Over the years Cirque du Soleil has announced, was rumored to be working on, or thought about a wide variety of interesting advancements beyond their traditional core product: circus shows.
Some of these have been in the realm of music, such as when the company investigated for maybe a half-a-minute the possibility of recording each show live and selling the music after the show (kind of like what they do at some concerts), or about how they could take some one-off music tracks and put them on iTunes, Amazon or some other music download service rather than having to issue new CDs.
Some of these have been in the realm of television, such as a 1999 press release announcing an association with Canadian-based TVA Group (a privately owned French language television network in Quebec) to develop and produce international audio-visual productions that would combine Cirque du Soleil’s creativity with TVA’s broadcast and production resources. A 13-episode variety series, a series of one-hour documentaries on Cirque du Soleil, a number of “movie of the week” projects, and an animated children’s series were part of the deal. SOLSTRUM, the 13-episode variety series and a small contingent of documentaries were the only fruit bore from that tree. A similar deal was struck in 2006 with Endemol in the UK for a series of 60-minute programs to be filmed at the O2 Arena in London, previously known as the Millennium Dome, and broadcast in 2007 and 2008.
Some of these have been in the realm of show opportunities, such as when it was rumored that LOVE was originally destined for London or New York City rather than Las Vegas. Or that there were going to be touring shows produced by Cirque to incorporate the name, image, likeness and music of Elvis Presley (beyond what became VIVA ELVIS – and what happened to those “Elvis Experiences” anyway?)
And sometimes these have been in the realm of… say what? Such as when, in February 2006, Cirque du Soleil announced a desire to build a fashion and beauty brand to include a women’s, men’s and child’s ready-to-wear line – not to mention a Cirque du Soleil fragrance line. Though it appears that a 64-piece collection for women did get introduced in August for fall-winter 2006 in 300 specialty boutiques worldwide, the other lines did not. Nor did the fragrance; though it does appear a design for the fragrance, bottle and packaging that encapsulated the essence of the brand was put through a test case.
Approaching our 100th issue of Fascination set me thinking about all the quotes, blurbs and past announcements of new products, venues or avenues the Cirque would be exploring that we’ve published. I began to wonder which of these came to fruition since then and which have quietly remained hidden behind the curtain at Cirque du Soleil HQ in Montreal. In Part One, we explored a number of rumors and announcements regarding “permanent” or “resident” shows made through the years that didn’t pan out. In Part Two, we examined the number of announced and/or rumored media potentials from Cirque du Soleil – from filmed shows and books to new music CDs – many of which never saw the light of day. And in this installment, we explore what could have been in regards to projects beyond Cirque du Soleil’s traditional space – entertainment and media – and dive into the realm of “Complexes Cirque”, and more.
PART THREE: COMPLEXES CIRQUE & MORE
Once you’ve defied the odds and proven you can take a bunch of street artists and place them under a big top to put on a show, brought that big top to every continent playing for sold out audiences worldwide, conquered Las Vegas with not one but two highly successful resident shows (with the announcement of at least two more on the way), and had a successful turn with a special presentation of your skills on the Academy Awards, one of the most watched programs on US television… what’s next?
How about tackling the real estate market?
Yes! And “Complexes Cirque” was born.
/// COMPLEXES CIRQUE?
Not long after the company’s turn on the Academy Awards in 2002, Cirque du Soleil announced it was pursuing plans to launch a global series of hotel complexes dubbed “Complexes Cirque”, which would catapult Cirque into the hotel-management business, featuring establishments with Cirque’s avant-garde approach. The details of said complexes were kept secret; however, the vision as shared included hotels anchored by various Cirque du Soleil productions (old and new alike) and would contain nightclubs and other entertainment venues, all branded by Cirque du Soleil. But by December 3, 2002, Cirque du Soleil announced that it was abandoning those plans. The announcement closed a two-year feasibility study as well as the development of the prototype complex in Montréal – “Laboratoire Montréal Project”. The September 11th attacks in the United States and a downturn in global tourism was to blame for the project’s closure. The decision affected approximately 5 people in the New Ventures Business Unit and the University of Quebec at Montreal (UQAM), from whom Cirque leased the property to build the complex.
“Considering the uncertainty of the present global situation,” Cirque said via press release, “[the Company] considers that the risks of investing in a new field of activity are too great at this time.”
Rather than pursue the “Complexes Cirque” project, Cirque re-affirmed placing its efforts on its core product, its productions, to expand its Cirque du Soleil Images imprint, and pursue development of other projects that were already well established in Montréal, notably the “Cité des arts du cirque”, which became TOHU in 2004, a non-profit organization founded by En Piste (the National Association of Circus Arts), the National Circus School and Cirque du Soleil.
Alas, though “Complexes Cirque” would be filed away, the project would not mark the last time Cirque du Soleil would flirt with expanding beyond the big top.
Six months after Cirque du Soleil announced it was backing away from the “Complexes Cirque” project; word out of Las Vegas during the press conference unveiling Zumanity on April 22, 2003 raised a few eyebrows. In his introductory remarks, Terry Lanni, Chairman of MGM Mirage (now MGM International), noted the partnership that already included “Mystère” and “O” would not end with “Zumanity” (as a forth then unnamed show in the early stages of production for the MGM Grand Hotel was also in the works – this, of course, became KÀ).
“We have plans — and we have not finalized these plans — for the 55 acres between the Monte Carlo and Bellagio,” Lanni said later. “We have had preliminary conversations with (Cirque head) Guy (Laliberté) and his people about jointly developing a hotel casino complex … But we want Guy and his people to focus first on ‘Zumanity’ and then on the MGM Grand show, and when those are opened we want to go back and in some time be interested in the development of that property, which is we think the last great piece of property in Las Vegas and something that would be on the cutting edge.”
Though these were lofty goals by MGM Mirage, those plans never came to fruition. Rather than chase the ambition of running a branded hotel-casino, Cirque du Soleil turned instead into developing shows to fill MGM Mirage showrooms. After KÀ opened in 2004, Cirque du Soleil announced “The Beatles LOVE” at the Mirage (to open in 2006), “BELIEVE” at The Luxor (to open in 2008) and “Viva Elvis” to open at Aria, a casino-hotel that was part of the CityCenter project that MGM Mirage pursued on that 55-acre lot between the Bellagio and Monte Carlo on the Las Vegas strip.
And if you thought Cirque du Soleil was done pursuing residency beyond the big top and specially designed theaters by others, think again.
/// LE CASINO CIRQUE?
On June 22, 2005, Cirque du Soleil and Loto-Quebec unveiled a proposal for the establishment of a world-class entertainment complex to be located in Montréal. The announcement confirmed the years-old rumors of Cirque involving itself in entertainment venues that would offer a wide range of entertainment options branded with Cirque du Soleil’s flair. Loto-Québec would be serving as project manager, while the Cirque du Soleil would look after design, creative and artistic direction of the project.
“This project is what we are recommending to the Québec Government as being the best solution for the future of the Casino de Montréal,” explained Mr. Alain Cousineau, Chairman, President and Chief Executive Officer of Loto-Québec. “The recommendation is based on the rigorous studies we have conducted, as well as on the creative genius of the Cirque du Soleil. In addition to being a modern reflection of Québec’s cultural dynamism and Montréal’s exceptional vitality, the complex will offer visitors an unparalleled entertainment experience while showcasing the historical character of the site.”
According to the President and founder of the Cirque du Soleil, “the Cirque du Soleil is investing all of its creativity and global expertise in this project in order to ensure that Montréal can fully benefit from the international spin-offs to be generated. Indeed, we are envisioning a concept whose outstanding components will make for a truly world-class entertainment complex. We sincerely hope to be able to invite the millions of people we meet in the four corners of the planet to come and enjoy the new complex, which we are convinced will more than meet their expectations.”
The facts of the announcement were:
- The location was proposed for the Peel Basin in the du Havre sector of Montreal.
- The project would create approximately 6500 new jobs.
- The project was budgeted at approximately $1.2 Billion CDN; $997 Million CDN coming from Loto-Quebec and $178 Million CDN from private partners.
- The complex would encompass a 300-room hotel, a 2500-seat performance hall, a spa, an “Artists’ Wharf”, and a park where Cirque could set up their Grand Chapiteau.
- The Casino de Montreal would be relocated to the site.
- Further development of the site could include an exhibition center and the development of a monorail to interconnect the complex with a future soccer stadium.
- Cirque du Soleil and Loto-Quebec were looking to inaugurate the new complex in 2010/2011.
With every large project comes controversy and such did not escape this new project. To us it looked like a great match on the surface; the Montréal Casino had suffered as “high roller” customers took their business to other more exciting cities, Lotto-Quebec obviously felt they had to modernize or risk falling further behind. But there were other concerns than just gaming. Placing this new project in the Peel Basin/Point St-Charles area (which, on our map is marked as an industrial area) had activists concerned that any move would mean more crime and traffic in what some considered a residential area. But Lotto-Quebec officials insisted the area was selected because it was out of the way of most residential areas of the city, yet close to the big hotels and Old Montréal.
It would take years for this proposal to move its way through the planning and approval process, but ultimately it was quietly dropped and filed away. As of today, Cirque du Soleil has abandoned its ambitions (at least publically) of opening or operating any type of “Complexes Cirque” pursuing instead the expansion of its resident show program.
/// LOUNGING AT THE EDGE OF WHAT?
On October 15, 2004, a new world created exclusively for Celebrity Cruises by Cirque du Soleil was announced, and it was to materialize on select Celebrity ships beginning in December of that year. The spacious observation lounges on at least two of Celebrity’s Millennium-class ships was to be transformed into the surreal atmosphere of “The Bar at the Edge of the Earth,” which Celebrity and Cirque described as “a place that invites guests, for two hours every evening, to cross through the mirror to another universe.”
When Cirque du Soleil first announced its collaboration with Celebrity cruises, Cirque fans weren’t surprised. CEO Guy Laliberte had often talked about expanding the Cirque “ethos” and style to other forms of entertainment. Cirque hotels and restaurants were early ideas, and the corporate-oriented “Tapis Rouge VIP Experience” tent had become a profitable mainstay of the touring shows. So it was really no stretch when Cirque announced that it would install “themed experiences” in two of Celebrity’s Millennium-class cruise ships, Constellation and Summit.
In “The Bar at the Edge of the Earth,” surreal characters emerged for two hours on two evenings of each cruise to greet guests as old friends, not cruise patrons. “The Wave Correspondent” carried precious bottles containing mystical messages from the sea, and delivered them to chosen travelers visiting the lounge. “The Lantern Tuner,” whose inexplicable desire to light dark places or to harmonize with existing lighting would constantly transform the atmosphere around him. Meanwhile, the abundantly curious “Pez Erizo,” a large, round being, would wander joyfully, seeking to meet and delight all who cross his path.
A Cirque du Soleil Masquerade Ball would also be presented once every cruise. “The Bar at the Edge of the Earth” also offered exotic food and beverages available exclusively within the venue. Representatives of Cirque du Soleil were to participate in Celebrity’s “Celebrity Discoveries” enrichment lecture series on dates to be announced, and the two organizations were designing new Cirque du Soleil boutique spaces for select ships beginning in 2005. Unfortunately they didn’t last and both concepts were eventually converted into more traditional cruise-ship bar spaces. But Cirque du Soleil would not give up on the dream to use its brand to expand into other venues of entertainment.
The company, partnering with The Light Group, created THE BEATLES REVOLUTION lounge at the Mirage (a 5,000 square foot space decorated with 30,000 diachronic crystals to compliment its BEATLES LOVE show in residence at the hotel) and GOLD LOUNGE at City Center (a 3,756 square-foot space reminiscent of Elvis’ mansion to compliment its VIVA ELVIS show at Aria). And it seems they’re not quite done yet. This time last year it was announced that Cirque du Soleil would once again partner with The Light Group for a theatrical nightclub project at Mandalay Bay. “The Cirque-themed nightclub will have a show that’s going to happen in the ceiling, in the walls and on the floor,” a Light Group PR executive said in a statement. The new Cirque-Light venture would take over the sprawling space of the former – and now shuttered – Rum Jungle. It’s theme? Michael Jackson, of course!
# # #
As before, the projects here are just the ones we know about, those that were leaked and thus only rumored to be happening, or had semi-official announcements made regarding the company’s intention toward pursuing them. There very well may be dozens of other concepts and projects that we don’t even know about… and will probably never have the privilege of knowing about.
Although I’m sure there’s plenty more out there we could touch on, such as what would Cirque du Soleil be today if ECLIPSE, the project Guy and his co-founders were working on during the Le Cirque Réinventé tour (1987-1990) to help branch the company out into more than one touring show at a time, had come to fruition; or had MYSTERE been installed at Caesar’s Palace, the hotel-casino Cirque first pitched the show to; or had either the Walt Disney Company or Columbia/Tri-Star pictures had been successful in purchasing the company following the success of Nouvelle Experience’s (1990-1993) tour.
Alas we’ll never know.
But who knows what the future holds?
