikes again! Yesterday, a
few Cast & Crew members helped cleaning the parks and
streets of Zetland, a residential area near our Big Top
in Sydney, Australia!
LINK /// < http://goo.gl/DwfRxm >
{Dec.11}
Kyle and Jackie O from KIIS 1065 in Sydney loved TOTEM
so much that they sent Intern Pete meet a few cast members
and train with them backstage! See him in action!
LINK /// < https://www.youtube.com/watch?v=TXdep181n0U >
{Dec.12}
Celebrating today our 1,600th perfomance! Since April 22,
2010, TOTEM did 27 tour stops in 25 different cities. More
than 3 million audience members in 6 different countries
(Australia, Canada, New Zealand, The Netherlands, United
Kingdom and USA) have attended one of our performances...
and many more to come! Congratulations to everyone who has
participated in making TOTEM a success!
{Dec.13}
Channel 9 will be airing the documentary TOTEM Stories
at 4pm this afternoon! Discover the human beings behind
the larger-than-life characters of TOTEM and hear their
inspiring stories!
LINK /// < http://goo.gl/8chZaD >
LINK /// < http://goo.gl/OUyDuh >
{Dec.25}
After a short day off for Christmas, we are back at the
Big Top for more performances! The Sydney Morning Herald
visited us earlier this week to meet with a few artists
applying their make-up and learn about the transformation
they go through to become the characters of TOTEM!
LINK /// < http://goo.gl/AGK7K6 >
{Dec.29}
We are doing a special fashion photo shoot today for the
upcoming edition of a National Australian Magazine...more
details soon!
---[ VAREKAI ]---
{Dec.21}
Today we bid "adieu" to our beloved Mark, who has flown
with Icarus' wings for the last 8 years and has now passed
the feather onto Fernando! Join us in wishing Mark the
best of luck in his future endeavors and a warm welcome
to Fernando!
LINK /// < http://goo.gl/YyIgYN >
{Dec.22}
? Varekai? is preparing to perform at Mall of America in
??Minneapolis???? for a sneak peak before our big opening at
Target Center from December 25-28. Be sure to drop by the
SE Court and take a pic with our artists!
LINK /// < http://goo.gl/a5uynZ >
{Dec.24}
From our home to yours this holiday season...
LINK /// < http://goo.gl/opu2Cv >
{Dec.25}
A special thanks to our wonderful catering team at
Spectrum who added some Christmas treats to our holiday
dinner! Do you have any special holiday treats you share
with your family? Share them with us!
LINK /// < http://goo.gl/zfwvci >
{Dec.27}
Yesterday, ?Varekai???? celebrated its 300th arena show. Where
have YOU seen (or will see) Varekai this year?
LINK /// < http://goo.gl/SVBplM >
{Dec.28}
Check out this awesome review we just got from the
??Minneapolis???? Star Tribune!
LINK /// < http://goo.gl/aRUHmj >
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "Evolution: The Transfer of Varekai from Big Top to Arena
(As explained by Fabrice Lemire, Varekai Artistic Director)"
By: Keith Johnson - Seattle, Washington (USA)
o) "Behind the Curtain: The Faces of Cirque du Soleil"
By: The Las Vegas Sun Staff
Special Reprint from Las Vegas Sun
o) "Cirque Exec Discusses Reintroduced Battle Scene in KA"
By: Robin Leach, Deluxe Life
Special Reprint from The Las Vegas Sun
------------------------------------------------------------
"Evolution: The Transfer of Varekai from Big Top to Arena
(As explained by Fabrice Lemire, Varekai Artistic Director)"
By: Keith Johnson - Seattle, Washington (USA)
------------------------------------------------------------
Adapting a product for use in a different venue or product is a cost-
effective way to get additional value out of development costs.
Thought of in an extreme case an example might be local police with
equipment originally designed for the battlefield. Or filming a show
to be able to sell to cable TV, video-on-demand, or on DVD/Blu-Ray.
Its not like youre creating a sequel its not a new product or
show created with some of the same parts, characters or artists. Its
more like making Arena Football from NFL football; the player types
desired, goals, and many of the rules are the same, merely adapted to
fit a different venue.
Cirque du Soleil has brilliantly opened many lucrative new markets to
its shows worldwide by adapting shows that have played in Grand
Chapiteaux (with all the infrastructure that entails) to now play in
Arenas. While there are many places you might be able to set a Big
Top, there are many, many more that have basketball/hockey rink-sized
Arenas. You cant always set up a Big Top where you might like,
especially in Europe. But nearly every city of some size has an
Arena.
In order to reach those smaller markets, Cirque thought smaller and
quicker. Playing in arenas means no Grand Chapiteau to set up and
tear down, and reduces the number of trucks needed from 60 containers
to around 18 trucks. Nor do they need their power supply and
environmental units. And Arena shows can play profitably for one week
in a town, unlike Grand Chapiteau shows which need 4-6 weeks in a city
to make money.
But you just cant take a show and insert it, unchanged, into an
arena. Its much more involved than that.
And that is where Fabrice Lemire comes in.
FIRST EXPLORATIONS
------------------
We first explored the process of adapting a show from Grand Chapiteau
to Arena (what Cirque calls a transfer) in a conversation with Mark
Ward (Quidams John) in Issue 89-July, 2011 (http://goo.gl/5Qt5J7).
But we wanted to go deeper. When a show very close to my and my
wifes hearts, Varekai, made the leap we got the opportunity to speak
with the man who headed the transfer.
Fabrice Lemire (fahbREESE LEW-mee-air), 44, was born in Paris,
France, and received training at the Paris Opera Ballet School
(http://goo.gl/KOR956) starting at age 3 and graduated from the
Conservatoire National Supérieur de Musique et de Danse de Paris
(http://goo.gl/Bj3DVI) at 16. By the time he was 19 he was a
principle dancer. At 30 he decided to focus on choreography and
directing and has choreographed and directed works for many different
companies. He also served as Guest Teacher for Celine Dions A New
Day show. It was here he was noticed by Cirque, who snatched him up
to be Dance Master for ZAIA in Macau.
In summer 2010 Mr. Lemire was plucked from ZAIA and given the
challenge of transferring a show. But it wasnt Varekai, it was
Quidam, and it wasnt why he was moved to the show originally. This
was my very first directorship for Cirque du Soleil in any position,
Mr. Lemire said. I was going there as an assistant artistic
director, but after a week on the job I was told that I was actually
going to take over the show for the transfer. So what happened was
pretty much the same approach that we later did for Varekai. They had
me on the big top tour for almost a year so that I could really grasp
the artistic element and what was going on from all aspects; all the
problems we might be facing. This also allowed me some time to come up
with a plan.
But performing the show in an arena wasnt brand new to the cast or
crew, as Mr. Ward explained when we talked with him in 2001. We had
done a small arena tour in the UK [Ed. For 8 weeks in Feb-April of
2009, visiting Liverpool, Belfast, Newcastle, Birmingham, Manchester,
Dublin, Sheffield and Glasgow], and performed in the Royal Albert Hall
[Ed. In Jan-Feb of 2009]. So we had some experience with Quidam in
arenas, but [now] it was going into arenas full-time.
They plunged right into the transfer process immediately after drawing
the curtain on Quidams big top life. As Mr. Ward continued, We
really didnt have a break because [after the final Grand Chapiteau
show in Bogotá, Columbia on Nov 21, 2010] we did a six-week arena tour
in Canada at the end of [2011] [Ed. From Dec 11, 2010 Jan 16, 2011]
with the cast we had for the South America tour. We played Kingston,
Montréal, Québec City and Chicoutimi. Then in January we stopped
because we had a 60% new cast of artists. So we went to training in
Montréal for two weeks [the last half of February 2011] where we met
new members of the show. Then the whole group went to Nashville and
trained there for six weeks [all of February to March 8, 2011] to get
everything together. We just basically [rehearsed] the full show from
beginning to end for everybody technical, artists, and everybody
to get an idea of how it runs and put things together from top to
bottom. For us it was like being in a theater built for us because
they set up a stage in Nashville [at Bridgestone Arena (.com)] and we
used that space every day for over a month. The first Quidam show in
its new Arena form played in Vancouver, BC, Canada on March 9, 2011.
NEW CHALENGES
-------------
The experience of transferring Quidam into an Arena format brought to
light many of the types of challenges that would need to be addressed
with future shows. This would serve Mr. Lemire well when the time
came to transfer Varekai. But before the show could be transferred it
would need to be revamped to accommodate Cirques new lowered
financial reality. Varekai was converted to arena because we had
been through every single market in the big top and it was time for
Varekai to reach out to a new demographic, Mr. Lemire explained.
But the conversion (to arena) was different from the (budget-cutting)
revamp. And this was a wonderful stepping stone for Varekai, because
we started with the revamp and the transfer came right after that.
The revamp process began with Mr. Lemires first viewing of the show.
When I take a show over, including Quidam and Varekai, I don't
research or watch any video beforehand to get my first impression of
the show. So when I took on Quidam and Varekai I knew nothing about
those shows at all. I wait until I am watching the show with an
audience and letting the show speak to me. I came in, and for the
first three shows I just watched and took notes; what speaks to me in
a good way or bad way. And I continue like that for three or four
days. And then I evaluate what I can start with.
Thats what allows me to make changes, [such as] when we're talking
about reducing performance time. Because what spoke to me on the
first day is naturally what I want to deal with first, This needs to
be changed, this needs to be shortened a little bit, this part needs
to move a little bit faster so we can keep the focus on what's going
on, etc. And [thats how] we find the right rhythm.
When I first came to the show, to me it was 25 to 30 minutes too
long, and I managed to cut 25 minutes. But not just by cutting acts,
[though] I cut two acts and actually replaced one. The triple trapeze
which was in the big top with four girls is now [done] with a single
trapeze girl. And the water meteors act which was done by three young
Chinese performers was cut because the arena format doesnt allow any
minors. I also created an act for a solo baton twirling girl; she's
Japanese, she's phenomenal, she's one of the best backup acts a show
could have. That act is easy to place, I can place it anywhere in the
show without interfering with the flow too much.
But what I mostly did was tighten, such as with transitions.
Sometimes people would look at me like I was crazy. But instead of
cutting into the next act because it was too long I [had a
conversation with] the musical director Brigitte (Larochelle). I said,
This song is a ballad, it's a slower piece. What if we played it
slightly different and made it a little bit faster? Not crazy like a
sped-up record, but it could [still work]. So we tried it, and we
were able to cut a good minute or so by just playing and singing
faster, so it worked. In other places I just managed to cut part of
the scene. The show today is two hours, including intermission, with
each act coming in at around 41 to 42 minutes each. It was a good 2
1/2 hours long before the revamp. Speaking just for myself and my
experience with this show, I felt that the scenes themselves were
telling me that the show was too long. I love when my audience leaves
a show and asks for more. I'm the kind of director who doesnt give
the audience too much. And I think this is the way Varekai is now in
its current shape; you want to see more.
SECOND TIME AROUND
------------------
It was two years later when the call to head another transfer would
come from Montréal. Mr. Lemire joined Varekai in November 2012 (while
the show was in Santiago, Chile) a year before the show was converted
to Arena. The last Varekai show in a Grand Chapiteau was Mexico City,
Mexico on November 24, 2013. 18 days later the first Varekai show in
an arena was Bossier City, Louisiana on December 13, 2013.
While his experience transferring Quidam would be invaluable, the
transfer of Varekai was done to a much different timetable. The
timeframe for the transfer between the two shows was extremely
different. For Quidam we had over five weeks in an empty arena with
no shows, just to really do the transfer. For Varekai it was a quick
turnaround of 2 1/2 weeks. On Quidam I had perhaps less [influence],
since I was only speaking for the Artistic side, while on Varekai I
was the only remaining director from the Grand Chapiteau version doing
the transfer.
Mr. Lemire then explained the division of responsibility inside a
Cirque show. On Cirque shows we have three directors: the Artistic
Director, the Technical Director, and the Company Manager. The
Company Manager and the Technical Director from the Chapiteau did not
accompany Varekai for the transfer; I was the only director in charge.
So I became the link to take the ship with me to [do the] transfer and
integrate not just new artists and artistic staff but facilitate the
integration of new crew members and new heads of departments, and also
a new Company Manager and Technical Director who came later when the
show was in transfer.
Knowing that I had done the Quidam transfer already, I [knew I] had
to really prepare myself. For Varekai we had a lot of deadlines; the
major deadline was the timeline of the transfer itself, the 2 1/2
weeks (Ed. From 11/25 to 12/12, 2013) in Bossier City in Louisiana
(Ed. just across the Red River from Shreveport in the northwest corner
of Louisiana, www.shreveport-bossier.org). We were given an arena
(CenturyLink Center.com) where we could take 2 1/2 weeks to restage
the whole work and make all the adjustments necessary. The obstacle
that we had in Bossier City was that they already had two shows
planned during our stay in front of an audience (on December 13 & 14,
2013). This was actually a very tight deadline, but we knew it would
be. And right after Bossier City we took the show and presented it in
its new format in Montréal. So the stress level was very high. What
we had to do within the last year to six months in the big top was the
maximum preparation possible technically, artistically, and everything
else we could. So that when we arrived in the arena in Bossier City
we were ready to face other new challenges.
MAKING ADJUSTMENTS
------------------
While there were many technical challenges involved (more on those in
a minute) his first major concern was the cast and crew turnover. Mr.
Lemire needed to give his personnel time to get adjusted to the new
environment within the compressed time schedule. Remember one thing:
even though there was not much of a change-over with artists (we
replaced maybe five or six artists out of 50), only one person from
each technical department stayed on. Everyone else was new and coming
into a new show. So there was a lot of education to do. Some of the
artistic team was new, and many of the technical crew, at the same
time you are educating artists. Some of [the team] had never seen the
show before so they were starting from scratch. [For example] a
lighting person behind the console has to anticipate a scene, he
cannot just say, Oh yes I'm changing to the next scene. It's a
learning process that everybody has to quickly adjust to.
I think artists need [time] to understand what an arena is. In the
big top theyve had the same backstage area and tunnel entrance to the
stage for many years. They have their points of reference. In an
arena, even though we try to re-create the same space in different
venues, it's always different. So the mental adjustment for the
artists was huge. They could see the backdrop, and see where
backstage is, and know we cannot have full light back there because
the light will leak into the front. So they had to learn to practice,
to do tricks and high acrobatics, in new lighting conditions. All of
this was a major adjustment for the cast.
I also wanted to have my performers, the artists, understand the
relationship that they have not just with the proximity of the
audience, but also what do you do, how do you reach an audience member
that is sitting in the very last row of the arena? Sometimes it's as
simple as pushing their projection. Sometimes you don't want to do
that, sometimes you want to create the illusion that the performer is
right in front of you. And the way we would do that would be with
lighting. In a movie you would do a close-up on somebody and the
people in the background would be a blur. The audience's mind is
really looking at the in-focus image. So how do you create that in an
arena? It may mean changing the intention of the artists. Sometimes
it's to not add on material because it gets too busy and the eye does
not have time to register what's going on due to the distance.
Sometimes it's cutting to a simple message so the intention is clear
to the audience. Sometimes it's playing with lighting to create a
focus, to isolate you and lead you to look at a certain scene or a
certain performer on stage.
I felt the biggest artistic challenge was for the clowns. The clowns
feed off the reaction of the audience, so they are used to listening
for laughter so they know when to move on to the next joke. In an
arena, even though the audience may be laughing, the distance may not
give you the support you need. This was major for the clowns and they
felt they were not funny, that in the beginning they were not getting
the reaction that they should have. And it's a major adjustment for
them to continue on with the pattern of the act while feeling that
they are not being appreciated. This also was a big lesson to learn,
how do you continue and motivate yourself when you don't get the
feedback that supports what you do?
ITS ALL NEW!
------------
While most of the artists (and their custom-made costumes) can
transfer directly from one version of the show to the other, the same
cannot be said for the stage they stand on. Remember that Varekai was
created in 2002, so their systems were 12 years old. In fact, much of
the equipment used in the Arena version is brand new stage, lights,
sound, rigging - to take advantage of the latest technology. So they
not only had challenges adapting to a new space, but how they would
work within the space had to be learned from scratch.
It was important for Mr. Lemire that, at the very start of the
process, he had input from the Varekai creative team. A good year
before the transfer (Show Director) Dominic Champagne and Stéphane
Roy, the Set Designer, came to visit, Mr. Lemire explained. So we
had an opportunity to sit down and grasp what really was the intention
and original idea of the show. And also for me to validate some of
the ideas I had, because I had led a transfer on Quidam so I had a
better understanding of what some of the obstacles would be. [We
looked at] the reality with regard to the look of the show in the
larger space. This allowed us to be on the same page to do some
things.
Like we decided to extend the forest. In the big top we had this
blue backdrop in the back upon which we could create shadows. But in
the arena it will be a black drape which would really cut the look of
the back of the stage. So how do we give the illusion that we can go
deep into the forest and have perception of depth through the space?
So we added trees all the way behind the ramp to where the artists
come on stage. It's a really nice feeling that you are on the border
of this forest and you can walk in and keep walking and lose yourself
in there.
Also, what I love about Cirque is that they have live musicians. And
in the big top I felt the musicians were lost on the backside of the
forest, so far back that you might forget that the music is played and
sung live. So I asked Dominic if they would be willing to bring the
musicians within the forest so we could see them better and you could
look at them. And Dominic was open to the idea. So we were allowed
to bring the singers and musicians onto the stage more often to really
have them be part of the scene.
So their visit was great to get everybody on board, and not find out
later that the creator would come in and try and tell me that this was
all wrong, that we were going in a completely wrong direction. I knew
I had the support of Dominic and I could move in that direction with
those ideas.
Nearly everything about the production had to be re-considered. Some
issues were more vexing than others. Another huge obstacle was when
we found out six months prior to transfer that the catwalk where the
grid is would be at a different height. In the big top there is a
grid which allows us to [create a] very nice position [for]
aerialists. You know, they can come in and out of the catwalk. We
had to lower [the height] for the simple reason that in the tent the
grid is supported by four masts. In an arena the structure needs to
be supported from the arena ceiling. So they need space to be able to
anchor the grid correctly and have it solid enough that it can support
the whole catwalk, the staircase, the artists, the lights, the sound,
all the things on it. They need lots of space on top to wire it
correctly.
We found out that the height of the catwalk in the arena would be
different. So then comes the search. We know that all arenas are
different, they all have different ceilings. I cannot ask my
performers and my technicians to adjust every single week for a
different ceiling height. So we had to agree on two heights, and
those two heights are actually lower than what we have had for the
life of the show in the big top. So we decided on two heights, an A
trim and a B trim. Which means that we have to work to re-create
the same act or transpose the act for the two new heights so it's
suitable for the artists and suitable for the stage. You also might
need new props and sets and other parts. And it also impacts the
lighting which would have to be adjusted. And the music to support
the act would need to be adjusted, because an entrance which is now 6
feet or 12 feet lower would happen a lot faster.
So we had to re-create all of this in the big top. We cannot create
the new setup in the big top, because we don't have the structure to
accommodate it. So instead we did a copycat of the setting with
sandbags and what we call a doughnut. It's a ring we use to better
control the movement of the cable attached to the apparatus, and with
sandbags we try to visualize what the look will be. And what we had
to do six months before transfer was educate not only our artists but
also those of the crew who would be with us at the transfer, and the
bandleader, to [see] what it would look like. Wed play the musical
backing track over the sound system in the big top and wed evaluate
Okay, the artist is touching the ground 15 seconds sooner so this
music will not work. We had to anticipate all this but we couldnt
re-create it because we didnt have the right structure - it's all
supposition. We knew when we got to Bossier City that we were going
to have two weeks to work on it. To me this was actually one of the
major obstacles. Because we had to redesign all or part of some of
the acts because how they were done in the big top was not suitable in
arenas due to the new height and lowered ceiling.
So you can imagine the two and a half weeks in Bossier City were very
intense. I can go on and on. The adjustment was huge! We were
working nonstop. They delivered a new set and new pieces of scenery
that had to be validated by the technical department and by the
artists themselves. From the mats to the swings: is it hard enough,
is it soft enough? For example, the very last scene, the Russian
Swing act, has a platform in the middle and what we call bavetted,
two large sail-like sheets (resembling a babys bib, which is what
bavette means in French) where the artists land and slide into. The
distance between the swing and the bavette was different and the
distance between the swing and the center platform was different.
This is major for an artist! The inclination of the bavette is
different; this is major for a flyer. All of this can sometimes take
months to validate, and we didn't have that time. So I sent two
flyers from Bossier City to Montréal to at least validate that it was
suitable for the act. And they were the first act we put on stage to
practice.
LIGHTS AND SOUND
----------------
A new format meant all-new lighting and sound equipment, and more
challenges. There is a long list! (Laughs). We brought (Lighting
Designer) Nol (Van Genuchten) in to redesign the entire show while we
were in Bossier City, which was another huge challenge. Nol came in
with the idea that he was going to re-create the show. But this is
2013 and the technology is different now. We now have the ability to
use different lights, moving lights and all that, so why not use them?
But in the meantime I am [working with the] cast, most of whom have
been here for maybe not since creation but for a long time and
suddenly we tell them the lighting is different and they wonder, what
is going on? So it's educating the entire cast about the new lighting
for their acts. They would ask why it was changing. And the answer
is it's the reality of the transfer to the arena. And [Nol] jumped on
board because this goes back to what you had in the big top. The
ceiling height is completely different, so in two and a half weeks we
had to adapt to new lighting.
[We also started using] a new lighting system called BlackTrax
(http://www.cast-soft.com/blacktrax). BlackTrax is a genius invention,
a small sensor device that's placed on a performer and is computerized
(so lights can track an artists movement automatically). However
with BlackTrax we are not re-creating a show or creating a new show,
we are putting a new fixture on an old show. [In our case] it was
connected to a light fixture that was too heavy to track, so that when
the artist would move the brain didnt have the [ability] to
accurately follow the action. So what we found in Bossier City was
Oh my God, the artists are not lit! Perhaps the track was wrong and
we would have to think of something else, because there might be
interference with cell phones or perhaps the lights were behind the
artists. This was a huge challenge for us because Nol the Lighting
Designer used BlackTrax to replace one follow spot: we had three
follow spots in the big top, in the arena we went down to two plus the
BlackTrax, which should have covered all [our needs]. Unfortunately
we didn't realize that we were expecting BlackTrax to [accurately]
track the artists. And during those two weeks in Bossier City I found
myself having to adapt the performer to what BlackTrax could deliver.
I was frustrated because I had to tell the artists, you cannot go to
this area because the BlackTrax can't catch you, or you have to move
slower across the stage so that the BlackTrax can follow you. This
was highly educational. It was time-consuming and unfortunately we
could not use it for the whole show. What we learned is that BlackTrax
should be used on a brand new production where everything can be brand
new from the start and you can create with it from day one. So we
learned that BlackTrax would only be partially suitable for our
transfer. A tough lesson to learn. (Laughs) But we still use it in
the show. Not to the extent we anticipated but we use it for some
scenes and it's helpful.
It may not seem like it upon first glance (or, more appropriately,
first listen) but the change in venue has a profound effect on the way
the show and the music sound. In the tent the sound is one way, with
very low reverb. In the arena the sound will change every single
week. When you're performing and standing on stage you may not hear
things the same because of the way the sound goes in every direction.
You may not hear what you expect to hear for your cue, if you cant
hear the melody you cant understand the music. The first week [the
artists] were lost, they could not recognize what was being played.
They knew the songs but the sound was very different when they were
waiting in the backstage area preparing to come out on stage.
My bandleader had to learn a brand new computer system, which was all
updated. The sound system was brand new, and most of my sound crew
was brand new and had to learn the new system. For the arena we were
given a new system that the bandleader had to learn from scratch; get
familiarized with the system and redefine all the sounds to put into
their computers. And then we needed to figure out how to meet the
standards of the composer and the sound designer. Because since the
show is played live we needed to re-create their intent. We support
the live instruments with computerized sounds, so all this needs to be
put together, and I think between her and the second keyboard player
it took about nine months to reprogram all of these new aspects.
Every other day they would come in for three or four hours in the Big
Top in the morning to focus on learning the system and getting
familiar with the new software, and then transpose every single sound,
or find similar sounds to re-create the sound. Sometimes the sound
evolves, so we had to anticipate (because we were still in the big top
at the time) what the sound would be like in the arena.
We also had the views of the Composer (Violaine Corradi) and the
Sound Designer (François Bergeron) in Bossier City to help us readjust
and re-create and change the musical colors of the show so it better
suits an arena. Which I found was magical, because with surround
sound and new technology you can really isolate an instrument for a
scene or moment. It's exquisite. It really changes the depth and
gives more richness to the colors of the music when you go to the
arena.
AUTO - MATIC
------------
Automation was another major adjustment. Besides the grid, there is
a whole new level of technology, equipment and safety guidelines. We
learned new safety guidelines and respect for them while we were in
Bossier City. For example, when we fly an artist we used to do things
manually. Before they had a guy behind the joystick who used to take
them up and down and it was like a partnership. Now the show is
entirely automated and the performers have to adapt to this. Today
the partnership extends to three elements: the performer, the
automation that the performer must trust and get familiar with, and
the technician, riggers and Calling Stage Manager who are on the other
side of the computer/console. While the decision to fly and the
timing are still made by humans, the automation provides smoother and
consistent pick-ups and landings for the artists.
It's a huge leap for a performer. Let's say Mark [Ward], who is John
in Quidam. Hes done his act for seven or eight years with a guy who
has been moving with him and going off his cues, and now youre saying
the computer is going to pick you up and set you down. The computer
has a brain but it doesnt have the ability to adjust quickly based on
the daily mood of the performer. So it's a huge adaptation for every
single participant involved. I think automation is a really wonderful
tool, but it needs to be learned, and thats what we had to do. So we
started automating acts while still in the big top. It was another
aspect of what the aerialists had to learn in 2 1/2 weeks. Same thing
for the platforms on stage and so on.
TIMING IS EVERYTHING
----------------------
With all these challenges to the process, the 18 days given for the
transfer was very tight. This was a huge task that we delivered in
two and a half weeks. Which, if you ask anybody - me included we
also learned that it was not enough time.
We worked 24-7. I worked with the artists during the day and at
night I would work with the lighting designer and bandleader and the
band. I found myself staying until 6am in the morning and coming back
at 9am to continue our work. I even said one night that I didn't have
the energy to go back to the hotel for just two hours of sleep. It
was just ridiculous. But we knew we had to deliver and we pushed it,
we exhausted ourselves. I wouldn't say we were burnt out, but we were
on the edge of being burnt out when we came into Montréal.
So we learned [many lessons, such as that] BlackTrax didn't work to
its full potential for our show. So I sat down in Montréal and [told
management] that there was a lesson here. While I understand time
frames, for the health of the entire crew who were working like
maniacs, and for artists, we didn't have enough time.
My complete transfer was not what was presented in Montréal - it was
the very beginning of the transfer. I [couldnt work with] some
artistic elements during the transfer because of all the [time devoted
to the] technical changes. When I was in Montréal I closed my eyes to
so many things because we had to present the show.
I wish I could have presented it the way it is now in Montréal rather
than what I had to show six months ago. I feel like right now in
Providence (Rhode Island where the show played from June 2-6, 2014)
where were near the end of this leg of the tour, the show is finally
finding the shape it should be. It took until now for me to be able
to watch the show and say that I'm proud of my crew and artists and
everybody else. But today I am proud of the show I am presenting. It
took all the way until six months into its arena life to be able to
find what I call the groove of Varekai, to have the story flow the
way it should.
We in Cirque fandom have heard of the visits the core creative team
would make to the show during its run to ensure it met their original
vision. And weve heard how, though this was done often in the past,
these visits have become fewer and far between. This has led to more
flexibility being given to the touring team. The Artistic Director
along with the Technical Director and the Senior Artistic Director
above them have the opportunity to take a show and have it evolve,
actually more today than it used to be. We were told, and I believe,
that Artistic Directors of shows should have the right eye, the right
intelligence, to let the show evolve, to make the best of the show.
With Dominic that's the way I worked. Even though I might have my own
vision of the show I will always respect the intent of the creators.
I also like to sometimes consult with them on a new direction, and
Dominic allowed me to do that with the show.
And I have amazing support from my supervisor, Denise Biggi (Senior
Artistic Director) which also allows the show to breathe and go to the
next level. For an Artistic Director that is magical. I'm not going
to turn the whole show around. But at least I can use my knowledge
and what I feel is important to influence the content. Technology is
changing; the technique of performers is changing. Look at what's
available and also what is fashionable, and the show can evolve.
Dominic has the ability to not feel so attached that nothing can be
moved or changed. In my case, and I can only speak for myself and not
for other artistic directors, I have a strong aesthetic. It can be
musical, it can be in terms of the story or plot, it could be in
costumes. Like Eiko (Ishiokas) costumes; she's not with us anymore,
but there's something that is unique about her costumes. I can watch
shows or movies she's been involved in and I can be influenced by
that. Because there is a signature, like Dominic has a specific
signature when he creates a show. I will apply all of this to nourish
the show and keep myself in the background.
COMING UP NEXT
--------------
We found out from Mr. Lemire that the next show to be converted to
Arena format will be OVO. Even though Corteo is next in the show
order, followed by Kooza. If you look at the stage layout of
Corteo, commented Mr. Lemire, it would be a major adjustment if they
ever did decide to transfer it. It also depends on tour histories,
where shows have been in the world. And if it is a good candidate to
put in an arena.
Having done two show transfers, it would be easy to consider Mr.
Lemire Cirques experienced transfer expert, and have a long career
transferring shows for Cirque. Mr. Lemire discounts that. I don't
know if I am the expert, but I love helping creations transfer.
[But] what I love to do today is creation. Being assistant to the
mise-en-scène, then be an assistant director, then move on to
operations. That's where I could achieve so much because it's my
forte, to really adapt and work from scratch with the team. I love
collaboration. I don't sit and boss people around, I love the process
of working with people and sharing the excitement and joy of what
comes alive when you create a show or when you transfer a show.
----------------------------------------------------------
"Behind the Curtain: The Faces of Cirque du Soleil"
By: The Las Vegas Sun Staff
Special Reprint from Las Vegas Sun
----------------------------------------------------------
For 30 years, Cirque du Soleil has amazed audiences with its
distinctive brand of circus performance. Its character-driven stories,
stunning costumes and death-defying stunts have been seen by almost
150 million people worldwide, a good number of them in Las Vegas.
For many performers, landing a gig with Cirque marks the pinnacle of
their career. The Montreal-based company the largest theatrical
producer in the world employs more than 4,000 people, about 1,300
who perform onstage. The artists' talents are diverse, from contortion
to clowning, acting to acrobatics, singing to synchronized swimming.
The performers represent more than 50 nationalities and speak 25
languages. But among them, a few sentiments seem to be universal: They
are amazed to have been selected by Cirque, they love what they do,
and they hope to continue performing, in Las Vegas and beyond, for
decades to come.
This is a special text reprint from the Las Vegas Sun, who expertly
interviewed nine artists from Cirque du Soleil across las Vegas,
accompanied by artistic photographs by Christopher DeVargas. The text
is below, see the pictures here: < http://goo.gl/XV4IUn >.
* * * * * * * * * * * * * * * * * * * *
VALERIE KIMANI, 30 | MICHAEL JACSON ONE
Hometown: Nairobi, Kenya
Moved to Las Vegas: About two years ago
Q. What is your main area of expertise?
Music, singing, acting for stage and screen.
Q. Describe your background and training?
At 21, I won a reality singing competition called Project
Fame. Since then, Ive performed in and out of Africa and had
television and movie roles. In 2010, I won the New York Music
Festival Award for an off-Broadway role I played in a musical
called Mo Faya.
Q. What do you do when you arent performing?
Wrestling with my 4-year-old son, Zion
Q. What is your favorite food?
Indian.
Q. What is your favorite thing about Las Vegas?
The lights at night.
Q. What is your proudest moment?
Flying on the moon every day at "MJ One." Im terrified of
heights.
Q. Name of your character:
Ngame, the moon goddess.
Q. How long have you been playing the character?
Since the show was created, from the very beginning.
Q. Tell us about your character and what you do onstage?
Ngame is magnificent and divine. She is an ethereal and shifting
image evoking the mother and the moon nurturing and
untouchable. And she sings.
Q. What is your most memorable experience on stage?
I will never forget that feeling when Michaels family watched
the show for the first time. It gave everything we do so much
meaning.
Q. Where do you see yourself in 10 years?
Still performing on some stage somewhere in the world.
* * * * * * * * * * * * * * * * * * * *
NEILS VAN DEN HEUVEL, 25 | BEATLES LOVE
Hometown: Amsterdam, Holland
Moved to Las Vegas: July 2 [2014]
Q. What is your main area of expertise?
Professional dancer
Q. Describe your background and training.
I started dancing in 2008. I started taking classes in Los
Angeles for a few months and went on to study three years of
professional dance studies back in Amsterdam. I earned my
diploma from the Art and Entertainment College in Amsterdam. I
continued to study dance at a variety of institutions. I have
danced, choreographed and taught dance through the years.
My career highlights include:
o) Toured with Nike as one of the brands dancers.
o) Competed in So You Think You Can Dance in 2012 and
finished in the top 14.
o) Danced with Miley Cyrus and Red Foo from LMFAO at MTVs
Europe Music Awards.
Q. What do you do when you arent performing?
I like to work out and ride my motorcycle. I enjoy going out to
eat with friends. My favorite spot is Umami Burger.
Q. What is your favorite food?
My favorite food is anything Italian, and randomly, I love
pancakes!
Q. What is your favorite thing about Las Vegas?
My favorite part about Las Vegas is that there are so many
entertainment and nightlife options at your fingertips. You can
see celebrities out and about and actually get the opportunity
to meet them.
Q. What is your proudest moment?
My proudest moment is becoming part of "The Beatles Love" cast.
I was contacted by Cirque du Soleils casting department through
a private message on Facebook. I caught their attention from my
videos on YouTube.
Q. Name of your character:
The Walrus
Q. How long have you been playing the character?
Five months
Q. Tell us about your character and what you do onstage?
The Walrus is the rock star of the group and keeps the party
going. He is a product of Dr. Roberts. Even though the Walrus
encourages everyone to have fun, he will confront people with
the truth and the downside of love.
Q. What is your most memorable experience on stage?
When I made my debut in "Love"! I remember the first moment I
made my entrance on the stage. When I saw the audience for the
first time, it was amazing everyone is looking at you! Very
exciting.
Q. Where do you see yourself in 10 years?
I see myself as a choreographer for a large production, such as
Cirque du Soleil, or creating shows for artists going on tour.
* * * * * * * * * * * * * * * * * * * *
EREZ KAPLAN, 32 | O
Hometown: Tel Aviv, Israel
Moved to Las Vegas: 2009
Q. What is your main area of expertise?
Russian swing and cerceaux, both aerial acrobatic acts.
Q. Describe your background and training.
I was a gymnast on the Israeli national team for a little over
11 years and competed in many international competitions for
Israel, including two world championships and three European
championships.
Q. What do you do when you arent performing?
I have two beautiful girls, so my free time belongs to the
family!
Q. What is your favorite food?
Thai food, but saying my wifes cooking is my favorite is the
smart choice, so
my wifes!
Q. What is your favorite thing about Las Vegas?
The versatility kids activities, adult activities, great
restaurants, awesome shopping options and, of course, no
traffic.
Q. What is your proudest moment?
My proudest moment has to be my eldest daughter, Noas, first
steps. That beats any one of my personal achievements in sports
or onstage, for sure.
Q. Names of the characters you play:
Comet, cerceaux (aerial hoop) and Russian swing (groom)
Q. How long have you been playing the characters?
Five and a half years.
Q. Tell us about your characters and what you do onstage.
As a Comet, Im the theater soldier, or the aquatic world/stage
guardian, if you will. As cerceaux, Im a biker from the sky,
where I perform on an aerial hoop high above the stage with
other artists. We represent the air part of our world, O. As
Russian swing, Im a groom, part of a big happy, crazy wedding.
I control and push the heavy-duty swings that our diving artists
fly off of.
Q. What is your most memorable experience on stage?
My most memorable experience onstage was my first cerceaux
performance in the show. The fear, the excitement and the
adrenaline rush was crazy, no doubt.
Q. Where do you see yourself in 10 years?
In 10 years, I hope to own my own business, and hopefully
something that has to do with the stage that I love so much.
* * * * * * * * * * * * * * * * * * * *
MELISSA URBANO, 26 | KA
Hometown: Melbourne, Australia
Moved to Las Vegas: Sept. 1, 2013
Q. What is your main area of expertise?
Karate, freestyle martial arts, tricking
Q. Describe your background and training.
I started training in martial arts at age 6. I competed at the
ISKA U.S. Open WorldChampionships numerous times, taking home
multiple world titles. I have been competitive at a high level
since age 16 in multiple styles such as traditional, extreme and
weaponry, as well as semi- to full-contact fighting.
Before I joined "Ka," I was teaching classes and conducting
workshops and seminars all over Australia. Since 2006, I have
performed many choreographed martial arts demonstrations for
education and entertainment. I performed in a Community Arts
Festival Show in Melbourne, which involved dance choreography,
gymnastics and martial arts. I also have performed as a
stuntwoman in numerous short films in Australia, which involved
choreographed fight scenes, action sequences, high- level
stunts, firearm usage and some acting.
Q. What do you do when you arent performing?
I love to choreograph fight sequences, and I like to try new
things, such as tumbling, straps, anything acrobatic. I do a lot
of puzzles, and I love to draw.
Q. What is your favorite food?
Ice cream!
Q. What are your favorite things about Las Vegas?
My "Ka" family, the Colorado River, Mount Charleston
Q. What is your proudest moment?
Getting married to Phillip Kismartoni. Also, every night, I take
pride being on stage at "Ka." The audience applause at the end
of every show makes me proud.
Q. Names of your characters:
Spearwoman and Archer
Q. How long have you been playing the characters?
One year, two months
Q. Tell us about your characters and what you do onstage.
The archers and spearmen and spearwomen are the bad guys. They
are martial arts experts, loyal followers and warriors, out to
destroy the empire and anyone who gets in their way.
Q. What is your most memorable experience on stage?
The applause from the audience when performing my nunchuks solo
Q. Where do you see yourself in 10 years?
I hope to still be performing! I also want to own my own martial
arts/gymnastics school with my husband, who also is an artist in
"Ka." Someday, we would like to have kids.
* * * * * * * * * * * * * * * * * * * *
ANNA ZLATKOVA, 34 | MYSTERE
Hometown: Sofia, Bulgaria
Moved to Las Vegas: October 2005
Q. What is your main area of expertise?
Gymnastics, tumbling, aerial hoop. Once upon a time, I was a
human cannonball.
Q. Describe your background and training.
1992 European Olympic Games Juniors, 1995 European Championship
England, 1997 European Championship Russia, and 1999 World
Championship China. "Alegria by Cirque du Soleil (2002-2005),
"Ringling Brothers" (1999-2001)
Q. What do you do when you arent performing?
Take care of my two children. And I love to go to yoga.
Q. What is your favorite food?
Warm Bulgarian food made of vegetables and meat.
Q. What is your favorite thing about Las Vegas?
The amount of entertainment, the beautiful fall weather
Q. What is your proudest moment?
On a personal level, the birth of my children. On a professional
level, getting a job at Cirque.
Q. Name of your character:
Baby Girl
Q. How long have you been playing the character?
Nine years
Q. Tell us about your character and what you do onstage.
Im a very inquisitive young child in the big world of
"Mystere." I do tumble and back up the clown.
Q. What is your most memorable experience on stage?
I have so many beautiful, memorable experiences
Q. Where do you see yourself in 10 years?
I hope Im still involved in the creative, artistic scene.
* * * * * * * * * * * * * * * * * * * *
MARIANO DI YORO, 35 | BELIEVE
Hometown: Platanos, Buenos Aires, Argentina
Moved to Las Vegas: 2008
Q. What is your main area of expertise?
Carpentry, clowning, juggling, funny guy
Q. Describe your background and training.
I grew up playing guitar. Then I began teaching myself juggling
and theatre performance.
Q. What do you do when you arent performing?
Be a dad and carpentry/woodworking
Q. What is your favorite food?
Pasta and BBQ
Q. What is your favorite thing about Las Vegas?
That I can have chickens in my house. And you can find anything
24 hours a day.
Q. What is your proudest moment?
Having a child and having the opportunity to do what I am
passionate about
Q. Name of your character:
Slim
Q. How long have you been playing the character?
Six years, since creation.
Q. Tell us about your character and what you do onstage.
Magic assistance, funny character. In the beginning, my
character was much more complicated. With changes over the
years, my character is much simpler now.
Q. What is your most memorable experience on stage?
Playing Slim onstage every night.
Q. Where do you see yourself in 10 years?
Still performing and growing a woodworking business.
* * * * * * * * * * * * * * * * * * * *
MAREK HACZKIEWICZ | MYSTERE
Hometown: Jawor, Poland
Moved to Las Vegas: March 1997
Q. What is your main area of expertise?
Trampoline, tumbling, acrobatics and character work
Im a
master in Gibberish!
Q. Describe your background and training.
I competed on trampoline for the national team representing
Poland in the European Championships, the World Championships
and many other international events. I also performed in
Saltimbanco [before Mystere].
Q. What do you do when you arent performing?
Regular, daily family activities. I am married with three
children. Apart from family and work, I would golf 26 hours a
day.
Q. What is your favorite food?
I love steak and everything my wife cooks!
Q. What is your favorite thing about Las Vegas?
The weather
Q. What is your proudest moment?
My family
Q. Name of your character:
Moha-Samedi, or the Pink Guy
Q. How long have you been playing the character?
For seven years
Q. Tell us about your character and what you do onstage.
He is the Ringmaster, emcee and narrator of the show. He tries
to keep balance and peace during the show. Nobody listens to or
respects him.
Q. What is your most memorable experience on stage?
Performing for 10 years beside my wife.
Q. Where do you see yourself in 10 years?
Hollywood! And traveling the world with my family, and my
daughter playing in the LPGA.
* * * * * * * * * * * * * * * * * * * *
IURIE HLINOV, 33 | ZARKANA
Hometown: Chisinau, Moldova
Moved to Las Vegas: Three years ago
Q. What is your main area of expertise?
Aerial duo with my wife, Rola Bola, character work and
clowning
Q. Describe your background and training.
I grew up in a circus family. I learned everything from my dad.
(I also was in "Zed" in Tokyo and "Viva Elvis.")
Q. What do you do when you arent performing?
I spend time with my wife, a performer in "Zarkana," and our 15-
month-old son.
Q. What is your favorite food? I like everything!
Q. What is your favorite thing about Las Vegas?
One hour on one side, you can see snow; one hour on the other
side, you can see a lake.
Q. What is your proudest moment? The birth of my son
Q. Name of your character: Chinese cook.
I also do the rolla bolla act (backup act for juggling), and Im
a backup to one of the clowns.
Q. How long have you been playing the character? Two years
Q. Tell us about your character and what you do onstage.
The Chinese cook is funny and stupid and tries to be a kung fu
master, but it never happens.
Q. What is your most memorable experience on stage?
Working with my wife when we did the aerial duo act in "Viva
Elvis."
Q. Where do you see yourself in 10 years?
Still on stage, improving myself artistically and improving my
circus performer skills.
* * * * * * * * * * * * * * * * * * * *
ARAZ HAMZAYEV, 27 | ZUMANITY
Hometown: Baku, Azerbaijan
Moved to Las Vegas: July 2013
Q. What is your main area of expertise?
Contortion
Q. Describe background and training.
I am a second-generation circus artist in my family. My father
was my first teacher, but later I continued training in
gymnastics school in my country.
Q. What do you do when you arent performing?
I spend time with family. I also enjoy photography.
Q. What is your favorite food?
I like Italian food all Italian food.
Q. What is your favorite thing about Las Vegas?
I love the weather in winter.
Q. What is your proudest moment?
I was so proud when I received my call from Cirque du Soleil.
Q. Name of your character:
The name of my act and character is Dislocation, a contortion
number in "Zumanity."
Q. How long have you been playing the character?
I've been in "Zumanity" for 15 months now.
Q. Tell us about your character and what you do onstage.
My act is an intense contortion act, bending my body in all
sorts of ways. There are some cringe-worthy moments and audience
gasps!
Q. Where do you see yourself in 10 years?
Two years ago, I never thought I would get to work for Cirque du
Soleil. For this reason, its truly hard to think 10 years
ahead. But what I am sure of is that I would like to continue to
perform as much as possible on a Cirque du Soleil stage.
----------------------------------------------------------
"Cirque Exec Discusses Reintroduced Battle Scene in KA"
By: Robin Leach, Deluxe Life
Special Reprint from The Las Vegas Sun
----------------------------------------------------------
It has taken nearly 18 months and more than $500,000 for Cirque du
Soleil officials and performers to feel confident and comfortable
about reintroducing the Epic Battle Scene that reaches the climatic
finale of its spectacular Ka at MGM Grand. It was June 29 last year
that a cable was cut during a performance, and acrobat Sarah Guillot-
Guyard plunged 90 feet off the rising vertical wall to her death.
Her death from blunt force trauma was the first onstage accident
resulting in death in Cirques 30-year history. Founder Guy Laliberte
commented at the time: I am heartbroken, and we are all completely
devastated. We are reminded with great humility and respect how
extraordinary our artists are each and every night.
Shows were put on hold but resumed in a modified form July 16 with a
full schedule as of July 23. The battle scene was replaced with an
alternative sequence and then a previous video projection of the act.
Now for the first time, Cirque execs have given full details of the
malfunctions that led to the tragedy. Performers on Wednesday gave a
preview of the reinstated version of the battle scene that returned to
Ka on Friday and Saturday and then this weekend before its full-time
inclusion.
Jerry Nadal and Calum Pearson, senior Cirque officers in Las Vegas,
were candid and frank about the circumstances that led to Sarahs
death, but they said that she would have wanted the scene to be kept
in the show.
It was a tragedy that occurred that night, Jerry said. Were not
trying to assign blame. It was all of the things happening together,
some that were just unforeseeable.
Calum explained why the scene was in the show in the first place:
Part of the answer has always been with the storytelling, the final
part of the journey of good vs. evil, the bad guys had to be overcome,
they have to be thrown off the balcony with a violent force that took
them out of the combat that had run throughout the whole show fighting
hard and in everybodys faces.
Bravery was part of the tribe essence of what these people were, so
to have them just walk off the battlefield didnt make sense. The
original concept, the good guys came up literally running across the
battlefield and forced them off. It was a very violent, high-speed
exit.
We always have several human elements that are guarding the artists.
A technician is assigned to each line. That night, it didnt work.
Neither Sarah nor her tech caused the accident, but something allowed
the next chain of events to occur. The force of the cable somehow
collapsed forward, and in doing so it jumped out of the pulley wheel
where the sharp edge of the pinch points collapsed and then cut the
cable, sending her into free fall.
Initial reports said Sarah was traveling too fast, she slipped free
of the safety gear. None of that is true. We know from not only our
investigation but also the OSHA investigation plus two third parties
that conducted a transparent forensic analysis on everything that the
cable did not snap, the harness did not fail. The cable was cut
because it was able to jump out of its pulley and find a sharp edge it
was never supposed to see.
Before we moved forward, we had to understand everything on how to
correct that. The reason it took a year and a half is because out of
respect to Sarah and our own safety protocols. We wanted to make sure
that we didnt just take our first view on this and fix all of those
things without understanding everything that happened with the chain.
We brought in a company called REI and a company called Exponents.
Both of those companies specialize in accident investigation,
mechanical fatigue and family investigation. Between their two
reports, the OSHA report and the forensic report, it gave us a full
picture of everything that went wrong in each of those steps of the
chain and allowed us to correct them.
The first and foremost factor in all of this was the speed. So we
have completely eliminated that speed from being able to occur in the
future. We also wanted to make sure that the human element was no
longer a last line of defense for this. Even though we are still
maintaining the human element, its no longer the final say.
We had to say that because when we looked at this again, either one,
Sarah or the technician, could have had a medical issue there that
night that would have would have meant they wouldnt have been able to
perform at 100 percent the way they were supposed to. So we introduced
a slow zone and a whole second set of software that monitors the first
software.
So if the first one, when it gets to a certain parameter, if it
hasnt been made inactive, the second one will take over and its off.
All the performers operate their own controls, but for that final fly
up thats now automated, that is now under the machine control so the
machine can monitor it, and then the second machine will monitor the
first machine.
During that year and a half, we talked to the artists and the cast
and coaches about any other concerns they had with the act. We also
added other changes, changed some of the choreography. There is the
possibility that two people could collide and that one person could
pick up another person and travel several feet and if that person
slipped off, it could generate similar shock on the system.
So we built in changes to ensure that it was addressed in three
different ways. If one of the lines sees zero weight on it, it will
stop operating. If one person picks up too much weight, like another
performer, then the brakes are degraded so they are unable to keep
going. The third one is that we constantly maintain a visual from the
very first swing out.
The stage now also makes one extra groove where it closed so there is
no way any excess cable will allow them to get underneath the stage.
They would just have to walk up the stage to get back into position.
So it doesnt sound like a huge amount of stuff, but the complexity of
doing that took a while. The validations of doing that took a while.
After that of course we wanted to make sure that everybody coaching
and artists alike were comfortable with the changes. We walked them
through, took them upstairs, showed them the changes that happened on
the winch.
One final change was with the pulley that collapsed. It is no longer
in the system. The winches themselves have always been inverted
opposite to the ceiling to keep tension on them. Without tension, the
cable could jump off the front. So what we did was added in framing so
the winches are still bolted to the ceiling, but theyre now lower.
So all those changes together ensure that none of the circumstances
that happened that night can ever happen again. We asked the artistic
team to evaluate, validate and let us know if they were comfortable
and then get back on the wall.
Its humbling sitting here because seeing the courage and tenacity of
all these guys who came, the way they came together the first day
after the accident when they arrived back in the room and just got on
the single point lines, I will never be prouder in my life to see this
group come together and talk each other through it and just join
together as a family, as a team, and say, Yes, this is important.
Its important for us, and its also important to Sarah.
The Cirque team used multiple ways to validate the changed systems.
Loads were applied gradually and then went from gentle shock to
violent shock. They used sandbags to test weights. They performed
destruction tests on every aspect of the rigging and then tested the
extremities of weights and speeds to the point of power outage. Cirque
insisted that they were far in excess of manufacturers recommended
figures for working loads until they were wholly satisfied.
I talked one-on-one with Calum and asked first why the need to bring
back the act that caused the death of one of the artists:
Q. Why even bring it back after what happened? We know it is highly
dangerous.
The first reason was closing the story out. The whole show is about
the dichotomy of these two tribes and their unpleasantness to each
other and their final confrontation, so it is important the story had
to close out with a final battle of good over evil. The second is the
visual majesty of the size and scale of what we do in battle. It was
the original directors vision, and theres nothing that we could
conceive of that would replace it for the thrill of the audience and
for being true to the story. Thirdly, it was important to the team
here at the show.
Everybody on the show loves the battle. Its a badge of honor for
them. Everybody strives and works hard to be in that act and, knowing
that this was Sarahs favorite act, everyone has pushed very hard to
ensure that this particular scene made it back into Ka.
Q. Did you try to think of another way to close the show?
We did, actually. One of the first thoughts was that the battle act
would move out into the theater to the posts and beams around the
audience. When we originally built this theater, we spent an extra $15
million making the structural so we could have people swinging out and
off everything else, but at the end of the day that was duplicating
the animation in the show earlier.
You first introduced the bad guys, they are swinging around and they
are doing the upside down repels. To have it just replicated for the
closing of the show, even though we could have done a lot with this,
it wasnt the same as what weve done.
Q. Do you think Sarah and her family would be pleased that this battle
scene is back?
Yes, I guarantee it. This was her favorite part of Ka. Sarah was a
forest creature originally in this act. We originally started with 16
lines on the battle, and it slowly moved down to 13 that was a case of
maintaining. Thirteen was the number we could maintain with the number
of artists we had if someone was out hurt or out sick. We could always
maintain 13 lines, whereas 16 lines was somewhat of a stretch. So her
line had been cut, and when she found that out, she was insistent that
she learn other roles so that she could stay in the act.
Q. So in a sense, it honors her legacy. Forgive this difficult
question, but when somebody has died in a theatrical performance,
there has to be a level of apprehension when performing it again
for the first time after a long absence. How do you get performers
past that apprehension?
Reminding them that this is for them as much as anybody else and for
them to remind each other. Id say the biggest part here was seeing
them come together. Their apprehension started long before setting
foot back on the battle wall because we have a lot of other single-
point winches in the show. One of which, the deep, where they come
down and theres the bubble, I mean thats actually a double line, but
its from the same height. All the swing out that you see from the
start of the show, during the forest scene, those are all single
lines.
They had to go back on those lines a year and a half ago. By the time
we were coming back to battle itself, the first couple of rehearsals
were a little hesitant. When they got up to that element just before
the fly-out, they quickly moved past that because theyd done the last
year and a half of being back on the lines themselves without being in
that particular act. They werent on those winches, they were on
different winches, but they were on the same mechanisms.
Q. But it wasnt on the vertical wall?
It wasnt the wall, no, but that helped having them do all the other
swings during the show and also having the simulation wall in the
training room. So it was a gradual step getting back up, a year and a
half gradual step up to getting back on the wall.
Q. The choreography, complicated to anybody who watches, looks simpler
and cleaner to what I remember. Am I correct?
Its cleaner, for sure. I wouldnt say its simpler. Actually, theyve
added several elements that werent there at the very beginning. There
are a couple of scenes where the forest creatures come face down, and
you have the spearman surfing on top of them. That was never in there
before. There are a couple of double interactions where they lift them
overhead and then spin them around, and they come back. That was never
in the original.
So the choreography in a sense got more complicated, but its much
cleaner because now instead of it all happening at once, its a look
at this now, then look at this now in steps instead of looking at
everything the whole time. Before, there was a lot of movement
happening that you never really noticed because you were looking at
this up here because that was where our eye took you. Our coaching
team has done a really good job of creating pockets of focus
throughout the act so that when you look at them its like, wow,
thats really hard, but its not as confusing as it was before.
Q. Some people say that Kas Wheel of Death is the most dangerous
act in a Cirque show in Las Vegas and yet this vertical wall was
the one that caused the tragic fatality. This reinstated act,
though, is still highly dangerous?
It is, yes, and it requires a lot of the human body. The training that
goes into the athletes core building this act is intense. You dont
just set foot on the wall and be able to go. It takes months of
strength training As far as the danger itself, as I said, none of the
rigging is ever designed to see more than 10 percent of what it is
rated for.
Even prior to the accident, our philosophy has always been a 10:1
safety ratio. In these particular cases, the lines that we use, which
is 3800-pounds rated, were putting 150 pounds at most with the girls
and maybe 190 pounds with the guys. So you are close to a 20:1 safety
ratio.
Q. Thats only for cable failure?
Thats for cable fail, but its what its rated for.
Q. Lets remember that this tragedy was not from cable failure.
No, it wasnt cable failure. We tried to replicate the same with the
other winches in the line and werent able to have another pulley
wheel collapse in the same way. Its still hard that we werent able
to fully say 100 percent why that collapsed forward. We know the
forces that the cable saw and that torque clamping should have been
easily able to hold that.
Q. But what actually cut the cable?
It was the frame. The pulley wheel itself was in a little box frame.
It was clamped on top of the winch frame. When that pulley wheel
collapsed forward, the cable jumped out. Where the pulley wheel frame
had slammed into the winch frame, it created a sharp edge so it
actually cut between the two frames on the sharp edge.
Q. Why didnt the computer system catch that?
Because it never saw it. Basically it was through the pulley wheel
before it goes down to the winch. So when it pulled forward, that all
happened faster than the load was able to be applied to the winch. At
that point, even if the winch would have stopped, once it started
going forward, the result was going to happen.
Q. How do you validate all the redundancies you now have in place?
Obviously nobody ever thought that the cable would collapse through
it?
The redundancies are there. Theres no more torque clamping. The new
pulley wheel is now bolted into the I beam of the ceiling itself. So
now you have four 50,000-pound bolts that are holding it in place vs.
torque clamping. Secondly, the winches are cycled backward, forward,
backward, forward under tension, gradually applying tension. Thats
part of the factory acceptance testing. Once they are brought in here,
they are applied under normal load with sandbags.
You cycle them X number of times until the engineers are happy that
under normal work load, its doing everything that its supposed to,
and then you start shock loading the system with the sandbags. You
drop them, you run them, you shut power off, you run them and slam the
sandbags into something and all those other things.
Q. Now heaven forbid but if somebody fell now, are there air bags or
safety nets?
No. There still isnt because when we talked with the manufacturers,
the reality is that an air bag is designed to prevent an injury in a
controlled fall. None of them will certify them as use for fall
protection. They are designed for controlled falls.
Q. What do firefighters use for people jumping from tall buildings?
Well, again, its a controlled fall where they jump out and they
spread. We do training for air bags, people jumping off that level and
practicing on how to cross their arms or spread their weight, and
things like that. So, yes, we could have put an airbag down there, but
the way the stages are set down there, in an uncontrolled fall they
could still hit that airbag and bounce out, and its offering a false
sense of security.
Our whole thing was to make sure that what happened that night
couldnt be replicated. To make sure that the connections we were
using didnt fail under the loads that they saw. That the load that
they were seeing was consistently under the 10:1 safety ratio. That it
was validated by REI, by Exponent, that it met all the OSHA
recommendations that were in their report and under that satisfaction
and then adding in the slow zone.
Adding in the secondary monitoring software to make sure that if the
first software failed, the second one would kick in to stop it. Not
taking the human element away. We still have the guys on the lines.
Also before in their exit, they always used to go up backward, but now
as they leave the battlefield, they spin around and they face and make
eye contact with their technician to make sure that they are both
together there
We also have two people on the level below, and if they see anything
they dont like, they will shut the whole thing down. So theres a lot
of extra redundancies in there.
Q. Im still baffled as to why you couldnt put in netting instead of
an air bag.
Well, the nets again, a 94-foot fall into a net, the net isnt
designed to catch a 94-foot fall. To set the net, we are taking
resources away from where we need them up there because to set the
nets down there takes about 16 people whereas the riggers are better
set on those safety buttons and on those lines above. Id rather have
the resources around what we know is fall protection vs. what we hope
will work in the case of an accident.
Q. What did you do in the show when this battle sequence was shut
down? What took its place?
The very first few weeks we used the ceremonial dressing ceremony
where the twin brother and the twin sister were awarded royal robes.
That was while we trained a hand-balancing act that then came in and
took part of it for a while. Then we had a couple of films that been
done of the battle in the old days, one for German TV and one for
Korean TV, that were both shot in high definition. We recovered those
videos, rescaled them, readapted them to project onto the wall. We ran
the video act on the wall for the last year.
Q. That must have frustrated the dancers and acrobats because they
said we can do this for real.
Yes, but my job is to make sure they can do it for real every single
day with no risks.
=======================================================================
COPYRIGHT AND DISCLAIMER
=======================================================================
Fascination! Newsletter
Volume 15, Number 1 (Issue #132) - January 2015
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (c)
2001-2015 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., and Créations Méandres, Inc. All Rights Reserved. No copyright
infringement intended.
{ Jan.07.2015 }
=======================================================================
