REVIEW /// “Forget Me Never – Goodbye VIVA ELVIS”

On November 24, 2011, shocking news from the Las Vegas Sun reverberated throughout the Cirque du Soleil community: Citing poor ticket sales, MGM Resorts International was exercising a clause in its contract deal and asked Cirque du Soleil to replace Viva Elvis at CityCenter by the end of 2012. “As attendance levels have not been meeting expectations, we have asked our partners at Cirque du Soleil to replace the show,” a company statement said. “We will work closely with Cirque as we explore future entertainment options.” This was the first time that Cirque du Soleil, which has come to dominate the big-production showrooms on the Strip, had been asked to shutter a show since arriving in Las Vegas in 1993 with “Mystere” at Treasure Island.

But it would not be the only show the company had been asked to close.

Like with ZAIA in Macao, there is no denying that Viva Elvis had a tumultuous time on the Strip, but there was hope amongst some circles that the show could survive its difficulties, especially in the light of some thematical changes that were being implemented around the same time the call to replace the show was announced, and muster on. The announcement by MGM Resorts International all but squashed those hopes and later on this month – August 31, 2012 – Viva Elvis will have what we perceive to be its final curtain call.

Rather than let the show’s closing pass without comment, we’ve decided to celebrate all that Viva Elvis was, is, and was going to be through press releases, blurbs and other statements made about the production over the years, tracing its history from inception to conception.

I GOT A FEELING IN MY BODY

In May 2006, about the same time rumors were floated about Cirque creating what ultimately became ZAIA in Macao, and amongst the buzz regarding the Cirque du Soleil/Beatles mash-up (which became LOVE at The Mirage), Cirque du Soleil announced that it had entered into an exclusive arrangement with CKX Inc., owner of the rights to the name, image and likeness of Elvis Presley, for the creation, development, production and promotion of “Elvis Presley Projects” throughout the world:

These Projects, expected to debut beginning in 2008, will consist of touring shows and permanent shows at fixed locations that will be produced by Cirque and incorporate the name, image, likeness and music of Elvis Presley. They will also consist of multimedia interactive entertainment “Elvis Experiences” that incorporate the music, memorabilia, audiovisual works, and the life and times of Elvis.

Cirque and CKX have agreed to open at least one touring show in Europe and/or Asia and one “Elvis Experience” outside of the United States by 2008. Beginning in 2009, at least one Elvis Presley Project will be opened in each of the next six years. Beginning in 2014, at least one Elvis Presley Project will be opened every two years during the next eight years, through 2021.
These projects are in line with Cirque’s new business strategy of diversifying our artistic content through different live productions in order to reach out to as many people as possible throughout the world. Cirque and CKX will each own 50 percent of each Elvis Presley Project, sharing equally in the costs of creating, developing, building and producing each project and in the profits from each Project. CKX will also receive royalty payments on various aspects of its intellectual property used in the Elvis Presley Projects.

A few short months later – August 21, 2006 – an official announcement was made between Cirque du Soleil, CKX and MGM/Mirage regarding the partnership, including an interesting bit about the new Elvis production taking up residence at the center-piece of the hotelier’s infamous CityCenter mixed-use project: Aria. The announcement of the show’s location was timed for Elvis Week, when Elvis fans from around the world flock to Memphis, Tennessee, for the anniversary of his death on August 16, 1977.

Cirque du Soleil’s creative team is inspired by this new extravaganza. The creative combination of live musicians and singers, projections, dance and the latest in multimedia sound and lighting technology are stimulating and aim at offering an emotional bond with the audience. The show will bring Elvis back to Las Vegas for millions of his existing fans and create a buzz that will enable the persona of Elvis to reach untold numbers of new fans.

Robert F.X. Sillerman, Chairman and CEO of CKX, Inc., commented, “I am pleased that during this time, when we remember Elvis Presley and celebrate his life, we are able to announce his return to Las Vegas, a place where he truly rose to iconic status. And with the remarkable creative talent of Cirque du Soleil, fans who saw Elvis perform, as well as those who never had a chance to see him, will be able to experience Elvis in an entirely new and exciting way. This will be the first step in establishing a twenty-first century presence in Vegas for the King.”

Guy Laliberte, Founder of Cirque du Soleil, commented, “This new creative challenge is exactly what we strive at accomplishing in the development of our new productions. Cirque du Soleil is thrilled to be involved in CityCenter and we are particularly honored to be entrusted with this assignment. We are working closely with our partners to ensure the public will have an unforgettable encounter with the King of Rock and Roll. Elvis had a unique relationship with his adoring fans in Vegas and a large part of our mission is to recreate the excitement and the spirit of joy he generated here.”

Bobby Baldwin, President and CEO of Mirage Resorts, an MGM MIRAGE operating division, said, “We are thrilled to partner with our friends and colleagues at Cirque du Soleil, who are known the world over for creating memorable entertainment experiences. With this show we will bring together Elvis, an icon of Las Vegas entertainment history, with CityCenter, a destination that represents the future of this remarkable city.”
All became quiet on the Elvis front for more than two years following the press announcement. Many had begun to wonder whether or not any of the “Elvis Projects” would ever come to fruition, especially as costs associated with the construction of the massive CityCenter project skyrocketed and construction lagged. Others wondered whose idea the Elvis project was to begin with and how it came about. Daniel Lamarre, President and COO of Cirque du Soleil, fielded that question in a statement to the company’s employees:

Actually, the story behind the Elvis project is quite simple. Following the huge success of LOVE, we were approached by the owners of the rights to the Presley estate. Elvis Presley is an undisputed icon of contemporary music history, so we decided to immerse ourselves in his universe and develop different projects. There are several possibilities on the table, including a permanent show, a tour, interactive experiences and other ideas involving television and film. I won’t deny that we were a bit skeptical initially, which led us to conduct a study to find out how people perceived the idea of associating our brand with that of Elvis. It turns out that people think it’s an excellent idea! I anticipate that this show will be as successful as LOVE.

And we waited…

VIVA LAS VEGAS!

On December 15, 2009, Cirque du Soleil unveiled VIVA ELVIS, written and directed by Vincent Patterson, to the world:

Viva ELVIS, a harmonious fusion of dance, acrobatics and live music, is a tribute to the life and music of Elvis Presley. Nostalgia, modernity and raw emotion provide the backdrop for his immortal voice and the exhilaration and beauty of his music. Created in the image of The King of Rock ’n’ Roll – powerful, sexy, whimsical, truly unique and larger than life – the show highlights an American icon who transformed popular music and whose image embodies the freedom, excitement and turbulence of his era.

Significant moments in his life – intimate, playful and grandiose – blend with timeless songs that remain as relevant today as when they first hit the top of the charts. Viva ELVIS focuses on the essential humanity of the one superstar whose name will forever be linked with the history of Las Vegas: Elvis Presley.

“On a creative level, it was extremely stimulating to draw our inspiration from this musical icon,” said Guy Laliberté, Founder of Cirque du Soleil. “Viva ELVIS showcases the raw energy and pure talent of Elvis and highlights the exhilaration and beauty of his music on a grand scale.”

“It makes perfect sense that Elvis should live on in Las Vegas, where his iconic status was cemented,” said Robert F.X. Sillerman, Chairman and Chief Executive Officer of CKX, Inc. “When we teamed with Cirque du Soleil, we knew that any show they created would match Elvis’ larger-than-life presence. So we were pleased to open the vaults at Graceland and make available to Cirque du Soleil historic archival materials, recordings and concert footage that would help them create a show that will carry Elvis’ legacy into the future.”

“An evolutionary destination designed to transform Las Vegas at its core, CityCenter is larger than life, just like Elvis himself,” said Bill McBeath, President and COO of ARIA Resort & Casino. “We want to bring the element of fun to ARIA, the centerpiece of CityCenter. Viva ELVIS will bring the King of Rock ’n’ Roll back to Las Vegas for millions of his fans and create a buzz that will enable his persona to attract untold numbers of new followers.”

“Elvis has always been in the forefront of new, contemporary entertainment and technology,” said Priscilla Presley. “I believe Viva ELVIS continues this and reaches out and expands his legacy in a new, creative and exciting way.”

“The show’s acrobatic elements, set designs and other artistic components are part of an overall creative vision designed to showcase the timeless music of Elvis, his unique voice and unequaled talent as a performer,” said Gilles Ste-Croix, Senior Vice-president of Creative Content and New Project Development at Cirque du Soleil.

“The unique strength and power of Elvis was in his voice,” said Vincent Paterson, the show’s Writer and Director. “I was greatly inspired by the originality and complexity of this musical legend. What I tried to paint, in all humility, is the show he might have created today.”

The Creative Team

Artistic Guide — Guy Laliberté
Artistic Guide — Gilles Ste-Croix
Writer and Director — Vincent Paterson
Director of Creation — Armand Thomas
Musical Director and Arranger — Erich van Tourneau
Set Designer — Mark Fisher
Costume Designer — Stefano Canulli
Acrobatic Performance Designer — Daniel Cola
Acrobatic Equipment and Rigging Designer — Guy St-Amour
Lighting Designer — Marc Brickman
Image Content Designer — Ivan Dudynsky
Sound Designer — Jonathan Deans
Choreographers — Bonnie Story, Napoleon and Tabitha Dumo, Mark Swanhart, Catherine Archambault
Props Designer — Patricia Ruel
Makeup Designer — Nathalie Gagné

ITS NOW OR NEVER

Viva ELVIS is billed as a harmonious fusion of dance, acrobatics and live music; a tribute to the life and music of Elvis Presley. Nostalgia, modernity and raw emotion provide the backdrop for his immortal voice and the exhilaration and beauty of his music.
Significant moments in his life – intimate, playful and grandiose – blend with the timeless songs that remain as relevant today as when they first hit the top of the charts. Viva ELVIS focuses on the essential humanity of the one superstar whose name will forever be linked with the history of Las Vegas and the entire world of entertainment – Elvis Presley – through the following scenes:

Blue Suede Shoes

One of the seminal songs that propelled Elvis to fame, Blue Suede Shoes opens the show with raucous abandon, featuring a dynamic ensemble of 30 dancers and 24 acrobats boogying, bouncing and flying through the air. A giant jukebox adorns the stage until a giant blue suede shoe rolls on. The eight-piece band and four female singers energize a showcase filled with Elvis imagery, colorful graphics and vintage footage of euphoric fans.

Don’t Be Cruel

This number pays tribute to Elvis’ fantastic recording career and the sheer volume of his work. Twenty-four dancers take the stage for the classic song, featuring glittering images of flying gold records on eight LED panels, and six enormous RCA and Sun gold records lowered from the rafters.

One Night With You

An epic-sized guitar, a symbol of Elvis’ love of music and his larger-than-life persona, serves as an imaginary playground for Elvis and his twin brother Jesse Garon, who died at birth. The song is a duet between a female singer at a piano and Elvis himself.

All Shook Up

Gospel music was at the very core of Elvis’ artistry. This powerful rendition of an Elvis classic, performed by one of the singers in a rich setting of colorful stained glass imagery, lends the dance number a Southern revival feel.

Saved

Elvis loved singing gospel more than any other musical genre. In fact, each of his three Grammys was for a gospel recording. This euphoric number combines dance with acrobatics.

God a Lot of Livin’ To Do

Full of thrills and daring feats, Got A Lot Of Livin’ To Do is a trampoline number inspired by street acrobatics and Elvis’ fascination with comic books, amusement parks and superheroes. Seven acrobats in stylized superhero costumes defy gravity in a stunning cavalcade of synchronized jumps, leaps and bounces.

Heartbreak Hotel

A ballad of love, sorrow and separation, Heartbreak Hotel features four dance couples – the men dressed as army officers and the women wearing airmail envelope dresses. They are torn between loyalty to country and their emotional ties to their loved ones.

Love Me Tender

A duet sung by Elvis and a female singer is underscored by a montage of still photographs and newsreel footage of Elvis’ two years in the army.

Return to Sender

Boot camp as performance art – a large ensemble cast of dancers, acrobats and marching band musicians puts on a dizzying array of hip hop moves, and high-bar calisthenics. Backed by a gigantic American flag made of whimsical stars and stripes, the sharp, compelling movements are emblematic of precision, pride and patriotism – all highly distinctive characteristics of Elvis himself.

Are You Lonesome Tonight

This aerial pas-de-deux features a soldier and his girlfriend in a dreamy ode to their love and devotion – and their efforts to stay together during his tour of duty by writing to each other.

Western Scene

Musicians gather around a campfire in a reference to the style and camaraderie of the ’68 Comeback Special, and perform a medley of songs on acoustic instruments while two cowboys spin their guns and twirl their lassos in a playful routine.

Burning Love

A cascade of movie clips pays homage to Elvis’ Hollywood career. The live band rocks the house and punctuates classic dialogue delivered by the King.

Bossa Nova

A young guy triumphantly shows off at a party by building a tower of eight chairs and topping it off with a one-arm handstand.

King Creole

New Orleans sets the tone for this lusty rendition of the title song from one of Elvis’ best-loved films. It’s Reggae, it’s Calypso, it’s Cajun, and above all it’s fun as a female singer is accompanied by Elvis in a visual feast of stop-action film clips and dance.

Jailhouse Rock

Jailhouse Rock marked the pinnacle of Elvis’ movie career. It’s also the centerpiece of Viva ELVIS. A dramatic, mysterious entrance gives way to a high-octane dance and acrobatic fusion performed to the pulsating beat of the familiar anthem. In a tribute to the original film sequence, the iconic prison set is dramatically updated in a number that flips the world upside down.

It’s Now or Never

The sensuality of the tango and the sophistication of a lounge song connect with the audacity of an innovative pole performance featuring eight female performers and the four men they seduce.

Can’t Help Falling In Love

Home movies of Elvis and Priscilla’s courtship lead into footage of their marriage ceremony. A singer performs a duet with Elvis atop a replica of their wedding cake to accompany graceful ballet dancers and roller-skaters.

Love Me/Don’t

Two seven-foot hoops – scale replicas of Elvis and Priscilla’s engagement rings – descend from the grid for two couples to perform a sensual cerceaux act to a rocking arrangement of Love Me. A female singer and guitarist join the party for Don’t.

Viva Las Vegas

Showgirls wearing colorful plumes parade down the central staircase of a spectacular stage set framed by two gold Elvis statues. All the other cast members are wearing shimmering reinterpretations of classic Elvis jumpsuits as a medley of songs pays tribute to the glitz and sparkle of Elvis’ Vegas years.

Suspicious Minds

Suspicious Minds opens with a soulful riff and builds to a thunderous finish. A couple caught in a trap of passion and anger express their feelings for each other in an energetic acrobatic dance. Once the duo is reconciled, the set fills with performers emerging at the top of the staircase in fringed jumpsuits, recreating Elvis’ signature stage moves.

Hound Dog

The entire cast brings the show to an unforgettable finale with a dynamic, modern celebration of the song that marked Elvis’ rise to fame.

DOIN’ THE BEST I CAN

The show began preview performances as planned (on December 18, 2009), but the euphoria surrounding Cirque du Soleil’s suaré into the life and times of Elvis Presley quickly began to fall upon hard times. A combination of construction delays and last-minute revisions had delayed VIVA ELVIS planned gala premiere on January 8, 2010 (what would have been Elvis’ 75th birthday) to February 19, 2010. Many began to wonder whether lightening could strike twice with a “musical revue” type show (as The Beatles LOVE was proving to be a runaway success just down the Strip), or whether Cirque du Soleil had bitten off more than it could chew.

“The show is not complete, and it’s not what we wish,” Ste-Croix told Mike Weatherford of the Las Vegas Review-Journal a few weeks before the show opened. Ste-Croix, Cirque’s senior vice-president of creative content and new project development, said CityCenter CEO Bobby Baldwin wanted previews for the Aria opening and holiday season, sooner than Cirque would have liked given their creation schedule. Lagging ticket sales and half-filled shows had a number of tongues at MGM/Mirage and Cirque du Soleil wagging: changes had to be instituted and soon! Indeed I was not very kind in my review of the show, which you can read here (https://www.cirquefascination.com/?p=2095). The show’s executive producer, Stephane Mongeau, later confirmed that the show was undergoing a major reshuffling, among them the recent departure of the main Elvis actor, Leo Days, a top Elvis tribute artist.

In the first incarnation of the show, VIVA ELVIS told a familiar story in an almost flat monotone. By the beginning of 2011, however, the show had been given new blood with a controlled but frantic fever pitch worked in for good measure. “The narrative has been cut down and the Col. Tom Parker character relocated,” said Robin Leach, correspondent for the Las Vegas Weekly. “The dancing seems faster and more electrically charged. Now it’s all showmanship throughout and makes the blue suede shoe even larger than it was with the dancers sprawled all over it. Now after more than a year of studio engineering, it’s the new soundtrack that propels the show along at a much faster pace and energy.”

But the jubilation surrounding this round of changes didn’t last long either, and by the end of summer, it was reported that MGM was working with Cirque du Soleil to modify VIVA ELVIS, which it acknowledged for the first time was losing money and drawing sparse crowds. On August 10, 2010 the rumors regarding those additional changes were made official by Renee-Claude Menard, senior director of public relations for Cirque, through the following announcement:

“Cirque du Soleil and MGM Resorts International have always had an active and open relationship about their projects.

As for all Cirque du Soleil productions, we constantly review all aspects of our shows including the creative positioning and the business results.

These discussions have been on-going for Viva Elvis and we have decided to modify the show to make it less of a biographical representation of Elvis and more of an acrobatic Cirque du Soleil spectacular production.

As a result of the recent tragedies in Japan, Cirque du Soleil has had to make a difficult decision to close its permanent show ZED by the end of this year.

But in making that difficult decision an opportunity presented itself to enhance Viva Elvis. ZED features some of the most impressive acrobatic acts ever presented on stage and we truly wish to continue bringing these performances to our audience.

In the last weeks, we have reviewed the possibilities and have decided to fully integrate these beautiful acts in Viva Elvis and to present them to the millions of people who visit Las Vegas annually.

Cirque du Soleil is a creative-driven organization and wants to ensure that this integration is done well and fully respects its artistic objectives. To do this, the partners have agreed that Viva Elvis will take extended dark dates beginning in January 2012. This integration is expected to be completed by the end of the first quarter. We will also take this time to review all marketing strategies to reposition Viva Elvis.

I would like to specify that we expect to have the same total amount of artists on stage and the financial investment both in the creative integration and new marketing initiatives are still under complete evaluation.”

ALL SHOOK UP

From the moment Cirque du Soleil announced that VIVA ELVIS would get a makeover to “make it less of a biographical representation of Elvis Presley and more of an acrobatic Cirque du Soleil spectacular production,” speculation ran rampant regarding just how drastic those changes might be. All we knew was that the cast and crew were summoned to a meeting just before the announcement was made. They were told that Cirque would be pouring more than $10 million into the makeover, that MGM Resorts International wanted results within two years, and it was even possible that the show’s name could change.

Explaining in more detail by phone, Cirque du Soleil’s senior publicist, Renee-Claude Menard said “we would have made changes anyway,” even without the misfortune of “Zed.” Cirque and MGM Resorts officials already had agreed “we knew we wanted to make it more acrobatic. … What ZED brought to the table was an opportunity.”

Cirque and Aria already had “common agreement” that “the biographical expression of Elvis was not necessarily appealing to our demographic and the type of demographic we’d like to have, so let’s look at it a different way. Make it a Cirque du Soleil spectacular featuring Elvis as a singer,” Menard said. As such, the character of Elvis’ manager, Tom Parker, as narrator would likely be eliminated, though “I think we have to wait until the changes are all done,” Menard said.

VIVA ELVIS had planned an extended dark period at the beginning of January 2012 where the Banquine number and the Aerial Straps duo from ZED would be integrated. Until then the show would remain “as is”.

EASY COME EASY GO

With VIVA ELVIS seemingly on the right path again it came as somewhat of a shock that a mere three months later, and without the new changes going into effect, MGM Resorts International called for Cirque to replace VIVA ELVIS outright, but that’s exactly what happened on November 24, 2001 – Thanksgiving Day:

MGM Resorts has asked Cirque du Soleil to replace its show “Viva Elvis” at the Aria by the end of 2012, citing poor ticket sales. The move is the first time that the Canadian company, which has come to dominate the big-production showrooms on the Strip, has been asked to shut a show since arriving here in 1993 with its first permanent show, “Mystere” at Treasure Island.

“As attendance levels have not been meeting expectations, we have asked our partners at Cirque du Soleil to replace the show,” a company statement said. “We will work closely with Cirque as we explore future entertainment options.”

An internal Cirque du Soleil memo was sent to the cast of “Viva Elvis” on Wednesday afternoon announcing MGM’s intentions. “Viva Elvis” has played 900 performances at the Aria resort at CityCenter, to nearly 1 million people.

“Viva Elvis” is the newest of the seven Cirque du Soleil shows along the Strip – its 1,840-seat, acoustically refined showroom costing an estimated $100 million.

The show was previously scheduled to go dark for a 90-day retooling in January and reopen in early spring. A top Cirque official told the Sun Wednesday evening: “The extended dark period for a full revamp of the show will now not take place. It will just be the regular dark period from Feb. 4-11, but we will make previously planned artistic adjustments … We will also be integrating the Banquine act from our ‘Zed’ show for sure.”

Cirque du Soleil had the following to say to its employees regarding the unanticipated announcement:

While the artistic merit of Viva ELVIS is exceptional and has touched close to one million guests with nearly 900 shows since opening in December 2009, we have been notified by our partners at CityCenter of their likely intention to ask Cirque to replace the show at the end of 2012.

All of us at Cirque du Soleil are saddened that we may have to bring Viva ELVIS to the end of its journey. However, we respect the decision of our partner as ticket sales have not met expectations. We will now take the appropriate time to focus on redeploying as many of the show’s employees as possible, when the time comes, and evaluating next steps for exploring the many possibilities for creative content.

We are excited that throughout 2012, we will continue to celebrate the life and legacy of one of the world’s greatest music icons. We are grateful to have the opportunity to share this exciting production with hundreds of thousands of guests from around the world during the months ahead.

I know we will all continue our work on this production with the same professional drive and enthusiasm for which Cirque du Soleil is known. Like you, I am proud of our work on this show and understand that this is simply a business decision.

But Viva Elvis’s lack of success is relative. Since the show began in December 2009 it has reportedly been seen by more than one million people in over 900 performances. However, with Cirque’s dominance in Las Vegas being what it is, Aria had hoped for a packed house every show. Aria’s theatre had been only 60-percent full on average though, compare that to 99-per-cent occupancy for “O” and LOVE, shows running thirteen years and five years respectively. Even the nineteen-year-old production of Mystère still fills 82-percent or more at Treasure Island’s theater, according to Renée-Claude Menard.

ALRIGHT, OKAY, YOU WIN…

You know, much like Elvis’ own personal story, the journey of VIVA ELVIS is one filled with ups and downs, misadventures and comebacks, and winners and losers, perhaps just too many swings to survive. And like Elvis himself, I feel VIVA ELVIS is being taken from us too soon. With the recent additions of Banquine and Aerial Straps from ZED, the removal of the Wedding Cake and the tightening of other routines, new visuals and banners, and the dismissal of the Colonel Parker narration, this third edition of VIVA ELVIS has shaped up to be a fantastic show indeed.

Alas, that’s neither here nor there.

Cirque du Soleil has already announced the show’s replacement – ZARKANA, which will begin preview performances on October 25th and a gala premiere on November 8, 2012. And they’ve said they will attempt to re-locate as many artists as it can, which all but hammers in the final nail for this show’s chances of reappearing elsewhere in the future.

But you never know.