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Fascination Issue 182
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T h e U n o f f i c i a l
C i r q u e d u S o l e i l N e w s l e t t e r
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http://www.CirqueFascination.com
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VOLUME 19, NUMBER 3 March 2019 ISSUE #182
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Welcome to the latest edition of Fascination, the Unofficial Cirque
du Soleil Newsletter.
* * * MORE ON THE REVIVED ALEGRÍA * * *
The new version of Alegría has been weighing heavily on the hearts
and minds of fans ever since Cirque announced last year that the
show was going back on tour. Even if Alegría has been re-imagined
more than many fans thought it would be (after all, the "Return of
an Icon" tagline seemed to indicate the show would return with some
updates but be virtually the same. The new "In a New Light" better
conveys what's actually happening with the show), the process and
information coming out of Cirque du Soleil HQ in Montreal has been
interesting - to say the very least. This month we have three more
videos to explore with even more details about the show's music,
it's acts, and it's new set...
o) Ask Your questions!
LINK /// https://www.youtube.com/watch?v=QM54HEU5b8w
o) A Sneak Peek!
LINK /// https://www.youtube.com/watch?v=fBXWldtFqnk
o) Q&A w/Artists & Publicist
LINK /// https://www.youtube.com/watch?v=6wD9Jw4AdTU
* * * SEE ONE NIGHT FOR ONE DROP ON TV! * * *
"One Night For One Drop, Imagined By Cirque du Soleil," the one-night-
only soirée to benefit One Drop, features once-in-a-lifetime
performances. This year, audiences around the globe can experience
this exclusive event when CBS will premiere "One Night For One Drop,
Imagined By Cirque du Soleil, brought to you by Colgate" on the CBS
Television Network on March 16. The seventh annual "One Night for One
Drop" dazzled audiences at Bellagio Resort & Casino on March 8th; the
performance was taped that evening for the March 16 broadcast. "One
Night For One Drop, Imagined By Cirque du Soleil, brought to you by
Colgate" will be broadcast on CBS on March 16 (8 to 9 p.m. ET/PT).
Check out these cool videos about this year's show:
o) The Trailer
LINK /// https://www.youtube.com/watch?v=gkPOooYPWcc
o) The World of...
LINK /// https://www.youtube.com/watch?v=yJ8MMYwA9lY
o) The Oil Rig (Awesome act!!)
LINK /// https://www.youtube.com/watch?v=H7HY1IdSdTE
* * * KURIOS HEADED DOWN UNDER * * *
Cirque du Soleil will return to Australia with KURIOS - Cabinet of
Curiosities, which will premiere under the big top on October 2nd
in Sydney at Entertainment Quarter, Moore Park. Tickets for Sydney,
Brisbane and Melbourne are available for purchase to the general
public beginning Monday, March 18th at 9:00am by visiting Cirque
du Soleil's website (www.cirquedusoleil.com/kurios). Pre-sale
wait-lists for Adelaide and Perth will begin accepting registrations
at the same time. "Ever since my first visit to Australia nearly 15
years ago it has been one of my favorite places on earth. I am
thrilled that I can return through the spirit of KURIOS and I hope
it will inspire and bring joy to everyone who enters into our special
realm of reality under our big top," said Michel Laprise, Director
of Kurios. Check out the ITINERAIRE section for tour information.
* * * THE ELEPHANT IN THE ROOM * * *
The two-part documentary Leaving Neverland has been making news ever
since its first public viewing at the Sundance Film Festival earlier
this year, but even more so since HBO picked up and aired the docu-
mentary on March 3rd and 4th, despite constant pressure from the
Jackson Estate not to do so. The Estate, for its part, has been trying
to discredit the documentary which, according to Variety, is a
"remarkably effective, methodically built case alleging that the late
Michael Jackson was a systematic predator and rapist of young
children" without much success.
In the two-part film, Wade Robson and James Safechuck who became
known to Jackson through their entry-level work in show business
(Robson danced as part of a contest connected to the singer, while
Safechuck acted in a Jackson Pepsi ad) describe their childhood
experiences with Jackson in graphic detail, saying Jackson groomed
and manipulated them and their families. It's been polarizing, to say
the least. An in the spirit of full disclosure: I've not seen it. But
there is a Cirque connection here - beyond the obvious. You see:
Michael Jackson's nephew has accused Robson of taking aim at his
uncle in the documentary because he didn't land a spot in the King
of Pop's highly-anticipated posthumous Cirque du Soleil show
Michael Jackson ONE.
In documents obtained by The Blast, Robson penned a letter to then
Cirque CCO Jean-François Bouchard, pleading for a job in his new
Michael Jackson show in 2011, stating, "There are very few subjects
I know about more than Michael Jackson". Robson was apparently
attached to the performance during initial stages, but bailed after
he took another job. When that didnt work out, Robson changed his
mind again and asked Bouchard to allow him to choreograph the show.
Robson promised, You will not have to worry about my commitment
level again, claiming he had learned from his mistakes. He also
stressed that he wanted to make the show amazing for the legacy
of Jackson. A source close to the situation told the website that
they believe this letter was presented as evidence that Robson was
using Michael Jackson's name for personal gain, even after the
singer's death. The lawsuit was filed a month before Michael
Jackson: ONE premiered at Mandalay Bay in Las Vegas.
As you might expect: the fallout from the film has found its way to
Las Vegas, with many calling for an end to shows that honor Jackson.
KTNV Action News reached out to Mandalay Bay and Cirque du Soleil
for comment. Cirque said in a statement it was unable to comment at
this time because of the current legal proceedings involving one of
its partners. Will Michael Jackson ONE be forced to close? I highly
doubt it, as long as it's selling tickets. But who knows how far-
reaching the fallout from this documentary will be. Or, will we all
just forget about it and move on in two weeks? We'll have to wait
and see. In either case - for the moment - Michael Jackson ONE is
playing on...
And that's all I have time for this month. So, let's go!
/----------------------------------------------------\
| |
| Join us on the web at: |
| < www.cirquefascination.com > |
| |
| Realy Simple Syndication (RSS) Feed (News Only): |
| < http://www.cirquefascination.com/?feed=rss2 > |
| |
\----------------------------------------------------/
- Ricky "Richasi" Russo
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CONTENTS
===========
o) Cirque Buzz -- News, Rumours & Sightings
* La Presse -- General News & Highlights
* Q&A -- Quick Chats & Press Interviews
o) Itinéraire -- Tour/Show Information
* BigTop Shows -- Under the Grand Chapiteau
* Arena Shows -- In Stadium-like venues
* Resident Shows -- Performed en Le Théâtre
o) Outreach -- Updates from Cirque's Social Widgets
* Webseries -- Official Online Featurettes
* Videos -- Official Peeks & Noted Fan Finds
o) Fascination! Features
* "Step Inside BAZZAR: A Journey into an Eclectic
Performance Lab of Infinite Creativity"
* Jean David's Quel Cirque, Part 3 of 12: "The Appointment"
A Special Series Celebrating Cirque's 35th Anniversary
o) Copyright & Disclaimer
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CIRQUE BUZZ -- NEWS, RUMOURS & SIGHTINGS
=======================================================================
***************************************************************
LA PRESSE -- General News & Highlights
***************************************************************
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ICYMI - Cirque Acquires "The Works Entertainment"
{Feb.06.2019}
-------------------------------------------------------
Cirque du Soleil Entertainment Group announces today the acquisition
of The Works Entertainment, the world-class creative and production
company known for The Illusionists franchise and other variety shows.
The addition of their well-known brands to Cirque du Soleil
Entertainment Group's portfolio allows the global leader in live
entertainment to continue its diversification of content offering and
consolidate its presence in soft-seat theatres.
This transaction represents the third acquisition for Cirque du Soleil
Entertainment Group in recent years, after acquiring Blue Man Group in
2017 and VStar Entertainment Group in 2018. This acquisition confirms
the company's leading position in the industry and testifies of its
expansion from a company solely centered on circus arts to a live
entertainment creator, producer and promoter.
"The play for us is magic," said Daniel Lamarre, the president and
chief executive of Cirque du Soleil. He said Cirque became interested
in The Works because of the similarity in the performance and business
models of the two companies. "Like us, they have no stars," Mr. Lamarre
said. "The show is the star, and they're constantly using different
magicians. The fact that they're not focused on stars gives you
scalability."
"This transaction is a perfect example of how our group is
diversifying through acquisitions, while always investing in our core
activities," said Daniel Lamarre, president and CEO of Cirque du
Soleil Entertainment Group. "The Works productions have natural
affinities with our own, in that they are high-quality universal live
experiences that appeal to different audiences from different cultures
around the world without having to adapt the show to each market.
Magic, a genre of live entertainment that The Works has successfully
mastered through their hugely successful Illusionists franchise, has
been performed for centuries and continues to enjoy a steadfast
popularity among audiences worldwide. I'm honoured to have their
creative minds and theatrical expertise join our ranks."
Established by Creative Producer Simon Painter and Executive Producer
Tim Lawson, The Works Entertainment creates, produces and presents
first-class entertainment since 2012. The Works Entertainment has a
proven track record in mid-size theatrical productions with live magic
shows like The Illusionists, and content developed from the big screen
like Now You See Me Live. The Works' portfolio also includes circus
arts shows like Circus 1903 The Golden Age of Circus, cabaret-style
shows and musical theatre productions.
"As we were reflecting on our company's future, we were looking for
the next big step to fulfill our wildest dreams," said Simon Painter,
creative producer and co-founder of The Works Entertainment. "Joining
the team of the company that completely revolutionized circus arts and
is now leading the live entertainment industry is a true honor for us.
Cirque du Soleil's global touring expertise as well as large-scale
production insights will undeniably fuel our desired future growth in
addition to giving us access to new creative resources that we could
ever wish for. When the first journalist interviewed me about the
Illusionists back in 2011, I said, 'I want to do for magic what Cirque
du Soleil has done for circus,' and now here we are."
Cirque du Soleil Entertainment Group purchased The Works Entertainment
from owners Simon Painter, Tim Lawson and Kilburn Live. This
acquisition was financed using a portion of a new US$120 million
unsecured credit facility made available by the Fonds de Solidarité
FTQ and the Caisse de dépôt et placement du Québec.
About The Works Entertainment
Established by Simon Painter and Tim Lawson, The Works Entertainment
is a world-class leader in theatrical productions and large-scale
attractions. TWE's productions have consistently smashed box office
records, been seen worldwide and have included performances in
prestigious venues such as the Sydney Opera House in Australia, the
Shaftesbury Theatre in London and the Palace Theatre on Broadway, New
York. With a global network of affiliates and an office in the heart
of Los Angeles, The Works Entertainment is perfectly situated to offer
exceptional quality, ground breaking creativity and first-class
execution.
{ SOURCE: PR Newswire }
-------------------------------------------------------
ICYMI - More on "The Jump" for Las Vegas
{Feb.07.2019}
-------------------------------------------------------
In addition to the announcement that Cirque du Soleil Entertainment
Group was acquiring "The Works Entertainment", Lamare also said that a
seventh Cirque du Soleil show was in pre-production in Las Vegas, this
one for the Luxor Hotel. He said the yet-to-be named show is "inspired
by the movie industry," including special effects and stunt men and
women. "We're hopefully creating a new category of show," he said.
Today, a little more detail and comments emerge about what will
replace Mindfreak Live at The Luxor (via the Las Vegas Review-
Journal):
Cirque President Daniel Lamarre says the company has no plans to
develop a new magic production on the Strip in this new partnership.
Instead, the company is focused on the new extreme-sports show at
Luxor replacing "Mindfreak Live."
"That show is our priority now," Lamarre said in a phone chat
Wednesday morning. "My one-liner about that show is it's the first
live-action thriller by Cirque du Soleil. We're developing something
for the younger crowd, different from anything we have done in the
past."
Plans are for the production to be announced by the end of March, with
previews opening in October. As to reports that the show will be
called "Jump," Lamarre said that title was being used "in-house," but
the new show would have a different name.
"People will be totally excited when they see the final concept," he
added.
{ SOURCE: Las Vegas Review-Journal }
-------------------------------------------------------
Cirque to bring Alegría into the 21st century
{Feb.07.2019}
-------------------------------------------------------
How much Alegría is too much Alegría?
The Cirque du Soleil show, which premièred under the Big Top in Old
Montreal in April 1994, has been performed over 6,600 times since
then, both during its original Big Top run and then during a 4 1/2-
year arena tour. It was seen by 14 million people in 255 cities around
the world.
And now it's coming back, with Alegría: In a New Light set to have its
world première under the Big Top here on April 18, before heading out
on what is expected to be a four-year North American road trip. It
also plays Gatineau (starting Aug. 1) and Toronto (starting Sept. 12).
Some of the key players in the creative team behind the Alegría 2.0
reboot met with select media Tuesday morning at Cirque du Soleil's
world headquarters in north-end Montreal, notably director of creation
Daniel Ross, musical director and arranger Jean-Phi Goncalves, costume
designer Dominique Lemieux (who had the same job on the original
production), set designer Anne-Séguin Poirier and acrobatic
performance choreographer Émilie Therrien (who was an acrobat in the
original production).
"In this case we're really doing a rereading," Ross said. "It's as if
I took a Michel Tremblay (play) from the 1970s.
I wouldn't do it the
same way. It would be a new director. It's a little bit that principle
applied to Alegría. It's one of our classics and, like (all) classics,
it can be revisited and reread by a different creative team.
"For us, what was interesting with Alegría is when we started digging
in and looking at what the main themes of the show were, we figured
out that it was still very (timely) and it was still something that
was very touching in this day and age.
"It's a show about the quest for power, it's a show about the winds of
change in society and it's a show about the passage from darkness to
light, and for us this was still a very current subject to talk
about."
All of the creators working on this new version of Alegría are quick
to underline that it will be very different from the original show.
They did keep in contact with some of the original creators, notably
director Franco Dragone and Cirque du Soleil founder Guy Laliberté, to
ensure they don't lose the core ingredients of the first production.
But at the same time, they wanted to make sure it will click with
audiences in 2019 and beyond.
For example, it will feature the original score from composer René
Dupéré, maybe the most famous music ever produced by the Cirque. It is
the Cirque's bestselling album, and the title song was nominated for a
Grammy. This time around, the music has been rearranged by Goncalves,
who is a founding member of the bands Plaster and Beast and has served
as musical director of the Série Hommage, the tribute Cirque shows
presented every summer in Trois-Rivières. His goal was to make the
music a little more accessible for today's audience.
"It's about taking these songs and adapting them to the new vision of
the show," Goncalves said. "Some of the songs are now coupled with
different routines.
I am modernizing the music of René Dupéré from
25 years ago. Sometimes the choice of instrumentation was perfect for
1994 but hasn't aged well with time. My job is to make it more
current."
The acrobatic acts will include some of the original numbers, though
even those will be revamped, and a slew of new routines.
"Most of the show will be quite different, yet it will feel very
familiar," Ross said.
Some have suggested the Cirque is going back to Alegría because it
lacks new ideas and is pandering to nostalgia.
"I know for a fact that we're not running out of ideas," Ross said.
"There's a lot of projects going out this year.
I think Alegría is
also about nostalgia, and for sure people will be excited again to
find that feeling. But we wanted to do it a different way.
"People can think what they want. For us, this project is super
exciting. We feel we have a reason to do it that's beyond business.
It's something artistic and it's something that's current. That's the
reason we're doing it."
THERE ARE OTHER VIDEOS TO SEE:
https://youtu.be/lKBFZfLX_4w
https://www.youtube.com/watch?v=LDdcFcjr-xQ
AND SOME COSTUME PICS
- http://www.cirquefascination.com/?p=12352
{ SOURCE: Montreal Gazette }
-------------------------------------------------------
CDS implements Openbravo POS Omnichannel Experience
{Feb.07.2019}
-------------------------------------------------------
Openbravo, the global retail software solution vendor for agile and
innovative retailing, today announced that it has been awarded a five-
year contract by Cirque du Soleil. The new contract extends the
current agreement dating from 2014 to deploy Openbravo POS software
for its merchandising stores and across its 18 permanent and touring
shows around the globe.
"We are very excited to have the opportunity to continue strengthening
our partnership with such a highly respected market leader like Cirque
du Soleil," said Marco de Vries, CEO, Openbravo." This new 5-year
partnership represents for us an important vote of confidence in
Openbravo. It builds on an existing excellent business relationship
developed over the past few years and demonstrates the conviction of
our respective teams of the value Openbravo can bring to Cirque du
Soleil to help achieve its business and growth objectives."
The two companies already work together to increase Cirque du Soleil's
business agility and enhanced customer experience through Openbravo
POS to manage merchandising and food and beverage (F&B) sales by
integrating with Cirque du soleil's central ERP system. The use of
Openbravo software will enable Cirque du Soleil to continue innovating
at the point of sale with the introduction of new capabilities aimed
at delivering an improved customer experience in all its merchandising
stores and shows, as well as to progress with its omnichannel
strategy.
"Cirque de Soleil has always been focused on offering exceptional
experiences to our visitors so we wanted to also offer a stand-out
customer experience in our stores and shows, and Openbravo's
innovative solution has allowed us to do that. It helps reduce waiting
times by providing a faster and more convenient checkout experience,
and it opens up many possibilities to roll-out new retailing scenarios
in the future," said Pierre-Luc Bisaillon, CIO, Cirque du Soleil. "We
are pleased to continue our relationship with Openbravo as they have
amply demonstrated that they are strongly committed to our business
objectives. With this new contract, we expect to accelerate the
transformation of the shopping experience in our merchandising stores
and shows, while continue to benefit from improvements in efficiency
and cost savings that come with Openbravo's comprehensive functional
coverage."
{ SOURCE: PR Newswire }
-------------------------------------------------------
Hans Zimmer Joins ONE NIGHT FOR ONE DROP Creative Team
{Feb.15.2019}
-------------------------------------------------------
One Night for One Drop 2019, presented by MGM Resorts International,
is pleased to welcome award-winning film score composer Hans Zimmer to
the "O" Theatre stage as he presents three brilliant compositions,
including a modified piece from the blockbuster hit "Interstellar,"
specially adapted for the one-night-only performance. In addition to
Zimmer's exclusive renditions, One Night for One Drop also will
welcome celebrated Strip headliner Blue Man Group, internationally
recognized choreographers Andrew Winghart and Alexander Ekman, and
world-renowned creatives Keone and Mari, who all orchestrated
breathtaking pieces to artistically echo this year's inspirational
theme of man and nature.
With a career spanning more than three decades, Hans Zimmer has
composed music for more than 150 films. His best-known works include
soundtracks for "The Pirates of the Caribbean" series, "Interstellar,"
"Inception," "The Dark Knight Trilogy" and "The Lion King," for which
he won an Academy Award for Best Original Score. Zimmer will perform
alongside the talented Cirque du Soleil performers in three different
acts as this year's performance features a unique aquatic theme that
incorporates water in ways audience members have never seen before.
Imagined by Cirque du Soleil, the never-before-presented performance
stars Michael Duffy, a former Cirque du Soleil performer and current
artistic coach for the Cirque du Soleil at Sea project, who plays main
character "Everyman," created to symbolize that humanity can be
represented by one entity. Everyman's counterpart, "Drop," is
portrayed by Sabine Nehls, a 12-year-old prodigy, Cirque du Soleil
newcomer and "World of Dance" finalist. Her character is more than
just a girl though, as a wise guide she far surpasses her tiny
stature, leading Everyman and the audience toward greater empathy and
the betterment of the world. Duffy and Nehls are led by André Kasten
and Leah Moyer, the co-writers and directors of this year's show and
the masterminds behind the performance's heartwarming storyline.
In addition to enjoying the one-night-only presentation and to get
further involved, guests will have the opportunity to bid on once-in-
a-lifetime experiences and extravagant items during a premier live
auction. Sprinkled throughout six lots, the auction items include a
McLaren 570S Spider, limited-edition Audemars Piguet timepiece,
private jet to a secluded villa in Turks & Caicos, Serengeti safari-
living experience in Tanzania, Château St. Tropez getaway and a
journey aboard The World luxury sea residence. All funds raised
throughout the evening will directly assist with One Drop's global
mission as well as educational efforts throughout the Las Vegas
valley.
{ SOURCE: Broadway World }
-------------------------------------------------------
Behind the scenes of "Alegría"
{Feb.16.2019}
-------------------------------------------------------
{ Translated from the original French via Google Translate}
In August, Cirque du Soleil will set up its marquee in Gatineau to
present the second coming of "Alegría", twenty-five years after its
first performance. Two months into the Montreal premiere, the show's
craftsmen juggled between the renewed elements of the first replay of
the company's history, that of an emblematic work played 6,600 times
in front of 14 million spectators. Incursion behind the scenes of a
classic being (re) created.'
Tuesday morning. Head to the Cirque du Soleil International
Headquarters in Montreal's Saint-Michel district. It is in this
imposing edifice that is directed a company which, in 35 years and 43
creations, has contributed to change the image of the circus. It is
also where hundreds of craftsmen and specialists imagine, choreograph,
compose, sew, each new fairyland.
Re-creating a show, argues Daniel Ross, is just as laborious as
staging a new creation maybe even more. Apart from the script and
the melodies, all the elements are to be reinvented. "We're really
creating right now," says Alegría's Creative Director . What is
important to understand, especially with the circus arts, is that in
25 years, people have seen a lot of things. Renewing with innovation
in acrobatics ", as well as in scenography, costumes and music," this
is one of the things we wanted to do with this show. "
Alegría tells the story of a monarchy that lost its king. Mr. Fleur
proclaimed himself sovereign, seconded by the Old Birds, who cling to
their achievements in a system with outdated values. Meanwhile, the
Bronx seek to reverse the established order and breathe new life into
their society. It is a passage from shadow to light, from despair to
joy.
ACROBATICS
In one of the studios, about fifteen Bronx make repeated tendrils on a
cross-shaped trampoline encrusted in the very floor of the temporary
scene. Next door, Aristocrats the new version of the Old Birds
repeat a number inspired by the Russian bar, a practice reserved for
virtuosos.
In the new Alegría , the complexity of the numbers makes it necessary
to take up to eight months of rehearsal to master them. "It's an
adaptation of the set, the environment and the synergy of the group,"
says the designer and choreographer of the acrobatic performance
Émilie Therrien. Creating trust between individuals to be able to
share the scene every day and to be thrown into the void and caught by
someone is like a human relationship; it takes time. "
In addition to their acrobatics, the performers must master another
aspect of their choreography: the changes of scenery. Many manual
transitions will be entrusted to the artists.
The scene will also be shared with backpackers; some were part of the
first version of the show, including the one that handles the fire.
THE MUSIC
Brain behind the soundtracks of the Homage Series presented every
summer in Trois-Rivières, Jean-Phi Goncalves returned behind the
consoles for Alegría . At the time of the visit, the musicians had not
yet accompanied the choreographies of the acrobats.
Faith of musical director and arranger, the road could be long before
reaching a fixed version of the pieces.
"Is it the right energy at the right time? Are they running out of
time so that they can do their acrobatics? launches the free electron
of Beast and Plaster. There are a lot of timing adjustments; sometimes
they are intentional adjustments. "
Jokingly, the percussionist and producer compares his work to that of
a designer: "I take the song and dress it differently. I'll give him
other clothes, flip-flops, cowboy boots, leather
"
In the new dressing, several accordion laces were disjointed from the
frame to reweave them with cello. "There is an orchestral aspect that
we will find, as well as this mix that I like to do between acoustics
and electronics. "
The curious can already listen to Vai Vedrai , the first extract of
the soundtrack of Jean-Phi Goncalves, available on several platforms.
THE SCENOGRAPHY
A monstrous installation overlooks the temporary scene on which the
Bronx repeat. The beam of metal rods, curved and pierced with piles,
is reminiscent of a crown of thorns: it is the central element of the
work of the scenographer Anne-Séguin Poirier.
"It's a scenography much more present than the original one," she
explains. Then it's a decor that evolves with the story of the show.
In the case of this large crown, we brought lighting inside that will
make it look more and more modern. "
In all, 52 artists will rise on his stage in the form of two diamonds
that intersect. Constraint obliges; you had to adapt to the shape of
the trampolines needed for the powertrack number . And unlike the old
version of the show, the musicians will play on a platform on the
stage, not away. The five troubadours will from time to time hide
behind a series of mirrored panels, which also serve another more
practical function: "We, that allows us to hide a lot of things.
Because there is no backstage! "
THE COSTUMES
When we ask Dominique Lemieux how many outfits hang in the wardrobe of
Alegría , the costume designer starts to giggle.
"I never know it. Me, I do not like to count, because it puts me
stress! "She who designs costumes for Cirque du Soleil since 1989
including for Alegría in 1994 estimates the sum at" between 85 and
100 ". Each of these creations requires about a month of work, a load
that is shared by 35 home designers.
As the new Alegría wants to be human, less focused on "bugs", "we see
more faces and bodies; makeup will be lighter, and heads smaller,
"summarizes Dominique Lemieux. For example, instead of the bulky
costumes of the Old Birds, the Aristocrats "have deformities in their
bodies, but are much closer to the body itself", like a belly bump or
a bump in the back.
"It's as if they had accumulated in their bodies all their way of
seeing the world and that it had distorted them. "
The patina, a process of artificial aging, is omnipresent, even on the
costumes of the "gentiles". "We want to feel that life is still
trouble! We see a lot of humanity because in reality, we walk in the
dust, in the ice, the wind, the rain
and despite all the "despite",
we remain hopeful. "
{ SOURCE: LeDroit }
-------------------------------------------------------
The 18th Annual Run Away with Cirque will be its Last
{Feb.21.2019}
-------------------------------------------------------
The post-run selfie with your favorite costumed character from Mystére
or KÁ has become something of an annual institution, just one of the
features that sets Run Away with Cirque du Soleil apart from the
dozens of other fun-run fundraisers that take place throughout the
Vegas Valley.
"We have always stayed true to the fact that this is an incredible
opportunity to have this up-close-and-personal moment with these
performers," says Run Away project manager Brooke Wahlquist. "The
original idea for the event came from Cirque employees, artists and
technicians from the two shows here at the time [Mystére and O] who
were runners and wanted to put on a 5K that could benefit the
nonprofits we were working with. It's grown to be loved and supported
by all the shows, and when they get to interact with people in a way
they don't get to do on a nightly basis, the photos that come back
always warm my heart."
This year's event, the 18th-annual family-friendly 5K run and 1-mile
walk, will benefit the Springs Preserve and Cirque du Soleil
foundations and will include live music and circus play area at the
finish line in addition to all those photo opps. Participants are
encouraged to dress in their own Cirque-inspired look, which could win
them a special behind-the-scenes package to one of six Las Vegas
shows: Mystére, O, KÁ, The Beatles Love, Zumanity and Michael Jackson
One. The Blue Man Group is now a Cirque-owned production, and its
characters will also be on-site, too.
But this year's Run Away will also be special for another reason: It's
the last one. Cirque is still planning an annual community event at
Springs Preserve for 2020, but it will take a new form. "That will be
revealed in 2020," Wahlquist says. "There's a lot of excitement as we
are putting all possibilities on the table. That makes it even more
special this time and more important for our employees to make sure
everyone has an amazing time. We really want to honor all the work
that's been put into it over the years."
A special interactive art piece conceptualized by a technician from
The Beatles Love will be presented in its early stage at this year's
event, and participants will be able to leave their own personal mark
on it. That will continue at the annual One Night for One Drop
performance on March 8 at Bellagio. The completed piece will be
revealed next year and eventually displayed at the Springs Preserve.
That means Run Away with Cirque du Soleil could be a little
bittersweet this year, but it should also be an greater demonstration
of the company's strong connections to the community. "What I
personally love about Cirque is no matter if we're sitting in the
office or sitting in a theater, when we do all get together, it always
feels like family," Wahlquist says. "I look forward to knowing
whatever the new event is, it will not lose that spirit."
{ SOURCE: Las Vegas Weekly }
-------------------------------------------------------
Nickelodeon Looks to Shine on Stage
{Feb.28.2019}
-------------------------------------------------------
With kids' TV in a ratings slump, Nickelodeon is looking to increase
its presence on the stage.
The cable network, part of Viacom Inc., is expanding a relationship
with Cirque du Soleil's VStar Entertainment that will turn more of its
franchises into theatrical shows. The five-year agreement will put
characters such as Dora the Explorer and Paw Patrol on stage together
for the first time, and VStar will be able to further mine
Nickelodeon's library for entertainment ideas.
Theater and ice shows for young kids have become big business.
Nickelodeon teamed up with VStar in 2016 with an onstage version of
its puppy-driven "Paw Patrol" series, and the shows went on to sell 3
million tickets worldwide. Cirque du Soleil, known more for acrobatics
and other circus-style acts, acquired VStar in 2018 as part of efforts
to diversify its operations.
The first show under the new deal, "Move to the Music," will feature a
mix of characters such as genie friends Shimmer and Shine. It will
debut in the fall. Terms of the agreement weren't disclosed.
Nickelodeon's TV ratings have been declining, though Viacom Inc. Chief
Executive Officer Bob Bakish said this week that there are signs of
improvement.
{ SOURCE: Bloomberg }
-------------------------------------------------------
Cirque du Soleil Does Good For All in Las Vegas
{Mar.01.2019}
-------------------------------------------------------
Cirque du Soleil has produced no shortage of miracles on the Strip.
From Michael Jackson ONE at Mandalay Bay to Mystère at Treasure
Island, a tribe of talents engages in high-flying, gravity-defying
acrobatics, dance, martial arts and various uncategorizable physical
feats with superhuman skill and precision. Once a year, members of the
tribe step forward to participate in a single performance with a
message that ripples from the desert and flows around the world. This
year, One Night for One Drop takes place at Bellagio, where water is
the driving force for Cirque's aquatic extravaganza "O".
The One Drop Foundation grew from a vision Cirque du Soleil's Guy
Laliberté fostered long before his family of Las Vegas Strip
productions grew to a half dozen. As Cirque evolved from some 20
performing artists in Quebec into a worldwide phenomenon, Laliberté
became increasingly aware of regions and populaces that lacked potable
water. Where drinkable fluids are scarce, mortality rates are higher.
Laliberté saw a way Cirque could give back. If he couldn't solve the
water problem, he could educate and invest via what Cirque du Soleil
does best.
Performers, who donate their time, enjoy the opportunity One Drop
gives them to express themselves apart from their regular roles.
"That's a huge draw for a lot of creators and performers," says Sandi
Croft, One Night for One Drop's director of creation. "They are able
to do different acts, play different roles, play different characters,
to sort of step out of their normal show routines.
It gives them a
chance to work on a new act of a new discipline, and to express
themselves and push themselves even further by working with different
actors and collaborators."
One Drop's creators have the dilemma of coming up with a miracle, a
new water-themed concept every year that's distinctive from past
productions. This year, co-creators Andre Kasten and Leah Moyer direct
the story of Drop (Sabine Nehls), who enlightens happy-go-lucky
Everyman (Michael Duffy) about the politics and preciousness of H2O.
"Everyman represents all of us that wakes up, goes about their day
kind of with blinders on," says Croft. "And then Drop enters. Drop is
a 7-year-old little girl who's magical, enlightened, charismatic, and
takes him on a journey to wake up, a journey through the show of
choices we all make."
Croft says the show starts with an act called "Eden" ("everything is
in its purest form"), then flashes forward to the industrial age with
acrobatic segment "Oil Rig." The show features choreography by Andrew
Winghart and Alexander Ekman, while A-list film composer Hans Zimmer
contributes to the evening's soundtrack by performing three of his
compositions live, which tentatively will include music from Gladiator
(featuring vocalist Czar Russell), Inception and Interstellar.
A live auction gives guests a chance to contribute to One Drop in a
big way. Opportunities to donate or become a One Drop partner will be
available at the Bellagio's "O" Theatre, while those who can't be
there can contribute through onedrop.org. It's a chance to give back
while helping address a vital issue that affects and connects us all.
{ SOURCE: Las Vegas Magazine }
-------------------------------------------------------
MSC Bellissima to be the "Belle of the Ball"
{Mar.02.2019}
-------------------------------------------------------
This evening MSC Cruises, the leading cruise line in Europe will
officially welcome the latest addition to the Company's modern fleet
MSC Bellissima. The Company's new flagship will be named in a
glamourous and traditional maritime Naming Ceremony in the port of
Southampton. Present will be host of stars, VIPs, key travel partners
and international media as well as top management from MSC Cruises and
its parent company MSC Group. Gianluigi Aponte, MSC Group's founder
and executive chairman as well as the ship owner, will attend together
with the Aponte and Aponte-Vago families. MSC Cruises' Godmother
Sophia Loren will officially name her 14th ship, and it is only
fitting that the glamourous Hollywood legend who is renowned for her
style and elegance, should name this beautiful ship.
MSC Cruises announced today a new partnership with one of the finest
chefs in the world, Raymond Blanc, OBE. The two-Michelin-starred chef
has had a profound influence on Britain's culinary landscape and to
kick-off the relationship, VIP guests at the Naming Ceremony will
enjoy an exquisite menu that chef Blanc has designed for the Yacht
Club Gala Dinner. This marks the start of a new collaboration with MSC
Cruises and the celebrated chef who will go on to devise a dish for
the Elegant Dinner menu.
Raymond Blanc commented, "I am truly looking forward to collaborating
with MSC Cruises on some exciting projects, including the development
of one of my signature dishes for the Elegant Dinner menu. I believe
we have a shared passion for the guest experience, and together we
will create some truly memorable moments for diners on board."
Hosting the evening's celebrations will be English TV presenter and
star of ITV, Holly Willoughby. Rock and Roll Hall of Fame inductee and
three-time Grammy Award-winner Nile Rodgers will perform some of his
most danceable hits with his band Chic. Also taking to the stage will
be world-famous tenor Andrea Bocelli and Matteo Bocelli. The Bocelli
family have a long-standing relationship with MSC Cruises dating back
over 10 years when Andrea first performed for the Naming Ceremony of
MSC Poesia in Dover, UK. Guests will also experience a very special
performance from Cirque du Soleil at Sea. This will be the first time
that the world-leader in live entertainment, Cirque du Soleil, has
performed at the launch of a ship.
MSC Bellissima is the second Meraviglia class ship to come into
service, designed as the ship for all seasons and rich in guest
features, including the very latest guest-centric technology with the
introduction of the world's first virtual personal cruise assistant,
ZOE. Another key highlight will be the two new Cirque du Soleil at Sea
shows, exclusive to MSC Cruises' guests. SYMA Sail beyond
Imagination takes you on the epic journey of a young sailor, brimming
with imagination. VARÉLIA Love in Full Colour puts a futuristic
twist on a traditional medieval tale.
Other key highlights include:
o) With 12 dining venues and more than 20 bars and lounges, guests
will be spoiled for choice including a new French specialty
restaurant L'Atelier Bistrot. The ship will also feature acclaimed
pastry chef Jean-Philippe Maury's Chocolate & Café, dedicated
entirely to unique and elegant chocolate creations and desserts a
delight for anyone with a sweet tooth
o) An award-winning family offering with kids' activities and services
from partners LEGO and Chicco with a dedicated family deck area
o) The MSC Yacht Club with luxurious accommodations spanning three
decks, private facilities and butler service round-the-clock
o) The longest LED Sky Screen at Sea at 262 ft. long encompassing a
stunning 315 ft. long Mediterranean-style promenade, designed to
become the social hub of the ship
o) Comfortable and innovative accommodations to meet every need
demonstrating the way that MSC Cruises puts the guest at the heart
of its designs and ship building and with 10 different types of
staterooms to choose from, there really is something for everyone.
MSC Bellissima will be fitted with a large number of environmental
features and innovative technology to reduce her environmental
footprint. Just like her sister ship MSC Meraviglia, she will be
equipped with, amongst others: an exhaust gas cleaning system for
cleaner emissions; an advanced wastewater treatment system; smart
heating, ventilation and air conditioning systems (HVAC) to recover
heat from machinery spaces; and LED lighting and smart devices to
significantly save energy. This is all part of MSC Cruises commitment
to provide guests with the best holiday experiences at sea in a
sustainable way.
MSC Bellissima will spend her inaugural season in the Mediterranean
offering 7-night cruises to some of the region's most popular ports
before moving to the Emirates for Winter 2019/2020. Following that she
will be deployed in Asia in 2020.
For more information and bookings visit www.msccruises.com
{ SOURCE: MSC Cruises }
-------------------------------------------------------
Petition calls for cancellation of MJ ONE in Las Vegas
{Mar.06.2019}
-------------------------------------------------------
The allegations against Michael Jackson in HBO's new documentary
"Leaving Neverland" are serious.
In the two-part film which premiered on the network Sunday night, Wade
Robson and James Safechuck describe their childhood experiences with
Jackson in graphic detail, saying Jackson groomed and manipulated them
and their families.
The fallout from the film has found its way to Vegas, with many
calling for an end to the many shows that honor the King of Pop.
Among the biggest, a Care2 petition demanding Mandalay Bay to cancel
its Michael Jackson Cirque du Soleil show.
"We're excited to see people from all around the world who also
probably love Michael Jackson's music and agree that it's time to have
this tough conversation about whether we're honoring a man that maybe
doesn't deserve the honor," said Rebecca Gerber, director of advocacy
and engagement for Care2.
Gerber also said she understands people's love for Jackson's music,
but she hopes Mandalay Bay will consider all victims of abuse.
Many locals and tourists agree it's a sensitive discussion that needs
to be had.
"It's not really focused on his personal life," said one tourist.
"It's focused more on what he did as an artist and in the industry so
while the accusations are coming out; I don't think until there's
concrete proof you can really take away from his other accomplishments
while he was alive."
13 Action News reached out to Mandalay Bay and Cirque du Soleil for
comment.
Cirque said in a statement it was unable to comment at this time
because of the current legal proceedings involving one of its
partners.
{ SOURCE: KTNV Las Vegas }
***************************************************************
Q&A -- Quick Chats & Press Interviews
***************************************************************
-------------------------------------------------------
The Real-Life Diet of Aleksei Goloborodko, the Most
Flexible Man in the World"
{Feb.07.2019}
-------------------------------------------------------
On the spectrum of human flexibility, 24-year-old Aleksei Goloborodko
lies somewhere between "world-class contortionist" and "literally made
of pipe cleaners." Originally from Tula, Russia, the Bronze Clown
winnerthe circus world's equivalent of the Oscarsis currently
crisscrossing the globe (and his body) on tour with Cirque du Soleil's
production of Luzia. We asked the most flexible man in the world to
share with us the details of his training regimen; the dietary
restrictions imposed by chronic bendiness; and his advice for anyone
else who aspires to take the coolest Instagram photos imaginable.
Q. How did you get started with Cirque?
Cirque du Soleil first discovered me at an audition in Moscow when I
was 8. I auditioned again for them at 17; they called me two years
later to join the creation of Luzia. My mom took me to a circus show
when I was 4, and afterwards I told her I wanted to join the circus.
She brought me to a circus studio where I met my coach. After testing
me with exercises, he said he would make me a contortionist. It didn't
matter for me which discipline I would do; I just wanted to be in the
circus. It's my lifestyle, and I love it, and I just do it. I started
when I was 4 years old, and since then I haven't stopped. It's not
like I'm forcing myself to do something. My body loves it.
Q. What's your typical day like?
I wake up around 9:30 A.M. and stretch for 10 to 15 minutes before I
make myself breakfast. Breakfast can be oatmeal or a sandwich and hot
teabasic stuff. Then I relax for, like, 40 minutes. I can read a book
or play video games. Then I start stretching and training for the rest
of my show routine. I don't really have dietary restrictions. I can
eat anything: cake, an apple, chocolate, fruit, soup. I eat at least
five meals a day, but my rule is that I eat small portions more often.
I can't eat a lot at once, or I'll have issues with contorting. My
discipline consists of many sub-disciplines: the base is contortion,
with sub-disciplines such as hand-balance, ballet, modern dance,
wushu, martial arts, and more. My morning training takes an hour and a
half. Then I relax for about 20 minutes, and eat something like an
apple or small bowl of fruit, before heading to the circus. There, I
put my makeup on and train for a couple of hours. I do some cardio,
and stretch, and do handstands. I take a break for about an hour in
the middle. After a show, I come home and something before I go to
bed, do a little more stretching, and then finally fall asleep.
Q. I saw that you are a NASM-certified trainer and behavior change
specialist. Why did you choose to get those certifications, and how
do you use them?
I wanted to improve my English, and I thought taking a course would
be the best way. I did the personal trainer certification to find out
more about the human body. The behavioral change course was
interesting to get to know how our mind works, too.
Q. Is there a particular order or regimen to your stretching?
No, but during the course of the day I need to stretch my entire body
each part of it. So of course, it is structured in that way, but it
also depends on when it happens. For example, mornings are the most
difficult time for stretches, but I still have to do it because my
body asks me to stretch. Developing my routine was a joint effort
between me, the choreographerSylvia Gertru?dix Gonza?lezand her
assistant. We would film me, and we then decide, like, "Okay, this
movement looks great and we'll keep it," or "This movement doesn't
look very good, so we'll save it for a backup movement, if we need
one."
Q. Do you have a favorite stretch?
There's no such thing for me. It doesn't matter what it is, I just
love stretching.
{ SOURCE: GQ }
-------------------------------------------------------
Q&A with BAZZAR Costume Designer James Lavoie
{Feb.08.2019}
-------------------------------------------------------
Running over two months, Cirque du Soleil's BAZZAR marked the
entertainment company's first time in India. A recreation of an Indian
marketplace, Bazzar's protagonist is a maestro who dreams of putting
together a larger-than-life theatrical production. A lot like Cirque
du Soleil co-founders Guy Laliberte? and Gilles Ste-Croix first did in
1984. The production was widely attended and Indian audiences, spell-
bound; before we knew it, the circus packed up and left town.
Their India run was a stunning showcase of everything we'd heard about
Cirque productions, including the costume design. We spoke to James
Lavoie, the costume director of BAZZAR, to understand what goes into
making breath-taking costumes that also allow unrestricted movement.
Here are excerpts from the conversation:
Q. What is the starting point when designing for Cirque du Soleil?
Could you take us through your process?
As a designer, I think you are invited every day to keep your eyes
wide open, to look for inspiration in everything, always. So whether
that's walking down the street and seeing the way the light reflects
off the side of the building or seeing the work of historical or
contemporary artists in a gallery one night, or just sitting in a cafe
scrolling through Instagram, I keep myself open to finding inspiration
in just about anything. Much like the show itself, the creation
process was intuitive and organic, and not fixed at any point in time.
BAZZAR presented an invitation to design by instinct, to be inspired
by everyday life, and to trust my gut. However, throughout the
process, the set design came to be a heavy influence and the themes of
construction, destruction and time, are expressed through various
garments.
Q. What are some of the things that influence the character's costumes
for a production like this?
As the history of Cirque du Soleil is rooted in street performance, my
inspiration for Cirque du Soleil BAZZAR's costumes came from the works
of contemporary 20th century artists, conceptual architectural
clothing and street style.
Q. What goes into the making of the Cirque Du Soleil performances and
wardrobes?
Cirque du Soleil's state-of the-art costumes are part of its DNA and
have been a show trademark worldwide. Along with its stunning human
performances, captivating live music and astonishing staging, BAZZAR
introduces the essence of what Cirque du Soleil is by providing a
complete and powerful theatrical experience. Costumes and props needed
for the various Cirque du Soleil shows are created in Montreal, in the
costume workshops. The workshop, the only one of its kind in North
America, employs specialists in shoemaking, textile design, lace-
making, wig-making, pattern-making, costume-making and millinery. For
BAZZAR, I used digital printing techniques and silk-screening with
various foils or silicon to add an element of experimentation. Vibrant
colours, shiny golds, patent leather, crisp blacks and whites, eye-
catching prints, delightful textures, innovative materials, and avant-
garde silhouettes collide in celebration and visual cohesion.
Q. Is there a particular costume that is your favourite?
I would find it hard to pick just one and call it my favourite.
However, the Maestro's hat is one costume item worth mentioning, not
only because it is part of the storyline, but because of the function
worked into its design.
Q. How did India impact the fabrics and techniques?
India has a great taste for fashion and a long-standing tradition of
producing beautiful fabrics. Plus, Indians have an open mind to art
and creativity. I feel the vibrant colours, shiny gold, delightful
textures and the use of different printing techniques to create BAZZAR
costumes is no stranger to India's savoir-faire.
{ SOURCE: Elle India }
=======================================================================
ITINÉRAIRE -- TOUR/SHOW INFORMATION
=======================================================================
o) BIGTOP - Under the Grand Chapiteau
{Amaluna, Koozå, Kurios, Luzia, Totem & Volta}
o) ARENA - In Stadium-like venues
{TORUK, OVO, Séptimo Día, Crystal & Corteo}
o) RESIDENT - Performed en Le Théâtre
{Mystère, "O", Zumanity, KÀ, LOVE, MJ ONE & JOYA}
NOTE:
.) While we make every effort to provide complete and accurate
touring dates and locations available, the information in
this section is subject to change without notice. As such,
the Fascination! Newsletter does not accept responsibility
for the accuracy of these listings.
For current, up-to-the-moment information on Cirque's whereabouts,
please visit Cirque's website: < http://www.cirquedusoleil.com/ >,
or for a more comprehensive tour listing, visit our Itinéraire
section online at: < http://www.cirquefascination.com/?page_id=6898 >.
------------------------------------
BIGTOP - Under the Grand Chapiteau
------------------------------------
Alegría-25th Anniversary:
Montreal, QC -- Apr 18, 2019 to Jul 21, 2019
Gatineau, QC -- Jul 31, 2019 to Sep 1, 2019
Toronto, ON -- Sep 12, 2019 to Dec 1, 2019
Amaluna:
Phoenix, AZ -- Mar 15, 2019 to Apr 14, 2019
Los Angeles, CA -- Apr 25, 2019 to May 26, 2019
Livingston, NJ -- Jun 12, 2019 Jul 14, 2019
Oaks, PA -- TBA
Bazzar:
Abu Dhabi, UAE -- Mar 6, 2019 to Mar 16, 2019
Muscat, Oman -- Mar 28, 2019 to Apr 6, 2019
Koozå:
Auckland, NZ -- Feb 15, 2019 to Mar 24, 2019
Valencia, ES -- May 30, 2019 to Jun 30, 2019
Gijon, ES -- Jul 31, 2019 to Aug 18, 2019
Malaga, ES -- Sep 13, 2019 to Sep 29, 2019
Madrid, ES -- Oct 24, 2019 to Nov 24, 2019
Kurios:
Fukuoka, JP -- Feb 15, 2019 to Mar 31, 2019
Sendai, JP -- Apr 19, 2019 to May 29, 2019
Singapore, SG -- Jul 5, 2019 to Jul 21, 2019
Sydney, AU -- Oct 2, 2019 to Oct 27, 2019
Brisbane, AU -- Jan 10, 2020 to Jan 26, 2020
Melbourne, AU -- Mar 12, 2020 to Mar 29, 2020
Adelaide, AU -- TBA
Perth, AU -- TBA
Luzia:
Orlando, FL -- Mar 8, 2019 to Apr 21, 2019
New York City, NY -- May 3, 2019 to Jun 9, 2019
Hartford, CT -- Jun 19, 2019 to Jul 7, 2019
Calgary, AB -- Aug 16, 2019 to Sep 15, 2019
Totem:
Vienna, AT -- Mar 9, 2019 to Apr 22, 2019
Geneva, CH -- May 9, 2019 to Jun 2, 2019
Gran Canaria, ES -- Jul 5, 2019 to Sep 1, 2019
The Hague, NL -- Oct 11, 2019 to Nov 10, 2019
Düsseldorf, DE -- Dec 19, 2019 to Jan 19, 2020
VOLTA:
San Jose, CA -- Feb 13, 2019 to Mar 24, 2019
San Diego, CA -- Apr 3, 2019 to May 5, 2019
Chicago, IL -- May 18, 2019 to Jul 6, 2019
Washington, DC -- Jul 26, 2019 to Sep 8, 2019
Atlanta, GA -- Oct 10, 2019 to Jan 5, 2020
Los Angeles, CA -- Jan 17, 2020 to Mar 8, 2020
Costa Mesa, CA -- Mar 18, 2020 - Apr 19, 2020
------------------------------------
ARENA - In Stadium-Like Venues
------------------------------------
TORUK - The First Flight:
Krakow, PL -- Mar 6, 2019 to Mar 10, 2019
Antwerp, BE -- Mar 13, 2019 to Mar 17, 2019
Paris, FR -- Apr 4, 2019 to Apr 14, 2019
Moscow, RU -- Apr 19, 2019 to May 5, 2019
St. Petersburg, RU -- May 8, 2019 to May 12,2019
Helsinki, FI -- May 15, 2019 to May 19, 2019
Vilnius, LT -- May 22, 2019 to May 26, 2019
Prague, CZ -- May 29, 2018 to Jun 2, 2019
Munich, DE -- Jun 5, 2019 to Jun 9, 2019
Zurich, CH -- Jun 12, 2019 to Jun 16, 2019
Manchester, UK -- Jun 20, 2019 to Jun 23, 2019
London, UK -- Jun 26, 2019 to Jun 30, 2019
OVO:
Belo Horizonte, BR -- Mar 7, 2019 to Mar 17, 2019
Rio de Janeiro, BR -- Mar 21, 2019 to Mar 31, 2019
Brasília, BR -- Apr 5, 2019 to Apr 13, 2019
São Paulo, BR -- Apr 19, 2019 to May 12, 2019
Buenos Aires, AR -- Jun 15, 2019 to Jun 30, 2019
CRYSTAL - A BREAKTHROUGH ICE EXPERIENCE:
West Valley City, UT -- Mar 7, 2019 to Mar 10, 2019
Ontario, CA -- Mar 13, 2019 to Mar 17, 2019
Bakersfield, CA -- Mar 20, 2019 to Mar 24, 2019
Sacramento, CA -- Mar 27, 2019 to Mar 31, 2019
Stockton, CA -- Apr 3, 2019 to Apr 7, 2019
Everett, WA -- Apr 10, 2019 to Apr 14, 2019
Duluth, MN -- Apr 19, 2019 to Apr 21, 2019
Omaha, NE -- Apr 24, 2019 to Apr 28, 2019
Madison, WI -- May 1, 2019 to May 5, 2019
Peoria, IL -- May 8, 2019 to May 12, 2019
Grand Rapids, MI -- May 15, 2019 to May 19, 2019
Saginaw, MI -- May 22, 2019 to May 26, 2019
Frisco, TX -- Jun 13, 2019 to Jun 16, 2019
Philadelphia, PA -- Jun 20, 2019 to Jun 23, 2019
Allentown, PA -- Jun 26, 2019 to Jun 30, 2019
Kingston, ON -- Jul 3, 2019 to Jul 7, 2019
Erie, PA -- Jul 10, 2019 to Jul 14, 2019
Charlotte, NC -- Jul 17, 2019 to Jul 21, 2019
Indianapolis, IN -- Jul 24, 2019 to Jul 28, 2019
Manchester, NH -- Aug 1, 2019 to Aug 4, 2019
Portland, ME -- Aug 7, 2019 to Aug 11, 2019
Moncton, NB -- Aug 14, 2019 to Aug 18, 2019
Saint John, NB -- Aug 21, 2019 to Aug 25, 2019
Halifax, NS -- Aug 28, 2019 to Sep 1, 2019
Moscow, RU -- TBA
Saint Petersburg, RU -- TBA
Kazan, RU -- TBA
Ekaterinburg, RU -- TBA
CORTEO:
Portland, OR -- Mar 14, 2019 to Mar 17, 2019
Reno, NV -- Mar 21, 2019 to Mar 24, 2019
Inglewood, CA -- Mar 27, 2019 to Mar 31, 2019
Tucson, AZ -- Apr 3, 2019 to Apr 7, 2019
Rio Rancho, NM -- Apr 11, 2019 to Apr 14, 2019
Topeka, KS -- Apr 18, 2019 to Apr 21, 2019
St. Louis, MO -- Apr 24, 2019 to Apr 28, 2019
Cedar Rapids, IA -- May 1, 2019 to May 5, 2019
Dayton, OH -- May 8, 2019 to May 12, 2019
Windsor, ON -- May 15, 2019 to May 19, 2019
Hamilton, ON -- May 22, 2019 to May 26, 2019
London, ON -- Jun 13, 2019 to Jun 16, 2019
Boston, MA -- Jun 19, 2019 to Jun 30, 2019
Baltimore, MD -- Jul 3, 2019 to Jul 7, 2019
Estero, FL -- Jul 17, 2019 to Jul 21, 2019
Sunrise, FL -- Jul 24, 2019 to Aug 4, 2019
San Antonio, TX -- Aug 8, 2019 to Aug 11, 2019
Denver, CO -- Aug 15, 2019 to Aug 22, 2019
Turin, IT -- Sep 26, 2019 to Sep 29, 2019
Milan, IT -- Oct 3, 2019 to Oct 6, 2019
Bologna, IT -- Oct 10, 2019 to Oct 13, 2019
Pesario, IT -- Oct 17, 2019 to Oct 20, 2019
Leipzig, DE -- Oct 23, 2019 to Oct 27, 2019
Frankfurt, DE -- Oct 30, 2019 to Nov 3, 2019
Nuremberg, DE -- Nov 6, 2019 to Nov 10, 2019
Graz, AT -- Nov 13, 2019 to Nov 17, 2019
Stuttgart, DE -- Dec 18, 2019 to Dec 22, 2019
Mannheim, DE -- Dec 25, 2019 to Dec 29, 2019
Granada, ES -- Jan 15, 2020 to Jan 19, 2020
Zargoza, ES -- Jan 22, 2020 to Jan 26, 2020
Vitoria-Gasteiz, ES -- Jan 29, 2020 to Feb 2, 2020
Santiago de Compostela, ES -- Feb 5, 2020 to Feb 9, 2020
Seville, ES -- Feb 12, 2020 to Feb 16, 2020
Brussels, BE -- TBA
Antwerp, BE -- TBA
Messi10:
Barcelona, ES -- Oct 10, 2019 to Nov 10, 2019
---------------------------------
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
*) Single Show Dates | 7:00 p.m. Only
o) Friday, May 31, 2019
o) Sunday, June 9, 2019
o) Friday, June 14, 2019
o) Sunday, June 23, 2019
*) 2019 Dark Dates:
o) March 13, 2019
o) May 18 thru 22, 2019
o) August 20 thru 21, 2019
o) September 21 thru 25, 2019
"O":
Location: Bellagio, Las Vegas (USA)
Performs: Wednesday through Sunday, Dark: Monday/Tuesday
Two shows Nightly - 7:30pm and 9:30pm
*) Single Show Dates | 7:00 pm Only
o) Monday, Apr 22, 2019
o) Tuesday, May 21, 2019
o) Tuesday, Jun 25, 2019
o) Tuesday, Nov 5, 2019
*) 2019 Dark Dates:
o) 9:30 PM Performance of April 18
o) 9:30 PM Performance of May 22
o) 9:30 PM Performance of June 26
o) 9:30 PM Performance of November 7
Zumanity:
Location: New York-New York, Las Vegas (USA)
Performs: Friday through Tuesday, Dark Wednesday/Thursday
Two Shows Nightly - 7:00pm and 9:30pm
KÀ:
Location: MGM Grand, Las Vegas (USA)
Performs: Saturday through Wednesday, Dark Thursday/Friday
Two Shows Nightly - 7:00pm and 9:30pm
LOVE:
Location: Mirage, Las Vegas (USA)
Performs: Tuesday through Saturday, Dark: Sunday/Monday
Two Shows Nightly - 7:00pm and 9:30pm
MICHAEL JACKSON ONE:
Location: Mandalay Bay, Las Vegas (USA)
Performs: Thursday through Monday - Dark: Tuesday/Wednesday
Two Shows Nightly - 7:00pm and 9:30pm
JOYÀ:
Location: Riviera Maya, Mexico
Performs: Tuesday through Saturday, Dark: Sunday/Monday
One/Two Shows Nightly:
9:00pm (Weekdays)
7:00pm & 10:15pm (Fri, Sat & Holidays)
PARAMOUR:
Stage Theater New Flora
Hamburg, Germany
Begins April 5th, 2019!
One/Two Shows Nightly:
o) Monday: Dark
o) Tuesday: 6:30pm
o) Wednesday: 6:30pm
o) Thursday: 8:00pm
o) Friday: 8:00pm
o) Saturday: 3:30pm & 8:00pm
o) Sunday: 2:30pm & 7:00pm
=======================================================================
OUTREACH - UPDATES FROM CIRQUE's SOCIAL WIDGETS
=======================================================================
o) WEBSERIES -- Official Online Featurettes
o) VIDEOS -- Official Peeks & Noted Fan Finds
---------------------------------------------------
WEBSERIES: Official Online Featurettes
---------------------------------------------------
*) WE ARE VOLTA
o) EPISODE 6: "The Magic of Cirque du Soleil" {Feb.04}
LINK /// https://www.facebook.com/VOLTA/videos/246287882965841/
o) EPISODE 7: "The Beginning" {Feb.18}
LINK /// https://www.facebook.com/VOLTA/videos/1005834399625433/
o) EPISODE 8: "The Cast and Crew" {Mar.04}
LINK /// https://www.facebook.com/VOLTA/videos/419595692187224/
---------------------------------------------------
VIDEOS: Official Peeks & Noted Fan Finds
---------------------------------------------------
o) JOYA: Skipping Rope Performers
LINK /// https://www.youtube.com/watch?v=R539JRRnxrY
o) New Romantic Makeup
LINK /// https://www.youtube.com/watch?v=VoH61V2ZX_g
o) ZUMANITY Music Video: "Tickle Tango"
LINK /// https://www.youtube.com/watch?v=pcO4LQYPNd8
o) VOLTA Music Video: "Modern Jungle"
LINK /// https://www.youtube.com/watch?v=dycy-0fS4j0
o) Take Your Place - Singers (Casting)
LINK /// https://www.youtube.com/watch?v=wm_wI6dBRR0
o) Take Your Place - Musicians (Casting)
LINK /// https://www.youtube.com/watch?v=uedre40Q3hs
o) Take Your Place - Synchronized Swimmers (Casting)
LINK /// https://www.youtube.com/watch?v=QGQkHT6VwXI
o) KA Music Video: "Pursuit"
LINK /// https://www.youtube.com/watch?v=mL29MvW_ppA
o) Berklee College of Music CDS Music Ensemble
LINK /// https://www.youtube.com/watch?v=DsHGFOzySIY
o) Official JOYA 2019 Trailer
LINK /// https://www.youtube.com/watch?v=l7VsluaIhlU
o) KOOZA Music Video: "Superstar"
LINK /// https://www.youtube.com/watch?v=MeCAgR2qqvs
o) International Women's Day
LINK /// https://www.youtube.com/watch?v=NtkmQpOkME0
=======================================================================
FASCINATION! FEATURES
=======================================================================
o) "Step Inside BAZZAR: A Journey into an Eclectic
Performance Lab of Infinite Creativity"
Text from the Press Kit
o) Jean David's Quel Cirque, Part 3 of 12: "The Appointment"
A Special Series Celebrating Cirque's 35th Anniversary
------------------------------------------------------------
"Step Inside BAZZAR: A Journey into an Eclectic
Performance Lab of Infinite Creativity"
Text from the Press Kit
------------------------------------------------------------
BAZZAR: where a joyful troupe of acrobats, dancers, and musicians
contrive an awe-inspiring spectacle one full of utter chaos and
uplifting beauty.
BAZZAR whisks you inside the process like never before. "My biggest
high is the creative process," says Writer and Director Susan
Gaudreau. "I love creating with people. There is nothing more
fascinating for the audience than when artists share that with you
What they go through
Their inner, creative world." Lead by their
Maestro, the troupe bands together to invent a whimsical, one-of-a-
kind universe. With his precious Hat as his ultimate tool to proclaim
order, the Maestro directs the troupe as it builds on and on and on...
Only to see their genius unravel at the hand of a trickster, whose
curiosity is a catalyst for conundrum along the path to creation.
Just as winding and exhilarating as the creative process itself, a fun
pursuit of order and disorder ensues between the Maestro and the
prankster; both attracted by the Hat's presence and the power it
entails. In a place where the unexpected is expected, the colourful
group imagines, builds, and rebuilds vibrant scenes in an artistic,
acrobatic game. As the troupe unites in creation, inspiration radiates
from the space. At key moments, the story onstage is directly
influenced by the audience. Joining the troupe as one, an emotional
journey is shared.
BAZZAR is also an homage to the beginnings of Cirque du Soleil, when
an intimate troupe of street artists over 30 years ago brought
amazement to crowds, anywhere. The high-energy excitement, collision
of sounds and colours, and meeting place of diverse characters you'd
find at a traditional bazaar', inspired the name of the show. BAZZAR
perfectly captures the spirit! The spelling is slightly different,
where the double zz' represents the time loop you sense during the
adventure. As a word, BAZZAR is also read almost the same frontwords
and backwords. Like the performance, just when you think you know
where the story is going there's a twist!
COSTUMES & CHARACTERS
---------------------
James Lavoie is the mastermind behind BAZZAR Costume Design, "Circus
arts attract diverse, dynamic people. Let's be inspired by them!"
James embraced the energy, natural look, and raw talent of each artist
to amplify their true spirit through costume design.
With a band of thirty crazy eclectic characters, the main challenge
was to create individual looks that visually unify in the troupe-
spirit of Cirque du Soleil. Much like the show itself, the creation
process was intuitive and organic, not fixed to any one point in time.
BAZZAR presented an invitation to design by instinct, to be inspired
by everyday life, and to trust your gut! Beyond instinct however,
James sought inspiration in the works of contemporary 20th century
artists, conceptual architectural clothing, and street style, as the
history of Cirque du Soleil is rooted in street performance.
Throughout the process, the set design came to be a heavy influence.
Study the troupe's looks and notice black lines running through each.
Obvious and subtle. Thick and thin. A nod to the performance lab's
architecture, and connectivity in the chaos. This visual connection
between costume and space wasn't the initial intention. James tends to
draw with a Sharpie and heavy hand on paper.
BAZZAR creators, Susan and Marie-Hélène saw his first sketches and
fell inspired. Steps of the creative process, like James' first
Sharpie sketches, are directly expressed through the costume design.
For example, the chaotic energy of the After-Effect tableau is
captured by scribbly patterns or "pen marks on paper", says James. "We
are trying to express the chaos at the beginning of creation. The
first stroke on canvas." The themes of Construction-Deconstruction and
Time are expressed through various garments too. A skirt that seems
incomplete. Pants with cut outs. A shirt with bands of fabric that
begs the question: Is this garment finished, or in the process of
making?'. There's a strong sense of building and breaking apart.
Creating or disassembling. Much like the creative process itself.
The Maestro's hat is one costume item worth mentioning, not only
because it is part of the storyline, but because of the function
worked into its design. Custom molded and laser cut plastics come
together to create a scale model of the set, worn on the Maestros head
with integrated lighting and a small plastic ball that scurries down a
slide and through a trapdoor.
Digital printing techniques and silkscreening with various foils or
silicones add an element of experimentation. Vibrant colours, shiny
golds, patent leather, crisp blacks and whites, eye-catching prints,
delightful textures, innovative materials, and avant-garde silhouettes
collide in celebration and visual cohesion. Nothing is shy about
BAZZAR including it's characters...
Maestro -- The Maestro is the elder leader or wise sage'. As the
protagonist with a physically large presence, he commands control - or
comically tries to - within the creative process. In his humorous
pursuit to keep the troupe on track, as proven by a hilariously fun
clown act, the Maestro grabs you by the heart.
Floating woman -- In contrast to the Maestro, the Floating Woman is a
young trickster who thrives for freedom and embraces chaos. She's a
pure of heart, clumsy character, inspired by childlike naiveté. The
Floating Woman has zero fear and full trust in all. She's unfiltered,
wildly curious, and innocently optimistic.
Troupe -- Twenty-seven eclectic artists unite as one talented troupe
that show ferocious teamwork. "We pushed their individuality and raw
performance itself strength, flexibility, whatever makes them
amazing to the forefront" says Marie-Hélène, Creative Director.
Explosive teeterboard artists amp energy to the max. Acro bike
performer bring lyrical poeticism reminiscent of a Renaissance time.
Dancers shine in a spectrum of genres. Unique in sizes, acts,
personalities, and cultures, the troupe represents the beauty of our
world.
Grande Âme -- Soul of the space. Singer of the show. Steadily calming
force. The Grande Âme unites the troupe when things get too wacky. A
true diplomat, she takes no sides and reminds everyone of their main
purpose as one creative team. Mothering in nature, she represents an
empowered, modern woman of strength
Mini Maestro -- A maestro-in-training. This total protagonist
wannabe' has a not-so-secret secret: He is madly in love with the
Floating Woman (even though she's a real thorn-in-the-side of his
control-needing nature). Opposites attract as they say. His innocent
boy crush is adorably heartful.
The Performance Lab -- "The performance lab has to be one of the
characters!" insists Susan. Constantly shifting and changing with
colour, light, and music as an emotional force, the scenography deeply
connects to the tempo, rhythm, and overall mood of the creative
performance lab. It's totally alive!
Just like the show's music...
MUSIC
-----
Going back to the start of Cirque du Soleil as street performers,
Composer and Musical Director Simon Carpentier found inspiration in
live buskers, "I really like street music and went back to the essence
of this. People playing acoustic and electric in the street is very
raw and present. My first inspiration was street percussions. From
there I said, OK let's go with folk, play with acoustic guitar, and
mix it with electronic fan fare to amplify the feel of busking with a
modern twist for today."
Two musicians within the troupe are always playing, live. With live
music, singing, and a ghost DJ' who is never seen but heard, the
result is a super groovy, universal, supercharged pop soundscape.
Folk-electronica ear-candy, created with four main instruments:
Baritone sax, acoustic guitar, dreamy melodic piano, and soulful
vocals. Hits of ukulele, various flutes, and simple banjo, amplify the
spirit of sidewalk entertainment.
A soulful singer brings poetic, female energy within the musical
craze. Combined with live musicians, their total performance makes
music an equally visual experience, bringing fans closer to the action
within the intimate big top setting. Light and hopeful music supports
the love of creation and key emotions that ride along with the
creative process. As Simon says, "Music always tells a story!"
And that story needs a place to play...
SET & STAGE
-----------
BAZZAR Set Designer Simon Guilbault wanted to push the interaction
between space and performer, and create a structure the performers
could climb on, be on top of, move through, and really become one
with. Cantilever structures, gravity-defying bridges, and tension
based structures, provided great inspiration for Simon Guilbault. He
worked closely with expert engineers to create a strikingly unusual
set design that seems to challenge science and physics. As he puts it,
"The performance lab, visually speaking, is a matter of lines and
metal supports and how separate pieces can be linked. You don't really
understand how its made or holds together. There are so many bizarre
angles. It's very chaotic and seems to float in space with just a few
anchor points.".
BAZZAR Director Susan Gaudreau challenged the set design, "I wanted a
set that could be like a LEGO block. A structure that depending on how
you add or take away, creates a different space and emotion." Moving
parts are therefore heavily integrated, such as brilliant mirrors
which can be moved around by the artists. "Everything can change,
nothing is fixed," says Simon Guilbault. Reflective and transparent
colors of blue and violet support the vibrant, brightly coloured
troupe. Light catches beautifully and comes through the structure to
create striking shadow effects. All of this sits within the Big Top,
which stands at 19 meters (62 feet) high and is 41 meters (135 feet)
in diameter.
In the end, the result is incredibly sculptural and artistic.
THE TABLEAUX
------------
Six blocks of time, and shape-shifting scenographic spaces, take fans
through the heart-racing highs and topsy turns of the creative
process.
After-effect -- A state of pure aftermath. Post-creative-chaos.
Something incredible has happened... yet remains curiously undefined.
A teeterboard act defies heights. Frantic energy fills the performance
lab as fans first meet the Maestro, and the wildly eclectic troupe
they'll join on this thrilling adventure.
Mechanical -- Click-click-click... One-two-three
Wheels turn again.
Creative gears get moving. Superhuman roller-skaters, and circular
acro-bike performer sparks a rhythmic feeling of rotation where
everything connects. The troupe regroups to reignite the creative
process.
Rehearsal -- The Maestro commands the scene as the wide-eyed troupe
follows his lead. With extreme focus, the troupe unites in a world of
mesmerizing mirrors where infinite reflections represent limitless
possibility. A duo-trapeze act symbolizes trust and synchronicity. For
the first time in Cirque du Soleil history, performers display
strength and technical feats in an act of mallakhamb. Creative
excitement erupts chaotic frenzy. The Maestro loses control.
Ropes -- Grand Âme, a calming force, swoops in to soothe and renew an
exhausted troupe with her voice. "The feeling is a heart-to-heart
generosity, giving her energy," says Marie-Hélène, Creative Director.
Ropes intertwine as the Floating Woman begins to weave her world.
Strikingly beautiful corde lisse performer attempt to free the Maestro
from a moment of humorous entrapment. Finally, the ropes release! Joy
overcomes!
Structure -- After the creative chaos, regroup and practice, sidetrack
here and laugh-riots there, the Maestro finally reclaims control. The
troupe fiercely unites! Energy amplifies! "This is it! Their epic
moment!" Susan describes. A fire manipulator clears the stage, and in
a brilliant display of fun and teamwork, the troupe builds an
astonishing structure, together.
Final Twist -- Time to dance! Hoot! Holler! Celebration breaks in a
grande finale of dazzling acrobatics: Icarian duo, Hula Hoop, and
Hairceau (aerial hoop meets hair suspension, a first for Cirque du
Soleil). Pure happiness overcomes all. In a flash amongst the revelry,
a single and unintentional act by the naive Floating Woman, triggers a
new beginning, a new chapter. To what? It's up for the troupe to
decide!
------------------------------------------------------------
Jean David's Quel Cirque, Part 3 of 12: "What! No Animals?"
A Special Series Celebrating Cirque's 35th Anniversary
------------------------------------------------------------
Today a consultant in creativity and event marketing, Jean David was
one of the pioneers of Cirque du Soleil, where he led the marketing
department for 15 years (from 1984-1999), introducing the magic of the
Grand Chapiteau to the whole world. During his tenure, David
distinguished himself through innovative methods by commercializing
the Big Top and introducing its magic to other cultures on four
continents.
A man of vision but also a determined entrepreneur, Jean David acted
as Vice President of Entertainment, Sales & Marketing at the WYNN
Hotel in Las Vegas before moving to India for 18 months, where he led
a pre-feasibility study for the creation of an innovative project: the
Mumbai International Creative Center, an international resort centered
around the theme of creativity.
In his 2005 book - "Quel Cirque!" ("What a Cirque!") - David offered
his views on leadership and revealed the innovative qualities that
contributed to Cirque du Soleil's enormous success in marketing,
management, creation and exploration. There was only one problem... it
was written in his native French. Thankfully, David himself translated
and web-published an English-language version of his book and we've
collected the relevant Cirque-related chapters for this 12-part
series.
Jean David's "Quel Cirque" is a fantastic read and as Cirque du Soleil
celebrates its 35th anniversary this year, we thought this would be
the perfect year to share these texts with you. So, without further
adieu, Quel Cirque!
# # #
Cirque du Soleil is an animal free circus. In fact, this is one of the
keys to its success. But, it wasn't really the result of a decision we
made. It was a natural outgrowth of who we were. After all, Cirque
began as a group of street performers: acrobats, stilt walkers, fire
eaters, clowns. And none of them used animals. The absence of animal
acts in Cirque was a matter of artistic preference.
In the early 1980s, Canada had no real circus tradition to speak of.
Sure, traveling circuses with animal acts crisscrossed the country,
but they were American-owned. Our troupe consisted of street
performers, not traditional circus artists. Animals didn't enter the
picture. At first, we didn't anticipate the impact a circus without
animals would have. Later on, we found out!
In early 1985, we took the Cirque to Ontario. We needed to extend our
season, and the rich, heavily populated neighboring province seemed an
ideal destination. So, that summer, we penetrated an English-language
market for the first time. In a way we didn't know what we were
getting into. It was uncharted territory. None of us had any
experience working with the Ontario market. To facilitate
communications and media relations, we billed ourselves as "Sun
Circus." People needed to understand who we were and what we offered.
I was invited to Toronto for an interview on a nationwide radio
program on the Canadian Broadcasting Corporation. My English was none
too good, but my sense of humor was as keen as ever. The host started
off the segment by asking me point blank why the show didn't have any
animal acts. Any circus worthy of the name, he insisted, featured
animals. I couldn't understand why it seemed to be an issue. To me, it
seemed perfectly natural that we didn't have animals. His line of
questioning floored me. When I had got over the surprise, my answer
was brief, if somewhat colorful. I told him with a straight face that
we'd tried to do a number with beavers, our national symbol.
Unfortunately, our wooden set didn't survive the test. It took only
three shows for the little critters to gnaw their way through the
ring.
I added that we'd also intended to arrive in the city with a big
parade featuring caribou and polar bears. But we ran into logistical
problems. The police turned us down at the last minute. The
interviewer wondered whether I was pulling his leg
I reminded him
that Canada didn't have a circus tradition, so there was no tradition
to respect
And finally I said that we thought it was better to hire
20 young Canadian acrobats than four American elephants; artists cost
less to feed! He finally understood! I left the interview proud as a
peacock!
Our first entry into the English-language market was a disaster. Let's
face it we bombed. It was one of the worst performances in our
history! That year more people requested refunds than ever before. In
Toronto, only 20 minutes into the show customers would begin storming
out of the big top dragging their children in tears and demanding
their money back. It was perfectly understandable: "The Cirque du
Soleil isn't a circus," they complained, "Where are the animals?" For
them, the word "circus" had a very precise meaning, perhaps too
precise. It meant a traditional traveling show with animals, cotton
candy, popcorn, and children's laughter. But we'd understood too late.
Playing in Ottawa, Toronto and Niagara Falls, we were $750,000 CA in
the red. A marketing fiasco that threatened to bury us. Some lesson!
Our analysis of the situation inevitably led us to the most important
decision we ever made: never translate the name Cirque du Soleil.
Leave well enough alone. Our French name, reflecting our origins and
our identity, was our trademark. We didn't realize at the time, but
the decision would define our audience and would be a constant
catalyst to our growth.
As early as the following year, after merely placing inserts with our
French name in English-Canadian newspapers, we discovered the
demographic attracted by the exoticism of the message. Most of the
people were women, 60% of whom were aged 24 to 45. They had a higher
than average level of education, and not surprisingly, a higher family
income. Quite simply, they were the arts community clientele.
Everywhere we performed from 1984 to 1999, our target public was the
same. You'd think we'd been cherry-picking our customers at the big
top gate. The surveys we carried out in every town confirmed these
characteristics.
And wherever we went, the animal issue came up, particularly during
our first years on American soil. In 1988, at a premiere in the Los
Angeles area, all of a sudden there were 50 demonstrators brandishing
posters and chanting slogans as the guests entered the big top. At
first, we were taken aback. What in the world was happening! Then, it
donned on us, they were animal-rights advocates shouting words of
encouragement to our customers: "Cirque du Soleil is a good circus; it
doesn't use animals; you've made the right choice." We could hardly
have asked for more.
The same reaction spread across the United States. In Washington,
Seattle, and Chicago, American animal-rights groups cited us as a role
model, in contrast to traditional circuses. They handed out pamphlets
to patrons at these shows, urging people to support us. A number of
North American towns banned shows with animal acts. Our name came up
in the debates that swirled around the topic. After a few years, we
realized that we could never use an animal in our shows, not even a
rat! Our trademark would forever bear the label "ANIMAL FREE."
Without realizing it, we'd made a decision with social implications,
responding to a growing preoccupation among our clientele. But, out of
respect for our colleagues in traditional circuses, we turned down
invitations to join animal-rights organizations. We were in showbiz,
not politics! Traditional circuses appeal mostly to children. Cirque
du Soleil, on the other hand, drew largely an adult clientele despite
repeated efforts to set a family-friendly pricing policy. In American
markets such as Los Angeles, Chicago, and New York, adults made up to
95% of our audiences; children (aged 12 or less), 5%. Children brought
their parents to traditional circuses with animals. Parents tried to
persuade their children to go to our circus and ended up calling a
babysitter so they could enjoy an extraordinary night out.
Go Beyond Yourself
------------------
As our incredible adventure got under way, the spectators were
delighted and we were very proud of our show. The excellence and
commitment of the artists motivated all of us: technicians and
management alike. The performers were going all out on stage and we
felt that, in the office and backstage, we had to step up to the plate
and match their effort. We had to be as good as they were for the
project to excel. We had little management experience, but the example
set by our troupe of clowns, tumblers, jugglers, contortionists and
musicians was truly inspirational.
The feeling of confidence and teamwork was organic to the group, which
was infused with incredible energy. We were in the middle of a
fireball of interaction and discussion, a constant sharing of ideas.
Everyone was welcome to give an opinion about any aspect of the
project: the artistic and technical sides, logistics, communications,
marketing, as well as public and administrative services. It was give
and take. Everyone was free to make suggestions; none of us had a lock
on the truth. There was a real effort to reach consensus; no one had
the right to impose his or her views. Common sense prevailed.
Excellence came from within. Shaped by camaraderie, confidence and
solidarity, the approach fostered a group dynamic that gave the team
tremendous drive and attracted wide appeal with the public and
suppliers.
The youthful members of Cirque du Soleil's original team had several
traits in common. We were completely open and had nothing to lose. Our
obligations and personal responsibilities were minimal. "Good for
nothing but ready to take on anything," as the song goes. We had the
sense that together we were doing something that had never been done.
We were driven by a keen sense of belonging coupled with a passion and
determination to accomplish the tasks at hand. The feeling of openness
we shared translated into a willingness to invest ourselves fully. We
poured our time and energy, gave both body and soul to our enterprise
and to the public. Our group was united, strong, colourful, even the
stuff of cartoons.
At the time, arts and culture had long been considered a weak,
disorganized sector too often governed by emotion. Words like
financial performance, surplus, return on investment were almost
totally absent from the basic vocabulary of people in the milieu. We
were making a naïve attempt to ally the performance arts and business
as if no one had ever tried to do so before. We were convinced that
the two spheres were compatible and we fully intended to prove it. It
was possible to achieve profitability and financial performance in the
cultural arena. We just had to work a little harder than everyone else
to prove it.
We were hungry to conquer new markets, to reinvent ourselves. We had
the capacity to take on new challenges and we weren't afraid to try.
That's what I call the art of going beyond yourself. It became a game
we played on the stage, in the office, on the site and even in
management meetings. We had the deep conviction that we were taking
part in something bigger than us, something extraordinary, hard to
define, hard to explain. We combined an entrepreneurial spirit with a
warrior's soul.
We were brimming with ambition. We constantly strived to do better.
Combining rigour with determination, we doubled our sales figures year
after year. Our performances were exhilarating. We were sailing on a
sea of passion, riding the winds of success. Hard as we tried to make
medium- and long-term forecasts, none of our three- or five-year plans
stood up. Every six months, we had to reassess the way we did things,
reevaluate our teams and our budgets. Rapid and constant growth became
one of the biggest problems confronting the company every day. It was
hell!
With everything moving so fast, the organization was under constant
pressure. Far from discouraging us, the rapid developments stimulated
and excited us. We were forced to change because the environment was
shifting and the parameters we had set no longer existed. We struggled
to keep up with events; we were obliged to adjust. I must admit that
we soon developed a taste for the hectic pace; growth was like a drug
for us. Our greatest satisfaction came from getting optimal results:
drawing bigger audiences at each show, every day and in every town,
penetrating new markets and conquering new territories.
Of course, rapid growth took a toll on the employees. It spoiled them.
At the same time, it was a painful learning experience, forcing us to
constantly reevaluate ourselves. The need to constantly improve our
performance also meant having less and less room for error: mistakes
had their consequences. At the same time, rapid growth encouraged
humility. Success didn't depend on one person; everyone was involved:
audiences, employees, artists, technicians, management and associates.
Humility encouraged us to be tolerant toward others and open to the
unknown.
I well remember how I felt driven to become more professional, less of
a generalist, more specialized and responsible: a daunting challenge!
For the early tours, I performed a number of functions. Then, from one
year to the next, I had fewer tasks, but my responsibilities grew and
with them came added stress. For my co-workers and me, constant growth
provided the most intense, difficult but also creative of learning
experiences.
Do you have the guts?
Heads or Tails
--------------
Circumstances led Cirque du Soleil to set up its first headquarters in
Quebec City. The team had been based in Baie-Saint-Paul, but when we
got our first contract in 1984, Quebec City became a more strategic
location for setting up production and managing relations with the
government. Cirque du Soleil then moved to Montreal in 1985.
Quebec City played a key role in Cirque's development. We achieved our
first success in the town where we received the constant support of
the media, the spectators and the public in general. But, as we grew
and North America opened up for us, Quebec City soon became our
smallest market and very early in the 1990s, it was no longer a
profitable destination. Even playing to sold-out audiences, we lost
money there. Production costs when measured against the maximum number
of performances the population basin would allow, ticket prices and
taxes made the town economically unsound.
Cirque management often debated the viability of playing in Quebec
City. Our heads told us to drop the city from our tour plan, but our
hearts told us to keep it. I listened to my heart. Having been present
in every stage of the organization's development, I thought it
important to make the effort and perform there.
In a way, the city represented Quebec taxpayers to whom we were
indebted. One day, in a tour planning session, the debate about
retaining Quebec City raged once more. After agonizing over the pros
and cons, we had to make a decision. Both camps were digging in their
heels, so the owners, Daniel Gauthier and Guy Laliberté, decided to
settle the issue by a coin toss (heads or tails). And that's how
Quebec City became a tour fixture. Unless someone someday decides
otherwise.
What would you have done in our place?
{ To Be Continued... }
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COPYRIGHT AND DISCLAIMER
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Fascination! Newsletter
Volume 19, Number 3 (Issue #182) - March 2019
"Fascination! Newsletter" is a concept by Ricky Russo. Copyright (C)
2001-2019 Ricky Russo, published by Vortex/RGR Productions, a
subsidiary of Communicore Enterprises. No portion of this newsletter
can be reproduced, published in any form or forum, quoted or
translated without the consent of the "Fascination! Newsletter." By
sending us correspondence, you give us permission (unless otherwise
noted) to use the submission as we see fit, without remuneration. All
submissions become the property of the "Fascination! Newsletter."
"Fascination! Newsletter" is not affiliated in any way with Cirque du
Soleil. Cirque du Soleil and all its creations are Copyright (C) and
are registered trademarks (TM) of Cirque du Soleil, Inc., All Rights
Reserved. No copyright infringement intended.
{ Mar.10.2019 }
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